#even without any expression

[puppetmaster13u]

Prompt 169

Danny is from a world where everyone has wings, even if most have long since lost the ability to fly. Something about loading and aspect ratio, wings being too small, body too heavy, now mostly used as display, whatever. 

It doesn’t matter even if he had blueprints from when he was like six of a jetpack to help fly. It won’t work anyway and hey, he has his ghost form! Which uh, might be perhaps, affecting his wings which were maybe sort of scorched black and practically down to the bone thanks to the accident. 

It doesn’t matter, he swears. Though he’s admittedly relieved to see the new feathers growing in are different from Dan’s angry sunset. Even if they’re not even supposed to be able to grow back. Alright, this is fine, no one is going to notice! It’s not like everyone knows about the poor Fenton kid whose wings were absolutely destroyed thanks to an accident! It’s fine. 

He’s not flying in a half-panic towards the Far Frozen while crying because his wings are coming back and he’s so scared. He didn’t panic and instantly fled the moment Jazz pointed them out while changing the bandages. 

He definitely didn’t trip over something while wiping away said tears and blacking out from all the stress and all of his problems that he definitely mentioned to someone and isn’t keeping a secret. Definitely. 

Hawkwoman and Hawkman would like everyone to know that neither of them were expecting a very small child to be spat out of the villain of that week’s machine that should definitely not be a portal. A very small child, maybe nine or ten, with a multitude of concerning wounds both old and fresh. Which isn’t even beginning to touch on the wings. 

Feathered, like baby down despite the gnarled scars, unlike their own metallic, with the beginning of tiny specklings like stars amidst the darker fuzz peeking from the wounded flesh. 

Who?! Who dared?! It’s (at least to the forever reincarnating duo) a literal baby! They still have down! Tiny baby fuzz! Was it the portal?! Oh this villain is going to taste their maces for causing this if that’s the case! 

The rest of the Justice League would honestly like to know what just happened and are honestly unsure on if they should stop the two…

[artgletic]

case study of the self-identified god

[charliespoorasshole]

as much as i enjoy the idea of jitka finding out about hansry and helping them hide it and hans and jitka having a friendly platonic marriage while the three of them de facto raise heinrich together, i personally cannot wait to see hans being the worst husband ever

jitka, despite being nervous and scared out of her mind still being hopeful, and immediately losing that hope when she sees the dead and empty look in hans's eyes at the altar.

any excuses she had thought up fleeing her mind like a gut punch as she pretends not to notice hans slipping out of the bed on their wedding night and not coming back.

pretending how it doesn't feel like she's being strangled that hans couldn't be happier whenever he's being called away from her company, that he never stays in her bed chamber longer than he has to and that he never slept through a whole night with her.

eventually coming to terms with the fact that let alone hans's love, she will never even have his affection or a scrap of his attention. eventually not caring, and growing just as distant when she bears him his son, and trying not feel stung when hans doesn't even seem to notice.

but when she stops caring, she starts letting herself notice. starts to notice how whenever she sees him around, it's beside kobyla's bastard. how he can't seem to ever run out of reasons to summon him, how he never runs out of jobs for him to do, to keep him around, keep him close. how he always has a reason for him to accompany him on hunting trips, on political talks, on 'just needing to get away for a while'. away from her, away from their son.

how he always insists he's the only entourage he needs.

and how eventually she decides, fine. if this is how you want to play it, so can i.

[cale-thames]

My friend who didn't even reach chapter 400 of TCF asked me why I love ogCale so much ?

I told her every single reason why I love ogCale so much. And I don't love him after reading chapter 656, I have loved him since chapter 1 !

The reasons I loved him before reading chapter 656 are:

His face! He looks like an angel. I started reading TCF after seeing his face!

He never hurts anyone physically.

He hates gangsters and scammers.

He respects women and defends them (according to wiki).

He doesn't create problems for his step family.

He comforted his father after Jour's death (he was between 5-8 years old)

Unlike other 2 faced nobles, he is true to himself.

He isn't greddy for powers or titles.

He never shouted or raised hands at Basen

And the reasons I loved him after reading chapter 656 and side story are:

He understands krsCale so well. He never let any misunderstanding happen when they talked.

His smile is very bright despite what he went through.

He destroyed his reputation for his step family at the age of 8.

He kept acting nonstop for 10-12 years.

He survived 20 years in the middle of the war.

He showed director Mia her/his place. (Director Mia harassed krsCale quite a lot)

He truly wishes krsCale to live happily and peacefully.

He told krsCale how he could avoid being the duke.

He took care of krsCale' responsibility despite the fact that he can easily avoid it.

His eyes were shaking when he heard Choi Jung Soo is dead. Means he actually cares about the dead people.

He can do anything for his family and still cares about them.

He didn't insult Harris villagers because he is a heartless person, but rather, he was also hurt (It's not justification but explanation)

Because of him, krsCale now fully accepted his new identity.

He is very elegant and noble-like.

But when it's needed, he becomes a a cool trash.

Most importantly, he let krsCale dig his mom' grave and let krsCale have Jour' power.

All of the TCF characters are tragic. Like KRS, Choi Han, Raon, Alberu, Mary and everyone else.

But I can relate with ogCale more than I can with anyone else.

He lost his mother at the age of 5-8. Instead of mourning himself, he comforted his father. Then when his step family came, instead of creating problems for them, he destroyed his reputation for them. He also kept his distance from his family for their own shake despite the fact that he loves them dearly . He also gave up his birth right for Basen.

Despite doing so much for everyone around him, he lost his family. Instead of hiding from the war, he participated in the war to avenge his family. He knew he could die but he still kept fighting.

Then after doing so much, he agreed to let his place taken by a stranger. When everyone got a second chance, he didn't get any. When everyone forgot all the pain they suffer in the 1st timeline, he still remembers it.

It would be easy to do so when his family was dead. But now that he knows they are alive, isn't it pure torture that he can't meet with them?

Maybe he wished for a very long time so that his family would come back alive. Now that they are alive, he isn't allowed to see them.

Now he is taking care of a unknown child and a team he has no connection with.

He never lived his life for himself.

1st for his father after Jour's death.

Then for his step family.

Then to avenge his family and territory.

Finally, for a his niece and team.

He never lives for his own shake!

[sysig]

Justify away (Patreon)

[scootersscooter]

the entirety of Ella and The Prince's relationship can be summed up by that move in Neon when Ella and The Prince are circling each other and their hands are next to the other's faces as if caressing the other and The Prince moves as if to hold her hand and ends up grasping the air with a whistful expression on his face... AURGHGHGGHGH THEY MAKE ME SICKKKKKK

[deliriuxe]

...Yeah, I'd whore myself up for him like this. Next question.

[wisecrackingeric-2]

I think I just realised that ever since the start of the year I’ve gotten really really really bad burnout/art block and I’ve got no idea why :( I used to draw multiple times a day all day every day with no issues, and now I struggle to pick up a pen once a week let alone finish a piece just for myself that isn’t for a deadline or anything and I’ve got no clue how to fix that, and it’s been making me feel super anxious about my art, so if after serennedy week posts are a little slow that’ll probably be why and I’m sorry in advance!!!!

[monstermoviedean]

a better life is a myth. real is better than fake. now is better than then. accept your life. accept your life. accept your life. your problem is your anger. your anger is THE problem. it is your responsibility to stop being angry. that will allow you to accept your life. that's your problem. you're angry and can't accept it. that's on you.

play your role.

[sergle]

There's something about like. A certain genre of posts / Online Opinions about insecurity/depression/misery/complaints that are so unhelpful that they wrap right around to being straight up hilarious. and it's the ones that are more or less written to the tone of "Feeling bad? That's gross!" Like, just so you know, don't voice your insecurities/ have low self esteem, because that's offputting! You're gross and weird. Don't be insecure about that, though. That would be stupid if you felt insecure about people disliking you for being insecure. Not attractive. You should be thinking about being as attractive as possible. You shouldn't make comments about suicide, even if you're suicidal! Keep those thoughts entirely to yourself. Make sure nobody around you knows you're thinking about this. It would Make Them Uncomfortable. It's better to keep these thoughts in your head where they can fester. Don't post OR talk to friends with complaints about you feeling miserable or depressed. Tbh people who are sad/upset a lot? Kinda a red flag! You are probably miserable because you're a bad person and you've brought this on yourself. If you don't have friends, it's because you're awful to be around. Easy! Solved the problem for you. And no, there is no nuance to this, got it? So, make sure to feel bad about feeling bad, but don't feel bad about it, because, well, that's just gross. And annoying! You might've wanted your brain rotted thoughts to be Peer Reviewed, you might have just needed to vent- you might've been hoping for some comfort, to get things off your chest. Well, don't! Don't talk about thoughts or feelings that are negative with your friends, you'd be burdening them and that's only meant for THERAPY. #SponsoredbyBetterHelp #MentalHealth like, DAMN. that's so helpful. you're so good at helping. I um really liked the part where these are all hard and fast rules that encourage keeping feelings bottled up and keeping your friends at arm's length. That's really funny of you.

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[camgoloud]

he still has his tonsils. by the way if you even care

[randomnameless]

I think the worse Fodlanism is if any unit other than Byleth or Linhardt faces Caspar. "Did you have to kill a lot of your friends to get here? Cause I'm gonna give this fight everything I've got!"

Umm, you don't have to. You can recruit every other unit in the game bar Caspar and he'll still try to call other people out for killing those they used to know. But this also sidesteps the fact that his nation is attacking them and they're the one's fighting back. Edelgard is the one who began trying to kill her "friends" and he's defending her.

IIRC there's a saying that basically amounts to nobody give a fig about killing 10k randos, but if you kill one named character suddenly it's the end of the world?

We can give him some slack though, given how Caspar should, imo, be prone to buy various "information campaigns" from Supreme Leader, but yes, this is especially tone deaf considering his Emperor started the War and launched her attack on the Monastery, where some of his so-called friends were still around - with only two measly weeks to evacuate.

Again, a demonstration of double headed eagle self-awareness, but that's to be expected with Adrestian characters, remember when Doro blames the goddess for having to fight against Billy'n'co?

[jackfrostimposter]

genuinely why is there so much misinformation about the guardians of childhood book series?

[dxxtruction]

Something to just consider is that Armand is a collectivist. Culturally I think this makes sense, considering he would've been raised in his foundational years in that sort of culture that values collectivism over individualism. He's also had to live in several high control environments afterwards, which demanded servitude, where putting himself first would've led to trouble, up to and including death. In the Children of Darkness, for example, the very idea of seeking pleasure at all is against the commandments, and since he is forced to lead this group (under careful surveillance), he can not therefore show if he even wishes to seek pleasure, because this would disrupt the collective thought, and further, place a level of threat upon himself for disobeying the laws he's meant to be upholding. He's at threat that he can be killed for it, because that's how such laws are handled. So he necessarily can not hold an individualistic, self serving, opinion, and hope to live, and lived in that kind of envoirment for centuries. Even the TdV carries on the same sort of traditions to less strict, more secular, degrees. Seeking pleasure in TdV is rewarded, even exhaulted, but the great laws are still imposed to the level of threat which is death, and everyone is always surveilling each other on this matter. He's a collectivist, especially in situations which impose certain, or uncertain threat of violence, for going against the group, or person, as in such a situation being individualistic is perhaps the last thing you may get to ever do. Nothing personally driven, therefore, seems that worth it provided the risk.

Whether he remembers this earliest period of childhood, or not, those sorts of values (likely positive then as things like sharing, community building, reaching mutually beneficial decisions, aid, and consideration of others feelings). Ingrained into his personality, and he doesn't have the kind of amnesia where it appears his personality was fundamentally changed by it. Rather, that since it's more of a dissociative amnesia barrier protecting him from traumas, that his personality would rather be fragmented, as opposed to altered. (Meaning such values are still there, but are now also acting alongside various further alteration to what is means to be in collective. And that if such amnesiac parts ever do surface, it is only reacting as if it is re-experiencing, and in the same context to the trauma. Depending on how complex this part is it could take on further environmental inputs while in this state, developing or simply having, essentially, its own personality... but I digress).

He does things for the group, which can at times only be one person, more-so than he serves himself. Placing what serves situation and context more highly that individual personal traits and feelings. But, by thinking he has no self, he naturally falls to self justifying everything wrongful he personally does, as for the benefit of the group. It's a cognitive distortion which doesn't recognize it's own selfishness because it sees itself as being selfless regardless of actual outcome. Further, this makes it so he takes no responsibility for others actions he may have caused, or to how a situation came about because of himself, if he doesn't then apply having any self to that situation. He'll bend to opinion even if its false, and create or even take on an entire role of falsehood, if he believes it serves a mutual benefit.

He uses this as a kind of shield against the world he must fundamentally view as threatening, and imposing, with very limited spaces of safety. But doesn't impose himself in healthy ways, therefore becomes an enabler of certain toxic behaviors getting out of hand, and creating unsafe environments. Desiring such places being controlled, and predictable, environments, but not fostering what's needed for that, and certainly not in a healthy way. Rather lending to manipulating others, or using threats, or force, to make it so he's secure in this. Again, self justifying that it's for a collectivist benefit. If he does at all recognize his own selfishness it's due to how he's able to come out of his own cognitive distortions, and dissonance, and admit faults and failings. Seeing that hiding his own faults and failings from others is something selfish, and therefore that he does indeed have a self there. In doing so, developing an understanding that he acts as a self in all things, and therefore understanding the effects of his actions are actually his. (Or else falling right back into the distortions). He has to be selfish, in a way, to ever be truly selfless. If that's really his goal.

To want something for itself, as opposed to some other means. To want good, love, and safety, for itself as opposed to what it does. He has to develop a sense of his own idea of these things, in order to form a consistent and more secure identity, not founded or attached to a group or person. And further needs whatever self that is, to be embraced, by himself, and not insecure in how others would react to it. To not be afraid of this self expression and personal desire, thought, opinion, feeling, and so on. By developing his own person he'd be able to better embrace his own bad qualities, even change them. As he then feels he has such agency, and isn't just simply reacting and serving to the world around him. I think there's something in how he changes Daniel which says he is moving in sort of this direction, there's something in how it appears he's roaming around on his own right now that suggests he is on a journey of this sort. I'm not expecting greatness out of it, but I am thinking there will be progress for present day Armand in future seasons. I think he is capable of change, and is not fundamentally as he appears. (And this would align to his narrative arc in the books anyway.)

And just also like I don’t think he knows entirely where the boundaries of anything really are or should be. Between himself and others or like where right begins and wrong ends and so forth. Not a moment in his memorable life, mortal or immortal, hasn't been without the presence of vampires, and therefore conditioned more under vampiric understandings as opposed to human ones. And because he's disconsidering of self, and hasn’t exactly been modeled what these should be, he's not able to function sanely in his environment. He's not sane I think I can say. But I do think he’s someone who learns experientially, and can do that on his own, so where those must lie he’s not in total lack of awareness either.

[comatosebunny09]

People don’t like it when you pressure them back. Someone tells me to update a fic without context, feedback, kudos, or anything else. I simply ask them, “Why?” They block me. That’s fine—curate your experience how you see fit. However, you can’t get upset when I match your energy.