#you should at least be able to articulate what you love about something

[brummiereader]

@mischievouslittlecreature 😬...he's not giving in easily when it comes to Lizzie, is he? At least, not yet. Urghh, I can't watch, but I wana watch 😭🙈!

With the business with Jessie and Lizzie, Lucy feels different to me. I don't know how to properly articulate it, but she just kinda seems like she's just going with the flow but deeply, deeply sad about everything. She just seems...done 😥. Tommy has all these ambitions and things going on with Lizzie, and I get the sense that Lucy has been completely worn down by it all. I appreciate how he's always checking on her wellbeing, but from the readers perspective, we're really starting to see a change in Lucy and how things she once enjoyed are starting to become a burden/anxiety inducing.

“You can’t be unmarried with an illegitimate child if you want to move into politics, Tommy.” Urghh, I know the topic of marriage has to be brought up. But you can tell from both Tommy and Lucy's remarks that neither of them want to be even thinking about the mere idea of it. He's a fucking gangster though! And illegitimate child it's hardly something people should be fussing about considering his line of work 😂. I swear, these posh/high society people have more twisted morals than anyone in Birmingham!

“You okay?” Tommy whispered to her in the dark. When she didn’t respond right away, his voice grew a little strained with worry. “Lucy?” yeh, I'm starting to think she's done with these threesomes now. It starting to look like a chore for her when she once enjoyed it. I find it interesting how she reflects on it, and if it's because of what happened to Luca or Lizzie. But I think that it properly goes further back than that. Little by little we've started to see how, even though they enjoy it, they seek each other out more during those encounters. Maybe they just want each other, but continue with them because it's a force of habit and a job that needs doing. Is Lucy waiting for Tommy to say that's enough now, do you think? Because she really doesn't seem into it.

Looking around, a beat of panic tightened in his throat at no sight of her distinctive crimson hair. His heart started to pound hard in his chest. No. No, no, no, no…he’d just left her there for a second. Ahh Tommy 😭. They way he panicked when he couldn't see her, and how he had to control himself from falling apart when she turned up😩. He's absolutely petrified of losing her again, even for the tiniest of seconds.

Another edition to their family 🥰! I love how Tommy was pouty about it first but quickly caved in when he saw how much Lucy had already fell in love with the little kitten. He's a big softie really! And that line about how he had knocked someone up, so she should be able to keep that cat, got a giggle from me 😂.

Urghhhh it hurts 😭! I know Ruby is an innocent baby in this mess, but my heart still dropped when I was reading about Lucy's struggle seeing Tommy with Lizzie and their little family she doesn't feel a part of Fuck sake Tommy, your pull out method is weak 😬! Look at the heartache you've caused 😩.

She followed Tommy and Lizzie down the stairs, lingering back to let them both go first, walking side by side with their baby while she trailed behind them; alone. Fuck sake...this chapter is really starting to stir my emotions for poor Lucy 😭. I always knew it was gonna be hard to read her seeing Tommy doting on his daughter with Lizzie by his side. I just wish there was something Tommy could do to show her that she's stil his number one girl. But I still understand how his time has now been split between Lucy and Charlie and Lizzie and Ruby. But I have hope that things will get easier for this blended family as Ruby grows up ❤️.

What a fantastic chapter to finish of this part of your story! Off to next part 😍.

Part 21: The Shadow of the Abattoir

Fandom: Peaky Blinders

Pairing: Tommy Shelby x OC

Summary: Tommy's ambitions take them to new heights, but not without consequences looming on the horizon.

Word Count: 4,005

Notes: I originally considered including some more detailed aspects--even potentially a full chapter--detailing Lizzie's pregnancy and Ruby's birth, but I have tokophobia, and just wasn't comfortable going into that much detail regarding that topic. So apologies to anyone who wanted to see more of that. And I promise that the Lizzie drama is only just beginning, and will be a big part of the next couple parts, so please consider checking those out once they're posted if you're interested in seeing a continuation of that aspect of the story.

Also, I just want to give a huge thank you to everyone who has read this story. This is to date the biggest single fic I have ever written, and the support you have given me means so much. I promise to have more featuring Tommy and Lucy out very soon!

Warnings for depictions of insecurity, sexual content, PTSD, and references to torture and pregnancy. Bit of a bittersweet ending here, so sorry about that!

Previous Chapter • Series • Fic • Next Part

Chapter 29: Shake Hands with the Devil

Returning to work had been the right idea.

Already, Lucy was starting to feel better, work helping to drive the dark thoughts that had been plaguing her lately to the back of her mind. They were still there, but they weren’t nearly as loud as they once were. 

Tommy’s new plan required a good amount of logistics and organizing, both of which she was eager to take on. And another action, one somewhat less desirable, but just as necessary. 

She was surprised at just how easy it was to get Jessie to give up the name of the leader of the cell. All it took was a kiss from Tommy and a declaration that he wanted to help her cause to have information already spilling from her lips. 

But then again, Tommy always seemed to have that effect on women. And Jessie, despite how she may have presented herself, was desperate for connection.

“You alright?” Tommy asked, after Jessie had left the office with the promise that they’d meet up later.

“I feel a little bad for what we’re doing to her,” Lucy sighed, leaning back into him while his hands rested on her upper arms, chin settling on the top of her head.

“If you really don’t want to go through with it, we can figure something else out–”

“No, it’s fine.” She turned around in his arms to face him, resting her head on his chest, leaning into the warmth of his body. 

It was a shitty thing, what they were doing to Jessie. But fucking her was necessary to ensure her loyalty until the election was done. And to maintain the steady stream of information she could provide them about the communists–at least, that’s what Lucy was going to keep telling herself in order to be able to sleep at night. 

“Just…” she worried on her bottom lip, feeling Tommy’s hand settle protectively on the back of her head. “Promise me that you won’t come in her.” She didn’t need to specify as to why, feeling him tense a little against her of the reminder of Lizzie and her approaching due date. 

“I promise.”

She cleared her throat awkwardly. “We really should talk about what you want to do about Lizzie.”

“What do you mean?”

She hesitated, unsure as to how she could properly broach the subject to him, feeling a tear begin to cleave its way through her heart in response to what she was about to suggest. Even as she forced the words to come out. 

“You should marry her.”

Tommy jerked back, staring at her with a furrowed brow, frown pulling his lips downwards. “What?”

“You can’t be unmarried with an illegitimate child if you want to move into politics, Tommy.” Knowing him, winning the position of MP was just the beginning. He had big things ahead of him. “You have to project the right kind of image. And if you want to be able to be involved in any sort of significant way with the baby…”

“But I love you,” he said softly. “If I’m going to marry anyone–”

“It needs to be the mother of your child,” Lucy finished for him stubbornly. He shot her a wounded look. 

“I don’t want to marry her.”

We don’t always get what we want, she thought, but bit her tongue. If things had been different, maybe it could have been her that he would marry. But they weren’t. 

“And besides, what about you?” he pressed.

“I think that I’m a small price to pay for the betterment of your child’s life and your career.”

The hurt in his eyes deepened. “Well I don’t!”

“Tommy…”

“We’re not talking about this,” his jaw twitched unhappily as he shook his head, turning towards his desk.

“Sweetheart, please…”

“I’m not giving you up.” That stubborn sharpness entered his eyes, jaw setting, and she knew that she would get nowhere with him on the subject. At least not yet. He’d have to see with his own eyes that she was right before he budged on it. 

She sighed. The last thing that she wanted to do at the moment was fight with him. “Alright.”

They did not speak of the matter again. Though it lingered in the air between them like a ghost. 

∗ ∗ ∗

They laid side by side in the narrow bed, Tommy in the middle with Lucy on one side of him, Jessie on the other. He was thumbing at his brow with one hand, staring up at the ceiling while Jessie slipped out from under the sheets to go get dressed. Lucy watched her lazily, shifting to tuck herself more closely into Tommy’s side. His arm dropped to wrap around her shoulders, fingers tracing over her back. She shifted nearer to him, suddenly needing the closeness.

“You okay?” Tommy whispered to her in the dark. When she didn’t respond right away, his voice grew a little strained with worry. “Lucy?”

“‘M okay,” she said, nestling her head more firmly on his chest, eyes still watching Jessie carefully. They could not talk while she was in the room with them. At least not really. 

She ached pleasantly between her legs from having him buried inside her but only a few moments ago. And while the pleasure from the orgasm he’d given her was still rushing through her veins, she was coming down from it rapidly, crashing back to earth in an unpleasant plunge. 

It would appear that Lizzie’s pregnancy had more or less killed a lot of the enjoyment that threesomes once held for her. She’d felt an unfamiliar surge of anxiety as they’d taken Jessie to bed, the kind that sex normally helped to dull. But this time the tumultuous, overwhelming feelings only seemed to grow as she watched Tommy fuck their new lover. Even though he’d kept his promise and not emptied himself inside of Jessie, the threat of yet another unintended accident from their liaison had set her so on edge that she found it almost impossible to fully lose herself even in Tommy’s familiar kisses and touches.

She was pretty sure that he was able to sense her nervousness, but whether he was able to guess the actual reason, or thought that she was just anxious because this was the first threesome they’d had since what had happened with Luca, she wasn’t sure. Either way, despite Jessie being the primary focus of the evening, he was being notably attentive towards her, eyes constantly darting over to check on her throughout, warm mouth seeking out her skin in attempts to pull her out of her own head. 

He was looking at her that same way now, a slight crease forming between his brows. Lucy offered him a weak smile that only caused the look of concern to deepen, his other arm joining the first in wrapping around her so that he was hugging her tightly. Lucy squeezed him back, closing her eyes and burying her face in his chest. As if by doing so she could somehow hide away from the entire world. 

∗ ∗ ∗

Tommy left his meeting with Arthur Bigge in high spirits. It had taken some convincing, but all his conditions had been met. Everything was going according to plan. 

Well, not everything. Lucy was still worrying him. She was doing considerably better than she had been during their holiday, but she still wasn’t wholly herself. 

She used to smile and laugh so easily. Even at the absolute worst of his jokes, or with the smallest little bit of teasing, and he could have her giggling, trying to shield it behind one of her hands even as her mossy green eyes lit up, entire face crinkling with mirth.

But nowadays, a melancholic aura had draped over her, seeming to cling to her skin, casting a film of sorrow over her eyes. Of course Tommy did not expect her to go back to the way that things were before Luca. But it killed him to see her so despondent and broken. 

He missed hearing her laugh. 

What he would give to make it all better for her. To pull the sadness out of her eyes. Take it into himself, if he had to. Just so long as she didn’t have to carry it anymore. 

She was still having nightmares and the occasional panic attack, as was to be expected. He had been worried originally that all the work that came along with preparing for the election would cause her too much stress. Especially with how fragile she still was. But if anything the work seemed to help, so he let her be. 

But her comments about how he should marry Lizzie had struck a nerve in him, planting a seed of dread in his chest. He had always assumed if he were to ever marry again after Grace, it would be to Lucy. No one else. Especially not Lizzie.              

He had meant what he’d said. He wasn’t letting her go. He’d rather burn his reputation and even the entire bloody company to the ground before he even considered something like that. But his Lucy seemed incapable of understanding that, and he was beginning to grow more and more worried that no matter how much he tried to reassure her, she was doubting her place at his side.

When he first brought up the idea of running for MP, she had asked him what was to become of her position as his assistant after he took office. The question had taken him aback. It had seemed so obvious to him that she would come with him. He’d hardly given it any real thought. Wherever he went, so did she. That was how things had always been, and he had no intention of changing them. Her worries seemed only somewhat abated when he smiled and coyly told her that MPs still needed assistants. It wasn’t long before she was fretting over the possibility of rumors spreading regarding their relationship and tarnishing his reputation. 

As if his reputation was not already drenched in blood and mud. 

He’d just grinned and kissed her temple, trying to appear relaxed and unbothered by any of it. Hoping that if he did, it would help to soothe her. 

“Most politicians are sleeping with their secretaries, love. We won’t exactly be unique in that regard,” he’d told her. It seemed to have calmed her concerns enough. At least for the moment. 

Adjusting the grip on his briefcase, he pushed out of the door and stepped into the crisp fresh air. Glancing around, he frowned when he didn’t spot Lucy on the bench where he’d left her before going in for the meeting. Bigge had wanted to meet with just him alone, and while Tommy had been inclined to kick up a fuss about it until he let Lucy accompany him, she’d insisted that he shouldn’t risk irritating Bigge just so she could be in the room while they struck their deal. 

He hadn’t been particularly happy about it, but ultimately he had to admit that she had a point. 

Looking around, a beat of panic tightened in his throat at no sight of her distinctive crimson hair. His heart started to pound hard in his chest. No. No, no, no, no…he’d just left her there for a second, she’d been armed, there were dozens of people around, surely she couldn’t have been just snapped up right off the street…

His head swiveled around, scanning the people passing by him. Maybe he’d just missed her. She was so short, it wouldn’t be out of the realm of possibility that he’d just lost her in the crowd of people.

He was just beginning to properly panic when he heard his voice at his elbow. 

“How did it go?”

He whirled, eyes wide, chest still heaving with the startings of his panic attack, to find her standing there none the worse for wear, black coat pulled in tight around her.

Relief hit him like a blast to the face, and it took all his self control not to seize her in his arms and squeeze her tight to him. Instead he just let out a deep breath, shoulders relaxing. His eyes closed as he steadied himself, taking the time to remind himself that she was there and she was fine.

He opened his eyes again to find her still looking up at him, head cocked curiously. “Where were you?” he demanded, tone perhaps a bit sharper than he’d intended. 

“I got bored, so I went for a walk.”

“Oh.”

“Sorry.”

“No, it’s just…you weren’t here and I…” he huffed. “It’s alright. C’mon,” he indicated with his head towards the car that he’d parked on the edge of the curb. He held open the door for her, then slipped in after she’d gotten settled in the passenger seat. Setting his briefcase down and closing the door behind him, he turned to look at her. There was an odd bulge in the front of her coat. His eyes narrowed. The bulge twitched. “What’s that?”

Lucy clutched her coat tighter to her body, blinking up at him innocently. “What’s what?”

“What’s wrong with your coat?”

“I don’t know what you’re talking about.”

Her coat meowed. Tommy raised an eyebrow. Lucy pouted, letting the garment fall open to reveal a tiny little black and orange tortoiseshell kitten hidden underneath, blinking up at him with scrutinizing green eyes. 

“What the bloody hell is that?”

Lucy stroked the little animal’s head. “It’s a kitten, Tommy. Surely you’ve heard of them before.”

He rolled his eyes. “I know what a kitten is, Lucy. What’s it doing tucked in your coat?”

“I heard her crying in the alley behind the bench I was sitting at. And when I went to look, she was soaking wet and shivering all alone in this little box. I couldn’t just leave her there.”

“The fuck are we going to do with a stray kitten, Luce?”

She shrugged. “We can keep her at the house. She could help with the mice problem.”

“We don’t have a mice problem.”

“And now that we have a cat, we never will.”

He eyed the kitten warily, still feeling like she was sharply analyzing him. Her little tail flicked back and forth, paws kneading at Lucy’s thighs. When Lucy scratched at the top of her head, she angled her face up, and batted at her playfully with one soft paw. Lucy giggled. 

Tommy looked up sharply at the sound, biting the inside of his cheek to try to maintain his serious facade even as he felt himself soften at the sight of her smiling down at the cat. 

“And you immediately assumed that I’d be alright with this?” he asked, the amusement obvious in his voice.

“You don’t have much of a choice.” Lucy flashed him a grin before her attention returned to the kitten, who’d curled up into a ball on her lap. Tommy raised an eyebrow, fond smile threatening to break containment as it tugged on the edges of his lips. 

“No?”

Lucy looked up at him, a challenge entering her eyes. “You knocked someone else up.”

He opened his mouth to respond, then closed it. “You know what–that’s fair.”

She snickered, leaning forward to peck his cheek to let him know that there was no real bite to her words. Tugging off one of his gloves, he held his hand out to the cat. She sniffed at his knuckles, whiskers twitching with consideration, and then rubbed her cheek against his hand. 

“She likes you.”

“Mm.” He gave her a few scratches under the chin, begrudgingly admitting to himself that the kitten was pretty fucking cute. And Lucy was right; the least he could do was let her keep the cat. “We’ll have to get her checked out by the vet before we take her home.” 

“Of course. Who knows what she might’ve gotten into living on the streets. Poor baby.”

Tommy let his hand stroke over the kitten’s back. She was so little, he could probably have fit her in one palm when she was all curled up. He felt a slight buzz under his hand as she started purring. He could feel Lucy watching them both fondly. 

“So it went well?”

“Hm?”

“The meeting with Bigge. Did it go alright?”

He smiled at her softly. “Yes; it went alright.” 

Her face lit up, leaning into him. “Good.”

He turned his face to catch her lips with his, kissing her gently in celebration.

Between them, the kitten meowed. 

∗ ∗ ∗

“Don’t you dare.”

Lucy grinned to herself as she approached Tommy’s office, hearing his voice even before she pushed open the heavy wooden door. She was greeted with the sight of the kitten perched on his desk, her little paw batting his box of matches closer and closer to the edge, her head cocked with intrigue. 

Her green eyes peered over at him, holding his gaze, and promptly batted the box onto the floor. Tommy sighed, reaching across to scoop the little monster up and plop her down onto his lap. “You’re gonna be a little troublemaker, aren’t you?” But he was smiling to himself, a dimple appearing in his cheek when the kitten meowed in agreement. 

Lucy smiled as she stepped fully into the office, walking over to set down a fresh stack of papers onto his desk. “Need you to sign these.” She collapsed back into a chair across from him as he plucked up a pen. 

Her hand raised to rest against the side of her face as she watched him. With every passing day, the election drew nearer, and with it, her anxiety grew. 

She’d been keeping an ear to the ground, regarding anything that might hinder him winning. But so far, with all the careful bribing and other methods of rigging that they’d implemented holding strong, it seemed like it would be an easy path to victory.

But there were some rumblings regarding Lizzie and the pregnancy that had started to spread. Lucy was pretty sure that they could keep them suppressed at least until the election was over. But not indefinitely.

It was going to become a problem.

She supposed it was almost funny, in a way. How being unmarried with an illegitimate child was likely to cause more harm to his reputation than being a notorious gangster. 

They needed to address it. Figure out what they were going to do. And the longer that they took, the more damage the whole situation was likely to cause. 

The kitten jumped into her lap, curling up with a soft purr. Lucy let her hand stroke mindlessly through her black and orange fur.   

“Tommy?”

He looked up at her through the glinting lenses of his glasses, eyebrow raised, papers still clutched between his fingers. 

“Yes?”

She’d been reluctant to bring up the subject ever since he so thoroughly shut her down the last time over it. But if she was being truly honest with herself, that wasn’t the only reason why she’d so willingly let it go.

She didn’t want him to marry Lizzie. And she sure as hell did not want to let him go. 

We’ve still got some time. We don’t need to do anything about it yet.

She swallowed hard, feeling like the worst, most selfish scum on the earth, even as she forced a wobbly smile on her face. 

“Never mind.”

∗ ∗ ∗

Time passed at seemingly the speed of light. And before she knew it, she was standing next to Tommy, the rest of the family–except for Lizzie who had to wait outside with the baby–crowded around him. They were all waiting with baited breath as the results of the election were announced over the loudspeaker. Lucy could feel her guts twisting nauseatingly inside her with nerves, heart leaping into her throat. 

It had been an insane handful of months, and they’d all seemingly passed within the blink of an eye. She didn’t even know where all the time had gone. 

Not long before the election took place, Lizzie gave birth to a baby girl, already bestowed the name Ruby by Polly before her arrival into the world.  

And oh, did Tommy love that little girl. 

It was heartwarming to see him fall so deeply in love with her, and every moment spent watching him with her made Lucy’s heart jump. 

But God, did it also hurt.

She kept her melancholy and jealousy over the gorgeous little family he now had with Lizzie tucked down deep and away, where no one would ever find it. Ruby was a sweet baby, and she deserved nothing but good things in life. And Lucy did love her. Enough that she was more than prepared to walk away forever if she had to in order to give that girl a chance at growing up with a proper family around her. 

She knew it made Tommy sad, to not be able to see her all the time. Ruby and Lizzie still lived at the home Tommy had bought for them, and while he visited when he could, he still did not get to see his daughter as often as he would if she lived at Arrow House. 

They still had not had the conversation about what to do regarding that situation long-term. She’d tried to bring up the idea of him and Lizzie getting married again a handful of times, especially after Ruby’s birth, but Tommy still wouldn’t hear of it. 

A part of her was worried that, despite the promising polls, his personal life would hinder his victory. And it would all be her fault. Because she had been selfish and decided to try to hold onto him, even though the selfless thing–the responsible thing–would have been to let him go so he could build a proper personal life to go along with his new ambitions. 

A huge breath of relief left her when his name was announced over the loudspeaker, a wide smile quickly replacing the look of apprehension that had been there a moment prior. She hugged Tommy back tightly in celebration when he engulfed her in his arms, briefly forgetting that she was trying to behave more distantly towards him in public. Like a mere colleague rather than a lover. To try to save his reputation before the rumor mill fully caught wind of their affair and ran with it. 

“I now declare Thomas Shelby to be the new Labor Member of Parliament for the constituency of Birmingham South,” the announcer boomed for all to hear. Not just in the room that they were all crowded in to hear the results, but across the entire bloody country. 

Cheers erupted, everyone in the family swarming around him, all smiles and uninhibited joy. They soon made their way to the doors, out to where Lizzie was waiting with Ruby clutched in her arms. Tommy beamed as he scooped Ruby up, lifting her high above his head, the baby squealing and giggling in delight. Lucy smiled at the display and the baby’s happy coos as her father adjusted her to rest on his hip and carry her with him down the rest of the stairs. But her smile quickly fell when she spotted Lizzie flashing a truly snide smirk at Jessie where she was standing in the crowd. A tendril of trepidation coiled itself around her, wondering if she would be on the receiving end of such a look sooner or later. Lizzie had been behaving decently towards her as of late, but she was not fool enough to expect that to last.

She followed Tommy and Lizzie down the stairs, lingering back to let them both go first, walking side by side with their baby while she trailed behind them; alone. 

And despite their current string of good fortune, of endless possibilities and new doors opening up before them, she found herself struggling to muster up any real hope for the future. 

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Thank you for reading! Please consider leaving a comment, reblog, or like. I always appreciate feedback and love getting the opportunity to interact with you and hear your thoughts!

[animentality]

I'm obsessed with media but in the healthy way, where I passionately critique and re write it using my own human experiences as a guide in order to understand myself and my fellow humans better.

What most of y'all do is much worse.

[marypsue]

I freely admit that this post is more propaganda to try to get people to consider using a book journal than me actually believing that People In General keep book journals, but consider: keeping a book journal.

[gardenofnoah]

You know Katsuki, and you know, somewhere deep in your gut, when something is wrong.

He makes it easier than that, though, with all of his door slamming and grumbling.

“So are you planning to tell me what’s going on, or should I start looking for replacement hinges?”

He pauses, halfway to victimizing the microwave door. He sighs. Without turning to you, he holds an arm out to you. It makes you smile.

You make quick work of the distance and fit yourself in the gap between him and the counter top. Arms reaching around his middle, you squeeze until you feel the harsh (and exaggerated) exhale brush the top of your head—until some of the tension is forced to leave him.

“Rough day?”

He scoffs, dipping down to rest his forehead on the crown of yours. You’ve learned this language by now—you let him lean on you, because he needs to.

“Fuckin’ Denki—“ he grunts, and you know it must be something serious, for Katsuki to use his given name instead of the usual insult. You stay quiet to give him the space to get it out.

“Always so fuckin’ nosey—“

You can feel the frustration build in the muscles that wrap around his spine. With every breath, he works himself up further. It’s rare, even with his hotheaded nature, that you see him like this.

“Always asking about you. Always taking about how I should fuckin’ —just be a man and fuckin'—”

He won’t—can’t, most likely—tell you the direct quote, but you gleam the gist of it from the way Katsuki so clearly struggles to articulate it.

“Hey,” you say quietly, squeezing once more around his ribs. “It’s alright.”

And you know that to him, it’s not. To disrespect you—however in jest—is one thing, but you know that’s not what’s red hot and prodding against Katsuki’s sorest spot right now.

"Since when do you care about what Denki says?"

“I don't care what that shit-for-brains says,” he grunts into your hair. "Just—think you deserve more."

You shake your head. “He’s an idiot,” you say, tilting up, searching for his eyes. “You give me more than I could ever ask for."

He scoffs, all forced bravado, but the tension doesn’t leave him. This is the hard part for Katsuki—to separate who he is and what he’s able to give with what he feels is expected of him.

You hope that he knows you love him. There’s no anyway, or in spite of, you just do. You know that in his mind Katsuki pictures himself storming in after a long day, tearing your clothes off and ravaging you until the early hours of the morning—but to consider it as anything closer than a distant fantasy makes both of you cringe. To stand here in the warm light of your kitchen with your ear to his heartbeat is more intimate than anything you’ve ever experienced.

“You know what I’d really like?”

He hums, a non answer that tells you he’s listening.

“I want to put on big sweats and eat at least two soft pretzels and watch trash TV.”

You feel him grin against the crown of your head and you know he’s coming back to you.

What you need—it’s only this. Only him.

[valtsv]

i would love to hear more of your thoughts on michael shelley!!! 🌀🚪✨

you're in luck because i've sat on thoughts about him for years and i finally feel like i can articulate them. because michael shelley is such a well written case of tragic horror in the horror tragedy podcast. and, despite my criticisms of season 5, it really did do an excellent job in concluding his character arc with the gertrude backstory episode. in a podcast where a common in-universe theme is that knowledge, and the pursuit of knowledge, is dangerous, michael is a subversion in that his ignorance of the horrors of the world he lived in not only didn't save him, but was intentionally engineered to make him vulnerable to exploitation and harm (which, on a broader scope, emphasises the futility of the world of the magnus archives - regardless of whether you participate in or turn a blind eye to the systems at play, involved or uninvolved, you are not safe).

furthermore, i really appreciate the subversion of traditional tropes of the sacrifice as a typically female figure taken advantage of by a male father, brother, or lover, whose tragic and horrible death is used to motivate him (whether to greatness or self-destruction), with michael being a son sacrificed by his mother (or grandmother) figure, who never actually loved him and whose 'frail' and 'nurturing' qualities were weaponised incompetence used to gaslight and manipulate him - and who continues to operate successfully (at least in terms of what can be said to be 'success' in a world like the magnus archives) without being haunted by any apparent doubt about the decision she made, or any hesitation to use others in similar ways, following this betrayal. which makes the fact that he's sewn into the fabric of a being that represents lies in their most insidious form, used as a weapon to devour people and destroy their lives, all the more abhorrent in hindsight - he is forced to not only relive his trauma in an endless loop (or spiral, if you will), but to become the mechanism which enables it. michael is taken to the edge of something evil (at least from a human perspective), and pushed over the threshold with no hope of recourse. there's almost a reverse orphic quality to it - he descends into terrifying other world, one which exists side-by-side with but fundamentally seperate from his own, against his will, and looking back will only cause him pain as he's assaulted by memories of a life he will never be able to reach.

i think a lot of people forget to look past the surface with michael, despite there being an entire episode dedicated to doing so. which is understandable, he's a very outwardly expressive character - but this is intentional obfuscation to hide an incredibly damaged victim whose hatred of this part of himself is integral to his entire reason for being, and which the rejection of causes him to be unmade, incapable of existing as this contradictory nightmare any longer. it's a mercy killing, and yet it is violent and painful, because michael cannot and should not exist, and excising that graft used to muzzle the distortion is as agonising as latching it into place was in the first place. when michael-the-distortion says about michael shelley "he was born. he was pointless. and he should have died." there is an implicit longing there, a rage at the way he was used, his decisions made for him and used to imprison something else instead of ever being allowed to exercise any measure of free will. because michael shelley probably would have died for the archivist, given the opportunity, but he never got the choice.

[matryosika]

The Look

Pairing: Hyunjin x fem!reader Wordcount: 2,159 words Genre: Smut (18+) Includes: Ex!hyunjin, mentions of break up and indications of an unhealthy relationship (nothing too detailed or specific). Possesiveness, a bit of angst if you squint. Infidelity? But not really? It's nothing too serious, anyway. Smut warnings under the cut. Author's Note: Wrote this TODAY. Everybody say congratulations on overcoming your writer's block Femme! It honestly has been a fucking while since I wrote anything, so this is news to me really. To be really honest I didn't want to get anywhere with this, I just felt like indulging myself with the "we shouldn't be doing this" kind of trope, so this is what it came out! Please remember that english is not my first language and this is not proofread, so I apologize for any mistakes in advance. If you like this, please leave a comment/reblog/ask and let me know what you think! AND if you wish to support my work further, you can buy me a ko-fi! The link it's in my pinned post. I love you for even reading me.

Smut warnings: Sex in a public place (club's restroom). Unprotected vaginal sex mentions of a condom but they ended up not using it anyways. Lots of dirty talking and physical touch. No kissing at all because they're exes and they don't go around kissing each other, apparently (but they do fuck so... ?). Jealous and possesive Hyunjin. Creampie. Multiple orgasms, overstimulation, use of petnames (baby and pretty). Hyunjin is kind of controlling, not in a dom kind of way but in a "I know you better than you know yourself" kind of way.

“He can’t make you feel like I do, can he?”

It's hard to think coherently and give him a proper answer when his cock is hitting the deepest spots within you. Repeatedly.

Not only that, but he's holding your hips in the angle he knows best. 

Hyunjin is right, no one can make you feel like he does. In every sense of the sentence. 

“He doesn’t know how to fuck you like this, right?” The queries continue, plump lips dragging along your jaw and chin with no other purpose than to feel your skin. Despite you two ending things, seemingly for good, you somehow always found yourself in the same situation: against him, or on top of him, or underneath him. “I know you don’t let him”. 

You're reminded of whatever he is talking about when you feel the rubber of the condom inside your hand, gripping it just as harshly as your walls clench around Hyunjin's dick.

He is right again, you don’t let your new conquer fuck you raw like he is doing right now. Shit, you haven't even let him fuck you at all.

That is not something your ex boyfriend should know about. 

“Baby,” the pet name slips off your lips and it sends shivers down Hyunjin's spine. It has been a while since he has heard you calling him that, but it still has the exact same effect.

Perhaps it's now boosted, considering neither of you should be fucking each other at this point. At least not now, that you've started dating men again. 

Nothing too serious, but you've tried to convince everyone that you're already over your ex boyfriend. And if by over you mean completely obsessed and desperate for the way only he knows how to fuck you, then yes: you are over him.

“Feels good?” Hyunjin asks through gritted teeth, pressing his forehead against yours. You can feel tears of his sweat mixing with yours, his fresh and minty breath fanning your cheeks and eyelashes. You nod desperately, swallowing thickly in hopes of being able to articulate a single, monosyllabic word. Yet the way he feels inside your pussy is too overwhelming to even let you form a coherent response. “Do you really think he could fuck you hard like this? Make you this wet?”

He could, but you're never going to know anyway. 

“That’s why you keep crawling back to me,” he gasps, squeezing his eyes shut when he feels your walls convulsing around him, “that's why you keep letting me fuck you”. 

It was for the best, you repeat yourself every time he thrusts his cock deeper inside you. It was for the best, but that doesn't necessarily mean it was what you wanted.

Ending things off with Hyunjin seemed like the only way to go —you two just didn't work out, no matter how hard each one of you tried. 

You loved each other, but it was kind of a sick love, a poisonous one. One would think they'll be able to live through it, but it eventually consumes you.

It ignites a fire that can never be put down. And living amongst flames it's not exactly what either of you were looking for. 

“Right there,” you cry out, the pathetic sounds being drowned by the music and party bustle happening outside the club's restroom where your date is patiently waiting for you.

Does he know Hyunjin is fucking you just meters away from him? Does he know you're going back home with a sore pussy and cum trailing down your legs?

Hyunjin’s cock twitches at the idea of him finding out you’re being dicked down by none other than your ex. 

The one you claim to be over with. 

The one whose memory, you assured, wasn't a threat to a new relationship.

“Yeah, right here?” Damned be him, who knows you maybe too well. You suppress a scream when his palm digs into the flesh of your lower tummy, pressing down hard where the tip of his cock is brushing the deepest spots within you, “can you feel me here? Can you feel how hard my dick is?”

You moan in response. 

You can feel him there, and everywhere. You can feel his slim fingers pressed against the flesh of your hips. You can feel the tip of his nose buried on your neck, and his lips leaving a wet trail everywhere they go. You can feel his pulse, his heavy breathing.

The despair of being without fucking you for so long.

“That’s it,” Hyunjin groans when he feels you grinding your hips against his, lifting them up ever so slightly over the restroom sink. When you start forcing yourself against him, to do anything to feel him closer, he knows you're close to cumming. “That’s it, pretty, come and get what you want from me like you always do”. 

You have no other choice but to arch your back, the overwhelming pleasure taking control not only of your limbs but your whole body. You wrap your arms around Hyunjin's neck and your legs around his hips  tightly, pulling him as close as humanly possible.

“Just like that,” he praises you, licking his lips when his eyes fall to where your bodies connect. 

Hyunjin feels like he could come with that sight alone, but he needs to elongate it. What if you go back home with the man you're supposed to be on a date with, and decide that you want something serious with him? What if it's the last time he ever gets to fuck you? 

Hyunjin can't just come like that. He can't come without engraving the way your body feels inside his brain.

He can't come without letting his mouth speak freely what his pride doesn't allow him to say on a regular day.

Hyunjin can't come just yet. He needs you a bit more. A little bit longer.

“C-coming,” you sob against his neck, feeling him holding you tightly when your body trembles almost aggressively, “don’t stop, Hyunjin. D-don’t fucking stop”.

Not that he intended to.

Instead, he pushes his hips harder. Deeper. His hands move from your hips to your ass, and he uses his grip as leverage to piston even rougher inside you. 

So much so, you wince in pain. You don't want him to stop, but you can feel the built up tension exploding little by little. 

Like fireworks, one after the other.

“See?” Hyunjin groans, taking it upon him to help you ride your high. He doesn't slow down, despite how your nails are digging into his hair and the flesh of his nape. “We've broken up but your body still remembers me. You’re still so weak for me”. 

You hate how right he is, but you can't argue back. 

After going without each other for so long, almost 4 months, you didn't expect your body to react like this to his touch.

But it appears as if it has a mind of its own, one to which you have no access to. 

“No,” you shake your head, squeezing your eyes shut. The waves of pleasure travel from your core to the tip of your toes, and from your erect nipples to the thin hairs on your arms. You’re covered in goosebumps and can barely even remember any other name that’s not Hyunjin’s. “I’m not- I’m just-”.

It’s pointless to try and say something back. You're making a fool of yourself and you know it, but it seems as if your dignity always appears right at the epitome of the post-nut clarity. 

With Hyunjin's dick still inside you, you know such clarity is not going to last long, but you're going to hold on to it for as good as it lasts. 

“You’re just what?” He taunts you, guiding one of your hands from your arse to your face. He takes your cheeks and cups them, forcing your lips into a pathetic pout. “Desperate for me? For my touch?”

You try to shake your head as a way of saying no because your mouth can only do so much, but Hyunjin keeps you in place.

“No?” He asks you, frustration lingering on his tone. “Wasn’t this what you wanted all night long?”

4 months ago, things seemingly followed the natural course of them.

After much fucking and bickering, even after having broken up, you two parted ways —Hyunjin immersed himself in his profession, and you did the same. The late night calls weren't taken as frequently, and the drunken messages stopped receiving any sort of response.

It seemed as if you were already over each other —not only over the relationship, but those strange encounters you kept on having too. 

That was, of course, way long before tonight's affair. 

“No,” you whine yet again, trying to convince yourself that all that is happening wasn’t provoked and invited by you. “I was just- with my date”. 

“And where is that date of yours right now, pretty?” His voice is trembling, but Hyunjin still manages to keep his composure. 

He has always been the one to have the last word in everything, that much you know. And how could he not, when his voice stands strong even at moments like this, when his mind is completely losing control.

“You don’t even know, right?” 

He teases you, mouth slightly agape while a series of grunts and gasps escape his lips.

Sadly, he is getting closer.

“You don’t even know where he is because you stopped caring about him the minute you saw me, right?” The cockiness in his voice is a painful reminder that you're not as strong-willed as you think you are. Not only that, but it also reminds you of how true Hyunjin is. “You’re so easy to read, so f-fucking easy”. 

You clench around him when you hear how he struggles to keep on talking. The way he runs out of breath, and each groan that follows every word is getting you going way more than it should. 

“That gaze of yours-” Hyunjin continues, nibbling at his plump bottom lip while his cat-like eyes find yours in the middle of the neon lights, “always tells me exactly what you want”. 

The look. The sight that will be forever imprinted in Hyunjin’s mind for good.

That look you used to give him when you were on your knees, with your hands wrapped around his length and the tip of his cock hitting the deepest part in your throat. 

That look you always gave him when the tip of his dick slid for the first time that night inside of you, along with that sigh of relief that escaped your lips every time it happened.

The look. 

When you saw him standing right across from you at the club, Hyunjin could decipher your gaze easily. 

After all, he is the one who knows you the most. 

“And I know this is what you want, right?” He asks you, increasing the speed of his thrusts. They get rougher as they get sloppier, completely losing the steady and sensual rhythm he set at first. 

You press your lips in a thin line, shutting your eyes close right after they threaten to start spilling tears from them. 

Hyunjin is always too much to take, and you're not sure if you love it or hate it. 

“I know you miss me just as much as I do,” Hyunjin gasps, salty drops of sweat traveling from his temples to your chest and tummy. “You can try to get over me, but I know you won't,” each word is accompanied by a harsh thrusts of his hips. 

It feels like a threat, but it's a fact.

“You don’t want to get over me, you just want to pretend,” he's fully aware of how loud he is being. How whiny his words are coming off, how desperate he sounds overall. But he can’t help himself, not when he is so close to tasting that sweet relief he has been craving for months now. “You can fuck- every man you want-, but it is always going to be me who you think about when you're coming around their cocks”. 

With that, he lets out a raspier, more primal grunt. One that’s explosive enough to stop him right on his tracks, breathing heavily while his head hangs low. 

You can feel his dick twitching inside of you, just right after you came around him for the third time tonight. 

Unexpected, without a warning. 

Your orgasm washed over you just as quickly as Hyunjin's did. With a dry throat and strangled breath you look at each other, feeling his hot arousal pumping inside you, painting your walls white. 

One would think that there's nothing left to say. Not when you're in this state of frenzy, completely unaware of your surroundings. 

But, as usual, Hyunjin has to have the last word.

“That is, if they can get you to come at all”. 

[pilferingapples]

this is an invitation to infodump. i would LOVE to hear the thoughts you have on beggars at the feast, should you want to talk about them

AUGH ok ok let's see how well I can articulate...anything

OK so first: In the Letters server lately we've been talking a bit about how , in the book, Thenardier is WAY more the Human Nemesis than Javert is. He shows up earlier than Javert does; he's able to be a threat in ways Javert can't be, and to people Javert can't and wouldn't even try to touch ; he shares a TON of paralleling symbolism and class-blurring roles with JVJ; he's the last Personal Threat remaining in the novel, and the last thing we hear about him is that he's not only thriving , he's committing worse atrocities on a grander scale than anything we saw in the book, and getting nothing but social approval for it.

Thenardier is a nightmare, and he's triumphant, and as such he's a condemnation of society in an equal and opposing way to Jean Valjean. Valjean's story (and Fantine's , and the Thenardier siblings' ,. and the Amis , etc) says "look what we're destroying, look at the actions we punish". Thenardier's ultimate triumph as a literal slave trader flips it around and says "look what we support, look at what we endorse, look at what we elevate and approve." (now within the book I could take this farther , I could point out that the only thing within the novel that breaks any of the miserables free of their oppression to any degree is crime of some kind, be it revolution or theft or Being an Accomplice or exploitation, and the only thing that costs the (relatively) privileged their security and power is to truly ally with the miserables, but !! I'm talking about the musical)

In the musical Thenardier is softened a lot. Like... a LOT. The Thenardiers' exploitation of Fantine is barely mentioned ; their violent abuse of Cosette is turned into a joke; their abuse of Eponine is minimized (and their other kids are either Not Appearing in this Play or not obviously connected to them) ; and that final doomstrike epilogue, Thenardier becoming a slave trader, is gone. He's no longer the primary and most dangerous human antagonist; as in many other adaptations, that's now Javert.

So there's a different arc but it's there : From Master of the House and the Robbery , when he largely comes across as a gross but funny Comic Villain ; to the Attack on the Rue Plumet, where we finally see a bit of danger to him; to Dog Eats Dog, where he is really just acting on the same philosophy we saw in MotH but now doing something most people have a more immediate revulsion to, and the mask is really off; to , finally, Beggars at the Feast. If Beggars at the Feast is done RIGHT, This is Where The Villains Win.

They've gotten knocked around, sure, but they've also just gotten a ton of money, and, if done right, they are either blending in with the society party or, in the best staging * , they end up leading the dance. It's Master of the House all over again, only this time we're not being invited to laugh along with Thenardier's "band of soaks" ; this isn't the dregs of society, an easily stigmatized lower-class punchline.

This is Society, capital S Society, and they're just as ready to go along with him-- MORE ready to go along with him, even, because at least some of his inn customers usually get to be affronted and argue a little, but arguing with him risks some Unpleasantness, and isn't everything in Society so pleasant? Isn't it nice here, at the party? Let's not argue with the openly hateful people singing about how they want to destroy us all; look, they're dancing and singing! Let's just follow their lead. Won't that be nice.

And without getting into modern politics just because it's ALWAYS so current and I could never update the references frantically enough, I'll say that this is where Stage!Thenardier most echoes those Book!Thenardier Napoleon III vibes. Hugo knew what this dance looked like. He fell for it at one point.

(and hey, maybe it even raises some unease in audience members who laughed at MoTH and the child abuse and the Robbery without thinking about it-- maybe some people realize Oh Shit, We Fell For It Too. Not necessarily, but maybe?? ) And so it's fitting that it's this scene that has IMO a very clear sense of the book's incredibly specific political message ("Parisians, France, Please Overthrow Napoleon III, Probably With Barricades" ) , albeit in reverse. The Thenardiers gloat "Clear away the barricades and we're still here!" -- to them, a brag on how they endure all the changes around them.

But also implying: don't clear away the damn barricades. If you don't want the Thenardiers to run the show , help shore up that furniture wall and fight (for a modern international audience, this is probably going to be Not AS Specifically Involving Barricades).

So yeah. I'm not gonna say it's the most important song in the whole show , but it's important in ways I rarely see critics or commenters notice.

...Or it's just a funny musical reprise and you can have the Thenardiers be immediately thrown out of the wedding as frauds bc hahaha the poors thought they could play with their betters, good thing we're all so much smarter and cooler than that in the upper crust. That's fine too.

yes I have opinions; also I'm Correct

[devilfic]

Idk if you have seen daredevil but in the case you have can I request a head cannon of you making a playlist for him and him talking about songs that remind you of him?

Like I was listening to The Marias and I felt that their songs give this feeling of how it would be to date him.

❝making a playlist for matt murdock��

pairing: matt murdock x gn!reader. cw: established relationship, brief mention of sex. words: 1k.

a/n: I actually have seen daredevil and I love him a lot, this will be fun. shoutout to this post that confirmed the "matt murdock loves jazz" vibe he gives off

I wanna start off by saying that as soon as I saw "daredevil" and "songs" in the same sentence, I got a VIVID image of matt in a jazz bar

I can't recall off the top of my head if matt mentions any specific artists or genres he listens to in the show, but I personally think matt likes jazz, funk, maybe some soul/neo-soul, or anything you'd hear in a nice understated bar downtown

the thing is I think that matt really likes instrumental-heavy music because he appreciates being able to pick apart the melodies

I also imagine he's a stickler for his favorite genres and won't really relent unless you introduce something new to him by force

so, a playlist

you push an mp3 player into his hand as you walk past him and he thumbs over the buttons, twists a finger through the cords of the earbuds, and smiles, "what's this?"

he hears you land on the couch and makes his way over to sit beside you as you take one of the earbuds to put in your ear, stretching your legs over his lap, "I made a playlist for you!"

"yeah?"

"yeah. I know you like your vinyls but this is smaller, more compact. easy to put in your pocket and hopefully not break when you're running around the city at night. I'm serious. don't break that."

"I'm honored," matt tilts his head in your direction, inhaling the scent of your shampoo, listening for the parting of your lips as they break into a smile, "nothing too shocking, I hope?"

"I tried to stick to things I thought you'd like, and I did include some of the songs you've recommended to me over the years since you can't lug your vinyls everywhere. it won't sound as nice but... it's something. it's pretty romantic, right?"

it is romantic

matt imagines you hunched over his computer, tediously searching up mp3s of his favorite songs and putting together a playlist for him, trying your best to ease him into unfamiliar territory

he can also hear the nervous thumping of your heart as you wait for his reply, so he splays a hand over your ankle and squeezes, "yeah, you're pretty damn romantic. any particular order I should play it in?

"just hit play, handsome."

when the first song starts playing, he's transported back to hearing it for the first time in the bar where he met you, sharing drinks at a table as you humored him on your theories of who the devil of hell's kitchen really was

you were a few drinks past tipsy and had come to chat him up at the behest of your friends who—and you learned this several days later—he'd heard call him sexy at least four times

but it was you whose voice had caught his attention, who had sworn that a "man like him" had to be waiting for a date, that there was no way he'd be here all alone

and had promptly eaten your words when he chimed in to let you know that he did not, in fact, have a date

he was fuzzy on the details as to how you'd gotten on the topic of his alter ego, but it tickled him nonetheless how you presented your theories more confidently than you flirted

he countered each one but in good faith, playing devil's advocate if only so that he could hear how your mind whirred with ideas

after a few pretty well-articulated counterarguments, you'd snorted and asked, "what are you, a lawyer?"

and when you learned that he was a lawyer? the matt murdock of nelson, murdock, & page? oh, he was sure you lit up like a christmas tree

even after walking you to your place, matt was humming the tune of the song he'd discovered you to, a feeling in his bones that more than just it would be sticking around

matt takes you to a jazz bar for your first date, feeding you details about the musicians over drinks as you ask him about his favorites

he likes a lot of the classics: things his dad enjoyed, stuff he's heard at the jazz bars he's roped foggy into visiting with him during law school

he tells you he likes some of the new stuff but nothing beats the classics, all of which he has vinyls of at home

and you ask him about the newer artists he likes and he tells you he'll put some on for you at his place if the night is still young

that night, he brings you back to his and plays this while you make love

most of the songs matt thinks of when he thinks of you are wordless, often more abstract representations of how you make him feel

the few songs with words are quite literal. whatever the lyrics say is how he feels about you

you've learned—if you're not already a fan of the same genres—to appreciate his taste

and you've also learned to love the way he lights up as you describe what the music sounds like to him, the way he slips in a word here and there when you come up short and it always just fits

it's kind of like his love language

you've got some of these songs on the playlist too

you see him get a little stiff when a song comes on that he doesn't know, and so you watch all the minute expressions in his face as it plays, wondering anxiously if he likes it or not

you know he does when he replays it

he'll tap out the rhythm on your ankle like he's picking apart every detail of the song piece by piece, placing them layer over layer in his mind until it becomes whole and he turns to tell you he really likes it

while he usually likes to keep his ears open for anything in the city while he's out and about, he'll pop in an earbud and start your playlist and think about you

now, if only you'd add a recording of you singing to yourself every morning, it'd be complete. that's gotta be his favorite

taglists: @yikes-buddy @alexxavicry @theclassicvinyldragon @marina-and-the-memes

[shirecorn]

What’s your favourite mlp species? Have you got any thoughts on kirins/niriks?

Request ponies, species, etc I havent done here

I am both a creature and character designer, so I have a lot of thoughts about MLP world!

Paradoxically, the non-pony species interest me less than the actual ponies, because they are all really solid and well done designs. There's not a lot I would reinterpret tbh, and drawing them would just be taking what they have and making them realistic.

The non-pony creatures tend to be more detailed because they are generally cameos and don't need to be animated doing nearly as much as ponies do.

Compilations by AndoAnimalia on deviantart

The kirins are really lovely designs! I love the ankle tufts, and how the stripes on the horns glow when using magic. Really nice creature design here.

The Nirik part was a little boring, and the plot/conflict was not sophisticated enough for my tastes. But it is a show for young children, not biology majors. Lots of room for worldbuilding and headcannoning lore to flesh it out, but I prefer something I can completely rewrite. The kirin lore was fine and I'm fine leaving it as-is.

Another good one is breezies.

I love them they look so stupid. Their wings are over the top but perfectly designed to sell the "piece of lint in the wind" delicateness they have.

as for my favorite creature?

Bug momma

I really love changelings and love how edgy they are.

The reformed changelings are decent but I would have designed them differently. I may take a crack at them later on if I feel the need. I feel like they should either be pony-adjacent (with manes at the very least) or further removed from ponies. this middle ground is kind of like having a bug monster alien that just happens to be bipedal, with humanoid shoulders, arms, and hands for no evolutionary reason (the reason is practical effects and putting a dude in a costume but shhh)

all this is about creatures though, and its very important to talk about character design whenever we discuss creatures. A character's personality should be the quickest read about them, rather than their biology. If something is too complex, the personality gets lost because you have to spend your details adding ankle tufts and articulated fingers.

The mane six, and basically all other ponies, use the same base puppet, and each unique part needs its own turnaround. Every prop and hairdo and eye shape needs to be understood from every possible angle because these are main characters and they need to be be able to turn, spin, and do karate without the animators having to make up the back of applejack's hat every time she faces away from the camera.

Having the same body means animators know how to draw both rarity and rainbow dash from a back 3/4 view with one hoof raised. So from a technical standpoint, simple is best.

Even in big budget productions, where every character has a different body with different close and face shapes, main characters are simplified so that the audience can quickly read pose and expression without getting lost in complex clothing designs or face makeup. Reading poses and expressions quickly is very important to understand and empathize with the character before they've moved to the next pose. You need to understand the emotion the character is feeling and the action they are doing in a split second.

you start to get more complicated and an entity becomes less of a character and more of scenery because it has so much detail its harder to read the emotions from one frame to the next.

There's a reason he doesn't wear his funny hat for the duration of the movie! It's much easier to read his emotions without it. Adding lots of detail and weird props is something designers do a lot when introducing a character if they want to make that character feel mysterious or "other" because its harder to relate when your brain is stuck on the details. also masks just do that by nature of being masks.

where was I going with this

My little pony g4 has great creature and character design.

If it were high budget, major studio with All The Money, there might be more variety in character proportions, and more distinction between the different pony species. But its a puppet animated show that was always meant to make marketable designs to be turned into toys. We just get lucky when there's a good story to tell along the way

[voltstone]

ERICSON'S WALLFLOWER

or bpd as a twdg fandom essay, & violet's analysis

[Mar.26-29.2024 | 27,991]

Throughout my time spent within the TWDG fandom—since late 2019, early 2020—, Violet as not merely a love interest but a character exists as the fandom’s staunch polarization. And the funny thing?

I get it. A lot.

Much of what I’ve read into this character has been extrapolated from my own experiences, and those experiences speak to an inherent, polarizing chaos. It’s something that’s quite honestly a purgatory to try and articulate—I have tried—, and another bane to hope that people will get it. At least, enough to not just sweep my words under the rug. This essay is ultimately a trial to see if I’ve done enough work with myself, both emotionally and in writing, to be able to explain this to those none the wiser, or to the some who feel the same things, but have yet to hear it spoken with absolute clarity.

Through a fandom essay, no less. Specifically about a video game character who grows on people—Louis promises so.

Borderline Personality Disorder.

Nobody really likes to talk about it. Too many times in my life, I’ve had people sweep it under the rug because it is not a pretty thing, in times where I was pleading for help; often, in presence of the wrong crowd, it feels like a target nailed to my back.

It’s intrenched within stigma. And what’s difficult about that is…, yeah. I get why. There’s no mystery to it.

…yet there is so much people do not understand because not talking about it is so much easier, and the joke is, talk therapy is quite literally BPD’s primary treatment.

And so let’s talk about it. Allow me to pull away the confusion this disorder brings, and lay it out—as best I can—in a more digestible manner, through a deconstruction of Violet. I’ll have a little fun with it. However, if this essay reads in a more…straightforward tone compared to the couple others I’ve written now, it should. I’ve attempted to write this in a more lighthearted language before, but it didn’t really get the message across well, I would slip to this anyway, so. Yeah. I will still be conversational, just less so.

With that, however, this is another long essay. I hope you enjoy. :)

[Given the subject matter & the inclusion of my own experiences, take heed. This discussion is sensitive. W/ my experiences, I assure you I'm fine. I speak from a place where I’ve worked through my experiences.]

[Also, to stop-breaking-my-heart-telltale: I reference Louis and one of your essays about him, hence the @. But this thing's real long and about Violet, and stuff. Lol.]

[Briefly, but Exhaustively, to Clarify]

Before any discussion of BPD, then Violet’s deconstruction, a few things.

One. No, I’m not outright diagnosing Violet with BPD. She isn’t diagnosed in the game. I’ve not heard anything by Telltale or anyone associated remark BPD either. None of the schoolkids, for the matter, are diagnosed because it’s not that kind of story. The most we’re given is a narrative that explores their patterns in behavior, and then one…“diagnosis” with Willy. That being the, uh, chronic masturbation. (No, I did not think masturbation would be included in this discussion, but here we are. Thanks, you bug-eyed child.) Even then, however, that was likely a symptom of a larger issue with Willy.

Instead, I like this character. I see a lot of myself in this character, recognize the patterns she exhibits, and I’m hardly the first to associate Violet with BPD—since though she’s not diagnosed…, she is a little bit textbook. I’ve also seen a lot of the fandom misinterpret, preemptively judge, Violet for the things she does.

And I don’t mean the confusion and betrayal players feel should they save Louis over Violet. That reaction is normal. Yes, feel confused and betrayed. Because that’s the intention. What I take issue with, and part of why I’ve wanted to write this for a long while, is the…undertones beneath what is generally said. The opinions, too, that go along with it. All of which, ultimately, feed into the stigma that BPD is so intrenched within. The ignorance, and the refusal to understand both why and how.

So I do this through Violet because I adore TWDG, I’m in a TWDG mood, and, she is actually a phenomenal example to use for discussions around BPD. No, she’s not canonically diagnosed, but, it is better to explain a character by using a researched concept, just as much as it’s easier to explain said concept through a fictional example.

…and myself.

This essay will have a lot of commentary based around my experiences. A lot of this disorder’s stigmatization makes it difficult to find good information to understand what it does—specifically from the perspective of the borderline personality, not observers—, because…it’s just not the same as ADHD or depression, which have been big talking points within the recent years. I also have ADHD—runs in the family. That said, conversations in mental health has its fair share of stigma regardless, it’s just that BPD…does not help itself, largely due to the concepts I’ll be going over.

Also, I am very similar to Violet, down to how we dress, but also in personality. We’re not the same, but there’s enough where I feel like I can explain a lot of this character in relation to BPD. Because it’s a personality disorder. In similar personalities, the disorder will—more often than not—present itself the same way.

This does lead me to a third: as much as I’d like to say that this discussion will be the absolute, universal truth, the reality is no, this discussion will likely have blind-spots. It won’t be universal. For a myriad of reasons.

BPD is, again, a personality disorder. Its expression is entirely dependent on the personality, and the experiences established. So anyone who is not an indifferent/apathetic person, who is more extroverted and not the marginal recluse that I am, there will be aspects of this that won’t align. The rudimentary concepts may apply, but the expressions and emotional processings behind these concepts may not.

This also bleeds into the fact that BPD overlaps with many conditions, and traits of the disorder can be found elsewhere. Which, quite frankly, is fairly standard for most disorders, because it’s about the expression and amalgamation of the traits, not the traits themselves. So, as I discuss BPD, you’ll likely find yourself relating to certain points.

Do not take this to mean that you yourself have borderline.

Well, okay. You might. There’s nothing wrong with doing research, and to evaluate all of your resources. Keep in mind, however, there is a difference between one condition relating to another, and one BPD relating to a likewise diagnosis.

BPD overlaps with many conditions (like ADHD); it shares many traits in others.

The reasons for it includes how BPD is developed, where the development will be alongside other conditions—like, say, PTSD—, or other conditions may predispose the condition—ADHD—, or, or, both.

And then, some of this relatability is due to language. There are limitations in the words I choose, especially when this essay is intended for a wider audience. When I say, I go from 0 to 100, you may know precisely what I’m putting down, or, your 0 to 100 is my 0 to 10. And there will be that barrier in understanding because…we’re different people, with different experiences, living alongside different conditions.

Some of you reading will just never understand what it means to get whiplashed by your emotions at the drop of a dime, where you’re perfectly fine one minute, and then you feel like you’re about to have a heart attack the next because someone said something, and you don’t understand why it hurt you the way it did, but it did, and you’ve already lost your shit, but you don’t want to do anything, but you can’t trust that you won’t… All…with the guilt that it is happening again, and you should have known better, and it’s all your fault…

Yeah. It’s okay if you don’t understand what that’s like. And to be quite blunt, if you don’t, be grateful. BPD isn’t fun for anyone. There are slight blessings, but those are gravely overshadowed.

Given that I do expect a lot of people reading this won’t understand, this essay will be exhaustive. I don’t really want to cut corners, even though certain aspects of my experiences will be kept to myself, and not everything about this disorder can be related to a video game character.

I do want to give it its due. The drafts before fell into the trap of not articulating precisely what I wanted, with the transparency I needed.

…hence why it’s long, but with that, let’s start with understanding BPD at its core.

[BPD, in Experience, as an Introduction]

So. Borderline Personality Disorder.

Boiled down, it is purely the complete lack of, or, the severe impairment of emotional regulation.

That’s it.

That is literally all it is. And in understanding that, it explains (in part) how and why many of you may relate to certain aspects throughout this essay—emotions, and the (dys)regulation thereof, are integral to each and every one of us.

However, BPD is distinct, and I will comb through the how and why in this section. It is quite simplistic when boiled down, but this synopsis implicates everything about a person.

It is also. Not. Bipolar Disorder.

(Yeah, let me just kick this out of the way.) 

Bipolar Disorder is about the brain chemistry, and is defined by manic and depressive swings.

Borderline Personality Disorder is a disorder of the personality. It’s systemic to the person. Could someone with BPD also have bipolar? Well, yes, which doesn’t help in the confusion, but to be the least bit informative, those instances often imply a specific BPD type (comorbid).

[Further resources will be linked at the end, for the BPD types, relationship with bipolar, and additional elements to come. For the sake of the essay, I won’t delve into this in-depth.]

This nuance—comorbid-BPD and bipolar—illustrates how complicated of a conversation BPD is. Again, it’s why this essay will be exhaustive, but also selective in what it covers.

Including, but not limited to, this kind of nuance.

To embark what a severe impairment/lack of emotional regulation means, it’s important first to establish the working definition of what emotions are—the definition, at least, which this essay utilizes.

Emotions are the reactionary senses of the body. Where sight, smell, touch, taste and hearing are the immediate feedback from the environment to the body, the emotions are the immediate responses to the stimuli, to prompt our actions thereafter.

Our relationship to our emotions is a very complicated one, because…we physically feel our emotions, which can be conflated with the feedback from our environment. Comprehension is also required to understand what, exactly, these emotions are signaling to us, because an environment isn’t just physical. Social, cultural, and psychological environments are included. 

If you ever wonder what, exactly, a dog with the intelligence of a 3-year-old actually means, it’s their comprehension level of their emotions. These dogs are feeling the same emotions as a 3-year-old, and a 30-year-old. But there’s a catch: dogs don’t do the whole language acquisition thing like we do. Language acquisition being the learning process we undergo in our youth, because we are wired to speak and derive meaning through vocal, then visual, patterns.

I say this because a lot of emotions are, physically, perceived the same way, but we use language to distinguish one from another because contexts do matter. And they matter a lot.

Like, what’s the difference between lust and common excitement? They both feel similar, don’t they? But, lust is specific to a defined context.

And in this way, language absolutely contributes to the complexity of emotions.

But ultimately, emotions are just there to tell you what comforts you, and what doesn’t. It establishes what kind of environment you feel safe within, or at risk; the gradient within that establishes what you prefer, what you can tolerate. So the places you go to. The people you surround yourself with. Your interests. Activities. How you want to present yourself. Your morals, and ambitions. Identity and sense of self.

All of it is prompted by emotion, and your comprehension of that—ultimately through language—establishes how you respond.

How we actually navigate this is through regulation. Or rather, the process of self-comprehension, where an individual has to evaluate a situation, their internal reaction to such stimuli (both in thought and feelings), and the appropriate behavioral response. Dysregulation, then, is where that process is faulty.

So as we mature into adulthood, and our learned behaviors are set in stone (more or less; old dog, new trick or something), we’ve ideally learned how to comprehend these emotions, how to use language to articulate them and relay them to others, and find what is comfortable and what isn’t.

People get in the way of themselves, however.

For some fucking reason, we think we’re so fucking smart because we can talk, and we got thumbs, and we, like, stand on two feet. Or if we don’t got two fucking feet, we can build a wheely chair to sit our asses down.

And? We like to convince ourselves that we know better than our emotions, to the point where they’re disregarded. Of course, social contexts, understanding how your actions may impact others—those are all nuances which, yes, our emotions may not respect, but we do.

In regards to when people refuse to acknowledge emotions for what they are…

Piece of advice, from someone with BPD, emotions run like rivers. You do not decide what that river’s water is, how much there will be, and when it will flood. What you can decide is what canals to dig to retroactively contain that river, when to do that, and to establish how to treat the different flooding waters. You will drown if you think you can just ignore them.

Because the funny thing about water? If you fall high enough, land the wrong way, you might as well have hit stone.

In this way, emotions are devastating, and the mind and body has many mechanisms to deploy should an individual be constantly bombarded, and there is a need to prioritize our primary senses—touch, smell, sight… To prioritize a survival.

Take DID, for instance, where often it’s the mind “divorcing” itself into several identities in order to protect and shield the host from further trauma. There are many, many disorders like this where the brain deploys its failsafe, but that failsafe comes at a price.

BPD is, effectively, what happens when one of these mechanisms deploy, but the cost cripples an integral function to the human experience. It cripples the capability to dig those canals, redirect those rivers, and it can even imply a blindness to what kind of water is flooding.

…in many respects, this implies that BPD is, inherently, a disorder rooted in other conditions, just set to the absolute extreme. But when I say “absolute extreme” to someone who has never experienced emotional turmoil, the wrong impression may be impressed. Again, much of what I say may relate to your own experiences, and it’s why I have to take great care in articulating precisely what I mean because…it can be easily misinterpreted. Everybody has had moments where they are not in control of what they feel, and they do things. However, while the instances may look the same, the mechanisms, patterns and history behind them…are not.

Hence why BPD and bipolar are so often confused, because at the height of those disorders, it can very well look the same. I have had manic episodes that look identical to someone in a bipolar episode within one moment. But the differences are the mechanisms, patterns, and history. For these two disorders, it’s what’s actually going on in the brain, what stimuli we’re actually reacting to, and then timeframe. Mania in bipolar can last months; in me, I plummet into mania for minutes, or hours, or days—a week at most. And I can rocket right back out of it, back to an indifference, or into some other extreme.

And those mechanisms, and patterns, and histories are what make BPD, well, BPD. 

We now get to how BPD happens. And though there is some debate, BPD is a developmental disorder. It’s created.

Through a number of factors. Genetics (like a family history), accompanying conditions (such as ADHD, autism, due to the predisposition to emotional dysregulation), past experiences of trauma, and, the environment.

And that’s the footnote version. Because this disorder, while there are strong patterns observed across diagnosed individuals, again has its nuances. Going into what causes BPD will lead you down a steep rabbit hole—in part because it’s dependent on the person, history, and environment, and in part because…, well, there is stigma, and there’s a lot of unknowns. Borderline, as a name, is not telling of what the disorder is. There’s a long misogynistic history to the disorder’s criteria, despite the fact that there’s a lot of men out there that have stunted their emotions, will fly off the handle when their egos are slightly bruised, call themselves alphas, are vehemently loyal to that alpha identity…

Hm.

That’s a discussion for another day. Point being, I cannot indulge this essay into every kind of way a person can land themselves with the disorder. It’s never ending. I have other priorities to indulge. Such as:

What kind of abuse is commonly attributed to BPD?

The answer? For such a volatile personality?

Neglect.

Funny, isn’t it? How neglect—the absence of—is what often causes BPD, of all things. Most would likely scoff, because our world has groomed the idea that the other kinds are worse, and are what creates monsters. Because it doesn’t make good tv, does it? Like the times where I was sat in time-out for…some reason or another, on a bench beside a chalkboard. Upwards to 10 hours of the day—which is a long time at three years old. That doesn’t make for interesting scenes, does it?

No. And because it doesn’t, and stories like their spectacle, media relies on the other kinds. To the point now where it’s necessary for our idled attention spans.

To be clear, this isn’t to demote abuse types outside of neglect, nor is it to insinuate that they cannot coexist within one circumstance. The fact of the matter is, different traumas with different people in different environments will lead to different conditions. There is no worth in proving to each other which trauma is worse or better, because it’s entirely dependent on the people and environment(s) involved.

What I will demote is the common, ignorant insinuation that neglect doesn’t destroy a person.

It’s why it is ironic, how BPD—an explosive thing—is often born from neglect.

How it does such a thing is…complicated. Lucky for this essay, I’ve lived it.

Within the first handful of years in my life, there were many things like sitting on that stupid bench in my room, for hours upon hours. My parents, at the time, were young themselves and fresh from college. My dad was in the military, so he had been deployed, leaving my mom alone with me, and…her BPD. I suspect postpartum made things worse.

Before you assume, it isn’t that she didn’t love me. Quite the opposite, but it was only through the divorce a few years later was she diagnosed. So, she didn’t have the resources for such a disorder at the time. Which made things worse, because part of treating BPD is being aware you have it.

The thing about these kinds of abuse is that…they come from the people you least want to admit, and for me, it had been my own mother.

And, the thing about neglect, especially mine, is that it’s hard to explain how no…, she was home. It wasn’t like she’d leave me like that. But, even so, I couldn’t tell you what the fuck she was doing when she wasn’t in the same room.

I was left to my own devices. I told myself stories with my stuffed animals to pass the time. I was often hungry too, and there are two accounts from family where, upon visiting, they saw this little toddler know how to work the baby-gate to the kitchen, and start to prepare food—sandwiches for me, and I’d pour food for the dog.

I seldom spoke, was borderline mute. Didn’t really converse until four. But I knew what people were saying before that. I did also pick-up behaviors from my dog as well; I would pant whenever I was happy, and whimper instead of cry.

By the tail-end, as I was getting into kindergarten, my brother was born, the divorce was in motion, and my dad would thankfully win full custody, and my mom, visitation.

You see, through those initial years, those mechanisms deployed.

I had to swallow down the instinct that the parent would be the one to nurture, and I had to find ways to feed myself, then my best friend and true guardian—the dog. Had to learn how to work things like a baby-gate. I also had to be vigilant of her, and know what mood she was in.

It’s these two things, working together, which utterly fractured me emotionally. The feeling of being hungry, truly hungry, is not something I wish for anyone. The realization that it’s not because you’re out of food—not until the separation began, and the weekends with my mom were marked by this hunger—, but because you don’t know how to get that food, and the bigger person is not getting the food, so you try to learn but you are still a small child… It’s even worse. It does something to you. Then, having to sacrifice your own emotional nourishment in order to keep an eye on an adult’s volatility is that final nail.

That was the first stage of my neglect. And it was bad. It was a really, really bad situation. My brother only lived with my mom for a couple years before Dad’s full custody. In that time, from when our mother was the only one to take care of us with my dad helpless in a different country, then to switching every week, he developed OCD tendencies, which are still present.

Twenty years later now, it’s been remarked that I was…kinda the best candidate to survive this out of not just my brother and I, but our cousins as well. And I agree. I’m naturally reserved, and even as a kid, I would push back against my mom. It would ignite her, but the fact that I was confrontation said enough. Meanwhile…, I do not know how the fuck my brother would be mentally if he’d been the one stuck alone with her for those three, four years. I don’t know what my dad would’ve come back to whenever he was allowed to be with his family.

And I would not trade places if given the chance. Because even if I’m a black sheep, my mechanisms allowed me to get away as well-adjusted as I could be.

But… Still. Beneath those remarks…, there is a misunderstanding. When my family says I was the best candidate, it’s because they look at me and see a person who isn’t sick. When I say I was, I mean…my brother would have been worse off.

Granted, now that I’m out of school, it’s slowly dawned on them that…yeah no. There is something wrong.

…as I aged through childhood, I didn’t quite understand what the costs of the mechanisms deployed were, but I knew there was something very, very wrong even back then. And I would tell my family. Every now and again, throughout years, I’d raise alarm because I realized I reminded myself of my mom.

Only to be told that I wasn’t my mother, and that I was overreacting. Told me that, “People like her don’t know there’s something wrong—that’s the disorder.”

Come a mere few years ago, and I am told about times where my mother, as an adult not long before having me, would break down because she didn’t want to be like my grandmother.

There was a family history. My mother knew it. However, she was also diagnosed through the divorce, because she couldn’t take care of my brother and I. Highly doubt admitting her BPD was the reason was because “she didn’t know there was something wrong.”

I was told there was nothing wrong. Meanwhile, I would do things I didn’t understand, and experience the world in a way people around me didn’t, …as it turns out.

For one, which is still true now, I cannot cook for myself, in a kitchen, when it’s dark out. I also cannot cook when someone else is nearby, or already in the kitchen itself. I will wait, because should I cook in those times, there’s a feeling. And I can’t stand it. The feeling of—

Oh. No, the feeling isn’t being watched. 

It’s the feeling where someone may be lurking, and I’m about to get caught. This is likely a remnant of times when I was very, very young, and I tried to feed myself, and I…was caught. And she blew up.

There are other behaviors like that, specific to me. Because the body remembers before you yourself.

In the years after my mom, I found myself in the second phase of neglect—the one, I argue, is what actually creates BPD.

And again. For another time. It came from the people I least want to admit.

The neglect, the denial, in every alarm I raised did something to me. Another thing, though given my experiences, it also did feel similar to the first phase. My family loves me, I understand, and I get why they denied. Because they knew about what was happening to me, then my brother, but circumstances had them trapped in watching from afar. A sort of…they didn’t get to me in time. 

My mom was also a nightmare for my dad. So…, to see that resemblance is not something anybody wants to admit.

But still. I was in therapy (to socialize me), but that didn’t last forever, and people kinda just shrugged and thought it was good. The therapy did its job. Without noticing what was happening.

The mechanism that deployed was still there, never to be acknowledged. So it festered. It scarred my trauma over, and now, there’s a great blemish on my mental health. 

And that blemish has a name, and it’s BPD—the disorder cultivated by the neglect of an aftermath. Where trauma struck, and there was no chance given to process it effectively, and to heal.

All of the nuances I’ve discussed before remain to be true. From what I understand, however, is that the primary reason why Borderline Personality Disorder can look so differently on so, so many people, through a range of traumas is…it’s consequence. BPD has its characteristics, the ones that distinguish, because ignoring the recovery after significant trauma presents itself the same.

Now, I’ll indulge in one of these characteristics.

It wasn’t until recent, as I embarked my adulthood, where I realized the core mechanism I had inadvertently deployed, the one that came with a price:

Alexithymia.

Or, emotional blindness.

This in itself is not considered a disorder, largely because (and for the sake of this essay) it is an associated symptom, a mechanism, of many, many conditions. Depression, PTSD, eating disorders, ADHD and autism (again), schizophrenia, and I can go on, and on, and on.

BPD is included, of course.

There are many ways to be blind. Take visual blindness, where it can be an absolute void, a severe impairment, some colors recognized but not all, or, there’s too much feedback at once, and the light becomes illegible. Being devoid of emotions, or apathetic, is the standard; some people may feel a perpetual onslaught that cannot be deciphered, and others could find themselves in between.

Whatever it may be, alexithymia is characterized as the impaired awareness, explicit identification, and/or articulation of one’s feelings. So, as long as the shoe fits, and the person can’t decipher, convey/express their emotions… That shoe’s not on the wrong foot.

In my case, I fall into the standard.

When I was young, I likely stifled my own emotions in exchange for vigilance. It never left, however. If anything, it got worse the more I neglected recovery. Now, I don’t feel much, day to day. I know I experience emotion, and react to my environment, and have thoughts… Yet, the environment is almost dreamlike. It doesn’t quite register, and the people in my life feel like figments unless I’m right there with them, in the same room. I’m indifferent to most. Memories are a lot like this too—not like I don’t remember anything at all, but in the moment, I kinda just exist. I can think and plan about the future too, but it’s that I’ve realized I have to, not that I feel any kind of urgency.

Because I don’t care. At all.

Or, I do, but there’s nothing in here to tell me that. Because my body, also, is quite null. It doesn’t tell me what I feel. I couldn’t tell you in the moment, so I’ll usually resort to, “I’m fine.” And inside this head of mine? Not much. Kinda like static—the tv is on, there’s a lot of channels going, but it’s just…not there. Beyond static.

So as I write this, and write any of my works, it's less of spilling all the crazy thoughts inside my head, organizing them, and more of me spilling an open wound I don't know how to close, figured I don't really want to close it, because I kinda just like watching it spill across the page and see what I'm thinking, and what I can create.

To be quite honest, being a writer in this way does legitimately feel like I'm a blind sculptor.

If all this sounds like a depressing experience, I'm fine. Genuinely. I am. This is actually quite comfortable for me, and it's also me at my most rational. Plus, it helps that I've developed a fairly strong coping means—this writing thing—that serves to be a therapy in emotional comprehension. Another mechanism, really, that is derivative of what I did as a toddler.

I'm also a hermit. I'm content with being reclusive, and to myself.

And again, I’ve already processed all of this. I wouldn’t be writing this essay otherwise.

So how does alexithymia relate to BPD? In what way is being apathetic mean I can fly off the handle?

What does alexithymia mean for an episode?

BPD episodes vary. Depends on the person, and a trigger, and the environment.

In the traditional a switch is flipped, and the person just loses it, it’s via said trigger. A legitimate trigger, not whatever TikTok is blabbering. Trigger as in to a gun, and it just takes one pull, and you’ve been set off.

When this happens—BPD or not—, it effectively shuts down the reasoning part of the individual’s brain, and sends them straight into fight-or-flight. They are in a very primal state, and will react on emotion alone.

In BPD, our brains are wired to do that in (potentially) a very, very short period of time. Can be literally a blink and you miss it. There’s a look in the eye. If you know, you know. It happens enough times to establish a history of this within the person. Forces people to walk on egg shells to avoid this. Because it’s scary. It can get scary.

Here’s the thing:

It’s scary for us too.

Not too long ago, a lot of changes happened in my life, and on my birthday, I was driving, and I wanted, so badly, to just swerve off the road and down into the woodland—the ditches would’ve been steep enough. Woke up that day wanting to. Didn’t understand why, but I also wasn’t asking because that reasoning part of my brain was switched off. That day, the episode wasn’t explosive, but had I brushed upon a trigger, or someone accidentally said/did something, it would likely have been the case.

I was in an agitated state—straying down the line between stability, and not, where at first glance I’m fine, but…the more you look, there’s something quite wrong.

I was also craving McDonald’s. So I went. I sat myself down on my own, and ate my food.

And suddenly… Literally nothing was wrong. Well, no. I was still mildly stressed from moving from college, but, nothing was wrong that day. I was just hungry, not suicidal. Yet…it felt like I was. Had me believe it for a hot minute.

Had I not had the burger, fries, and McFlurry… I don’t know. Had I had access to something swifter than a car. I really don’t know.

This is what the disorder does. This is why it’s scary for the people around, and terrifying for us.

And in those like me, where everything is null, until it isn’t, it’s terrifying in a specific way. Goes from 0 to 100. Can get to the point where I have pain shooting down my arms, like I’m about to have a heart attack, because everything comes down upon me at once. Or, in episodes like the one I just mentioned, it creeps up on you—that agitated state. To the point where I don’t realize I’m in it, just that I’m suddenly hyperaware of everything, and there is something wrong, but I am not asking why because I can’t. So I just do. Quite blindly. And eat because driving off a road is too much effort.

So it gets scary. In those like me, where emotions just aren’t registering, I can’t tell you what I’m feeling until after the fact, or after considerable thought. Which is also fucking difficult because I don’t rightly know what I’m thinking. But given the situation, that could be too fucking late. And if the situation has me alone, to myself?

With BPD, there are triggers we know to avoid because they are related to traumas. There are things that wouldn’t normally trigger, but somehow did because they were the straw that broke the camel’s back, and we didn’t even know we had a fucking camel. And then. Sometimes. We don’t even know what the fuck the trigger was, and will never know.

The last is very common when we’re unaware of our BPD, but…it also just happens sometimes as well. The world’s big. The shit life yeets is limitless. I dunno.

There’s also a humiliation to an episode. I don't know what's going on. I can't reason like I should, and I don't want you to look at me. I want you gone, especially if I have deemed you the trigger. I want to be left alone. Things will escalate, and escalate, and escalate until that is achieved.

And, there’s a guilt as well. Especially when you know you have BPD, because by then, you should know better, but apparently, you don’t.

This all sounds quite helpless, I realize. However, there’s a reason why talk therapy is the central form of treatment for BPD. Knowing how to communicate does wonders. For those with borderline, learning how to comprehend and articulate emotions, and knowing what triggers to avoid, is a long, arduous process, but it helps. In regulating emotions as best we can, and in explaining to people beforehand what to do—or after the fact, where it’s to explain it wasn’t their fault.

And for those without BPD? Being able to recognize the warning signs on a person is detrimental. Because, believe it or not, there are warning signs. Sometimes they could be the split-second before, however, if there is someone in an agitated state, knowing what that looks like means you know how to avoid an episode, and it gives room to be able to console the person beforehand.

As said. There’s a look in the eyes. I know, because that’s what I spent my first few years of life figuring out.

The arduous process also unveils the…ambiguous sides to BPD. The stuff that people don’t really talk as much, whenever BPD is brought to the table at all. 

For this essay, I will spare a glance at identity. No, identity doesn’t have much to do with Violet. However, acknowledging this ambiguous side to BPD establishes just how far this disorder goes, and it tends to crop up when least expected. (It will do so in this essay.)

A disorder of emotional regulation implicates everything, and sense of self is guided by emotion.

So what happens to one’s identity if there’s no guide to that sense of self?

It’s bleak. Or there’s a turbulence. Either way, it’s hard to decipher what exactly you want out of life, and for yourself, because there’s just no good way to tell what makes you comfortable, and what doesn’t. But you still strive to find stability. So you mirror those around you. To blend in and be accepted. By chance, it can extend beyond humans; me mimicking my dog—panting when I’m happy, whimpering when I’m sad—, it was probably so that my dog would console me when my mom wasn’t around. Because my dog (a lovely boxer) was very attuned to me.

The conversation with identity is…just another complicated thing. And this one is harder to articulate, in part because it’s not really discussed by people who don’t have the disorder. As opposed to the mood swings.

All that to say, when it comes to this analysis, the truth is, there’s not a feasible way to explore the nuances such as Violet’s relationship with identity, or alexithymia, because they aren’t spoken aloud to give us enough insight, and by proxy, these aspects of BPD are not what Violet represents. But acknowledging such nuances provides a better understanding in what this disorder means.

Regardless, Violet is a representation BPD in relationships, and the dysfunction of those bonds. How it’s exacerbated within an apocalypse, and then the self-treatment of.

Or, or, Violet has…a tendency to be a wallflower. More or less.

[Ericson's Resident Wallflower]

The Final Season (TFS) is particular when it comes to Violet. It will be evident throughout this essay, the care that the game and the team behind it devoted for her. From the dialogue to her actions, Telltale did well in illustrating this character. I will argue, however, that the quiet intensity in nuance laid throughout is what evoked the need to write this essay.

Because Violet represents something quite thoughtful in regards to mental health—the reality of what a disorder is, and what it can do.

So TFS is particular, and it begins with her introduction, where there’s this need to recontextualize her. Not once, but twice.

Clementine is first introduced to her silently. She follows Marlon out into the courtyard, and Tenn whistles at the wall.

Because on the school’s wall is a girl, and she rises from her lounging at its height. There’s a glance shared between Clementine and Violet, before Clementine speaks more with Marlon. After that, another glance, where Violet turns away—not before the player can spy a bit of intrigue in her face.

Clementine reunites with A.J, meets Louis, before a recontextualization, where Violet (she does talk) snarks about the crashed car, and the walkers that the accident brought to their door.

And it takes Louis to pry a proper greeting from her:

“Ahem. ‘Hello, Clementine. I’m Violet. Nice to meet you.’” “What he said.” [. . .] “Don’t mind Violet. She, uh…, grows on you. I promise.” [Ep.1 | Done Running | School Gate]

Good job, Violet. Way to be sociable.

Sarcasm aside, yeah, it’s a little rough. Violet is overall dismissive of Clementine, save for the comments. To the point where she has Louis introduce her ass.

Now Louis…is a quiet presence throughout this essay, though he is all the more integral to her character. There will be fewer words compared to other relationships, but those words signify a unique dichotomy between him and Violet, one that the other schoolkids—Minnie and Brody included—do not have with her.

And it starts immediately. That dichotomy. Louis is the one who tells Clementine Violet’s name. He is the one who formally introduces the two. Because he knows how Violet is. Ensures to lingers so that he tell Clementine—promise her—how Violet is worth sticking around for.

It’s just that the girl is troubled. So.

Thereafter, his banter is teasing, and Violet is still sardonic. But, she ultimately does play along. In her own way. When in the woods, and the schoolkids are focused on clearing walkers to have Aasim, Brody and Mitch make a safe return, Louis strikes the conversation, Violet scoffs, but can relent depending on the player’s dialogue choice(s). It is important to note that Violet scoffing doesn’t necessarily equate to her being mean; it’s clear through the card game later that…this is her way of banter, with Louis especially. She takes jabs at him. He retorts. Does the same. It’s on equal footing.

The next true recontextualization presents a taste of what Louis means. After clearing the walkers, and A.J socks Marlon, Clementine is left to acquaint herself with the other schoolkids. Mitch and Willy, Omar and Louis, Aasim, Ruby (where A.J apologizes for biting), and Tenn, right alongside Violet.

And those two are tending to the school’s makeshift cemetery. It brief, but Violet explains they lost the twins, and for the hour, they’re paying their respects.

From the wall, then the gate, then here, at their burial ground, it’s as though TFS wanted to scatter Violet’s introduction across her nuances. First it’s a silent couple glances, with her overlooking the courtyard at a perch, then it’s her being a little prick at the gate, a lightheartedness when mowing down walkers, and then it’s…this, a staunch vulnerability to and for her people. In context to the graves, her people being the twins.

All the moments that night thereafter feed into this. The card game goes back to an apathetic, yet also teasing, demeanor. Her shared conversation with Clementine, as A.J becomes an artist draws, it’s again a vulnerability, this time rattled by the fact that the dorm was once the twins’.

Throughout this first episode, Violet’s standing with the rest is shown to be quite reflective of this almost inconsistent preamble.

Marlon is the most succinct when he remarks, in the rain, after Clementine chooses to ask for Violet’s support:

“Violet being difficult. Why am I not surprised?” [Ep.1 | Done Running | Courtyard]

It’s such a blunt statement, intended to dig at her.

Though, there is truth to it. Violet’s introduction overall says as much. She admits it herself when in the dorm, and she finds that Clementine is housed where the twins were.

“Honestly, I just miss having someone around to talk to. [. . .] And I’m not, exactly, like…a people person. You know? I know I sometimes have a habit… Have a habit of being a little bit too harsh.” [Ep.1 | Done Running | Dorm]

Violet is not sociable, so naturally, she struggles to find someone to talk to. But, she is also sardonic—that much we got from the gate, even if it was followed by Louis’ banter which she reciprocates. 

But ultimately, it’s Brody who gives the best context to Violet, and really voices what Louis is getting at.

When Clementine goes fishing, Brody begins a conversation, and within that, she can reveal based off the prompts:

[She’s…intense.] “She’s always been a little bit like that. But after the twins died, she really closed up.” [It wasn’t your fault.] “Still, I was the one that had to break the news to her. And ever since I did, she’s become distant.” [Ep.1 | Done Running | Fishing Cabin]

There’s two key things here, starting with the unsociability that Violet’s demeanor and Marlon’s slight reference.

Then, the revelation that Violet has closed herself off. She’s become distant within the past year.

…it implies that the Violet first introduced to us is not truly Violet, in a sense. It presents to the player thatmuch of her arc with Clementine will be about uncovering her, and really bringing Violet from this depressive spiral. Romantically or platonically so. And these lines are intended to both explain the character, and to incite enough intrigue for the player to follow Violet down her route. 

But it’s rather unfortunate that so much of this character is hidden away from the start, because there's the chance that people glance over her, take this initial Violet as Violet, and decide to spend more time with Louis and follow down his route. Because, for the sake of this essay, it's damn near impossible to really appreciate this character when you don't go with her route.

Same can be said for Louis, of course. But, respectfully...

It ain't about him. So. Moving on.

Playing leader.

When Marlon is shot, Violet immediately jumps into action to protect Clementine and A.J from getting jumped by the rest, and she assumes the leadership role. Regardless of player choice. There is an curious point with her being a leader, though that will be set aside to explore later.

Instead, I’ll side-step, and bring about a piece of conversation upon Clementine and A.J’s return. In this, we gather a very telling side of Violet, one that speaks volumes to her character.

[Clementine] “You’re sitting in Marlon’s chair, aren’t you? You’re their leader now. They’ll listen to you.” [Violet] “They don’t, though. They only listen when they want to.” [Ep.2 | Suffer the Children | Office]

Again, we’re side-stepping from the playing leader thing. Violet says that they don’t listen to her—says it like it wasn’t a really a surprise, just a point of frustration. Because, of course, Violet’s difficult. The last leader said so. But also, none of them have stepped up to fill that role. They take issue with her, but none of the schoolkids have really challenged her to take the mantel for themselves.

The silent nuance here is…why is it that she’s the leader? Violet made it seem like she really didn’t want to be at the boarding school—what with the contention between most, then the fact that she’s still in mourning. Tenn appeared like he was the only one keeping her there, but by stepping up in this way, not necessarily.

His presence and her need to protect him is a huge factor. Absolutely. Just not the only one.

We return again to Louis, the one schoolkid with the shared dichotomy. He is the other love interest. Him and Violet are often on opposite sides—especially in regards to everything Marlon.

And yet…, the way they speak about each other when one is taken away says everything about such a dichotomy.

To start, we’ll look at Louis:

“I know I’m always teasing her. Trying to get her to do that one eye roll she does—you know the one. Where it’s like, ‘you’re such a dumbass,’ she has to do a full-body eye roll. I do it because, when I actually do manage to make her laugh, it’s worth it. If I needed her, she’d be there. Meat cleaver in hand, ready to chop someone in half if it meant protecting me.” [Ep.3 | Broken Toys | Dorm]

He brings context as to why their banter is so dogged to tease. Louis does it because it’s reciprocated once he gets under his skin, and she retorts back with the signature full-body eye roll, but also, because he’s striving to reach another side of her, one where she laughs.

Because Louis is a big entertainer. He craves to draw that out from people, so when he has someone like Violet where it’s not easy to do that, it means that much more when she does, because it tells Louis how despite everything, she is there, listening.

Then there’s Violet, and her words for him:

“You know, when I first got here, I hated him. He was so…much. You know? He walks into a room, and it’s like, ‘Look at me! Watch me perform!’ It’s so stupid. But then I realized, under all that, he… He really cares about people, and he doesn’t just feel it, he says it. He’ll tell you every goddamn day how much you mean to him. Shit, he’ll probably sing about it. [. . .] We’ve got to get him back.” [Ep.3 | Broken Toys | Dorm]

She nods to Louis being this big entertainer. Says that she hated it, and that it’s stupid. And yet, Violet thinks fondly of how genuine of a guy he is.

And between these two quotes, there’s a mastery in storytelling, because there’s an active dialogue between Louis and Violet. Doesn’t matter if one is on the boat, and they’re not. Their words parallel. Had they been in the room together, this would’ve been a back-and-forth.

Louis says that he teases her. Tries to get underneath her skin. Violet says that hated it, and hated him, for his antics. Yet, she then admits that…there’s a genuine nature there, because Louis does care, and he will say and sing it so. That genuine nature is the fact that he just really wants Violet to laugh, and to find that side of her.

Because Violet’s his friend. He values Violet as his protector, because Louis knows that she will be there whenever he desperately needed her.

And Louis is Violet’s friend. Which is why, without a word from Clementine, she states, firmly, that they need to get Louis back. Because in that hour, he was in peril, and he desperately needed Violet’s cleaver at hand.

It’s a tragedy, really, for both. When the other is taken, the one thing that each praise of the other is what’s stolen. For Louis, his knight is blinded; he has to be the one to protect her. For Violet, a comfort goes mute; she can sing in his place.

After spending a few moments with Clementine in the dorm, there’s Ruby’s hootenanny, and through that hootenanny, Violet can tell Clementine what brought her to Ericson’s:

“I spent a lot of time at my grandma’s house growing up, what with my dad being a drunk and my mom working three jobs. But after my grandpa died, Grandma just kinda…shut down. Spent all day and night rocking in her little chair in the den. I’d sit there at her feet as we both watched tv, mostly cartoons, since she never seemed to care. Sometimes I could hear her crying, but I didn’t look back. I’d just feel really weird and turn up the volume, you know? “Anyway, one day she left the den and came back with another chair, and a .22 rifle. Set the rifle butt on top of that chair, holding the barrel back to her chest. So, you know…, she had trouble reaching the trigger this way, but she must have known it would happen… Because she took out this really tacky wooden backscratcher—the real long kind with the one end shaped like a hand—and used that to push the trigger in. So…yeah. Bang, right? Her body folded up and just…kept rocking. “My mom came to get me five hours later. I hadn’t moved. She asked why I didn’t call the police or an ambulance or anything. I just shrugged and told her it wasn’t like Grandma was going anywhere…, and besides, I just wanted to finish my cartoons. She shipped me off to Ericson the next day. I was eleven.” [Ep.3 | Broken Toys | Piano Room]

Through all of what Violet tells Clementine, there is still that flare to make the story more interesting for, you know, a video game. It’s a violent kind of neglect she shares.

But it is neglect all the same.

Violet was born to an alcoholic and a mom who stretched herself thin to compensate, yet even so, she later can admit that their home was a trailer—so the income of three jobs, all her time spent away from her mom, wasn’t enough. Perhaps there were financial troubles. The money might’ve been all drained away by cans of beer, or bottles. Violet did have an escape through her grandparents, though that didn’t last, and she was trapped to the same neglect. This time, with a better house. Probably.

Until her grandmother went and shot herself.

…with Violet in the room. Right behind the child.

And? There was no consolation; she was sent straight to Ericson’s, where the apocalypse then struck, the adults left, and Violet…was the difficult one, designated as this wallflower, or buzzkill. There were the twins, Minnie especially. Yet, even then… That relationship likely wasn’t reciprocated.

The flare that TFS adds to why Violet found her place in troubled youth—the violence, which could’ve dashed the screen she watched for those five hours—, it hides much of what went wrong with her, but simultaneously, it defines the gravity of her childhood.

It describes a mechanism of hers. One undoubtedly developed from her times alone with a drunk, whenever her grandparents and mother weren’t there. A sense of apathy, and with it, a broken moral compass. To not mind yourself, and not get in the way. To let it happen, and just get it over with, in whatever way that could imply.

And, with the sheer gravity, it begs the question…, how far did that neglect go? All of the abuse, if it wasn’t the only kind. Children aren’t born to sit in one place for hours, with fresh gore rocking in a chair behind.

The question wasn’t answered, of course. She was sent away instead. Then there were the adults. And then, other schoolkids. Violet isn’t…a people person, you know, so it’s only natural for her to be the difficult one as Marlon says.

Still, however, with Clementine as they watch the stars together, Violet denotes for the bird constellation,

“A bird is free. It could go anywhere it wanted to. Up and up and up, and never come back. Go south, east, west, doesn’t matter. You could fly straight into a sunset. And see where it ends.” [Ep.2 | Suffer the Children | Belltower]

And to that,

[Clementine] “You wish it was you, don’t you?” [Violet] “Sometimes, when it all feels so heavy down here, I can’t help but wonder what it would be like to be weightless.” [Ep.2 | Suffer the Children | Belltower]

Violet has struggled to belong, and yet, she remains. Yes, there’s the apocalypse. However, in all the years at the school, she could have left just as well. There’s a version of her, lost in development, where Violet does leave had she not been saved.

So why didn’t she?

The answer to that, quite simply, is one Louis may admit to Clementine, should that version keep his tongue, and the silent nuance behind her playing leader:

Violet is too loyal to her people to leave.

It’s why Louis teases her, to try and find that laugh, and why he knows that if he needs her, she will be there to protect him. Violently, with a meat cleaver.

It’s why she takes charge, because Violet knows none of the others wanted to, but they needed someone to lead. Whether or not they appreciated that it was her.

And, it’s why she acts without thought to stand her ground against Marlon. If she’s asked, the camera doesn’t leave her because it is no surprise that she will stand beside Clementine, as opposed to Louis, where he decides with uncertainty, and the camera has him shuffle to frame; for Violet, the change in her face is immediate. The camera doesn’t have the time to idle in tension. What Louis says is dead-on:

“If I needed her, she’d be there. Meat cleaver in hand, ready to chop someone in half if it meant protecting me.” [Ep.3 | Broken Toys | Dorm]

Even if she isn’t asked, Violet will then stand her ground once Marlon is shot. She vouches for the outsiders, in the name of reason, and for the twins and Brody.

She doesn’t think when Clementine is in danger—didn’t matter that her and A.J are just exiled. Violet will do as told, trust Clementine—to shoot, or to run.

Takes the helm after Marlon. Backs Clementine every step of the way.

Cannot let Minnie go until she has to, and Violet has seen that the person she clung after is gone.

Violet is too loyal to her people to leave, for her loyalty unbridled.

It’s her strongest quality. It is, also, what marks Violet with borderline.

[Emotional Anchorage]

We slip back to describe BPD at large, beyond this essay and character. However, everything of this section has its place with Violet.

And it begins with emotional anchorage.

Emotional anchors are not inherent to BPD. It’s not unique to the disorder because, instead, I’d argue it is a universal experience. These anchors are anything which triggers an emotional response. These can be specific objects—like an old stuffed bear, a photograph, a house—, or stimuli—like a scent, a song. Tangible things like these are indicative of our nature. Humans like things. We like to collect, and tinker, and destroy. It helps if it’s shiny. It really helps when there’s fire or light involved.

Here's another thing about anchors:

They can be people.

They commonly are. It’s how we distinguish strangers from significant relationships—friends, family, partners. Anchorage is present despite the nuances between friends (just a friend vs BFF), and family (siblings vs parents vs offspring). And, partners—emotional anchorage explains how queerplatonic relationships come to be, because the fundamental element of a partner (being an emotional anchor) is present, it’s just the romantic and/or sexual implications are ambiguous.

Emotional anchoring is the process in establishing the anchor, leaving anchorage as this essay’s way to articulate the concept itself.

Borderline Personality Disorder will naturally encourage these attachments.

Within the community, BPD has a term: favorite person (or FP). It is as it reads. There is a designated favorite for us, and this favorite person can be a friend, a family member, or a partner—anybody, really. With FP, we begin to fall down the well in emotional anchoring as it pertains to the disorder.

Because, ultimately, a FP is either the strongest, or the only, emotional anchor an individual with BPD has. (For the sake of this essay, I will replace FP with primary/prime emotional anchor going forth, to be more consistent in word choice.) And the anchoring of this person is generally not intended. It just happens, where there’s a strike of intrigue, and everything follows thereafter.

The moment I anchor a person, it is a stark change from the indifference/apathy I display to I want to spend all my time with you, and I will literally die for you without a second thought. I will remember everything you value better than I remember my own, and I will present those nice things to you, at every opportunity. Tell me your favorite color once, and I will remember it for decades to come. Tell me to break my nose, and I may very well do it on the spot.

Which. Yes. Is intense.

Understanding the disorder behind it, however, allows me to take the precautions to…warn people beforehand. And to tell them upfront, if ever I am encroaching on boundaries, just say knock it the fuck off, Volt. In exchange…, I don’t take it personally. Because, uh, yeah. I can get intense. I understand. I may feel a type of way in the moment where boundaries are made, but that’s the BPD talking in my ear.

But also, I know I value someone being upfront with me more than a passive rejection. Frustration is what sets me off—the not knowing why—, not the rejection in itself. Because if I don’t know why, that’s how I interpret things as abandonment.

I have been rejected many times in life by people I’ve deemed emotional anchors. And it stung. A lot. Far beyond what I could ever articulate, but if I had to try, they are wounds carved to the bone, or with one, where my heart was quite utterly eviscerated.

There’s a deeper conversation there, with an anchor changing before my eyes. And, yes, it’s ultimately this which the essay will discuss in great detail. Through Violet.

Yet, before that, emotional anchorage is one of the few things that borderline has the chance to gift a person, because it’s not all bad. If you’re like me—where everything is null, and blurry, and static—, having a person suddenly there to awaken my body to speak, sharpen the world, and bring chaos inside my head… It’s a lot. It’s demonstrably a devastating thing, but in a very raw and beautiful way.

Demiromanticism, no doubt, is a reflection of how I express BPD. So to realize my demi ass has feelings, whenever it happens, is nice. …it also means I then have to determine whether it’s that, or a crush. And there is a difference between genuine feelings and a crush, and yeah, I prefer one over the other.

But. (And this can be platonic or romantic.) Having someone be that anchor grounds me, and while the relationship will have turbulence—because the boat I sail is on a river I can’t build canals for—, there brings such a confusing clarity to the world. I have a purpose where I didn’t think I did before.

It’s a high. A borderline addiction.

To not a thing, not a habit, but a person.

When it’s healthy, it’s everything, and I can brave all storms. When it’s not, it’s obsession and mania, it’s my boat trapped in a whirlpool with the anchor at the center of it all; I may break away, violently, or I will sink, and it will be the death of me.

…and when there’s no anchor there at all, I and my boat are to the whim of the river—because there are no canals, I have to rely on my boat to guide me and find an anchor. This can be where people turn to destructive behaviors. Substance abuse. Eating disorders. Everything alike.

Why though?

Why is it this way? Why do people like me sink their teeth and set anchorage like this?

This is where identity creeps its way back.

Because though anybody can develop emotional attachments, to the point of anchorage, BPD again does this to an absolute extreme. My personal anecdote may speak to it without debate. Understanding how identity gets itself involved further speaks to that extreme. BPD isn’t necessarily about the traits themselves, right? So rather, it’s how they manifest, and fester, and the mechanisms behind it all.

With identity, it hinges on what you find comfortable, and what you don’t. It’s guided by your feelings on things, and your comprehensive response thereafter. Passions turn into aspirations. Self-perception feeds into expression. And on and on.

So, if someone does not have a stable sense of self, there is a disturbance in identity. There’s no coherence to the person. Few consistencies, if any at all.

The identity is as stable as your regulation of emotions allow, and if it’s dysregulated, so will your identity.

A broken sense of self fractures a person. So we scour for stability. We do so in people. But with that broken sense, it’s easier to just swap out characteristics and emulate the environment, should there be a promise of stability. When this happens, it can be recognized as masking—because, debatably, it is—, but it can also go so far that people confuse this borderline trait with something like DID.

To those none the wiser, yeah, it might as well be DID. Because, like…, they just change so quickly. And if it’s a matter of mirroring different people, it can also imply that the BPD encourages the person to alter their personality depending on who they’re with at the time. Which. Yes. Has the capacity to resemble switching between split personalities from an observer’s perspective.

However. I have outlined (in quite the broad stroke) what DID is: a split in identities, in order to protect and shield the individual from further trauma. It’s dissociative in nature, where the distinct, established personalities will operate the individual at different times—given the nuances which come with DID.

BPD does come with dissociation as well—my personal experience with how I live day to day is indicative of, for simplicity, derealization and depersonalization. However, it’s not a split. What’s happening is this one identity does not have a stable, set personality. With the incapability to regulate emotions, it indicates a level of alexithymia. So how are we supposed to understand what we want, and don’t want, in everything from interests to moral standing? Things that a personality is grown from?

This copycat behavior is in itself a mechanism that BPD deploys. It’s kinda masking, not to purely to hide from and integrate into social norms, but also to find a sense of self through a very, very desperate act of scavenging.

In BPD, the best candidates to copy are the people who make us feel good—get a high from—, and that we want to be around, and whom we fixate upon—to a manic point: 

Those emotional anchors.

As we go back to Violet, keep this in mind. Again, no, there’s no feasible way to remark for certain what her relationship with identity is like, so the implications that emotional anchoring has on identity can’t really be applied. But the intensity—the level of fixation—can.

Because Violet struggles in her bonds with other people. There’s an idealization present to those bonds, and a devaluation. Both this good and bad, the highs and lows, are via anchorages.

So we’ll start with Minnie.

[Emotional Anchorage: An Obsessive Good Memory]

“Sophie was a good friend. And Minnie… Uh… We were close, me and her.” [Ep.1 | Done Running | Dorm]

When we meet Violet, amongst her introductions, Clementine learns about the twins from the two who still tend to their graves—Violet, and Tennessee. Not long after, there’s a card game, and not long after that, Violet finds Clementine and A.J in their dorm.

The one which was home to the twins.

“Huh. I see you’re, um…, settling in.” “Yeah. Is that okay?” “Sure. I guess. I always liked this room. Sophie had, like, paintings and shit on the walls. Lots of color. And Minerva…, she was really musical. [. . .] She had the most amazing voice. Real bluesy. [. . .] That was a long time ago. After they… Afterwards, Brody and Tenn took down all the paintings. And that was the end of it. I shouldn’t have even brought it up. It’s not a good memory. Guess I just lost my train of thought.” [Ep.1 | Done Running | Dorm]

The way she speaks of Minnie, there’s an adoration, and a nostalgia made bitter by the perceived tragedy.

Of course, those twins (…okay, well—) aren’t dead, they were traded. So even though Violet has yet to see Minnie, she is now a presence to her mind that isn’t nearly as bitter. She focuses on getting the school prepared for a fight, alongside Clementine, but through it all, yeah, Minnie is still there.

And when looking at the stars with Clementine, if Clementine remains quiet for the fish constellation, Violet comments,

“Bright, pretty, good with other people. Always moving, tons of energy. Sounds like anyone we know? The energy one is easy. Good with people, not so much. [. . .] Y’know, it… Well, maybe this is weird to bring up, but it reminds me of Minnie.” [Ep.2 | Suffer the Children | Belltower]

Minnie is a big part of her, despite their time and distance from each other. They grew up together. They got closer.

Another thing:

Violet never says girlfriend.

The only time where it’s “proclaimed” by the season that Minnie and Violet were girlfriends is through Clementine, where whenever A.J sees the carving in the fishing cabin’s wall, she can say,

“It means they were a couple. [. . .] Violet was Minnie’s girlfriend.” [Ep.1 | Done Running | Fishing Cabin]

Is it fair to assume that? Yeah. That’s…what carving a heart or potato with initials is supposed to symbolize.

But like.

Let’s be for real. What the ✨fuck✨ does Clementine know? Sure, she’s somehow not concussed after hauling ass in the sky, with a car. But she doesn’t know these people. Point blank.

We don’t know when this heart was carved. Just that it’s V + M (suggesting Violet did it, given the order), it’s out of the way from the school and in the fishing cabin, and it’s just shy from a bed (and alcohol).

Again, Violet herself never says girlfriend.

The heart could’ve been carved with Minnie there with her. Or, Violet was deep in mourning, and decided to brand the cabin—likely because it holds a significant memory.

…and Imma be honest, the cabin has a bed, and it is covered in bottles. Everywhere on the table. Some scattered around. So I will give the benefit of the doubt. Considering the…subtext around the fishing cabin, doing some quick math with my gamer instincts, yeah, if you leave youth (troubled or otherwise) alone, you might get Lord of the Flies, or…exploration. I guess.

It is clear that there was something. There is validity to “[w]e were close, me and her.”

The question then becomes why the ambiguity? Had TFS been made in a different time, and James didn’t have a boyfriend, and Violet and Clementine couldn’t be a couple, yes, it would’ve been Telltale beating around the bush.

Except even in this moment, Clementine outright says girlfriend in reference to a sapphic dynamic.

Because TFS was not made in a different time, James did have a boyfriend, and Violet and Clementine can kiss and hold hands.

The ambiguity indicates something else. That ambiguity is heightened the more Violet talks about Minnie pre-Broken Toys (saved Violet route). Because she speaks so fondly of her, with almost this conviction.

Yet…she still does not say girlfriend.

This is textbook. Given the essay, and what I’ve already exhausted over, it shouldn’t come as a surprise, but it is quite plain:

What Clementine stumbles upon isn’t a mourning over a lover; it’s instead, at its core, a lasting idealization.

With BPD, idealization is as follows:

“[A] way of coping with anxiety in which an object or person of ambivalence is viewed as perfect, or as having exaggerated positive qualities.” [Verywell Mind | Idealization and Devaluation in BPD]

This tracks.

Violet speaks so fondly of Minerva, with almost this conviction, yet she does not say girlfriend. Ever. Because the conviction is the intimacy, but Violet is a pragmatic individual. Though there’s idealization present, referring to Minnie as her girlfriend (for whatever reason) is too far for even her mental state.

Like she mourned Minnie for a year. She gushed about her to Clementine every chance she got. So…why not say it?

With this all established, TFS then allows us to witness how idealization in borderline often corrodes into devaluation—the inverse of idealization, its absolute antithesis.

“Used when a person characterizes themselves, an object, or another person as completely flawed, worthless, or as having exaggerated negative qualities [. . .] because there is often no middle ground for a person with BPD. Feeling challenged, threatened, or disappointed can quickly cause them to devalue the people they formally idealized. Rather than cope with the stress of ambivalence, devaluing functions to minimize the anxiety caused by ambiguity.” [Verywell Mind | Idealization and Devaluation in BPD]

This corrosion has a name. It is splitting.

Like with the previous definitions, I will allow my resource to explain this concept, because of everything this essay has to offer, it is this that the everything hinges on.

“Splitting involves an inability to hold two opposing thoughts, beliefs, or feelings. People who have BPD tend to view others in all-or-nothing [. . .] terms. “This self-protective defense mechanism aims to help people with BPD protect themselves from getting hurt in relationships. By labeling people as ‘good,’ they are able to engage in relationships despite the emotional risks. If they feel threatened, they can then quickly discard the individual or the relationship by labeling them as ‘bad.’ “Like most defense mechanisms, someone with BPD may not be aware that they are engaging devaluation and idealization. Splitting is a subconscious way to protect themselves from perceived stress[, and] reflects the challenges associated with maintain an integrated view of the good and bad in a person under stress. Some researchers suggest that some of the difficulty is rooted in the way the brain, particularly the amygdala and prefrontal lobe, activates in these experiences for people with BPD.” [Verywell Mind | Idealization and Devaluation in BPD]

…again, this essay has to break away from Violet and TFS to provide an insight, a discussion, of what this means for BPD.

I will start by clarifying that splitting from one end to the other is a bitch to deal with. The catch is not every person with BPD is incapable of reading the world beyond black-and-white. I’m one who can, …when I’m not in the midst of an episode. Day to day, I’m apathetic/indifferent—take your pick—, and because of that, I don’t give enough of a shit to really fixate on what is “good” and what is “bad” to me. I take everything as they go.

Because I really, really do not give a flying fuck.

The moment there is any seed of emotional attachment, or anchorage, it changes things. For me, it’s generally that I really adore this person, but they did something that hurt, and it confused me, so I shut down and close myself off. Namely so that I can have the time and space to breathe and process. Because I feel a lot for these people. I’ve gone over how intense that feeling is. And the last thing I want to do is hurt them.

So the moment I get confused, it boils into frustration, but frustration means ire with me. And that’s terrifying, because I don’t know what I can and will do if I’m backed into a corner. Because I know my brain shuts itself off.

The other thing to this as well is…it’s not always such a violent shift between idealization and devaluation. It really depends on how confused I am, the person, and then the time and distance laid between me and them. If there’s minimal distance between me and them, and minimal time between then and now, then yes, it will be explosive. If, say, a year has passed, and I have not seen this person within that time, then the splitting will look very different—largely because I don’t perceive it as an immediate danger, so my brain never shuts off, and I can process in the moment with reason. There’s still significant emotions there, of course, and given it’s still splitting, I do have that shift between the extremes. Difference is,I am able to regulate myself better.

Take note of this nuance, because it is absolutely present in Violet.

And we resume her relationship with Minnie, where we witness the corrosion from idealization, inching towards its antithesis. The process is best explored if Violet is saved, where it doesn’t taken an age, nor a day. It takes mere morning hours.

When spying upon the boat to get their bearings, and formulate a plan, they find Minnie chopping wood. Or, Clementine does, pulls a knife on her, before Violet intervenes. They embrace. Clementine has opinions off to the side. 

Then.

They talk. And Minnie… Um. Well. If Delta was inspired by the New Frontier, Minnie would’ve had a fat branding right on her forehead.

Immediately, it becomes evident that Minerva has no interest in going back to the school. Her loyalty lies with the Delta. And given the prompt, she will have this to say:

[Violet’s in charge.] “Really? The Violet I knew could barely stand to talk to people, let alone play class president. You’re the one who convinced the school to fight back. From where I’m standing, that puts you in charge. Your ‘leadership’ is going to get my little brother killed.” [Ep.3 | Broken Toys | Forest]

Huh.

Not only does what she say about Violet directly contradict what Clementine sees from her, Minnie is also blatant in steamrolling right through the testament, and tells Clementine that no, you’re the leader, and you’re bad at it because you are a threat to my brother.

It’s a little jarring. Because, one, ouch. That’s mean. Mitch died because he ran into a knife, and it was not Clementine’s.

But two, what?! Violet, whose first line to Clementine is snark about her driving, could barely stand to talk to people? Violet. Who stood up to Marlon, cleaver at hand? The one who Louis says (given the other route) will do just that to any threat?

Our Violet, who Clementine gets to know. The one who immediately took the role after Marlon because nobody else did? Despite the fact that, yes, she realizes there’s no promise that the schoolkids will actually listen?

Violet…is openly sardonic, is she not? Does she not confront people with a weapon?

It’s a little jarring, then it’s…dissonant the more you pick it apart. Because what is Minnie talking about? 

I will say, for sure, Violet changed within that year apart. But not to the degree that Minnie implies to us. We have Louis’ words for Violet, and then Violet herself—constantly brings up protecting the twins. And she’s shown she will. Violet will shoot Lilly if told. And Violet, after Marlon’s death, brandishes her cleaver to shield Clementine and A.J from the other schoolkids.

Maybe part of the change was that she vowed to herself that she’d do better after losing the twins. Wouldn’t be surprised.

…but Minnie didn’t like killing walkers, though. Which implies that, yes, Violet probably filled a protector role for her, in regards to the dead.

It’s baffling. I can go on and on and on.

Just as Violet did, between seeing Minnie after so long, and finding Clementine in her dorm.

“The thing is, seeing Minnie… I feel like it should’ve scared me. But it didn’t. The person we ran into in the woods, that wasn’t Minnie. Not really. The way she sounded, and acted… The way she talked about Sophie, and Lilly… I’m…confused, I guess.” [Ep.3 | Broken Toys | Dorm]

She voices the same sentiment.

But upon various dialogue prompts, the corrosion inches its way to Violet:

[She’s one of them now.] “It sucks, but…I don’t know what else I expected.” [It’s not Minnie’s fault.] “I never said it was. But it doesn’t change anything.” [We can save Minnie.] “You saw how she reacted when Lilly showed up. Those are her people now. And we are not.” [Ep.3 | Broken Toys | Dorm]

I do think it’s interesting that, even if Clementine says to Violet that Minnie could be saved, she says otherwise. Because Violet is pragmatic. Minerva coming back from the Delta is just not realistic.

So through time and distance, and the wake-up call in the woods, Violet expresses an acceptance of this. The fact that Minnie won’t come back. It’s not quite splitting, because…this isn’t a true devaluation here; it’s the idealization ebbing away.

“Minnie…, the real Minnie…, she’s gone. She’s been gone this whole time, and I…have to stop mourning her. I won’t let her take you or A.J. Or anyone else I care about.” [Ep.3 | Broken Toys | Dorm]

And she admits it to Clementine aloud. Promises her that she, and A.J, along with everyone else, will be protected from the Delta—from Minnie, if need be.

Not only that, if Violet is romanced, she makes a request:

“There’s something I’ve always wanted to try with someone I cared about. And I never have. [. . .] Have you ever danced with anyone before?” [Ep.3 | Broken Toys | Dorm]

I’ve always taken this line to signal how nervous, and how new Violet is to this kind of relationship. Because it is new to her. This is the first time where her feelings were reciprocated. She always wanted to try dancing with someone, but for whatever reason, never had with Minnie. And she’s nervous because…she wants it to be reciprocated, and Violet here is gaging a reaction, testing the waters.

In writing this essay, another thought occurred:

This is Violet moving on.

She’s nervous because there is a lot of weight to this request. She’s gaging what Clementine says, because Violet is invested now. All-in. 100%.

It’s not about Minerva—doesn’t even outright say that she never had a dance with Minnie.

Because by this point, through this dance, Violet’s realized just how unreciprocated her feelings were, because now, she has the chance to dance with someone who does reciprocate. And not just in the dance. Clementine’s loyalty extends further than that.

Another detail that I noticed is perpetuated throughout every interaction with Minnie is who she always prioritizes, and how it contrasts Clementine. With Clementine, of course A.J is first priority, and Violet understands that. And she goes out of her way to help with him. Conversely, Clementine helps with Tenn, and the school, and the other Ericson kids. All of which are who Violet also prioritizes.

Meanwhile, the same can’t be said for the other side of that contrast. Because it’s always what about Sophie and Minnie? from Violet, and never what about Tenn and Violet? from Minerva. It’s only ever Tennessee for her.

With the initial encounter, yes. She wouldn’t be asking about Violet because… Violet’s right there. She’s talking to her. However, we overhear Minnie talking to Dorian, asking to have Tenn join her. Not Violet. Then, further into the night, where suddenly she’s singing her own boss music and a red bar just takes up the whole screen, Minnie goes out of her way to claim Tenn.

And then, for good measure, axe Clementine.

But not because of Violet. Clementine gets axed regardless of who she saves, because Minnie…is far, far more pissed that Clementine put Tennessee in danger than anyone else. Including Violet.

The Delta changed Minerva. Yes.

Yet, Lilly never was able to remove her loyalty to her people. Her people being Tenn.

It’s telling, how (in)significant Violet was to her because all I read is…, it is nowhere close to the significance Minnie had on Violet. Because Minnie had other priorities.

She just happened to be Violet’s primary emotional anchor. And with that comes everything Violet could feasibly offer a person.

Here’s the thing to understand with this essay, and what I’m getting at with Minnie and Violet’s past relationship:

Violet anchoring Minnie is not Minnie’s fault. It’s not Violet’s either; a kid isn’t going to understand why they’re feeling a certain type of way, but when it feels nice, they will follow. Especially when the adults responsible for troubled youth are just…gone.

But what this does bring to light is a nesting place for borderline’s stigma.

Emotional anchors, splitting between idealization and devaluation—these concepts are the source for much of the fear against people with BPD. When gathering articles to reference at the end, some articles I pull from r/BPD on Reddit because having resources that are from people with experience asking and answering questions is incredibly valuable. Many discussions in r/BPD related to this (exchange primary emotional anchor with FP) are frustrating. For myself to read, because several are people not with BPD venting, but, I imagine it was frustrating to type out because…they’re venting for a reason.

Depending on the discussion, however, what is said is ignorant to all of what I know of my disorder. I know where it comes from. I know that the emotions behind all of what I do with anchorage are genuine. But then there’s people who vent, or there’s others who prompt a question because they are nervous that their friend (with BPD) is not genuine.

Of course, I can’t promise how other people with BPD are like. BPD is dependent on the personality, and if you have a shit personality. Um. Yeah. You’re not a fun person to be around. Sorry?

Not really, but, you know.

Stigma aside, it is true. I understand the insecurities, and the need to vent. Being someone’s anchor because of borderline is a lot of fucking pressure, and truth be told, it’s like that because…what if you just can’t reciprocate the intensity? After that honeymoon phase, people without the underlying disorder tend to get exhausted emotionally, meanwhile…, there is no cease from the other.

So people tend to draw away. They either do so quietly, in attempt to not hurt feelings, or, they’ll be direct and antagonize because of they stress they’re under. Either way, if the condition has gone untreated, the confusion this brings will then ignite the individual’s borderline. This is where you get insecurities born within the relationship, which the person can then go further and self-sabotage because there is no regulating themselves. You get constant bombardment whenever they feel neglected. They’re overbearing. You feel that their claws are dug deep, and it’s far deeper than you could’ve ever imagined.

Because there’s an anchorage.

If this is what happened, and Minnie entertained Violet, but never reciprocated the magnitude of devotion Violet brings with her… I can’t blame the girl. And given that Minnie was a troubled youth just as much as Violet was, she had her fair share of issues.

Because frankly, I don’t care if she was brainwashed or what, Minnie still killed her twin sister. You know, the one that has been in the same situations, the same environments, throughout Minnie’s life, yet when she saw the Delta, Sophie did not fold. Sophie actively fought against the Delta, whereas Minnie…complied.

Even before they were caught on the raft that Sophie planned to steal.

“One of the girls saw that this was a place worth fighting for, and her tears dried. But the other twin, she could never forget her old home. She rejected every gift, every opportunity. Stirred up trouble every chance she got. She convinced her sister to help her steal a raft and leave on the river. Of course, they didn't get far. What happened then, Minerva?” [Ep.3 | Broken Toys | Brig]

This Parable of Twins is, of course, by Lilly’s word, and yes, she did brainwash Minnie. So naturally, there will be an element here where the details are lost. I buy that Minnie did accept her place in the Delta where Sophie never did, but I don’t really believe that it was just because she saw it was a place worth fighting for.

The reality of Minerva is she’s a very conflicted person, and she’s passive by nature. She’s a good head taller than Violet, yet, when Violet talks about her (and Sophie), it’s always about protecting her. Because Minnie didn’t like killing walkers.

I also wonder if the reason why she’s so passive is because Sophie…might’ve been the one that got her and Tenn into trouble right with her, if she was more combative. As for the confliction, Minerva may have been caught in between—because there’s a combative twin, and then there’s a younger brother to protect, one who’s passive to a fault.

It’s this confliction and passiveness that has Minnie primed for manipulation. She will seek stability through, well, passive means. With the Delta, do as they say.

…and with Violet, it’s let the girl have her infatuation, maybe entertain it, but don’t cross too far into romantic territory because the girl’s a little too intense.

(Of course, Minnie is also the one who was practically dead herself while leading a herd by voice alone, to kill her brother and maybe do a little slashing. So like, she is just as intense, just…in less of a loyal kind of way, and more in fucking unhinged way. Because she also might’ve been the one to instill Tenn’s beliefs.)

Once it’s revealed what happened to Sophie, Violet snaps. She yells at Minerva.

But even still, there’s a slip of that anchorage:

“Who are you?! Fuck survival! Look at what you’re doing! Minnie, please, I just want to talk to you for a second! I’m sorry we never searched for you, for Sophie… I’m sorry we trusted that fucker, Marlon. If I ever thought there was a chance—” [Ep.3 | Broken Toys | Dorm]

Following this, time ticks away with a bomb in a boiler, so Clementine lunges for an escape—to get A.J back to her side. And Minnie tries to stop her.

With a knife near-identical to Jane’s in S2. And it manages to gouge a near-identical scar in Clementine’s sternum. A stark parallel to S2’s ending. Except, Violet doesn’t hesitate. The moment she is out of the cell, she disappears into the backdrop, then an arrow finds its place in Minerva’s shoulder not long thereafter.

She does stay at her side, for when the schoolkids leave. Perhaps for closure, if the previous dialogue gives any indication.

Because even though Violet shot Minnie, moved on from her with a dance, and realized that she wasn’t going to return, that anchor is still there. Minnie was, after all, still a significant part of her, and that…doesn’t really ever just go away. The idealization may have drained, but the feelings themselves do remain.

We then look to another Violet, who was taken rather than saved.

“At least here I have Minnie… [. . .] Don’t act like you know her. She tried to escape. Her and Sophie. They said if I fight back, they’d kill Minnie. Or one of you. All you’ve done is get us hurt or killed. If you fuck this up worse, I’ll stop you myself. And don’t think I won’t. I’m not losing her again, or anyone else.” [Ep.3 | Broken Toys | Brig]

And another aspect of BPD, and anchorage, becomes clear:

Borderline primes people for manipulation, much in the same way that a passive and conflicted nature primed Minnie.

There’s a flipside to emotional anchoring in BPD, and it has everything to do with how the disorder forces people to become reliant on their anchors. People who cannot discern nor regulate their own emotions, and people with a bleak, instable sense of identity.

Which is a problem because there are people who’re able to take a person’s emotions, and weaponize them as a puppeteer. They manipulate through any means necessary.

Most, in an effort to avoid being manipulated themselves, try to hide their emotions and keep them out of reach. They suppress them, because suppressing your emotions is how you get the most control, and nobody else.

Right?

Coming from experience, do not do this. Suppressing your emotions is the last thing you want to do.

Especially if you want to avoid getting yourself manipulated.

I felt that I had to suppress not just as a child, but before that, because I was in a fucked situation. And it did this to me.I have no control. Life is a writhing storm at sea, and I just fucking hope I can find an anchor within the storm’s eye—but I know there’ll never be a calm to this storm.

And the wrong people know this. The ones who prey and manipulate to abuse the loyalty I am so desperate to offer, and can pull it from me with ease, should idealization blind me from the warning signs.

When Violet is saved, she sees through Minnie quickly. Because it’s in how Minnie talks. And it’s weird, because Violet also includes how she talked about Sophie, when the most Minnie said was “she died protecting the Delta. A hero” once prompted by Violet’s concern. That shouldn’t have raised alarm, yet…something about it did. To Violet.

So she’s able to let go. Violet still holds the memory of Minnie quite dear to her heart—the one in her head—, but after this, it was more about closure, not bringing her back. And all it took was that one interaction.

But here, back to a Violet taken away, it takes longer. She’s not told what actually happened to Sophie; instead, both Minerva and Lilly feed into a broken trust with Clementine, and condemns Violet back to the girl who sat with Grandma’s body rocking behind her.

Her loyalty blinds her to what Minnie has devolved into, so she goes and tries to stop the bomb, save the boat, and secure a future with her because Minnie is all she knows and trusts.

Yet.

It’s broken when Violet does. Because Violet has her face marred by the bomb. She’s left to defend herself—blindly—as she clambers out of the water with a walker snagged at the leg. She asks for Minnie at first, is led by Louis, and then…it becomes clear what happened when they hear gunshots, clearing away the walkers.

Minnie. Is left. Unscathed.

Well, okay. She does, like, panic and stuff, and then gets bit. So, that explosion had been her death sentence.

But Minnie is not burned. Not like Violet.

Which…implies something. However it happened, Violet was the one closest to the bomb, and Violet was further down the beach, towards the boat, whereas when Clementine, A.J and Louis reach her, Minnie is away, towards the woodland. Getting her ass bit. A bunch.

She either got off the boat at a different (earlier) time, or, she just…abandoned Violet. To defend the last of the boat and her crew. And, probably, to look for Tenn.

Leaving Violet to realize something, and as she struggles to see the world, she begins to try and apologize. To Clementine. Who didn’t lie to her about the fucking bomb on the boat, and given that, it also kinda explains why Clementine didn’t take her sweet time consoling Violet from her episode because. Um. The bomb. 

Whatever it was that happened, it’s enough to rattle Violet to reason. And to snap her out of it.

Within one interaction. (…explosion.)

It’s…the little things like this—the ones that go unsaid—, which indicate Minnie’s sense of priorities, and how even when Violet actively worked to help save the boat, those priorities never were Violet. Before this, she manipulated and lied to her, and (via the alternative path) she never…danced with Violet, despite Minnie being the musical twin. Instead, Violet never danced, but she does sing now. 

Which again has me wonder, was it Minnie entertaining Violet, and/or, if the subtext found in the fishing cabin does indicate this, was it never romantic like how Violet wanted? Just physical?

I’m kinda losing my mind over here?!

There was always an imbalance. Violet always prioritized Minnie, and her sister, and her brother. She prioritized the latter two because of Minnie, and then prioritized Tenn after the sisters were traded off. Prioritized Minnie’s interests—singing, and took it on herself—, and left her own—like the dancing—to…wane in self-doubt. 

And then…, we have Minnie who killed her twin, and then went after Tenn to also kill him. The killing part is, well, the brainwashing and trauma, and stuff, but point being… Violet is still not in the equation. She’s an afterthought to Minnie.

This isn’t to say that Violet and Minnie’s relationship was downright toxic, or abusive, or anything along those lines. All we have is Violet’s word. But given Violet clearly glorified Minnie to herself, her word is unreliable.

What this is all to say is…, it was no mistake on Telltale’s part to have Violet physically blind, or then speak about how she had been blinded figuratively—before reality set in. Down one route, this was done by having the wool pulled from her eyes; down the other, it was the blinding in itself that brought her clarity.

It’s what I mean when I say that Violet’s unbridled loyalty is also her bane. She establishes strong and intense emotional anchors, to the point where should that anchor be lost, she will refuse to let go. And not because she wants to trap herself to that anchor, but because that’s…how BPD is. Attachments like this are really hard to shake off. But also, Violet didn’t know who else to turn to. 

There’s Tenn, sure, but she’s his protector, not the other way around. There’s some of the others—Mitch, Willy, Ruby, Aasim—who we don’t get enough time to really see how Violet is with them. Marlon she tolerates, but there’s a clear strain between them.

Louis— God, there’s Louis, and he’s the one that she is vehement about getting back—indicating that he is yet another anchor for her. Thing is, he was also Marlon’s best friend, and they are…opposites. A lot of conflict comes from that.

…this essay really doesn’t have much to say with Louis and Violet. In part because, frankly, I didn’t really know where I could put him with the points I strive to make. There is absolutely space for him, yet, another thing:

Their words for each other, when the other is taken, are enough. Louis and Violet say everything themselves.

I did give commentary to the dialogue quotes, but it was sparse for this precise reason. I don’t need to get into how quietly powerful their friendship is. Louis is the one who introduces Violet by name. He’s the one that promises Clementine that it’s just her way, because he knows her. If blinded, he’s also the one that she relies on to guide her. And despite Marlon, and perhaps despite even Clementine given the different routes, there is never a malice between them.

Which I adore TFS for doing, because it would’ve been easy to have them be rivals and fight over each other. Especially for Clementine.

But that’s also juvenile, and while those storylines have their place, it is not here.

Never has. Never will.

So there’s Louis. He’s an anchor. Yet, because he is the one grounded anchor Violet has of the schoolkids, not fazed by idealization nor devaluation… That is their dichotomy. It is unique of all other relationships Violet has before Clementine—after Clementine as well, should he be the one saved.

We have Brody. Who does represent a point of devaluation for Violet. The lowest to a volatile relationship.

[Emotional Anchorage: Walking Triggers]

Truth be told, in this most recent endeavor to write Violet’s deconstruction, Brody was who reignited the compulsion. Because there is a deep-seated complexity to what happened between her and Violet, and why it happened. …only for me to find yet another post somewhere that was made by a glanced judgement.

Its criticism wasn’t in any way toxic, which was nice because this fandom…has a mean streak. But it did harken back to borderline’s stigma regardless.

Devaluation is a very ugly mark on someone with BPD. Worse than idealization, in the eyes of many. It in itself is toxic,and this coping mechanism is one of the reasons why BPD a disorder with the stigma it portrays. There’s a dysfunction in the order within our behavior.

That dysfunction, and the subsequent behavior, provokes a defensive ignorance.

Violet is wrong to do this. This is an antagonistic trait of hers, and Brody gets the brunt of it. She had to live with this for a year.

However, making blanket assumptions is reductive, especially in a discussion where it’s about understanding the how and why. There’s a reason why Violet devalues Brody. The path to how it happened in the first place is actually quite apparent. If you know how to read the signs, you can see this happen a mile away. So through understanding the how and why, it’s easier to 1) avoid it entirely, and 2) navigate devaluation if/when it does transpire.

Both Brody and Violet together make one mistake, and the fix is straightforward. Not easy, but straightforward.

Before that, though, we first shall establish a few things.

For one, Violet is…a lot. Don’t let her apathetic demeanor fool you. Just look to the previous section—that alone is enough to prove otherwise.

Along with the apathy, Violet is sardonic. She’s aloof to people when she doesn’t have strong attachments, but, she likewise shows to be pragmatic and reasonable. Which like, same. I wear belts and layer my jackets with vests too.

…and I also know what this kind of character implies: Violet is a little bully. She absolutely has the capacity to be cruel.This is also confirmed later, where at Ruby’s hootenanny, there’s mention of an Erin with braces that Violet would make fun of. (Probably because braces are hard to take off; they are a little goofy in an apocalypse, but also…really unfortunate the more it puts stress on the mouth and dental structure.) Violet then comments that she didn’t know why she did.

I wear belts and layer my jackets too; upon reflection, I did the same thing as a kid. So I have some insight to this which may explain the why here. Given how Violet speaks of this schoolkid, I’m willing to bet that Erin wasn’t someone who Violet had strong emotions for, one way or the other. She likely was pretty indifferent to Erin.

So, if that is true, Violet being a bully here comes from a place of 1) being apathetic, and not reading social cues like she should’ve, and/or 2) Erin was an outlet, but not a personal one. 

Snide comments, and other slighted behaviors like this, they do not register. 

Nothing clicks up here, behind my eyes. The comments are too brief to. So where this lashing out is coming from, it happens so swiftly that, by the time it leaves the mouth, I don’t know where it came from. There’s not much feeling to it. It was an impulse. So I just continue on my way, and never consider why.

In this way, there’s no malicious intent, it’s just cold. But outwardly, cruel.

A lot of times, to me, it was just play. 

This is how a play with you. I make fun of you; you make fun of me. If you get hurt by it? Well. That sucks. Anyway—

Which, yes, is toxic, and I’ve realized, and I’m an adult now and I…don’t do that. Kind of. Social cues are a thing now, and I’ve gotten myself more aware of people. But I still do like poking fun, with the full expectation that it’s dished back.

Granted, I don’t know just how much of this applies to Violet. She has her insecurities, and is nervous when bringing herself to the table. And I am definitely not that—it’s not a confidence; I don’t care enough to be confident, I just do my thing.

But. This does establish a pattern with Violet, and with BPD, the disorder reflects the personality. There are common traits to BPD, but the expression of those traits varies depending on the person. For someone like Violet, who is already rather cold, this means any trait of BPD which stems from a cold demeanor will be present, and elevated. To borderline’s extreme.

Or, because Violet already can be cold to people, where devaluation is concerned, her personality makes it ten times worse. It doesn’t end. She makes comments—except, now, because there is significant emotion behind the comments (to Brody), it is to sting. It is cruel.

But…, it’s also complicated.

The bond between Brody and Violet is first made to be antagonistic, and Violet’s the one who perpetuates. Unlike the night before, where she with Clementine had a nice banter going in the dorm (if a tad guarded), Violet on the way to the cabin is hostile. Her words aren’t aggressive, but they’re instead dismissive at best, scathing at worst.

Brody does push back a little, and tries to brush it off, but it’s quite plain on her face that this does get to her.

In the cabin and away from Violet, Brody gives the context. It’s not just the words themselves hurt, it’s the fact that there’s a history there.

“Hey…, about Vi… I’m sorry she’s being a little mean. It’s my fault. [. . .] I was there when those walkers killed Sophie and Minnie. They were really close with Vi, and…I think she blames me for what happened to them. I mean, how do you even apologize for something that fucked up? I don’t know. Maybe I deserve it.” [Ep.1 | Done Running | Fishing Cabin]

Violet is hurt. Brody’s guilty.

Then, there’s a second, damning piece of history that explains why Brody, of all the schoolkids, gives the most insight to Violet’s mental health, and why this is happening.

“We all used to be friends. Guess I kinda just missed that.” [Ep.1 | Done Running | Fishing Cabin]

In the same way where it was textbook idealization for Minnie, this is textbook devaluation.

It’s made complicated because they were friends—good ones, considering they’ve been stuck in the same place since the outbreak—, but now there’s a negative connotation. That being the twins.

And remember, devaluation is an avoidant mechanism. Ambivalence is confusing, and that agitates a borderline personality.

Brody can then explain more, depending on the prompted dialogue:

[She’s…intense.] “She’s always been a little bit like that. But after the twins died, she really closed up.” [It wasn’t your fault.] “Still, I was the one that had to break the news to her. And ever since I did, she’s become distant.” [You should talk to her.] “Yeah, right. I tried, I have. It just never seems like the right time.” [Ep.1 | Done Running | Fishing Cabin]

Once again, Violet is distant where she wasn’t before.

But we also get a further confirmation that Brody is the one with the negative connotation, and it’s because she was the one who had to tell her. …which in itself is an interesting choice of words, but we can assume Marlon pressured her once the conspiracy is revealed.

Then another confirmation, to the fact that opening a conversation has not been feasible.

Turn to Violet, and she first says this:

“God. Sometimes she just gets on my last nerve, you know? [. . .] I mean, it’s— It’s not like I hate her… I just… ‘I wish we could all go on a road trip together.’ God, she’s so…ugh. You know? [. . .] I don’t know what the problem is between us. With Brody…, I don’t know why it’s like this. Why is it so weird? I can never relax around her. It just keeps getting worse.” [Ep.1 | Done Running | Fishing Cabin]

All of this is telling. Violet is very animated here, both in how she says it, her shifting tone, and what she’s saying. First it’s a comment. Second it’s admission. Then there’s that sardonic tongue, an ask to gage whether or not Clementine understands, before it all breaks and she goes back to admission.

The last couple lines say something crucial to know when understanding the dynamic here. And if a player is impatient with dialogue, they will miss these.

I can never relax around her. It just keeps getting worse.

So Brody is a walking trigger.

Within the bounds of splitting to devaluation, this happens when an emotional anchor develops a level of ambivalence, but because anchors do not just go, the anchorage is instead insecure, rather than the source of stability once relied upon.

Yes. Brody is another of Violet’s anchors—just not the primary one.

And what it means to be a walking trigger is…devastating. Not just for Brody, but for Violet as well. She doesn’t have the support Brody gives her anymore. Can’t trust it. Because every time Brody walks in the same room, Violet cannot relax. She is agitated.

Don’t take this to mean in a figurative way.

It is literal.

Triggers rise from people an emotional response. In BPD, this often means that the brain will shut its reasoning off, and prioritize this “survival” instinct. Fight-or-flight.

So when Violet says, I can never relax around her, this isn’t a oh I’m nervous, I don’t know what to do. This is I cannot function when she’s in the same room as me. Maybe she’s hypervigilant around Brody. To the point where Violet cannot stand Brody anywhere near her…

So she sabotages. She’s cruel to Brody in the comments she makes. She does not allow Brody to get close, because it is too much. Rather than a calm, reasonable state of mind, Violet feels things. A cold pit in her stomach. A dwelling ache in her chest, or a knot in her throat. Can’t focus on what she’s doing—Brody’s there.

And the easiest way to stop it is to push Brody away.

And, and, initially, blame the girl.

[Because you blame her.] “Well, that’s what I used to think. I just keep thinking that things might have ended differently if I was there. Maybe I could’ve protected Soph. And Minnie…” [Ep.1 | Done Running | Fishing Cabin]

There’s a confliction here. Violet did blame Brody, until she realized it wasn’t that. Instead, she blamed herself.

It’s the following prompt, however, that gives the best clarity to Brody and Violet. The prompt,

[Because she never said sorry.] 

where Violet tells Clementine exactly what the trigger is—because by this point, a year later, she’s figured out how to articulate what it is:

[Violet] “She tell you that?” [Clementine] “More or less. She wants to talk about it, you know.” [Violet] “I just… I feel guilty about the whole thing.” [Clementine] “Why?” [Violet] “I was supposed to be out with the twins that day. I wanted to work in the greenhouse, so I asked Brody to cover for me. But then… I didn’t even get to say goodbye. I… I wanted to talk to Brody, to tell her I didn’t blame her for what happened. But every time I tried, I was reminded of who we lost. It was easier to just not talk about it.” [Ep.1 | Done Running | Fishing Cabin]

If BPD isn’t a lonely experience, or a humiliating one, it can be a guilty life to live.

Violet expresses why losing the twins hurt as much as it did: there was never closure, and she blamed herself. Hence why, earlier, I suspected that seeking closure was what kept Violet at Minnie’s side after shooting her.

She was finally saying that goodbye, regardless of how the interaction itself went.

But it’s what she says about Brody.

Violet wants to talk. She has wanted to. But Brody’s a walking trigger. Every. Single. Time that Violet tried to talk, the same turbulence arose. In BPD, without that regulation, it is unbelievably difficult to talk when…your body’s actively flipping the fuck out.

A cold pit in her stomach. A dwelling ache in her chest, or a knot in her throat. Can’t focus on what she’s doing.

Of course she found it easier to just not talk about it. That is an instinct ingrained by borderline.

BPD is a lonely experience every time you lose an anchor this way. The disorder is humiliating because you do not want people to see you like this, when you’re in the midst of an episode, and you have no fucking control over your body, so you yourself are flipping the fuck out.

And it’s guilty. Because when you’re in Violet’s position, where you know the reason why, you know what you want to do, but your body works against you at every turn…

It devastates a person.

Because it is your fault. You did this yourself. Reap what you sow. You’ve done it again, it’s humiliating, and you are very, very alone because you just cannot stop burning bridges.

…in the apocalypse, being chained to a boarding school does not help. There is no way to give the time and space someone like Violet needs to think, and to process, and to let those emotions relax. Brody kicks up those emotions whenever she’s around, and the dust just never settles.

Violet trapped herself in a cycle. By the hour, or by the day, for a year, it would’ve been a ceaseless agony.

One that did scar over. Violet probably got used to it, and found a routine to the snide comments. It wasn’t like Brody was leaving anytime soon.

Until she does, and she suffers a disorientating last few moments.

I’d like to think they made amends and had a full conversation. I don’t know, however. But, at least Violet does take the first step when walking from the cabin, and she entertains Brody’s fantasies about a road trip, and that she would’ve had her sights on the Grand Canyon.

Because the one mistake they made was they never talked. It wasn’t going to be an easy thing, but it is that straightforward. So when they did, or began to, the devaluation began to ebb away.

Then, a tragic irony.

Brody’s guilt was never just I’m not Minnie, so she hates me, and it’s my fault. Rather, Brody’s guilt was warranted, and quite honestly, yeah. She should’ve be guilty, because it’s I watched as my leader gave this girl’s world away, and did nothing, lied to her, to her face, for a year.

Violet didn’t know this at the time. So for her, Brody was a point of devaluation because it’s her mental health actively jeopardizing things, not the truth and circumstance. The deception, in the conversation of that mental health, instead plays itself like salt to a wound, and then a tragic irony once Brody was murdered for it.

Because Brody knew they had to tell people. If the path to mending their relationship was encouraged, then it could be read that it gave her the inch to confront Marlon. If otherwise, Brody wanted to tell everyone because she needed to, despite what turmoil the truth would’ve caused Violet.

By the time Violet does know, and there’s a funeral, she says this about Brody:

“Brody, she was… She was real sweet. She had big dreams. And we all knew they wouldn’t come true, but we didn’t care. And we didn’t care because when she was talking, whatever she said seemed possible. [. . .] I don’t know if she found the place she dreamed about, but I’m gonna miss her.” [Ep.2 | Suffer the Children | Courtyard]

There’s forgiveness. With Brody died that devaluation.

Not a moment thereafter, however,

“Marlon was… I can’t. Not for Marlon. After what he did to the twins and Brody, I—”  [Ep.2 | Suffer the Children | Courtyard]

The cycle continues.

Now with Marlon.

If Violet devalued Brody, she absolutely vilified Marlon. Because not only was it about the twins, there’s also Brody.

So of course she didn’t give him any peace after the fact. Why would she? Marlon had his own complexities, yes, but those complexities hurt. They brought another ambivalence.

As the essay rattles from the schoolkids, we’ll discuss another relationship now. A new, fresh one. Clementine, through who we see all of it—the emotional anchorage, the idealization, and devaluation. The splitting between. How intense Violet can be, and how volatile.

We have Clementine, who is given the chance to witness what Louis means for this wallflower, and that she grows on you (he promises so).

[VIOLENTINE: The Ship, and its Anchorage]

Platonic or romanced—the difference doesn’t matter in this essay. The shift of context between friend and more than that is just that: a shift in context. Distinguishing the two will have its moment, but it is hardly integral to the fact of the matter:

Violet anchored Clementine, and she did it swiftly. (In record time, dare I say.)

In regards to the arguments against romancing Violet, there’s a lot of people who look to Minnie, then back to Violet, and point to Clementine’s “girlfriend” dialogue. “Violet’s not over Minnie,” is a common one, right alongside, “Clementine’s just a rebound.”

Now. I’ve spent 5.5k words tearing those arguments to shreds in one section, and I still have with me another few things to say about Minnie and Violet’s relationship up my sleeve. In light of Clementine and Violet’s relationship.

Because even though I do buy that they were closer than friends arguably would be, they weren’t girlfriends. It’s why Violet was insecure within their relationship, and why that insecurity devolved into a strong case of idealization. Violet genuinely did love Minnie. Her bond with the twin will honestly forever be there, but that bond wasn’t unconditional. The conditions were at the cost of Violet’s mental health.

Then there’s the rebounding, and I will use this as a jumping off point regardless of relational status.

Rebound relationships are defined by a partner still with a previous relationship’s baggage. They’re not done healing. They haven’t quite let go. It gets in the way for committed relationships where the expectation is that both are in it 100%, and that person just…can’t. Because they’re still fixated on the last partner.

…which yes, does sound like Violet. Cuz it kinda, sorta, frankly is.

However. For one thing, this dynamic doesn’t just apply to a Violet route opted for romance. The rebound applies to a platonic dynamic, in part because I don’t frankly believe Minnie was a true girlfriend, and in part because idealization is not specific to partners. Especially in what we see in TFS, Violet needed to let go of Minnie regardless.

Then there’s the fact that being a rebound isn’t always bad. To rebound, which is where the term “rebound relationship” derives from, means for something/someone to bounce back. Or, it can mean a kind of backfire. Both uses of the word can be applied to relationships like this, which, yes, is why they’re fickle, and why people do their best to avoid.

Here’s the thing: Violet needed a new relationship to pull her out of the old one. Because Clementine is a catalyst for Violet, and she was anchored so quickly because whether Violet herself realized, she did want to move on. She couldn’t, but through Clementine, she got the chance.

And I do confidently say that she did want to, because by one interaction in the woods, Violet is disillusioned from Minerva immediately. She’s snapped out of what image she had of her, and is the one that remains realistic where Clementine can offer supporting words—along the lines of we can get her back.

It’s why Brody, through the cabin’s conversation, observes the same.

“We all used to be friends. Guess I kinda just missed that. But when you showed up… I don’t know, I just haven’t seen her warm up to someone in a long time.” [Ep.1 | Done Running | Fishing Cabin]

I find it interesting that Brody picks up on Violet taking to Clementine so quickly, and is able to read enough into this to try and see if it’s enough of a push for Violet to start healing. She’s right, it is enough, and Violet does take a first step in mending their relationship, and breaking away from the devaluation that was arguably heightened by her idealization of Minnie.

…granted, it’s dependent on player choice. There are Violets running around out there having fished with Clementine, but never did reconcile with Brody.

In any case, I am going to argue against Minnie being Violet’s ex because 1) who the fuck cares, I’m not concerned over purity over here, and 2) it’s likely they weren’t exes at all.

However, I won’t fight against this being a rebound. It is. But, Violet’s arc is about learning how to let the fuck go, she has a problem with letting go, so of course the relationship would be a rebound by proxy. A healthy rebound, at that.

By the time she is forced to let go of Clementine, after two newcomers are voted out, her attachment is made quite plain the moment Clementine is in danger within— What, five minutes, and Clementine is at gunpoint?

Regardless, Violet is there, bow at hand, with Louis behind her. She is ready to shoot, and it is no bluff. Violet will if prompted. Or, she will run should Clementine prioritize getting the two out of it.

Because Clementine’s already anchored. Violet trusts her to make the call, and she will follow without hesitation. Later on, after a weary night with A.J shot, then a morning of crawling back for medicine, Violet calls for Clementine to talk in the office. And in there, the anchorage is confirmed further:

“What happened out in the woods… I saw they had you pinned, and I… Shit, I got so crazy. “I know you think I didn’t do enough for you and A.J, but when I saw you were in danger, I had to do something.” / “When I heard you call for help, I didn’t even think.” [Ep.2 | Suffer the Children | Office]

The second line is dependent on whether or not Clementine blamed Violet before, as her and Louis walked the exiled to…exile. And stuff.

But, her account as to why she ran right for Clementine, and pulled an arrow on Lilly says everything I got so crazy, I didn’t even think, I had to do something. Clementine roused a trigger.

This time, in a very good way. Well, as good as the circumstances. In any case, this does count as a trigger because it’s inciting an emotional response, and given Violet’s wording, a fight-or-flight. (I realize triggers are specific for negatives; for the sake of brevity, I don’t care. I still say it counts.) It’s the reason why, before, when I detailed how I personally get with my anchors, I do similar things. No, not literally pull an arrow on someone, but I act on impulse without care, because I just want to satisfy their needs to the absolute fullest. It’s genuine, but it’s also triggering—under a positive connotation.

After this, of course, we push into Violet leading the school as they prep for an attack, with Clementine right alongside her. Whatever happens during this time is unknown, just that the school built-up the walls, laid their defenses, and focused on instruments to help, such as traps and explosives. Shortly after the time-skip, of course, we get the belltower sequence.

Starting with an inquiry:

“I know you came back for medicine, for A.J, but after that, you could’ve just left. Avoided all the bullshit with the raiders. Why didn’t you? Sorry, I know that puts you on the spot. You don’t have to answer. We’ve all got our reasons.” [Ep.2 | Suffer the Children | Belltower]

Violet asks something that has likely been on her mind for a while, but then… Not backtracks, but she does relinquish the pressure for that answer.

As their time at the belltower continues, it’s clear where the question came from.

“Sorry, I didn’t mean to just…talk so much. It’s just, I’ve watched people leave before. Family, friends. They never come back. But you did. And now I can’t imagine what it would be like if you weren’t here. Um. Shit, that sounds so much dumber when I say it out loud. You know what I mean.” [Ep.2 | Suffer the Children | Belltower]

Violet’s hesitancy to speak her mind, be vulnerable, is interesting, particularly because it’s about doing so too much. It’s a very specific one, with ambiguous implications. This could be an anxiety she put on herself, or, this was something that she took after a mention that she was talking too much, getting too personal, one way or another. Then there’s also another thing, where it sounds dumber than she intended. As though when speaking her mind, Violet has an idea of what to say, but she doesn’t know quite how to articulate it.

This is a really good line of dialogue, so that latter insecurity is just that: an insecurity.

Nevertheless, this speaks volumes because it’s the first verbal admittance to an issue with abandonment. All the adults left her life, and never returned. Those include her parents, who never tried to get back to the school. Her grandfather died, so not his fault, but her grandmother shot herself right behind Violet. Which is abandonment, and really fucked to do. The teachers of Ericson’s…

Then fellow students. Most probably died, including Brody. And the twins were taken away.

Abandonment is a huge thing.

So we turn to the route where Violet is taken. And it’s not good. Violet reacts as predictably as this essay has outlined.

[Clementine] “Vi? What happened? Are you okay? Violet, talk to me… We’re here to take you home.” [Violet] “I looked for you. When they grabbed me, I saw…you let them take me. I’m just supposed to forget that because you’re here now?” [Violet, if platonic] “Some fucking friend you are.” [Violet, if romanced] “Some fucking feelings you had for me.” [Ep.3 | Broken Toys | Brig]

Here we have now a fresh faultline within her and Clementine’s relationship. It brings ambivalence. Upon seeing Clementine, she’s plunged into an episode.

And Violet splits. Her image of Clementine is distorted, so she falls back to the same pattern she did with Brody, and she is hostile.

[Clementine] “What’s wrong with you, Vi? Come on, let’s get the hell out of here.” [Violet] “No, Clem. I’m done. This whole situation is so fucked! At least here I have Minnie…” [Clementine] “You mean the Minnie that betrayed us?” [Violet] “Don’t act like you know her. She tried to escape. Her and Sophie. They said if I fight back, they’d kill Minnie. Or one of you. All you’ve done is get us hurt or killed. If you fuck this up worse, I’ll stop you myself. And don’t think I won’t. I’m not losing her again, or anyone else.” [Ep.3 | Broken Toys | Brig]

We also have Violet manipulated on top of that, led instead by Lilly and Minnie’s word, not Clementine. Because BPD primes people to manipulation, especially in times when they’re at their most vulnerable. But, throughout these interactions, we do see Clementine attempt to console her, and talk.

Violet, however, is not open to. She is not in the right state of mind. This is a BPD episode, so Clementine is not able to get through to her here. Violet does not trust her—too much ambivalence. Mitch’s death is fresh on her mind, she’s been lied to by Minnie about what happened to Sophie, and with that lie, she was told that more people would die if they did not listen.

And of course, the more time is spent, Clementine starts to get frantic as everything escalates because there’s a fucking bomb ticking away in the deck down below. So there comes about an urgency, and she can’t spend that valuable time consoling Violet.

So she starts chipping away at the door. 

“What the fuck are you doing?! You’re gonna get us all killed!” [Ep.3 | Broken Toys | Brig]

And Violet does precisely what she said she would do, and she attempts to stop Clementine herself. Because there’s Minnie again, but she also doesn’t want anyone else to die either.

Lucky for Clementine, she is stronger, and she is able to overpower Violet within a minute. However, in trying to get the cells unlatched, then to find her way to A.J, she herself is overpowered by Minerva. The urgency and stress associated backs Clementine to a corner. She still doesn’t want to see Violet hurt, so, she explains,

[Clementine] “We planted a bomb on the boat!” [Violet] “Fuck you, there’s a bomb! Mitch is dead! You just… Fucking go!” [Ep.3 | Broken Toys | Brig]

…and again, Violet does not trust her. Mitch’s death is still fresh on her mind. Everything that Lilly and Minnie fed to her is still present.

Then, the bomb goes, and it takes Violet’s sight with it. Even on the beach, she asks for Minnie, amidst confusion because, somewhere down the line, they got separated. Louis has to be the one to support her. By this point, and some beats after, it feels like this is another Brody. Like there’s no turning back, not until a long, long year where Clementine would be in the same shoes.

Minnie makes herself known, though. She’s off in the woodland, with her people. 

And that is when this Violet has the wool pulled from her blinded eyes, because she realizes what happened.

The moment is brief. It’s very easy to miss. Yet, the attempts Clementine gave on that boat to console her, before the urgency really began to set in, was not fruitless.

Violet tries to apologize:

“Clementine? The stuff I said on the boat, in the cell, I, uh…” [Ep.4 | Take Us Back | Beach] 

It’s not the right time for it. The schoolkids need to get off that beach, but this brief moment is huge.

The thing about episodes is, yes, in the moment, the individual is not consolable. There’s no reasoning with someone who is shut down. However, the attempts to try and console, and/or any verbal promises to leave the door open for when they’ve calmed down, the effort can be recognized and appreciated.

Once Violet snaps out of it, that’s precisely what it was. She understands that Clementine was never trying to hurt her, nor did she come to her disingenuous. Clementine was there to bring her back, because the situation was exactly as Violet herself said—fucked.

But still… Clementine was there to bring her back. 

Either way, Clementine proved herself to Violet, because down this route, she left twice, and came back both times.

Of course, the night does not end there. Clementine loses a leg. Another schoolkid is gone.

So through the weeks thereafter, Violet gave herself the time, and then, she tries again with the apology:

[Violet] “I wanted to wait ‘til you were up and about, but how I behaved on the boat… It was really unfair. My head was so messed up—by Lilly, and… And Minnie. I was so wrapped up in my own shit…” [Clementine] “It’s okay. You went through hell in that boat, and I let that happen.” [Clementine, if platonic] “I’m just glad we got you out of there.” [Clementine, if romanced] “I’m just glad I got you back. I was so worried I’d lost you.” [Ep.4 | Take Us Back | School]

In this apology, Violet articulates the position she was in, and admits the kind of influence Minnie was to her—not a good one. And in turn, Clementine acknowledges her. She doesn’t demean Violet for what she did. On top of that, she expresses how she’s just happy that Violet is there in the moment.

This route is bittersweet. We have the beginning, where Violet is guarded, then she warms up to Clementine, finds an anchoring point, and acts upon a fierce loyalty. Which then is hurt when Clementine chooses to save Louis instead. The time on the boat is very bitter because…the truth about borderline is, yeah no, it does not care who the person is to the mentally ill. The disorder is a disorder for a reason. It will hurt, and it will put a strain and test a relationship.

Then you just have the big fuck you axe where Minnie…effectively was the one who managed to wound Clementine, have her get bit, and then lose the leg. Which isn’t really how an eye for an eye goes, but that’s what this route goes with.

But then…, it’s sweet. Because Clementine did the right things, with what stress she was under.

She tried to talk to Violet, and in doing so, she left a door open for Violet to crawl back through when the time was ready. It was sooner rather than later for her, since Minnie… Whatever. However, it’s an apocalypse; a boat was just blown the fuck up. So while it was the time for Violet, it was not the time for literally anyone else. Ergo, a second attempt, to which there was resolve.

Clementine and Violet did not make the same mistake that Brody and Violet did.

And that’s what saves the relationship.

Now, let’s waltz all the way back and save Violet, just to show what Clementine and her do right to build a healthy connection, whereas her and Minnie went wrong. To do this, taking a brief visit to the romantic will help in dissecting an evolution found as the episodes progress.

After the bits of dialogue in the beginning of this section, Clementine can choose to confess her feelings for Violet. It can be solidified by a kiss, or a question for a relationship, or…a meek silence, to which Violet is able to read and feel the same. Clementine can also express confusion, in that she needs the time, but express the interest all the same.

There’s a sweet moment here, and with the kiss, it can also be a touch awkward because…

Okay, they kind of flounder. Violet more so. Which is interesting to note, because Violet “supposedly” was in a relationship before. Sure, the moment on its own doesn’t mean an experienced person wouldn’t be any less awkward, but with the following steps in their relationship, it does support the suspicion this essay has in that she never had a reciprocated, romantic relationship with Minnie.

The moment where Violet asks Clementine to dance, and is nervous to do so, is one of those steps in the relationship:

“When you told me you have feelings for me, I was shocked. Then I started thinking. There’s something I’ve always wanted to try with someone I cared about. And I never have. [. . .] Have you ever danced with anyone before? [. . .] Do you…wanna? Just us. No one else around. I mean, I know it’s kind of weird, but it’s something I’ve always wanted to try.” [Ep.3 | Broken Toys | Dorm]

It’s a step in way of romance (Clementine even remarks after how they’re getting better), but it’s also a step in Violet’s confidence in being vulnerable with someone. She’s still clearly anxious here. Violet still has some of that self-deprecation, and it comes back if Clementine rejects the offer because the idea was stupid, or something along those lines.

But she still does ask. And it’s a big ask, because this is important to Violet. So if Clementine reciprocates the dance, it’s yet another sweet moment, and it builds the confidence within for this relationship further.

Before the night, Violet can tell Clementine how she got to Ericson’s. Then, through the night itself, she backs Clementine every step of the way. Shoots Minnie. Escapes with the schoolkids, only to come back and find her with Tenn and A.J, safe and sound.

During their walk, Violet opens up again. This time, there is none of that self-deprecation, and Violet even gets choked up—but she’s not really ashamed for it, she just continues and says her piece.

“While we were looking for you guys, and I… I thought you might be…gone for good…, um, shit. I was trying to figure out what I’d do if you were gone, and I realized how goddamn stupid I was. About Minnie. For a whole fucking year. I was so wrapped up in losing her and Sophie, I pushed away everyone who tried to care about me. Marlon, Brody, Louis. Even you and A.J. I tried my damnedest not to care about either of you. And I still couldn’t tell you why.” [Ep.4 | Take Us Back | Forest]

She admits everything. Is so very open to Clementine, and tells her what is on her mind. There’s Minnie. There’s what she regrets.

[You were afraid] “I was a goddamn coward. I’m not a coward anymore.” [I’ve done the same thing.] “And then you wonder why you fight so hard to stay alive. I don’t wonder anymore.” [You cared about me.] (Platonic) “I didn’t expect to find a friend like you, not ever again. But I’m really glad I did.” / (Romantic) “Yeah, I did. Way more than I meant to. I’m still kind of amazed we found each other, you know?” [Ep.4 | Take Us Back | Forest]

By this point in the story, Violet has undergone her arc.

She is a changed person because of Clementine’s influence, and she sees what she either didn’t see before, or did but had forgotten. Through a rebound, because Violet just needed a second chance to redeem herself.

Now…, she didn’t expect to find a friend like Clementine ever again? It’s interesting that Violet indicates Clementine was a second chance with the platonic route, not the romantic. Is this her quietly admitting that Minnie was never beyond a friend, actually? Or is this in reference to Brody and Sophie instead?

I dunno. Just found that interesting, since she could have said an equivalent for the romantic dialogue. In any case…

There is something so profound with how this relationship contrasts the ones which came before. As a friend or partner, Clementine never gets to the point of Minnie’s idealization, nor Brody’s devaluation. Both are antithetical to each other because they balance on the same scale—that being insecurity. Violet cared for Minnie and Brody deeply, and those emotions are genuine.

However. 

Minnie was put on a pedestal because there were faultlines to that relationship which Violet did not want to face. Brody, instead, was degraded because rather than faults, it was easier to ignore the good sides to Brody. And the good sides were a really, really sweet girl who dreamed of a better life—something that Violet could never see for herself after the twins.

Then there’s Clementine.

Even at their worst moment, where Violet’s trust in Clementine waned, she still did trust her. Clementine told her there was a bomb. Violet snapped because Mitch was the one who knew explosives, and he was dead. And yet, she got herself blinded because she knew Clementine wasn’t lying to her. She trusted her enough to know…

Well yeah. There’s a bomb.

Beyond that, however, Violet decides to do some arts and crafts, even though she says they’re stupid. Or Violet’ll ask for a dance that she’s desperately yearned for. She’ll talk to Clementine, a lot, even if she didn’t mean to do it “so much.”

Clementine as an anchor never truly corrodes. It’s tested down one of the routes, yet by the end of it, the relationship is maintained.

…there’s a final note which taps into this.

We come back again to identity one last time. For a brief anecdote—nestled within the shadows of what exhaustion this essay has gone over with Minnie and Brody, and now Clementine—, but an important one. Violet’s sense of identity will remain to be untold because we don’t have that perspective. She never talks about herself like that, so there’s no true insight for Clementine to gather.

Yet there are scant traces of identity diffusion, or an incoherent identity, ceaselessly disturbed by external influences.

This calls back to a copycat nature where borderline personalities will imitate in order to find stability. Ambitions, beliefs, interests—these all go right along with it, because they very well can change, and do so radically. Impulsions in way of severe life choices are made on the foundation this nature provides.

And that foundation is not strong.

There is no way to truly understand and deconstruct Violet’s sense of identity, yet, her behavior and choices made throughout the season can give us something to chew on.

Between the two routes, Violet is…a hair shy from being an entirely different person. The Violet Clementine brings onto the boat is not the same as the Violet she meets there. By contrast, Louis remains consistent; bring him on the boat, and he acts as expected—same with when we find him…without a tongue.

One is Clementine’s Violet. The other is Minerva’s Violet.

In both routes, Violet’s impulsion changes her life’s trajectory. She either shoots Minnie, or, she goes after the bomb and blinds herself. In one route, she’s outspoken, combative to the Delta, and fiercely loyal to the school; in the other, she does behave like how Minnie described her—never could talk to people, never to be class president. The Violet in that second route is withdrawn and quiet…

But she does confront Clementine.

She mimics Minerva’s newfound bellicosity that she dawned from the Delta, and it’s pitted against Clementine by following both her and Lilly’s word.

Going back to the first episode, where Brody tells Clementine that Violet withdrew herself from everyone, a lot of that was depression. Violet also actively told herself to push everyone away (…except Tenn, a remnant of the twins). However, there is a read here that she withdrew herself because there was no one left for Violet to mirror. She reverted herself back to the girl who sat in front of the television, with her grandmother’s fresh corpse just behind her.

Not to say that Violet doesn’t have a personality on her own. No, she still does. Having a weak sense of identity doesn’t automatically mean that there’s no identity at all. It can just mean the self-perception of identity is weak, but given that it is a self-perception, what is Violet going to draw from if she doesn’t…know how to read herself?

So Clementine meets Violet in the midst of this. She’s sarcastic and grates for a minute about the car. She keeps up a wall between her and Clementine. But by the end of the episode, and the start of the second, here Violet is cleaver at hand, about to lead the school.

Marlon scathes when she stands toe-to-toe. Talks about her being difficult again—but that in itself is ambiguous, because does this mean she’s gone toe-to-toe before, or does this mean Violet has a tendency to be inconsistent? And was that night another inconsistency?

But then… Louis. He admires the fact that Violet is like his white knight. He relies on her to protect him, because he knows that there is no doubt—she will.

Then being a leader. That comes as a surprise to presumably everyone. There’s a few points of dialogue that suggest it, others that blatantly say it, and then more few beats where we see the contention between Violet’s leadership and the schoolkids.

There’s conflict here. Violet is inconsistent in who she wants to be.

And it’s just that, isn’t it?

The TWDG community has long since decided that Violet’s arc is about letting go of Minnie (for those who see past the “rebound” thing), and self-discovery. Which is still true, but through the lens of BPD, there’s another layer to this. It’s about learning to let go despite disorder. And then, it’s learning what she wants from people, and who she wants to emulate, again, despite disorder.

What kind of person does Violet want to be?

And this is distinct from Louis, because with Louis, it is also a self-discovery. He is care-free, live in the moment, to a detriment. To be quite frank, the only reason why he got that far into the apocalypse was because he relied on his community. Not because he couldn’t contribute, but because he has his fair share of self-depreciation.

But there is no question. He knows who he is, and he knows the kind of man he wants to be. It’s why Louis does talk about his sense of self as much as he does.

Whereas Violet really doesn’t, perhaps because she can’t. All of what she confines in Clementine is the fact that things get overwhelming, and she gets confused. Quite frequently. But also, her relationships. Everything external for her, because… Again, she struggles to articulate what’s going on internally, because of that confusion. It takes time for that articulation to be feasible.

Violet has a patchwork identity. She’s kept traits of others—such as the singing. Granted, everybody does this. However, there’s her own within patchwork, but those have gone largely unexplored in the past.

Then here’s Clementine, the catalyst to this arc.

Which begs the question, why? What about Clementine has this impact on Violet?

Something about her draws Violet in. 

At first, yeah. Clementine’s new. There’s an air of mystery around a girl who totals a car at Ericson’s front lawn, with a kid in tow. But that mystery alone doesn’t equate to a cleaver pulled, guarding the new people from the rest—her own people.

The answer is rather simple: Violet is mirroring Clementine, so all there is to do is look at that reflection. And we find a leader. We find someone who is compassionate, and does everything to fight for their own. Actually fight. Tooth-and-nail. Someone who does whatever it takes to survive, even if that means rubbing the good ol’ walker jelly, or, taking risks to secure a bag of food.

Clementine’s compassion for people is evident once she wakes up, and she has A.J by her side. Her skills in leadership, her drive to fight, to survive—those are all made very clear at the train station, with both Louis and Violet following her lead.

So Violet mimicked. She found the same traits within herself, then elevated them. Brought them to the surface.

As the relationship continues to build—platonic or romantic—, Violet finds reciprocation. She’s not just emulating what Clementine would like to see. After all, she was sat in the headmaster’s chair while Clementine and A.J were still exiled. That indicates how Violet found, if not a comfort, a consolation in that part of herself.

The reciprocation continues whenever Clementine responds to her, and she validates Violet, she shows interest in what Violet says, and what Violet wants to do. Violet can ramble on and on as long as she wants, and Clementine would still listen. Violet (if romanced) can ask for a dance, and Clementine would oblige. Either way, Violet gives Clementine a pin. Clementine puts it on.

It's that compassion, and it cascades authenticity off Clementine to the people she surrounds herself with. She’s also someone who feels strongly. This character is a very empathetic person. Throughout S1, Clementine was perceptive of the people around her, and she cared. Deeply so. S2, the same thing, even if her morality began to grey. The start to closing herself off to protect herself was present. S3 as well, especially in her drive to find A.J once she learned he was still alive, out there somewhere.

Throughout the seasons, there are also plenty of moments where her empathy shows. Clementine does genuinely feel what the people around her express. Like with Louis, when his tongue is cut. You can hear in her voice how pained she is, regardless of the relationship itself. She’s pained because Louis is.

And given what she’s lived through on top of that? Clementine would absolutely put 100% in a relationship, enough to match someone like Violet.

There is another reason to this why, and the thought struck me when I was reminded of an easter egg during Violet and Clementine’s scene up on the belltower. A constellation, which Clementine can draw for herself, and he’ll wink right back at her:

Kenny.

This connection is an interesting one to make for a scene with Violet. It’s cheeky first and foremost. 

Regardless, there’s a parallel drawn here. Violet and Kenny are very similar, in that…Kenny likely had BPD. TWDGhas two seasons, then a couple flashbacks, where we can read it so. That man was volatile himself. Fiercely loyal, but could absolutely flip on a dime if his perception of the people around did not align with what he desired—it’s why he’s so fickle with Lee, to the point the gameplay reflects it, and then Clementine as well, because this behavior was the ultimate antagonist. His spiral down mental health escalated, and escalated, and escalated.

And he’s guilty. Tells Clementine that to leave him, or to shoot him, is the right choice to make.

But should the two survive together, with dreams of driving down to Florida, we find that he…is okay. He’s stable. His anchorage with Clementine and A.J is strong, without ambivalence. In this storyline, she sees that with people like him, sticking around through the bullshit can be worth the trouble.

Of course, it’s also a testament whether or not it is worth it. Some people, including myself, left Kenny in S2. Because the turmoil through the season was just that significant.

He genuinely cares, but like my mom, Kenny still hurts. Especially in S2. Because despite himself, he just could never seem to get past what he felt, and his impulses.

Clementine’s relationship with Kenny varies across different choices made, and the interpretations thereof. My personal interpretation of Kenny will contrast wildly to another. And that’s okay.

But whatever the interpretation is, and the choices made, Clementine has experience with people like Violet. She’s lived through the type of behavior conditions BPD and alike bring. She knows how to navigate them, and find healthy grounds.

Clementine keeps an open line of communication with Violet. Expresses interest, and accepts what Violet herself has to offer. But she also has her boundaries. For one, A.J. He is her priority. Two, when Violet fights her, Clementine fights back because it’s not okay—do not lay a hand on me. Now, whether or not she would’ve fought like she did if there was no bomb, and A.J was still in the cell…

I don’t know. I assume it would’ve been one of those major choices of the game. Either talk her down, or fight.

…similar to what Lee has with Kenny, up in the attic after the house in Savannah is swarmed, or on the train before that.

Bringing Kenny into the conversation is…funny, in a way. At least to me. I write all this, because TWDG secured its place in my heart by being the very thing I needed through a really, really bad year where my mental health (BPD) reared its ugly head. TWDG as a whole, but S2 especially. I realize why so many people have issues with the season, and I get it. It’s only natural for that to happen when every season has its distinctive personality—not everyone will gel with its voice. That, and it does have its fair share of flaws.

But if it was not for S2, I would not be in the fandom. Because that season was 2019 boiled down to the pure chaos I inadvertently put myself through, and it did so by having me play a character who when she was taken seriously, she just could not do it right, then…, when she wasn’t, it was out of neglect, where the adults put themselves first. Every. Time. And…one of those adults was a blunt reflection of it all.

Up until the final moment. The breaking point.

It’s how I felt inside my head. And still do, sometimes. When I’m stuck inside a season rooted in instability—a winter—, things just keep happening, and there is no end, even though I try to maintain the fantasy of peace in those slow moments. But…there’s just no end. There’s only escalation.

It was something I needed to experience in isolation, where I understood that it’s just a game, and it’s within the scope of 7.5 hours.

Swiftly thereafter, I started writing. Because again, it’s what I’ve always done. So AYDF came to be, where Clementine’s an alcoholic, but not because she’s legitimately an alcoholic in the gameplay. I get she’s not; my Clementine is an alcoholic because…it’s an obscure remark of borderline, and an exploration wherein I thought to use an entirely different disorder to express such a thing. In part because I’d yet to really (re)consider BPD (it wasn’t until some time later that I understood), but also…I’m a storyteller. Having alcoholism represent BPD is interesting.

It’s all why I adore TWDG, and my Clementine, and ADYF. Together, they’re an anchor of mine.

Clementine and Violet’s relationship included, because I did not expect to find Violet. I knew about their relationship before playing—heard it whilst I did light research on which games to buy. But I didn’t expect to find a character who…also emulates what S2 did for me. Just, in a more matured light than who I was in 2019. Also didn’t expect the relationship to provide growth for my Clementine in regards to these personalities, because mine did absolutely struggle the first time—with Kenny, and the devastating choice she made.

Cuz like.

Oops. A.J’s still alive. Um. Whelp.

(…for context—because I know the assumption—, no, Jane was not there. I left S2 with both her and Kenny dead. Clementine just shot the last adult who could’ve helped A.J.)

To see the chances where Clementine is the person Violet needed—to treat her well—, and take those chances, I didn’t expect to find Violentine as this embodiment of a healthy relationship despite borderline. It’s not perfect—obviously it’s not—, but all things considered, it is healthy by the end, no matter the route.

It’s regardless of whether or not Violet actually has BPD. She’s not diagnosed, and I don’t intend to have her be diagnosed. But at the same time…, this essay kinda makes it clear that Violet is a textbook example anyway. A good one to me.

And a good one to A.J.

[A.J, & Serving an Example]

Throughout this essay, the priority has been clarifying BPD, and unveiling what it feels like. A mechanism that may lead to the disorder, then the mechanisms that the disorder itself deploys. How it effects the person, in their identity or, most notably with Violet, relationships.

And the way Violet articulates herself, through the several dialogue lines within this post, it is evident that she’s aware. There’s a self-deprecation to it, but, Violet knows her issues and what it does, whether or not she knows its name—BPD, or something else entirely. Given the ambiguity that the game allows, it is still left unsaid.

But that’s the first thing: she does talk about it. Violet knows herself well enough to.

Not only that, she demonstrates a responsibility in her disorder.

With this essay, there hasn’t been much in the way of responsibility. Because it isn’t until A.J enters the discussion do we truly see this come to light.

I will be the first to say that, while I can sympathize with other people of the diagnosis—even empathize—, I am rather critical when it comes to being responsible of our actions. From knowing a trigger but being around it anyway, to refusing to communicate when a hand reaches out—there’s issues I take. Because there are things that needs to be done with BPD, and those are not it.

The fact of the matter is, sorry, it fucking sucks. But also, it is your disorder, as it is mine. It isn’t your fault that it happened, but it did, and you’re kinda just stuck living with it. It’s not the responsibility of anyone else to fix and manage every aspect of BPD.

Finding people like Clementine, or a support system like the schoolkids, will do wonders because, yes, they can help. But Clementine, and the schoolkids, also have their fair share of shit. To expect them to drop everything is unfair, the same way that being expected to just drop your BPD for someone else’s sake is unfair. 

It’s a give and take. There will be a ceaseless line of dialogue in the name of boundaries, and clarification, and everything in between.

So we return to Violet’s apology to Clementine.

“I wanted to wait ‘til you were up and about, but how I behaved on the boat… It was really unfair. My head was so messed up—by Lilly, and… And Minnie. I was so wrapped up in my own shit…” [Ep.4 | Take Us Back | School]

She doesn’t excuse it. Violet gives reason—and that reason is, more or less, she was not in a right mind—, and she articulates what position she was in, but there is no excuse.

Because the difference between an excuse, and an apology, is that one is done with the intention to be forgiven, the other is done with the intention to resolve—the forgiveness is a hope, not the reward.

Being able to do such a thing, unprompted, speaks volumes to Violet’s maturity, and her understanding of her own mental health. For people with BPD, more often than not, it’s easier to blame someone else because…looking inward, and realizing you royally fucked up again is not easy. Or, it’s easier to use apologies to seek a reward—like forgiveness—, and to indulge in a brief gratification that may ensure a person stays.

Well, okay. The same can really be said for everyone. BPD, however, does has its way in amplification.

Nevertheless, A.J is able to witness this moment, take it in. It’s a lesson in itself.

But given Violet is saved, and Louis is mute, there is another moment which not only speaks volumes, but it serves to A.J clarity.

After the last meal shared in the game series, and Violet with Clementine deliberates over a caravan, A.J can ask Violet one thing:

“Aren’t you still mad I killed Tenn?” [Ep.4 | Take Us Back | School]

It’s a fresh wound for her. The pain of it is laid clear across Violet’s face. However, in response,

“The thing you said on the bridge…, that he was messing up all the time. It wasn’t something new, you know. Tenn got himself or other people into trouble all the time, long before you guys got here. He was always so lost. He lived in a world that just…isn’t there, you know? And that’s why I tried to look after him. But when I was pulling him away from the walkers, and Minnie, I could also see…he just wasn’t there anymore.” [Ep.4 | Take Us Back | School]

Or, it’s complicated, but she understands why. Violet is able to acknowledge where A.J comes from. She does, and she sets aside her emotions. There is no corrosion here. Violet doesn’t devalue A.J for this, even though the gravity of his choice would’ve provided a validity. A warped and intense validity, but one all the same.

They trade more words, and amongst them, Violet asks a damning question, and A.J accepts:

[A.J] “So you’re mad, but sad.” [Violet] “Can I be that for a while?” [A.J] “Yeah, it’s okay.” [Ep.4 | Take Us Back | School]

A.J acknowledges her. She asks for further acknowledgement—the time to heal.

And he understands, and he allows her the room.

…the thing about Violet and A.J, in contrast to Louis and A.J, is that A.J looks up to these characters for very different reasons. Louis is a great guy. I want A.J to be like him, or better yet, a matured version of Louis. He’s charming, charismatic, good-natured, and through the game, we do see that he begins to donate an effort to do better.

Really, it’s not a mystery as to why A.J grew attached so quickly.

Violet, meanwhile, is confusing. She’s not that great with people, is instead a bit of a pill to swallow, and with her trauma comes a volatility.

Sure, she was the one who stood-up for Clementine and A.J when Louis didn’t, but in playing this season, I’ve always gotten the implication that A.J—at least initially—does have a preference for Louis. And I say implication because it’s never said outright, but there are some dialogues and reactions of his that had me wonder. I also don’t mean he doesn’t like Violet, no, but more that he doesn’t necessarily understand what Clementine sees in her.

At least, that isn’t until time passes, and more is spent with Violet, does she start to grow on him as well.

Louis models a more…digestible person. He has his problems, but they are easy to explain and understand. He was a spoiled brat. He sabotaged a marriage over something so very petty. And now, where his upbringing still rears its head through his immature work ethic, he struggles with deep insecurities.

There is a complexity here. One that does deserve its own essay, though I’m not really the right person for that. (Here’s an essay, by @stop-breaking-my-heart-telltale. Pretty good. And they gots a lot of essays like it. …but also, again, sorry for tagging; I know this is absurdly long. Lol.)

Violet, meanwhile, comes with a confusion because her issues are so steeped in stigma. Which is to be expected in conditions like BPD, where…yeah, there’s the chance she will lash out, do things she doesn’t mean, because a switch was flipped.

Where Louis is someone that A.J would like to aspire to, Violet seem to stand as a figure A.J can grow to appreciate. Having her as a model gives A.J the chance to understand that with people like Violet, you give them space and time. Work with them, and if they are genuine people, they will prove themselves worth the effort.

It does take effort, however, and the time spent with them.

And if there is no effort given, and no time spent…

Yeah. Violet will be that wallflower.

[Conclusion]

There’s nothing else this essay really has to say at its core. BPD is a very, very confusing disorder. Both internally, and externally. Stigma doesn’t help. It is, after all, a huge reason why I wrote this.

Because the stigma is quite honestly the worst thing about BPD. In many resources—whether they’re linked below, or you find them on your own—, you’ll find that a BPD diagnosis often comes with others right along with it. Addictions, eating disorders, depression…

To those who don’t know better (or maybe they do), that’s just…natural. It’s how it is.

But I remember going to my family, telling them that there is something wrong, only…to be assured otherwise. Not for my sake, but for theirs. Because BPD isn’t greatly understood, and when it is, realizing that none of them got to save me from my mother in time has its way in denial. What my mother did wasn’t right, however, I could’ve ended up like her. 

Just not through those initial traumas.

Rather, I could’ve, had I made the same mistakes she did with the silent traumas thereafter—decades, now, where the people around me refuse to acknowledge my words, and listen to me, because I know the look in the eye, and I sometimes find it in the mirror. Those initial traumas may have been the first lashing, but it’s the time after which seals BPD within a person. Because the condition goes unchecked. It ferments. People tell you one thing, but you feel another, and as a child, you decide to trust their word, not your own body. Which breaks you. Gets to a point where there’s no real return, because people like me weren’t allowed to learn otherwise.

Understanding what happened to me was a very lonely experience, despite the sheer amount of people I had around me.

…and it hurts, somewhere deep in the recesses of my alexithymia, that my abuse never came from people who hated me. My mother didn’t, not in those initial years. None of my family did, in the decades into adulthood. But still, they hurt. The abuse came from the people I least want to admit, in ways that media would deem too boring for our idled attention spans.

I proclaimed that BPD is when a mechanism deploys, and the cost means a sacrifice of one integral function. It is still true—the mechanism, alongside the personality, and that specific initial trauma will influence how that BPD is expressed.

Yet, Borderline Personality Disorder happens when a mechanism deploys at a great cost, and that sacrifice is never restored. It is the neglect of the individual’s emotional turmoil after catastrophe that does it, where the same mechanism festers until it is there to stay as an ugly, depraved scar.

It is the disorder where a person was never allowed to heal, despite the mind and body screaming that they need to.

So when I hear BPD and the diagnoses alongside, I hear yet another time where someone likely knew there was something wrong, but they chose to find stability by other means, because it wasn’t found in the people around. Addictions bring those dopamine hits that BPD elevates. Eating disorders, where maybe…they can find something about themselves to control. Because there is none day to day, nor in relationships. And depression? Honestly, it speaks for itself; if a person manages to find themselves with a tumultuous anchor, or no anchor at all, it’s easy to slip into.

Or, if the diagnoses are born conditions, like ADHD or autism, or others, like schizophrenia, those speak to a concern where those conditions were left unchecked, and they festered as BPD, they were what predisposed it…

Yet, when I hear a story like Violet’s, it is a true reassurance.

Sure she’s not diagnosed. But still. The game doesn’t hide anything. It doesn’t “assure” the player that Violet isn’t this type of person, that she isn’t literally sick in the head.

TFS shows her issues quite plainly. And it’s because it does, and refuses to lie to make anyone feel better, does the game promise something that is so, so desperately yearned for in those with borderline.

It’s acknowledgement.

To tell someone that, yes, you’re not confused that you feel confused amid a chaos. You are. But there are ways to work with it, and around it. You can, actually, have strong relationships with people, and in those like Clementine, even if/when you fail, they will stay, because they understand.

To tell someone all of that is a first step towards understanding BPD, a disorder so shrouded because of stigma, and little else.

And so you have a character who still has her struggles with it, but she has a support system, and she’s taught herself enough to manage—did it well, considering the circumstances. She was left to her own devices. Sure, she had her grandparents to escape from home, but…, well. Yeah. After her grandma, Violet was then sent straight to the boarding school. The apocalypse struck. The adults left. And though her community still cherishes her, Violet…was designated as their wallflower.

So it’s funny, to have found this character this way, because Louis was right.

Violet does grow on you. If you let her, anyway. She can be suffocating.

Anyway. Hope you enjoyed.

Volt out.

Volt's Library (my writing) Clem Comic Essay #1 (canon stuff) Clem Comic Essay #2 (language)

Links: to start your own research

BPD (General) | 1 ; 2 ; 3 (4 types); 4 (quiet BPD)

BPD (Stigma) | 1 ; 2 ; 3 ; 4 ; 5 (r/BPD)

BPD (Anchors/FP) | 1 ; 2 ; 3 ; 4 (r/BPD)

BPD vs Bipolar | 1 ; 2 ; 3 (comorbid BPD & Bipolar)

BPD (Identity Disturbance) | 1 ; 2 ; 3 ; 4 (r/BPD)

BPD (in Relationships) | 1 ; 2 ; 3

[pomegranateboba]

ArTw boys if they followed us back to Mid Earthium

Based on this undone prompt provided by @sleepytwilight

Context: one of the gang somehow went to Mid Earthium with us (we dragged one of them there's no escape) now they are stuck with us til who knows when

Tw: Nothing too serious, Sirius being a red flag, its mostly crack I don't know how to write sad stuff

Arcturus

You found him in your kitchen on the ground, confused

"S-Summoner? What...where is this?"

"This is your house..??"

Poor baby was still confused even after you explained to him what happened.

Oh well, it just means he can know more about Mid Earthium culture (and the Summoner)

You both found out that your imprints with each other still work here (Arcturus was knitting at home and you summoned him to the florist to ask him which flowers looked better)

He found the crustiest animal shelter once and was absolutely horrified (You had to give therapy afterwards)

*in tears* "These poor things are sitting in their own waste-WHY IS THAT DOG BEING CRAMPED UP IN SUCH A SMALL CAGE"

You both came back home with your own personal petting zoo after that. (Let's assume our house is big enough)

He takes care of all the plants and animals in the house for you

Now your house is not only a petting zoo, but also a jungle. Yay.

He helps old ladies cross the street.

Literally the best housemate you could ever ask for.

He was amazed when you pointed out that he was an actual star in Mid Earthium.

The star Arcturus literally looks like him IT GLOWS ORANGE AJHSKHDKAKJGH

Very sweet.

*arcky appreciation*

Spica

You were in your nearby public library and saw Spica lecturing some kids about yelling in the library.

How Spica of him, you thought.

After bringing him home and explaining the situation to him, he was surprised to say the least.

At least now you would be by his side.

After 1 day your house now smells of coffee

Because he makes you coffee every morning (you drink it out of politeness and your love for Spica, despite the coffee being very bitter and like a 100 degrees Celsius)

Your house is also suddenly 10 times more organised

He has a considerable amount of free time now that he doesn't have to do work for the Guide Committee 25/7, so he can finally catch up on sleep.

And you can also bring him outside more

In which he gets major culture shock, because my dude used to like ballroom music and people articulating themselves in proper English (or whatever language I guess)

"Summoner, what does 'pogchamp' mean?"

Yeah. Time to teach this man about the internet.

I don't know about you, but I feel like Spica would fall for internet scams, because they don't have that stuff in Bound Arlyn (or maybe Spica just never used the internet.)

If you have any work to do, he will be watching very closely over your shoulder.

You try to teach this old man how to play online games and fail.

"...How do I know which team I'm on? How do I crouch?"

I think you should just let him read Mid Earthium books instead.

He is a very considerate housemate, doesn't really bother you unless you go bother him

He feels so weird not doing anything since he is overworked most of the time at Contell, please give him something to do.

Your imprints still worked, you summoned him from the living room to the bathroom because you were too short to fix a lightbulb (admit it you are short because so am I)

Alpheratz

You found him on a bench, being questioned by the police whether he was some homeless guy or not.

You manage to bring him home and explain to him what was going on (I mean as if we know what's going on)

I feel like he would either be really surprised, or just not care.

His logic: No Spica nagging = good

He spends most of the time asleep on your couch or somewhere in the house, or maybe the backyard if you have one.

He honestly would not care less, but his mood would be better overall because no Spica, and also no Schedar.

So you may be able to convince him to do stuff (maybe)

Your imprints work pretty much fine, you were trying to figure out how to wake him up from his century long coma on the couch, so you went to your room and summoned him there

It worked yeah, but he just went back to sleep, but on your bed.

Ah well.

He would be more than happy to accompany you around though, because Spica isn't there to show up out of the blue.

He can reach the high shelves for you.

If you are shorter than him (me), he will tease you for being short, because Pollux isn't around.

"Give me back my phone."

"But can you reach it?"

"..."

"That's right. You can't. :)"

You hit his face with a pillow

You may have to do your chores on your own though, you could try asking Alpheratz and there is a 50/50 chance he would help you

He helps you get more sleep as well, it is stressful being the Summoner in Bound Arlyn after all.

Pollux:

You found him in a park. On a swing set. He was taped to it.

Somehow, you were not surprised.

Little boy was overjoyed to see you.

You tried to explain what was happening to the best of your ability

He was a little confused, but that was all forgotten when you offered to go out to explore with him.

You took him to 7eleven, where he got a shit ton of snacks, because who's gonna stop him, not you.

He was so excited to stay with you without anyone else.

He also ensured that you had to clean up some stuff because the bad luck be bad lucking.

Anyways, you made the mistake of introducing him to social media

Its too late now he has actual followers now

Ah well.

Get ready to do tens of hundreds of tiktok challenges

It just feels like a very Pollux thing to do

He runs around everywhere, he wants to see everything in Mid Earthium and then compare it to the boundary

"Wow, everything's so...bleak. I mean not you of course, you're really pretty-I MEAN YOU DIDN'T HEAR ANYTHING-"

Someone calm this tsundere down please he's feral

Would attempt to help out in the house, ends up giving up half way through

Your imprints work, you could not find Pollux anywhere in the house so you summoned him. Apparently he was hiding in the closet eating half the candy in the house

Loves dragging you around the place (he's adorable ahgjhgsajhg)

Vega

You both went back to Mid Earthium at the same time, together, so you both appeared back in your room

You were very enthusiastic about showing Vega around, BECUASE HE'S TECHNICALLY BACK HOME

Let's say you 2 lived in the same neighbourhood and you still live there now.

Bring on the nostalgia.

You showed him around all the places you used to go (according to Vega, since your memories of your time with Vega as a kid were non-existent)

Some changed, some didn't. Vega was really emotional after that (wait I didn't mean to put in all the feels no I'm not crying you are)

Vega would be either really teary or really happy, or both because he can finally spend some quality time with his beloved best friend <3

You both are inseparable the whole time, and if you have to leave the room, he can and will wait at the door until you are back

and don't take too long or else he will be sad (or he will break the door down and find you himself.)

All the time you both had was extremely wholesome without even trying and Vega was simply overjoyed just to be able to be with you.

Sometimes (read: every time) he would come into your room to cuddle with you because he has been overwhelmed with all The Feels ™

I literally love Vega he's adorable

Your imprint works, not because you needed to summon him (he was always by your side anyways), but because you know there's always this bond between the sorcerers? (amplifier stone type stuff or something)

You guys did build a blanket/pillow fort in your living room and cuddled :)

He is the most normal housemate because he knows how things work, except you would not leave your side for more than 10 minutes.

"Please stay by my side, Summoner."

Very sweet 100% chance of survival.

Sirius

You did not need to find him. He found you.

He somehow found where you lived and climbed through the window when you woke up in the middle of the night to get a glass of water (He refused to reveal where he spawned in to)

May Ursa Minor, Polaris and heck even Lilith from obey me why not, give us all strength to survive this

This man can and will tease you about the 2 of you living together in the same house

He has definitely suggested that the 2 of you could share the bed, but stopped before you could throw him out.

He has, despite the locked windows and door, came into your room at 3am in the morning in the form of a dog, just to bother you. You know, just because.

Polaris please come pick your kid up. I don't care whether you're dead, in the void, or is an ice monster.

Barks at people as a dog for no reason.

Got used to living in Mid Earthium very quickly.

Has most definitely pretended to be your boyfriend, up to the point where even you are confused. (gaslight gaslight and gaslight even more)

Will find a way to cause chaos.

Still pretty protective of you though, we don't talk about what he said in chapter 13

Will take you out pretty frequently (interpret it however you want)

You can never find him, so you do summon him to your side when he isn't already (he knows where you are he's just being a stalker dw)

Is very happy that he can have you all to himself, without other people questioning his questionable behaviour.

Will either help out in the house, or knock down glasses like a cat and stare at you dead in the eye.

"...Sirius please. It's 2 in the morning."

*Happy barking noises.*

"What do you want?"

"Can I be the little spoon?"

"Get out."

He somehow makes it seem like he lives in Mid Earthium, and not some wanted criminal from Bound Arlyn.

He's a menace, a hot menace, but a menace nonetheless.

[theendisneat]

Set in Stone [Pt.2 (Arranged Marriage Series)]

Pairing: Zhongli x gn!reader

Word Count: 759

Warnings: None

Two years have passed since the joining of you and your husband. It was… blissful, to say the least. Morax was an admirable husband, always vying to take care of you and shower you with meaningful gifts and silent gestures of love.

You couldn’t help but reciprocate.

Falling for your husband was a breeze once you gave up your useless grudge. The way he held you so softly, how he told stories with articulate and imaginative descriptions, or how he would press a beautiful set of intricately carved jade earrings to the palm of your hand saying he saw them in the market and they reminded him of you.

You cooked him meals, needled out what he liked and didn’t, trying to give him what he loved. You rubbed his hands when he got home, listened to him complain about the stressful duties of being an archon, and on days he was particularly moody, you would sunbathe with him in the garden, leaning against the slender, scaly dragon body.

You had your disputes, sure. But as it turns out, neither of you were ill-tempered or irrational and were able to work it out perfectly well (if not a little rocky at times).

It was an easy afternoon, the Liyuen sun shining brightly through the windows of your home when your husband came back from work. You had been reading a short fantasy novel, lounging across the couch when the door opened.

Your eyes lifted to find your husband standing in front of you with a small smile on his pretty, thin lips, arms hiding something behind his back.

“Husband, welcome home.” You offered him a nice smile in return.

“I have a gift for you.” His smile widened and you couldn’t help your heart melting..

“So I see. What is it?” Morax motioned for you to hold your hands out. You followed his instructions and he placed a thin, dark wood box in your palms.

You sighed with exasperated fondness. “Another necklace? Husband-”

“This one is special.” Morax took a seat next to you, his hands on your thighs, watching you. You didn’t think you’d ever seen your husband this excitable.

You opened up the box to reveal a glowing cor lapis on a silver chain. The cor lapis was carved like a precious stone, held in delicate silver prongs as emitted a soft orange glow; a glow that reminded you of the warmth in a sunset. The chain was the perfect length so it would rest at the top of your sternum.

“It’s gorgeous, but why is it glowing?” You dangled the necklace in front of you as you looked at him with confusion in your eyes.

“I never asked you to marry me.” Morax began. You were about to speak but he raised a hand, requesting your silence. “It is the one thing in our marriage that I regret. Over these past few weeks, I have been speaking to my fellow adepti about the creation of a special object.”

You back went ramrod straight as Morax slid to his knees in front of you, cupping your hands. “Morax-”

“I love you. Deeply. And now, I wanted to ask you properly if you wished to spend the years with me.” He took a breath, eyes fluttering as he attempted to gain his bearings. “This necklace, should you choose to wear it, will make you immortal. Not to say that if you do not wish to wear it that I will decide you do not love me nor will I try to force it on you-”

“Morax-”

“I merely mean to ask… would you spend forever with me?”

You gasped and that was when you noticed the tears falling down your cheeks. You gently placed the necklace in your lap, leaning forward to cup your husband’s face, pulling him into a deep kiss. You smiled into his lips and you could feel him doing the same.

“This is how your first proposal should’ve gone.”

You heard his shaky breath. “Is that a yes?”

You pressed your forehead to his. “Yes.”

-

The necklace sat cool against your skin and you couldn’t help but unconsciously smile at the feeling.

“What is it, my love?” Zhongli asked from the dining table, a cup of cooling tea by his paperwork from the Wangsheng Funeral Parlor.

“Nothing.” You said softly, cutting some sunsettia in neat pieces, dropping them in a bowl. You set it down next to the tea and Zhongli thanked you with pretty amber eyes full of years of adoration. “Just reminiscing.”

[bearw-me]

I read both your lute x friend reader hcs and adored themmm!!

Could I request a follow up of their first time together (I'm interested to see if previously being friends would ease some possible tension or maybe make it even more nerve wracking lol)

orrr if you don't write smut (sorry I couldn't find any rules) could I request their first date together?

it occurs to me that i should make a rules thingy, but just your luck bc i love your request + lute! so i will be doing both scenarios!

𝐅𝐢𝐫𝐬𝐭 𝐃𝐚𝐭𝐞 & 𝐅𝐢𝐫𝐬𝐭 𝐓𝐢𝐦𝐞 𝐰𝐢𝐭𝐡 𝐋𝐮𝐭𝐞!

𐐒 includes : lute x gender neutral! reader 𐐒 cw : fluff, smut, nsfw 𐐒 summary : first date hcs first up + the smuts at the end under the cut 𐐒 note : we are now a lute blog, sorry, not sorry + never tried to write smut, lmk how it went!

𝐅𝐢𝐫𝐬𝐭 𝐃𝐚𝐭𝐞

assuming here that lute sets up the date by herself:

she'd like to do something really romantic, and personal on one hand

she's only known romance for herself through heavens versions of it, the classic pure kind of love she's been exposed to

so a date would be sort of traditional by her standards

maybe take you out to a nice, lowkey restaurant and then find a nice cloud up in heaven to sit with you afterwards

just really wants to talk and be physically close with you

(if Lute asks you on a date its her obligation to pay for you btw, just enjoy yourself)

even if you were friends first, Lute still stresses about messing up your shared relationship, both romantically and platonically (like you haven't already seen her 'flaws')

but being the strong angel that heaven demands of her, she tries not to let her nerves show

gets frustrated at herself for not being able to express her emotions for you correctly

like she commands one of heavens armies for crying out loud, how can she not articulate that she loves spending time with you properly!

So, I think her words may be a bit jumbled and come out a little rude or completely-not what she means

but her actions seem to speak louder

like the way she sits hip to hip with you, or the way her wings hover around your body, or even the way she can firmly hold your hand. proudly, confidently

and previously being friends allows her to be more comfortable around you (enough to tease and bully you still at least)

doesn't know shit about being in a relationship for sure, but with you she's comfortable enough to want to try

𝐅𝐢𝐫𝐬𝐭 𝐓𝐢𝐦𝐞

for your first time, she'd have to be super trusting of you

and lets be real, every time she thinks about it or you bring up intimate things with her: her face is beat red

but she doesn't mind feeling wanted in that way. . . in fact it would turn her on

of course its Lute's FIRST first time, so there's some nerves to be had, but mostly in embarrassing herself. . . frankly she's not totally sure what she should be doing. . . ?

Where- Where should she put her hands?

listen, i didn't know where to put this so im putting this hc here: Lute's upper back, where her wings start are super ticklish and super sensitive. being an angel, with her wings and back being 'a weak spot' for battle. . . its an area she'd be hesitant about. . . but she trusts you

she lets go of all her anxieties though once she realizes this is exactly what she wants

unintentionally gives you a ton of praise when you do something that makes her feel good

probably swears (a fuck ton) under her breath + unintentional love bombs

Lute would definitely let you take the reins at first, just so she can get a sense of things and to start building up her confidence a bit

and its nice to let her hands run up and down your body like she's dreamed of (on that note, she's very attentive to little noises or sighs you make)

she wants to make you feel good too, in fact, this little devil in disguise has probably been waiting for this moment

definitely wouldn't mind being the dominant one (in fact i think she'd love it)

Lute rolling the two of you over in order to sit on your lap and straddle you. . .

rolling her hips while she rides you

Fucking adores your little faces and how good she's making you feel

(last one i promise) she wouldn't be opposed to leaving at least one little bite mark on your neck

i lowkey think there was a ton i could've said but i kept the ones i could think about right now, thanks for loving lute + my hcs for her!

[sophierequests]

Could I please request a Toyla x reader..? (Bless you for writing for everyone I can’t find any for him 😭) they’re crushing on each other and them having to share a bed 🥺

you are foolish to want

Navigation┃Main Masterlist┃Request

Pairing: Tolya Yul-Bataar x gn!Reader

A/N: After reading this you might ask me: Sophie, will you ever write anything else than Hurt/Comfort when you get requests that aren't in any explicit genre? The answer to that question is: no <3 Also, the second time of using horses in a Tolya fanfic?? What has overcome me?? Thank you for the request! I hope you'll like this, even though the one bed trope isn't the main focus of this story </3

Summary: Tolya and the reader are on their way to the Lazlayon until unforeseen circumstances put a slight dent in their plans.

Genre: Hurt/Comfort, Fluff (if you squint)

Word Count: 5.8K (oh god)

Warnings: Mention of almost dying, broken ribs and hurt feelings

The silence between you became louder the longer you indulged in it. It wasn’t really silence, so to say. It was more the state of not speaking. The forest surrounding you was anything but silent. Between the creaking of old rotting larch trees swaying in the wind and the padding of hooves against the more or less solid ground, nothing ever really felt quiet. 

He couldn’t be sure how much longer the path ahead of you could possibly still drag on; all he knew was that he likely wouldn’t be able to stay awake for the entirety of it. The tension of riding next to you alone would have usually been enough to keep him from falling asleep. Hell, the thought of you alone did the job well enough already. Yet something about this time felt different. 

It was just the two of you. No Tamar. No Nikolai. No Zoya. No one else to worry or think about. Just the two of you, wordlessly riding next to each other. 

And while his brain screamed at him to use that factor in his favour, to finally make some sort of move, his body recoiled at the impulse of opening his mouth and articulating his feelings. Whenever he even attempted to do so, an obstruction seemed to form inside his larynx, blocking the feeble sounds that might’ve crossed the breach of his vocal folds. Maybe it was his heart leaping out of his chest and ending up in the enclosure of his throat, desperate to be spat out and stowed away inside a neat little box that he could disregard as long as he pleased. Maybe it was bile at the thought of having to come clean about the months and months of yearning he had been subjected to since meeting you. Maybe both of these options rang true; he couldn’t be sure. The sole thing he was painfully sure of was that it had to be closely related to you. 

Everything was somehow related to you. You had always been everywhere and nowhere; everything and nothing at the same time. At least to him, he hoped. You occupied his mind, his space, and his time whenever he should be focused on anything else. When he wanted, no, needed to focus on anything else. You were everywhere just as much as you were nowhere. Nowhere he could reach. Touch. Hold. You had always been more of an idealistic daydream, rather than something concrete. And just like most dreams, you would be foolish to pursue.

“Do you think we’ll reach the Lazlayon before the night sets in?” Your voice broke through the air like a gunshot, forcing his gaze away from the impenetrable barrier of trees next to him. You stared at him expectantly, waiting until he could will himself to produce a coherent sentence.

He let out a huffed breath, absent-mindedly fiddling with the reins in his hands as if they were a set of tarot cards that would permit him to look into the future. “If we keep up this pace, we’ll likely get there right before sundown.”

“Oh, lovely. Just in time for Count Kirigin to welcome us. I’m sure he’s already buzzing with excitement,” you chuckled dryly, giving your companion a distinctive eye roll to accentuate your annoyance. 

Tolya rolled his shoulders, the mention of the count’s name sending a wave of unease through him. He didn’t necessarily hold any tangible grudges against him, he didn’t know him well enough to form any sort of well-shaped opinion of him to begin with, but what he knew was that the man was an absolute rake. If the countless times of resolute flirting with anyone that didn’t leave his presence on the count of three wasn’t enough to support this hypothesis, Nikolai’s long-winded tales of his drinking and lavished parties sure filled the gaps. Count Kirigin as a whole simply wasn’t a coeval he wanted to be around. Not when he was busy enough with keeping his emotions in check while you were close to him. 

“There’s still hope that he chose to go to bed instead of waiting by the door for us to arrive. I doubt that he’s all too invested in our presence. After all, Zoya isn’t accompanying us, so he won’t have much to ogle at,” the Heartrender objected slyly, using the scarce situation of being alone with you to voice his obvious disdain for the man in question.

“We can only hope.” You clasped your hands together, holding them in front of your chest as if you were in prayer. “At least we’ll share the same fate if it comes down to him having genuinely waited on us.�� 

He nodded in agreement. It was a comforting thought to know that he was there with you. The fact that you were meant to take on the journey to the Lazlayon on your own at first disconcerted him greatly. Not that he wouldn’t have trusted you to come back in one piece, however, having you be out of his sight for so long without a possibility of contacting you made him uncomfortably aware of the actual extent of his feelings.

Another wave of silence settled around you. It was more comfortable this time. Especially since it didn’t take too long for you to speak up again. “I’m glad Nikolai decided to have you come along.”

His smile falters for just a split second, the wave of emotion your simple statement had created stripping him of the last bit of feigned confidence he had. Perhaps his years of studying and breaking down ancient poetry had gotten the best of him. Convinced him that there was more to the comment than merely you being glad that someone else had to suffer through the hours on hours of travel. But that’s what you would have said, right? You would have said ‘someone’ instead of explicitly mentioning him. During times like these, he genuinely missed Zoya’s bluntness to bring him back down to earth.

“Oh, uhm, it’s good to know that you don’t see my presence as patronising,” he stammers, his voice hitching and cracking as if he was a puberty-stricken young boy again.

You tilted your head and looked at him with narrowed but gentle eyes. The same eyes that always seemed to magically find his own whenever he had stared at you for a bit too long. “Your presence could never be patronising to me. I like being around you.”

In an ideal world, he would have told you that the feeling was mutual. The sentence would have rolled off his tongue equally as casually as it had off yours, and you both could have continued your travels with the knowledge that you appreciated each other’s company. This was not an ideal world though. In fact, he didn’t even give you a verbal response. Instead, he hastily turned his head away from you, futilely trying to cover the gleaming blush that had spread across his cheeks in a matter of seconds.

Once again, the steady whirring and rustling replaced your short-lived stab at a conversation. It took another hour for the unkempt thicket to gradually turn into a widespread field, stretching out in front of you until it was obscured by the dense artificial fog that hid the watercraft testing grounds of the Gilded Bog. It would have been a stunning view if you hadn’t been aware of the massive amount of work that lay behind it.

A sigh of relief escaped your lips when Count Kirigin’s estate came into view. Your whole body ached after riding for hours on end without a break, making you long for a warm bed and a good night’s sleep. It didn’t take long for Mother Fortuna to knock that idea out of your head though.

Just as you had intended to throw some sort of sarcastic comment in your friend’s direction, a sudden sound of a rifle being fired cut through the forest behind you. After that, everything continued to go downhill horribly fast. 

You barely managed to calm down your horse, yanking the reins to the side to let it spur out its fright by trotting in a circle. Tolya, on the other hand, was less lucky. He hadn’t been able to react quick enough, his horse rearing on its hind legs before he was in the right mindset to properly hold onto the straps of his saddle. He was thrown off its back quite roughly, his back hitting the hard ground with a bone-chilling thud.

“Tolya!” you called, dismounting your horse without thinking about the looming threat of someone directing their gunshots at you. It was as if you were passing through a tunnel, eyes only focused on what was in front of you.

A litany of his name spilt out of your mouth as you knelt down next to him; you repeated it so many times that it didn’t even feel like a real word anymore. But no amount of repetition could bring him to regain consciousness. He remained laying on the ground, perfectly still and with no reaction to anything you did. Years and years of basic medical training flickered through your mind, hopelessly trying to give you an impulse that might be able to save his life. Your hands promptly moved to the pronounced column of his throat, a motion that would have been intimate if you weren’t filled with panic. The skin underneath your fingers was warm - and unexpectedly soft - as you dug for any form of heartbeat. When you finally localised a faint but rhythmic thudding, you sucked in a deep breath, momentarily considering changing your stance on the Saints if they had been the ones to grant you this minuscule act of reassurance.

“Tolya,” you tried again, hands cradling the sides of his face as you shifted him onto your lap. His eyelids fluttered open briefly, immediately seeking out contact with yours. It took another moment for him to recognise what position he was currently in. Your hands on his face and his head on your lap felt almost too good of a situation to be anything but a dream. 

He wanted to say something, anything for that matter, but a piercing pain in his chest caused him to let out a stifled groan. It hurt to move. It hurt to speak. It hurt to breathe. His whole body felt like it had been pulled apart and reassembled without a manual, and you couldn’t do anything to ease his discomfort.

“Hey.” You let your thumbs smooth over the ridges of his cheekbones, your feather-light touch creating an embarrassingly visible trail of goosebumps all over his arms. Everything you did was too soft. Too delicate. Too wholly overwhelming. “I know it hurts. Just stay here for a while and-”

“Saints!” A shrill voice made your head shoot up, the memory of the gunshot striking you like a brick. When a familiar figure scrambled out of the woods, an extravagant hunting rifle strung over his back and a mortified look on his face, you began to piece together what was going on. “I’m terribly sorry! I- We were just coming back from our hunting trip and we didn’t- Oh, no.” The count ran a shaky hand through his neatly slicked-back hair, causing a few stiff strands to fall onto his forehead.

Something inside you wanted to be mad at him. It was his fault after all. If he had been more careful and a little less trigger-happy none of this would have happened. However, Tolya’s weight still very much present on your legs substituted your anger with worry. “Kirigin, I’ll need some help getting him to the Lazlayon. He needs to be looked at by someone more…medically-inclined than me.”

Emil nodded his head reverently, calling over a few of the other men that had joined him in his hunting party. With their help, you heaved him back to his feet. His nails dug into your shoulder as you helped him walk to your horse; neither of you trusted his horse enough to not throw him off again. It was quite the struggle, but after a lot of cursing and griping coming from the normally very composed Heartrender, you reached the opulent mansion just before the sun had vanished behind the mountain range completely.

Upon entering, the count immediately called for a medik, showing the two of you to his drawing room while he flittered through the foyer in a frenzy. Tolya let himself fall onto one of the plush divans with a groan. His hand flew to his side as soon as his back met the fabric underneath him, flinching as he seemed to have pressed down too hard. It was a strange picture to see him look this helpless. He appeared small and vulnerable, almost as if a bare touch could cause him to break and crumble.

“Don’t move,” you requested gently, one of your hands reaching out to take hold of his. He was aware that this gesture was merely meant to give him a piece of reassurance; you wanted to give him something to hold on to, something to get his mind off of the erupting pain in his chest. Still, a nimble twinge of hope sent a burning wave of longing through his body. “I think you may have broken a rib. After your fall earlier that would be one of the lesser evils,” you assessed, letting the fingers of your free hand brush over the clothed expanse of his chest. “We should probably pass a message to Nikolai. You can’t be expected to take on the ride back anytime soon. But all of that can wait until tomorrow.”

The medik arrived just as you closed your mouth, forbidding Tolya from saying anything in response to your short-lived ramblings. He was a bit miffed by the fact that the person treating him was a simple medik instead of an actual Healer that could have fixed him up in the blink of an eye. However, a faint memory of Kuwei accidentally setting a whole section of the laboratory on fire told him that their presence was a bit more required downstairs. 

He was ripped from his thoughts when the medik pushed down on his ribcage with unexpected force. A jolt of pain flashed through him again, and embarrassingly enough, that only caused his grip on your hand to tighten. You didn’t show any sign of discomfort as he did so, entirely concentrated on providing the tiniest bit of comfort you could offer him.

“Fractured rib,” the woman beside you muttered, her brows furrowed as she looked at his exposed chest stomach. “This will take a few weeks to heal on its own. We can send for a Healer as soon as one’s available, but that will probably take just as long. The new project is keeping everyone busy, I’m afraid.”

“I will send a letter to the King,” the Count interjected, rubbing his palms together in an attempt to cope with his nervousness. “The Healers at the Grand Palace are often more willing to make the trip than the ones we have on our hands here. I’m certain he would do everything in his power to ensure that one of his most trusted…guards is back in his service as soon as possible.”

“I suppose that would be for the better.” The medik took out a few differently coloured vials from the pouch on her hip, handing them to you as if the person needing them wasn’t also in the room with you. “These are painkillers. Make sure he takes one of these twice a day.” You nodded along slowly, letting go of Tolya’s hand to not drop any of the flimsy flasks. “It would be best if someone keeps an eye on him for now. Especially after taking the medicine. In case the pain gets worse, you know where to find me.” She directed her gaze at Emil who merely dismissed her with a grateful wave of his hand.

“Thank you for…taking the initiative.” You gave him a brief smile, sitting on the armrest of the sofa where Tolya was still laying. Slowly but surely, the heaviness of the day began seeping through your bones.

“But of course! That’s the least I could do after causing such a mishap.” He pursed his lips but opted to force them into a straight line while he pondered his next words. “I shall send for a servant to mind you during the night if that’s alright with you. Someone should probably be there to attend to you, just in case something happens.” 

Tolya looked up at him, evidently not too fond of his suggestion. The idea of having some stranger even do as much as stay in the same room as he slept didn’t sit right with him at all. “I…appreciate your kindness, Count Kirigin. However, I would prefer it if you refrained from doing anything like that. I’m certain it will be fine if I’m left unsupervised for the night.”

“The count has a point,” you reasoned, a distinct expression of worry present on your face. “You’re hurt; don’t be so blasé about it. It would genuinely be better if someone is there for you. At least for tonight.”

“Maybe you could stay with him for the night if it’s the aspect of familiarity he’s concerned with?” Emil offered, his eyes darting between the two of you nervously. If his upper body had allowed it, Tolya would have shot upright in his seat after hearing that. As much as he hated the notion of having someone else practically babysit him while he was asleep, anyone else would be a better option than you. He wouldn’t survive spending a night under these circumstances.

His suggestion caught you off guard with what felt like brute force. He was a good friend; one of your closest actually. Yet you had never even seen the inside of his bedroom. Spending the night in the same room, no matter under what circumstances, seemed like a terrible way to improve that friendship.

“I… Tolya? Your call.” You shifted all the responsibility of decision-making onto the Heartrender, giving him an apologetic look while he struggled to find the right words.

He mentally considered all the implications this action might entail. What if he snored? What if he talked in his sleep? What if the medicine made him do or say things he might regret? What if nothing out of the ordinary happens and he was just diving into the worst-case scenarios? “If I have to choose, I’d prefer your presence,” he mumbled, instantly clamping his eyes shut in order to avoid looking at your face while you let his words sink in. 

“It’s decided then,” you chirped, slumping off your seat to carefully place the ampoules in your bag. You sounded pretty much unbothered by the prospect of sharing a room for the night. Weren’t you even a little bit uncomfortable with that?  He should be glad that you were taking this situation so well, however, your unexpected nonchalance concerning the topic made every last speck of hope that you could possibly like him back dwindle down to nothing.

“Very well!” Kirigin clasped his hands together with a resounding clap, the jovial nature returning to his face in an instant. “Now, if you’d be so inclined - and able -, please follow me upstairs to the guest bedrooms.”

The guest bedrooms of the count’s estate reminded you of the countless ornate rooms you had seen at the Grand Palace; broad wide rooms with high ceilings and long windows that made them appear more like a makeshift dining hall than an actual bedchamber. Needless to say, the Lazlayon was a bit more bucolic than what you were used to seeing in the capital, but the white walls and the rococo king-size bed definitely opposed every notion of humility one might expect if there was no prior knowledge of Kirigin’s spendthrift way of living.

Neither of you really had enough willpower to change into your nightclothes, so you merely rid yourself of the thick jackets and clunky boots, which you mindlessly tossed on top of your bags. The bedding would be changed in the morning anyway.

It was a terribly awkward scene, the tension practically electrifying the air around you. Tolya sat on the bed, his back perched on the carved headboard while he watched you scurry around the room like a rabbit in front of a rifle. You also seemed to have realised what the offer of staying in the same room for the night might imply; your previous casualness being gone completely.

“Here,” you said, handing him one of the vials the medik had given you earlier. He took the medicine from your hands, eying it with a suspicious expression. In comparison to his hand, the tiny bottle looked like a prop right out of a doll house. The image of comparing your hand to his popped into your mind, but you hastily shooed it away, thinking about how inappropriate that thought was. “Drink. I’ll get you some water to help with the taste in case you need it.” 

Quickly, he downed the viscous medicine, cringing at the sickly-sweet flavour that spread inside his mouth as he swallowed. As soon as the liquid went down his throat, he had to stifle a cough, the taste only getting worse the longer he occupied his mind with it.

You plopped down on the empty spot next to him, cautious to not spill any of the water that you held out for him. When he reached out to take the glass, your hands touched his for a split second, your fingertips barely brushing over his. Still, that simple gesture was enough to make his head spin. Saints, he hated that you had that effect on him.

“Thank you,” he breathed out, not quite knowing what exactly he thanked you for. Thank you for being there for me when I fell off that damned horse? Thank you for holding my hand earlier? Thank you for staying with me tonight? Thank you for getting me that glass of water? He could probably think about at least a hundred things to thank you for off the top of his head.

“How are you feeling?” Your voice sounded just as sweet as the medicine tasted, he thought. He just liked listening to your voice a whole lot better. Were the painkillers already kicking in?

“Better. Sore, but better. I’m dreading thinking about what Nikolai will say once he gets wind of this.” He let his head slump against the wall behind him, his eyes glancing at you furtively as you scanned his body for any sort of unease or pain he might still feel.

“Forget Nikolai. He can survive without you for a bit longer. And Tamar is still there to save his ass when it comes down to it.” You gave him a quick smile, taking his hand to give it a reassuring squeeze before leaving his side again. “The only thing that matters now is that you’re getting better. No matter whether that happens naturally or with the help of a Healer."

“I’d prefer it happening through the help of a Healer,” he muttered under his breath, scowling at the idea of having to spend another six weeks alone in the confines of a bed without being able to follow his usual duties.

“Well, an actual break would do you some good every once in a while. After everything that Nikolai put you through during the last few years, you should be eligible to take off at least a few months without him being allowed to say anything against it.”

“So eager to get rid of me now?”

A sharp snort escaped your mouth as you looked at him, the feigned pout on his lips making him look like a kicked puppy. Sometimes you had the suspicion that Nikolai’s inherent obnoxiousness was rubbing off on him.

“Believe it or not, I still like being around you. Even though you now gave me the added stress factor of having to keep a close eye on you when we’re around horses.” You walked over to one of the cushioned armchairs that decorated the corner of the room, leaning against it without actually sitting in it. “And If I really would be so eager to get rid of you I wouldn’t have agreed to play your nursemaid for the night. Especially not if I had known that I’d have to sleep in one of these forsaken chairs. Kirigin could have at least given us a double room.”

Tolya’s previously playful expression dropped. He had been so hung up on the fact that you’d be with him for the entire night that he had completely neglected to think about the logistics of his request. Had he known that you’d end up sleeping in a chair rather than a bed, he would have answered differently. 

An unwelcome thought clawed its way into his mind; he wanted to strangle it before it could properly manifest. Had he been Nikolai or Tamar he would have immediately sprung into action, offering you his bed, and probably also his heart while he was at it. But he wasn’t like either of them. He wasn’t brash, or romantic, or even socially intelligent. These attributes would be foreign on him, like a coat that was just a bit too big to fit correctly - contorting his actual silhouette to make him look like something he wasn’t.

“Are you okay?” you asked, a worried undertone present as you spoke. He quickly closed his mouth, straightening out his features to appear more collected than he felt before fixing his gaze on you again. You didn’t only sound worried, you also looked the part; eyebrows tightly knitted together while a distinct flash of concern gloomed in your eyes. “Are you still in pain? Should I get-”

“No, it’s- I’m fine, Y/N. I was just thinking…” 

“Care to share with the class?”

Even though everything inside him rebelled against opening his mouth and speaking his mind, his heart moved quicker than his mind could process. “Sleeping in an armchair can’t be comfortable. We could share the bed,” he trailed off, watching as you gawked at him like a fish on land. “If you want to, that is.” He felt the need to add that, even if it was only enough to calm his raging nerves.

“Tolya, you’re hurt. You need the rest more than I do. I can’t possibly do that in good conscience.” The room was filled to the brim with the nervousness exuding off of the two of you. It was almost sad to watch you two stumble over your own words, acting as if you were two little schoolchildren that both had a crush on the other.

Seemingly taking your refusal as a challenge, he awkwardly shuffled towards the edge of the bed, leaving the other side very clearly unoccupied. “Would that be enough space for you?” Your eyes darted from the comfortable-looking bed to the stiff armchair you had originally intended to sleep in. Much to your dismay, the bed did look more inviting than the chair could ever be.

“I really don’t want to make you uncomfortable,” was everything you could muster up to talk yourself out of it. A futile attempt at not giving in to the want clouding your coherent thoughts ever since being in the same room as Tolya.

“You wouldn’t.” You couldn’t. “Trust me, I don’t mind. I couldn’t let you sleep in a bloody chair with a good conscience either.” As if to underline his statement, he patted the empty space next to him.

With an exasperated sigh, you shook off the roots that had metaphorically formed around your ankles and moved to the offered side of the bed. You felt terribly awkward as you slid into bed right next to him. You two had never been this close. Not in this context.

“Thank you,” you whispered, laying flat on your back with your hands folded over your stomach. He mirrored your movement soon after, albeit a bit slower.

He wanted to say something - anything - to relieve some of the tension buzzing between you. But everything he could have said wouldn’t have improved the situation in the slightest. Just like a few hours ago in the woods, the silence was anything but silent.

“You really scared me earlier, do you know that?” you mumbled, breaking through the uncomfortable silence. Again, he thought. “This could have ended with way worse consequences than a fractured rib.”

“I know.” The words were heavy on his tongue, suffocating him. Up until the possibility that worse things could have happened had sounded like an impossible what-if situation to him. But judging by the honest fear in your voice, he really could have suffered a fate way worse than being forced to rest for an uncertain amount of time. The only feeling he could recall after his fall was the dizziness of laying on top of your lap and the intoxicating touch of your hands on his cheeks. He didn’t even think that he genuinely registered the pain in his chest until he felt the impulse to move. “Thankfully, we didn’t have to find out exactly how badly this could have ended.”

“Good. I honestly wouldn’t have known what to do if you hadn’t woken up. What I would do without you.” The last sentence was so unexpected that it almost knocked the air out of his lungs. You had your way of catching him off-guard with your words that was so brutal, but equally as stunning.

“You won’t have to that out either. Not if I can help it.” He wanted to tell you. He wanted to tell you so badly that breathing normally became more and more difficult. But he couldn’t. Not right now. And maybe not ever.

Silence fell over you again. It was such a stark contrast to the chaos raging inside his head that he barely noticed when you turned to lay on your side, facing him. He forced his eyes to close in hopes of at least getting a few full hours of sleep before he was pushed back into a world where it wasn’t normal for you to sleep next to him.

“Tolya?” you whispered, resisting the urge to nudge him. 

“Mhm?” he murmured, eyes still clamped shut.

He heard you shuffling next to him, probably to put a bit of distance between you and him. “I have to tell you something.” You shuffled again, the mattress giving in ever so slightly when you did. You were sitting up now. “This might be a terrible time to do so, but I have to get it off my chest.” That caught his attention enough to look at you again. You sounded so serious.

“Uhm, sure, go for it.” To say that he was concerned would have been an understatement. His whole body tensed, much to the dismay of his fractured ribcage.

“I don’t recall the last time when I was genuinely so afraid of someone I care about not being alright, but what I felt when you didn’t wake up at first was way worse than just being scared. I'm not sure how to tell you this, and I’ve been putting this off for quite some time now. But I don’t just care about you like how I care about the others. I think I'm in love with you." The last words tumbled from your lips in a hurry, so quickly that he almost didn’t comprehend what you were saying. He could have sworn that this was a fever dream. Maybe the medicine had kicked in way stronger than he expected it to. Maybe he was genuinely going mad. Whatever it was, it didn’t feel real.

You realised how badly timed this confession was as soon as you saw the completely befuddled expression that was plastered all over his face. Suddenly, sleeping on the armchair looked way more appealing than the shared bed. You felt like you were trapped in a mass of writhing quicksand, slowly but surely devouring you until there was nothing left to take. This was way more embarrassing than you had imagined.

“I, uhm, this was a mistake.” You felt your cheeks heat up, burning you until you couldn’t take it anymore. You needed to get out of this bed. Preferably also this room. “It would be best if I leave, I’m so sorry. I’ll go downstairs to call fo-” 

Tolya seized your wrist just as you wanted to throw the covers off of you. The rash movement caused him to wince slightly, but he didn’t let go of you. A thousand questions forced their way into his mind, and he could answer none of them. 

“Wait.” He didn’t know what else to say. But he knew that you needed to stay. “Are…are you being sincere?”

“What? Of course? Do you genuinely think I would make a joke out of something like that? Especially in our…current situation?” you questioned, absolutely bewildered that he thought you were joking around.

At this point, his face was beet red. He couldn’t tell where his embarrassment came from. Whether it was the fact that he had been tiptoeing around his feelings for months by now while you felt the same or the fact that he had the genuine audacity to ask you if you were kidding.

“Tolya, I can understand that this makes you uncom-”

“No, no, don’t!” His grip on your wrist tightened as you tried to wriggle yourself out of his grasp. That was his cue to say something. Anything if it made you stay.

“What do you mean?”

“I love you too,” he blurted, maybe a bit too quickly. But the fear of having to watch you leave made his heart act before his brain could.

“You do?”

“Do you genuinely think I would make a joke out of something like that?” He gave you a sheepish smile, his eyes gleaming with adoration. Saints, he really was in love. “I never said anything because I didn’t think you’d feel the same.”

He had intended to let go of your hand, giving you a moment to process what he had just said. You didn’t let him pull away though. Instead, you took his hand in your own, tightly squeezing it before allowing your lips to curl up into a wide smile.

“Sounds like we’re both idiots then.”

“At least we’re idiots in love.”

“But idiots nonetheless," you laughed, your heart thudding even louder when you heard Tolya join you.

Taglist:

Grishaverse fics in general: @yesshewrites1 @dal-light @treasureofmy-heart

Tolya Yul-Bataar: @juneberrie @horny4knives

[michirukaioureincarnate]

You know, with discussions of Neil Gaiman and all the disappoinment that's followed, especially of his admirers that are struggling with him not being the basic decent human being we expected and believed him to be, there's a lot of inner reflection that needs to be done to prevent more heart ache.

Not only that, but this is a wake up call to stop putting human beings on a pedestal. No one is above causing harm. Not you, not your mom, not anyone. Especially men. I don't know if this is just my way of thinking, but every single man is a potential s*x *ff*nd*r.

It's not a generaliziation, but an indisputable pattern after years of social, biological, political, and systemic conditioning. It's not a matter of if, but when, and sometimes the when never comes because the man luckily dies without tainting his slate. And if he does commit the crime, he's more likely to get away with it than his victim ever is of healing from it. The richer he is, the easier it is, but even men without power and resources get off with a slap on the wrist.

But that isn't really the point, and bear with me as I try to articulate myself through the nausea I'm feeling since stumbling upon the recent news. If you're hurt, disappointed, confused, and struggling with it because you have so much love for this man and his works: good.

You're not brushing it off. You're not acting like it's okay. If you're finding ways to justify your love for his art amidst the small voice of guilt in your chest, it's because you're a human being who, at your core, acknowledges that you don't agree with what he did. If there's an iota of fear that you may harbor the same negative qualities he does that compelled him to act so heinously, no you don't.

Before Gaiman was ousted as a predator, you knew him as a creative, a visionary, whatever positive perspective you had of him, and you wanted to admire that. Undeniably, Gaiman's a wonderful storyteller AND a s*x *ff*nd*r. The latter doesn't negate the former. But it's possible that it may have dictated some of his creative choices.

But how would you know which ones? You're not him, and you're someone who is self-aware and accountable enough to not do what he did when he hurt someone.

On that note: you are not him. You don't know him personally, neither does he know you personally. There's nothing to defend about him, because he's not yours to defend. His works aren't yours to defend.

That's his job.

Have some emotional boundaries and decenter yourselves from his life so that you're able to swallow the truth of the matter: that Gaiman's hurt real people who have to live with lifelong emotional and even physcial scars.

His actions have nothing to do with you as a fan or admirer, and the least you can do is withdraw your support until he, by some miracle, proves himself innocent and regains your trust.

YOU, as the consumer, are the prize here, not him. Have some standards for yourselves, my goodness. YOU, as a human being, are a completely separate entity from him and his actions. Gaiman would be nothing without those who actively decided on giving his works a shot.

And his ideas, whether you decide to continue consuming them or not, do not completely belong to him. Artists channel inspirations of life as they go through it, inspired by people they meet and events that happen to them, most of these things being external factors that are open to interpretation regardless of the artist's internal perspective that they present it with.

What you should worry about is if your money is going directly to him and his team, which may be used to suppress the victim's voices and provide him an unfair advantage in the matter. This is something that's still in your control more than anything else. Hell, pirate his stuff and consume it in secret if you really can't let go of it.

The conversations around "separating the art and artist" are important, and I personally don't believe in separating them at all, but a more immediate concern is to stop contributing to the artist through their art as soon as something concerning crops up. He's a business man, and you're his investors. Take your space. Breathe. Rationalize. And let his social stock value plummet, jfc, he'll still survive without your money and adoration. As long as you're not directly contributing to his ability to inflict more harm, allow yourself the space to grieve.

And, please, you're your own person. If anything, you're probably going to be the next writer, director, artist, etc who creates stuff that's on par with his or even better. Only difference will be that you won't be someone who actively hurts people.

[marley-manson]

Could you expand on your dislike for the Raphael!Crowley headcanon? I'm fairly certain I know why but your meta posts are always so thoughtful and articulate and I would love to hear your thoughts on the topic

Thank you, I really appreciate it! And fwiw I always enjoy reading your thoughts as well!

And yeah I'm happy to! I mean first I should say that I don't actually like, hate-hate it in fanfic, it's not like an instant back-button for me if it comes up, and I feel like I've seen one or two fics after season 1 where I thought it was fine and it didn't take me out of the story.

But yeah in general I just don't like Crowley being special lol. I like the book vibe where Crowley and Aziraphale are just two... not quite nobodies, given their roles in Eden and the spy allegory of the present day, but certainly not particularly powerful or impressive demon/angels. Crowley and Aziraphale's "superpowers," such as they are, are just their adaptability thanks to living on Earth so long. That's what defines them compared to the rest of Hell and Heaven and sets them apart as uniquely capable of giving a fuck and doing something about the apocalypse. Eg Hastur and Ligur are explicitly more powerful than Crowley, but Crowley escapes them by the skin of his teeth because he's able to break convention by weaponizing holy water, and he's familiar with technology, and more capable of thinking on his feet in general.

I like that all their uniqueness comes from living on Earth with humanity. It resonates with the thematic core of the story, it's fun, and it's interesting. Crowley now being able to perform super impressive miracles and casually resurrect people (something presumably not every angel can do since Aziraphale can't resurrect Edinburgh girl) and read heaven's secret files and potentially stop time in season 1 because he's a former archangel diminishes that vibe to me.

Another con of Raphael!Crowley as a headcanon is that a lot of the time, ime, it feels similar to lost scion of royalty headcanons in other fandoms in an unpleasant way - the way that kind of leans into the idea of someone being inherently superior and worth more by birth (or creation I guess in an angel's case lol). I don't think this is necessarily inherent to the headcanon, or an aspect I think Gaiman will definitely emphasize, but there is that worry lol, especially considering how gary stu-ish Crowley felt to me this season.

Like, why is him being a former archangel meaningful or significant at all? Why does the headcanon exist? What makes Raphael!Crowley different enough from Random Angel #2398!Crowley that it's even brought up as a character detail or plot point that excites people? And I'm not implying that there are no valid reasons (eg exploring why a high ranking angel specifically would fall, or to add some drama for Aziraphale if he finds out and it matters to him, or to add drama between Crowley and the other archangels, etc), but quite often the vibe I get from this headcanon is that Crowley's just inherently more interesting and cool if he used to be a high ranking angel instead of some rando, which is a vibe that puts me off.

Ultimately I just tend to prefer mundane origins to surprise significant origins, and stories about average people (at least in their own context, as angels or w/e) moulded by life who make interesting plot-driving choices rather than inherently unique and special people. And Crowley being Raphael doesn't necessarily make him special, but it does lean in that direction, especially if it's treated as a surprise significant reveal and yk, a source of superpowers.

And to be fair I actually have been thinking about directions this concept could go in season 3 that wouldn't annoy me, and one is to emphasize that archangels aren't inherently special at all and it's an arbitrary designation, and Crowley doesn't give a shit and anyone who does (like other archangels or w/e) is going to be painted as naive and silly and too into hierarchies.

And/or, yk, emphasize that "Anthony Crowley" is emphatically NOT Raphael, regardless of who God created him as. Choose your own destiny. All that jazz. Especially if the Metatron is offering him angelhood again I could see former identity and status being brought into play and held up as extra significant by the antagonists and treated as something to be shut down and dismissed by the narrative, which I would enjoy.

So yeah, at the end of the day I just prefer Crowley as just some guy who happened to get the Earth Agent assignment, rather than the mysterious only fallen archangel.