#I've thought up entire essays as a way to come out about this

[jellybeanium124]

nobody has mentioned this so hopefully that means you would... not be mad? haha? maybe?? maybe I can mention having a very stigmatized kink and it'll be okay? hopefully?? everyone can be normal maybe? I'm still me I haven't changed hopefully this won't change things at all and I've been terrified of sharing this part of myself for no reason??

[acaciapines]

i need to talk about the dess raises kris au. or im gonna explode.

[jonnywaistcoat]

What’s your opinion on the contrast between “silly” and “serious” spaces? Do you think people can have very serious interpretations about a genuine piece of media and also be goofy about it? I’m asking this particularly because I’ve seen people in the Magnus podcast fandoms fight about people “misinterpreting” characters you, Alex, and the many other authors have written. Are you okay with the blorbofication or do you really wish the media you’ve written would be “taken seriously” 100% of the time?

And follow up question, what do you think about the whole “it’s up to the reader (or in some cases, listener) to make their own conclusions and interpretations and that does not make them wrong”, versus the “it was written this way because the author intended it this way, and we should respect that” argument?

This is a question I've given a lot of thought over the years, to the point where I don't know how much I can respond without it becoming a literal essay. But I'll try.

My main principle for this stuff boils roughly down to: "The only incorrect way to respond to art is to try and police the responses of others." Art is an intensely subjective, personal thing, and I think a lot of online spaces that engage with media are somewhat antithetical to what is, to me, a key part of it, which is sitting alone with your response to a story, a character, a scene or an image and allowing yourself to explore it's effect on you. To feel your feelings and think about them in relation to the text.

Now, this is not to say that jokes and goofiness about a piece of art aren't fucking great. I love to watch The Thing and drink in the vibes or arctic desolation and paranoia, or think about the picture it paints of masculinity as a sublimely lonely thing where the most terrible threat is that of an imposed, alien intimacy. And that actually makes me laugh even more the jokey shitpost "Do you think the guys in The Thing ever explored each other's bodies? Yeah but watch out". Silly and serious don't have to be in opposition, and I often find the best jokes about a piece of media come from those who have really engaged with it.

And in terms of interpreting characters? Interpreting and responding to fictional characters is one of the key functions of stories. They're not real people, there is no objective truth to who they are or what they do or why they do it. They are artificial constructs and the life they are given is given by you, the reader/listener/viewer, etc. Your interpetation of them can't be wrong, because your interpretation of them is all that there is, they have no existence outside of that.

And obviously your interpretation will be different to other people's, because your brain, your life, your associations - the building blocks from which the voices you hear on a podcast become realised people in your mind - are entirely your own. Thus you cannot say anyone else's is wrong. You can say "That's not how it came across to me" or "I have a very different reading of that character", but that's it. I suppose if someone is fundamentally missing something (like saying "x character would never use violence" when x character strangles a man to death in chapter 4) you could say "I think that's a significant misreading of the text", but that's only to be reserved for if you have the evidence to back it up and are feeling really savage.

I think this is one of the things that saddens me a bit about some aspects of fandom culture - it has a tendency to police or standardise responses or interpretations, turning them from personal experiences to be explored into public takes to be argued over. It also has the occasional moralistic strain, and if there's one thing I wish I could carve in stone on every fan space it's that Your Responses to a Piece of Art Carry No Intrinsic Moral Weight.

As for authorial intention, that's a simpler one: who gives a shit? Even the author doesn't know their own intentions half the time. There is intentionality there, of course, but often it's a chaotic and shifting mix of theme and story and character which rarely sticks in the mind in the exact form it had during writing. If you ask me what my intention was in a scene from five years ago, I'll give you an answer, but it will be my own current interpretation of a half-remembered thing, altered and warped by my own changing relationship to the work and five years of consideration and change within myself. Or I might not remember at all and just have a guess. And I'm a best case scenario because I'm still alive. Thinking about a writers possible or stated intentions is interesting and can often lead to some compelling discussion or examination, but to try and hold it up as any sort of "truth" is, to my mind, deeply misguided.

Authorial statements can provide interesting context to a work, or suggest possible readings, but they have no actual transformative effect on the text. If an author says of a book that they always imagined y character being black, despite it never being mentioned in the text, that's interesting - what happens if we read that character as black? How does it change our responses to the that character actions and position? How does it affect the wider themes and story? It doesn't, however, actually make y character black because in the text itself their race remains nonspecific. The author lost the ability to make that change the moment it was published. It's not solely theirs anymore.

So yeah, that was a fuckin essay. In conclusion, serious and silly are both good, but serious does not mean yelling at other people about "misinterpretations", it means sitting with your personal explorations of a piece of art. All interpretations are valid unless they've legitimately missed a major part of the text (and even then they're still valid interpretations of whatever incomplete or odd version of the text exists inside that person's brain). Authorial intent is interesting to think about but ultimately unknowable, untrustworthy and certainly not a source of truth. Phew.

Oh, and blorbofication is fine, though it does to my mind sometimes pair with a certain shallowness to one's exploration of the work in question.

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 1)

I cannot figure out for the life of me how to make gifs so this will have to be a gif-less essay. If anyone more tech savvy than me wants to reblog with relevant media, please do!

I've seen a lot of people saying how Aziraphale's actions in the final ten minutes come out of left field and are OOC, and when I first watched the episode I felt the same, but now I think I couldn't have been more wrong. And I don't think Aziraphale is being controlled... I think the entire season showed us exactly what was going to happen.

On first watch, what struck me was the number of plot points that seemed disconnected. I couldn't figure out how Job related to the present, or the Victorian era, or the Nazi zombies (still at sea on the zombies part tbh). I didn't know where the Maggie/ Nina subplot was going, or why we were bothering with it. Then I put my "psych hat" on and it was like seeing one of those 3D pictures come into focus. It's a psychological networking rather than a plot-driven one, which is what Neil told us to expect.

Detailed analysis under the cut, with spoilers:

I went back through the season in my head and started asking myself: why is this element there? What does it contribute?

1. Start with scene one. Why include it? Does it matter for the climax that Az knew Crowley as an angel? YES. It's actually huge. Angel Crowley was joyful, he was bursting with delight at creation, he was idealistic. He wanted to be a part of everything rather than run away from it, and that's still how Aziraphale feels. He loves being a part of things. He's a joiner. He's a landlord. He dances at clubs and he makes human friends and he learns magic. Crowley the demon doesn't seem to want any of that, and I think that's hard for Az. He wants Crowley to be free of the cynicism he thinks prevents him from enjoying life now. At some level, I think he senses that Crowley is depressed (empathy's not his strong suit but I'm sure he's aware that Crowley's in a "what's the point of it all" kind of mood; see the eccles cakes scene). He wants to fix it. Aziraphale is a fixer. Metatron offers him a chance to do that.

Another thing is that Aziraphale knows Crowley ended up Falling just for asking questions that seemed innocent. That's not okay with him. He thinks that with the two of them in charge they can actually MAKE the changes that Crowley wanted to see way back at the beginning, starting with a suggestion box.

2. Okay, now Jim. Obviously Gabriel/ Jim is the central mystery, but why does he matter? First and foremost: he's there to show Aziraphale that angels can CHANGE. Gabriel terrorized and threatened Aziraphale. Az has been terrified of him. He ordered Aziraphale's execution. And now here he is, drinking hot chocolate, doing noble self-sacrificing things, with morals that suddenly align with Aziraphale's. What an absolute game-changer that must have been! He thought Heaven was unfixable, but here's Gabriel in his shop for weeks, slowly convincing him otherwise.

Then two other things happen. First, they find out that this all happened to Gabriel essentially because he fell in love. He was fired and his memories were stolen and the only reason he recovered was because Beelzebub happened to give him the one thing that could save him. That must have seemed like incredible luck. Now, how does Aziraphale feel about memories? He lives in a bookshop that is stuffed to bursting with the records of all of human history, essentially. His memories of his time with Crowley are incredibly precious. He sees, there at the end, that everything he is can be taken from him as a punishment for falling in love. Aziraphale doesn't have a magic fly container. He'd be forever robbed of Crowley, his life, himself. It's a very real threat in his mind when Metatron intervenes.

Which brings us to the second thing. Metatron saves Gabriel. Not only that, he prevents him from being punished for loving Beelzebub and lets them both go. What better way to win currency with Aziraphale? HE doesn't want to go off to Alpha Centauri, he never has, but suddenly he sees that Metatron might protect his relationship. And he's probably the only entity with the power to do so.

So we come to two conclusions: Aziraphale, when he goes off to talk with Metatron, is feeling like maybe it's not intrinsically bad to be an angel. He believed all the angels sucked, and only God was good... but now he sees that even Gabriel can change. He met Muriel, and he likes them. (He also had a huge crush on angel Crowley, which is neither here nor there but he loves Crowley in all his forms.) So if Crowley became an angel again, would that really be so bad? In his mind, it wouldn't change who Crowley is. It would just make them both safer and allow them to be together. (He's wrong! And Crowley doesn't see it that way! But this is a key miscommunication. Aziraphale doesn't really believe that becoming a demon changed Crowley. Back to the first scene, which Aziraphale references during the Job minisode. In his eyes, Crowley is the same person (just more cynical because of what's happened to him)-- so why would it matter if he's an angel again? I truly don't think he was trying to save Crowley, or saying that Crowley would be Better as an angel. To him, it doesn't matter what Crowley is. Which is reductive and harmful, but not the same as thinking Crowley needs rescuing from himself.)

Second conclusion: he sees that an angel and demon can be in love, but they have to run away to be together. Gabe and Beelz couldn't go home again. Earth is Aziraphale's home, but after the attack on the bookshop he learned that without Heaven's protection he can't really keep them safe there. Metatron says: "Come with me, do this thing, and you can have guaranteed safety AND be with the love of your life". Poor Aziraphale wants this with every fiber of his being. All he's ever wanted was for Crowley to be safe. He's never been able to offer it. Over the past four years, he thought they were safe, but he's just learned that he was wrong.

This is getting long. Continued in Part Two!

[spiders-around]

YOU MUST MAKE A WEBSITE

Oh wow, look at that! YET ANOTHER post urging you to make a webbed site! What a completely new thing that people haven't made a thousand masterposts for already!!

• Making a website might look scary. It is Not.

At first, I too thought making a website was too much work. It really isn't! It turns out that all you need is

an HTML file,

a web hosting service and

w3schools tutorials,

and that's about it!

This post will point you towards these resources, and others I found useful while figuring out how to make a website.

• VERY QUICK EXPLANATIONS:

What's HTML and CSS?

HTML is the content of your webpage, the skeleton of it. What shows up in a webpage is what's written in the HTML file!

CSS is the way the HTML is styled; the colour of the background and the letters, the size of elements, the font, all that!

Do I absolutely NEED JavaScript for a website?

Not at all! You don't need to worry about learning it before getting started.

• What do I make a website for? What do I put in there?

ANYTHING AND ALMOST EVERYTHING. Here's some ideas for pages from a post of mine were I was very normal about websites:

You can make a page that's only pictures of your pets.

You can make an interactive adventure.

You can make your own academic blog full of your own essays or articles.

You can just post a ton of art or make a full music page.

You can make a blog and infodump eternally, give book reccs and reviews. You can host a thousand virtual pets and nothing else.

Upload entire books in a single html file. Make a wikipedia for your ocs. Make a fake site for a random fictional place (restaurant, hotel, whatever). You can make a thousand fanpages/shrines about your favorite media. You can upload your own webcomic and make it all like a fancy website and shit.

I could keep going but, for the sake of "brevity", I won't.

• WEBSITE EXAMPLES!

If I started listing the websites I know, this post would be bottomless. Here's only seven:

https://publictransit.neocities.org/ - A webbed site, for sure

https://ribo.zone/ - A personal site

https://leusyth.neocities.org/ - An art archive

https://solaria.neocities.org/ - Personal website with A Lot of stuff (it'll come up in a bit, because it offers web making resources)

https://hog.neocities.org/ - The Hogsite

https://thegardenofmadeline.neocities.org/ - Another personal site! It also has a web resources page and has made another masterpost like this one (but better)

https://spiders.neocities.org/ - My own website, which must be weird to see in mobile . sorry

• You've convinced me. I want a webbed site. Where do I start?

https://neocities.org/

FIRST OF ALL: Neocities. It is a free web hosting service, and it's the one I and the sites I linked use!

When I first started, my website was a black page with red letters and a drawing, and nothing else! It was like that for a month, till i started picking up on how to do things.

Here's what helped me get an idea of how to make things work:

https://sadgrl.online/learn/articles/beginners-guide-neocities

An absolute beginners guide to neocities -- while when you make an account there you get a tutorial page from the site, this one's extra support for that.

https://www.w3schools.com/

Learn HTML, CSS, JavaScript and MANY other coding things for free. All the tutorial/reference pages have live testing windows for you to mess with!! helped me a LOT while figuring this stuff out!

https://htmlcheatsheet.com/

https://htmlcheatsheet.com/css/

Cheatsheets for HTML and CSS, respectively. It includes a JavaScript one too!

https://sadgrl.online/webmastery/

Sadgrl's webmastery resources! Also includes the next resource listed here:

https://sadgrl.online/projects/layout-builder/

Sadgrl's layout builder; not a lot of customization at a first glance, but I've seen wildly different websites all using it as a base, plus it works using CSS Flexbox, so it generates a responsive layout!

(basically, a responsive layout is one that translates well in different sized screens)

https://www.tumblr.com/fysa/728086939730919424/wikitable-code?source=share

Tumblr user fysa made this layout imitating a wiki page!

https://brackets.io/

At some point, you might want to do things outside the Neocities code editor and get one outside the site. I recommend Brackets, because my old as fuck computer can run that and absolutely nothing else apparently, and it works wonderfully! Though I recommend either turning off the code autocomplete or using it after a good while of already using the Neocities code editor, so you get used to coding on your own.

http://www.unit-conversion.info/texttools/text-to-html/

Turn your text into HTML code! i use this kind of pages for my lengthy blog entries that I don't feel like formatting myself.

https://imagecompressor.com/

COMPRESS YOUR IMAGES.

The heavier an image is, the more your site weighs and the more time your page will spend loading. You don't want that, specially if your site is heavy on graphics. This might help!

https://solaria.neocities.org/guides

Some CSS, JavaScript and Accessibility guides! Worth checking out!

https://eloquentjavascript.net/

This is a free, interactive book for learning JavaScript! NOTE: It is very intuitive, but JavaScript is HARD!! I still haven't learned much of it, and my website does fine without so don't worry if you end up not doing much with it. It's still useful + the exercises are fun.

And now, accessories!

• Silly stuff for your page :]

https://gifypet.neocities.org/

Make a virtual pet, copy the code and paste it in your HTML file! You'll get a little guy in your webbed site :]

https://www.wikplayer.com/

Music player for your website!

http://www.mf2fm.com/rv/

JavaScript silly effects for your site :]

https://blinkies.neocities.org/geoblinkies

Blinkie search engine!

https://www.cbox.ws/

Add a chatbox to your site!!

https://momg.neocities.org/

Infinite gallery of gifs. i've spent hours in there looking at moving pictures and out of them all, the ONLY gif i actually ended up using on my site was a rotating tomato slice. it is still there. trapped.

https://wrender.neocities.org/tarotinstructions

A widget that gives you a random tarot card!

https://www.websudoku.com/widget.php

Sudoku widget!

That's about it for now! I don't know how to end this!!! Remember to have fun and google everything you don't know :]

[infamous-if]

Dec ✮ 12 ✮ 2024 – update

Part of me hates doing these mostly because it's a whole lotta nothing and me just repeating everything I said the last update (lol) but I do like doing it because I like keeping people updated, even if it's a non-update. I may sound like a broken record (pun not intended) but I know a lot of people don't catch my updates every time so it's nice to just keep people informed yk yk

✮ — Part 2 + rewrite

Fun fact: I had written an entire essay about my excitement for the rewrite and chapter 3 and beyond but it got too long!

It boiled down to me wondering why I'm so excited for this rewrite and realizing it's because I feel comfortable enough to approach it with complete creative freedom. I wrote the first iteration of the demo with the constant worries swimming in my head like "I hope people understand what I'm trying to say here" and "I hope this situation is being read the way I intended for it to be read." And I think I sort of had those thoughts tenfold while writing Part 2. If you paid attention, you can probably see where I was trying to shut down certain discussions in the narrative lmao

Recently I had a tiny epiphany and reminded myself that it's not always about what I intend to write, but what is being understood by each reader. And yes this is basic writing 101 but let me have this moment of clarity okay. Embracing that means I can proceed with Infamous without holding back and sticking to my guns in regards to what I want for this story aka I'm just going to write what I write and like....not worry about the rest you feel (while of course integrating the common critiques and suggestions and improving on the things Infamous falls short in—I am not Shakespeare lmao)

ANYWAY my point is that I'm excited to fix up the demo !!! and just go back to it with complete confidence in myself and write whatever the heck feels right to me (and write the rest of the story lolol) and return with a better story than I have now for everyone!!

✮ — December will be for

planning what I'm going to improve and squeezing that in a reworked outline so it can flow much better narratively.

Outlining Chapter 3 and hopefully have the bare bones first draft drafted up which is mostly just be writing blocks of descriptions

I'm not sure I'll have anything substantial to justify looking for beta testers so soon yet but maybe!

work on my spice writing babey writing/reading spice makes me actually physically recoil but im determined to get better! which reminds me to finish the 6k follower gifts!

And also take a small breather because I am moving!

✮ — Patreon

I've already mentioned this on Patreon and a few times on here, but I do want to reiterate that Patreon content is coming out in bulk this month, in case anyone was wondering why I'm not posting as frequently. The content is still the same in terms of the quantity, it just won't be released every few days! thank you guys for being understanding of that <3

✮ —

My activity has is decreasing little by little due to my move but I do read every question and try to at least answer one question a day. I get quite a few mentions lately so I have to sort through those since I do get tagged in things, but I miss them due to my notifications. Usually I hope for the best and hope tracking the tag puts it on my dashboard <3 im not ignoring anyone!

That's all for now! Hope everyone has a happy December and Happy Holidays!

[chrisrin]

hi so i got diagnosed with adhd like 6 months ago after continuously insistently denying i had it to everyone who swore up and down that i did have it. then a psychiatrist was "yeah you have it bro" and i've been re-evaluating everything in my life. anyways. that's context, and with that re-evaluating i've realized something about my hyperfixations and i want to know if:

a) people with adhd relate to it. b) how do you. deal with this. because i think it's somewhat ruining how i interact with media.

anyways, under the read more ->

i've come to realize a pattern with media i consume that i get fixated on. typically this happens with longer media. so stuff like homestuck, and currently with one piece. stuff that i cant binge in an evening or two. (i am on chapter 170 of one piece at the moment of writing this, i read 40 chapters yesterday)

i obviously can't be consuming the new piece of media i'm into every second of my day, in fact, that sounds exhausting.

i have other things i need to get done and, in fact, i NEED to be doing other things because even with something i'm hyperfixated on, my brain will get bored and needs to bounce off other types content. however what this does mean is that every thought i have IS still hyperfixated on the piece of media which means i will still seek out that content even if it's not me reading the original source material.

what this MEANS is that i have all these video essays recommended to me about one piece because youtube has caught on that i am liking and enjoying ONE PIECE (same with twitter. my entire twitter for you page is completely consumed by one piece. i dont know who 2/3rds of these people are please im still in alabasta what is happening) and i Want to Watch them all but i'm in the stage rn where Everything Is A Spoiler so i CANT watch the video essays so ill instead watch them RIGHT UP UNTIL im in the danger zone of being spoiled (sometimes actually risking/getting spoiled) or watching random out of context one piece clips and my one piece friends are all telling me i am just like icarus and flying too close to the sun but i also feel like i can't help the compulsion in some ways? it also means i cannot help but talk about it in every conversation i have with everyone but that seems like, minorly connected to all this.

it's crazy because in my head this is the Worst Stage of the hyperfixation, where i can Only consume the media itself and not all the fan stuff around it. but that's Insane because this should be the best time because i'm literally experiencing the cool media i like for the first time. i feel insane. does anyone else relate to this. how do you deal with it?

[sunshine-jesse]

In defense of Andrew Graves: Facing Yourself​

Alt title: Andrew Graves: The Will to Plow Her

I think my analysis of Andrew is one of the best essays I've written so far. But since then, I think I've expanded my understanding of his character in a way that urges me to add on to my prior essay. What I intend on doing is further fleshing out my reading of Burial, and going deeper in detail on why I think Decay ends up panning out the way it does. This essay will end up sharing a lot of text with my prior one, but will add enough scattered throughout that I think it merits a complete reread instead of just scrolling down and seeing what's new.

I've focused a lot on Ashley in my past writings. She's my favorite character in the story (and depending on how episode 3 pans out, maybe ever) and I'm pretty mortified by how some parts of the fandom have reacted towards her, so I pretty much made it my life's mission to push back against that. From highlighting the ways Andrew mistreats her, to coming up with justifications for her behavior that aren't just being a manipulative bitch, I really wanted to prove that a more favorable picture of her could be painted than most were willing to.

But in doing so, I've left Andrew in the dust.

In highlighting his flaws and the ways he mistreats Ashley, I think I've implied a level of intentionality to his actions that I don't believe he has. When I say that Ashley did nothing wrong, it's in direct response to the idea that she holds the most responsibility and agency in how their dynamic plays out, when in reality, I believe she has very little. Most of her actions in-story are in reaction to a variety of stimuli that come directly from Andrew, that he has control over and are aware of how Ashley feels about. His refusal to use clear and direct language to deny her most toxic tendencies causes her more and more stress as time goes on, and instead of giving her clear answers he opts to be catty, passive-aggressive, or, at his worst, threatening. Never direct and never clear, except when establishing boundaries over his name after the choking scene. Andrew fails to help Ashley be better in some frankly depressing ways throughout the whole story, especially in their childhoods, so we never get to see where she'd fall short if given a better influence.

...

Kind of. More on that later!

In mentioning his thing about preferring to be called Andrew instead of Andy, I also implicitly mention one of the places where Ashley falls short in their dynamic and could stand to do better: recognition.

This scene says a lot. It's the most heartbreaking scene in the game, if you ask me, and probably the single most profound and well-written moment in the entire story. I could write a whole 2000 word essay on it alone, but I've already said most of what I have to say about it through what I've said in other essays, so I'll spare you all that. Instead, I'll use it to highlight something:

"I had fun."

Their dysfunction is fun to her. She's so used to abuse and alienation that even the most awful, stressful (as far as we know) route of the game is still fun to her. And that's not a sign of her being a secret evil sociopath or whatever; that's actually not abnormal behavior to develop for a lifelong victim of abuse. Those highs and lows, those strong emotional highs and lows are -addicting-. They're -fun.- Part of why abuse victims get into so many abusive relationships is because it's easy to pick up on those patterns of thought and take advantage of them, and the cycle of abuse is often furthered when a victim of abuse tries to draw out mutually abusive behaviors in someone with no interest in having that kind of dynamic.

This is where I'm willing to acknowledge Ashley's manipulative tendencies. Not just as a matter of controlling Andrew for its own sake, purely out of jealousy or possessiveness, but as a matter of trying to further the only dynamic she's ever known in her life. Better the devil you know, right?

That push and pull- that emotional rollercoaster- is all many of us know. And it's all Ashley knows. This dynamic is something she's so used to that she reacts incredibly harshly to any attempt to change it, because she doesn't know that things can be better. Because of this, she refuses to engage with who Andrew really is, and tells herself- and him- that she *hates* Andrew:

This scene is almost as heartbreaking as the above one in a lot of ways.

Andrew putting his foot down about the Andy/Andrew name dichotomy wasn't arbitrary and it wasn't just about his comfort. It was about Andrew giving a clear indication about what needs to happen for their relationship to improve. He's recognizing the cycle between them and wants to put a stop to it, because he's confident that things between them CAN get better and evolve into something healthier. Ashley, not understanding that their dynamic can get better, because their "fun" little push and pull of abuse is all she knows, rejects that. She rejects the unknown, and says- in Andrew's mind at least- that she'll never accept that new dynamic, nor will she accept who he really is.

Ouch. No wonder he looks so sad in that screenshot.

They have a conflict of understanding here, and I think it's fair to pin most of the responsibility on Ashley. Andrew was clear in what he wanted, and Ashley just... Didn't. She didn't see the importance of it ("...whatever that means in practice") and didn't really ask. This gap in communication, perfectly displayed in this scene, is likely what causes the Decay ending. He wants things to be better, and wants to treat Ashley better, and whether or not he understands the ways in which she communicates with him is in part what determines what he sees her as.

But there's a lot of evidence that he always wanted things to be better, that he always wanted to treat her better. But external factors have made it very, very difficult, and I think there are two key points in which he started to shed the importance of those external factors and seek that better relationship, both of which happening in the apartment: The killing of the warden and the 302 lady. In the first case, he was forced to do it to protect Ashley in a way he hadn't done before, or depending on how you look at it, since the death of Nina. But the intentionality was the key point here. After this point, he calls Ashley Leyley, which may or may not seem important at this point, but it's something I'll draw attention to later, so keep that in mind.

Next is the killing of the 302 lady, which is the much, much bigger point. We don't learn much about it until later on- as at first he just gives an excuse about the nail gun that doesn't line up with what we see on the map- but during the dream, it's revealed it was a calculated, intentional killing that he did to make sure there was no evidence left behind, and because Ashley (supposedly) would've wanted him to do it anyway. I say supposedly because Ashley herself doesn't seem to ever want Andrew to kill for her past Nina's death, because he only ever kills for her to defend one or both of them. If you want more evidence that violence for violence's sake isn't something she wants, look at this part in the final dream:

A knife isn't what opens the door, despite it being placed on the ground in that very map. While it seems obvious that the knife (violence) would be the key to solving the puzzle, it's put there explicitly to show you that it isn't. It's not what she wants; what she wants is a flower.

So, why is this important? Why am I centering Ashley- again- when this essay is supposed to be about Andrew?

It's because these two killings are when Andrew's self-delusion over who he really is starts to break down. It's still there, mind, as he still relies upon Ashley as an excuse to justify it, but, as well as what I've said before, the name ultimatum is an implicit confession that the normalcy he finds comfort in is starting to lose its grasp on him. There's a lot that's been said about Andy being something close to a "moral impulse" for Andrew, given his child self's reaction to Nina's death being the only thing he does that approximates a normal moral response to his and Ashley's actions, but if you do think that- which I think is a reasonable thing to think even if I don't necessarily agree- there's something you must also keep in mind:

-He- is the one who doesn't want to be called that anymore. -He- is the one who wants to let that moral impulse go, and Ashley is the one making it difficult.

That reading is assuming that Andy is a moral impulse, which I think is... either wrong or too simplistic. Every time I see that reading, it's from someone who's trying to paint him too sympathetically and absolve him of most moral responsibility. I also find it infantilizing to equate morality with childhood in such a way? But that's another tangent that I didn't sign up to talk about. What I do think, however, is that it's a useful framing device to display his own relationship with morality; the allegory to his child self doesn't have to be there for the general pattern to exist.

When Ashley starts to grill Andrew over the killing of the 302 lady, he gets mad. Very mad. Ashley sees it as pointless, as him covering his own ass, but he genuinely did it for her sake, because he thought that's what she wanted, and that it'd make her happy. But what makes her happy isn't violence- or any similarly extreme action for that matter- it's attention and validation. Something he's always reluctant to give her, despite the fact that he always chose her over the alternatives. But despite making that choice, it's always empty and meaningless, because in Ashley's mind, he never did it for her sake.

And hoo boy, does he not like it being framed like this.

He is perfectly willing to do whatever it takes to keep them happy and safe... but only for her sake. It has to be for her sake. He still needs that traditional role, and he still needs to have a narrative in which he's the good guy- a protector. Because it can't be for his sake. It can't be because that's what he wants. He has to uphold that romantic (in the literary tradition sense) ideal. His darkly romantic idealistic streak colors many of his actions and beliefs. This is most plainly visible in his quip about a double suicide being romantic, but it's also visible within the symbolism present within his dream, such as how he can only pave his own path in blood unless Ashley lights the way. It's visible within his appreciation for poetry, and it's visible with how the cultist within the dream speaks in Shakespearean English.

But the transient nature of this ideal is also revealed within this dream, because there's never a cohesive, guided path, even with Ashley there to light it up. Contrary to Ashley's dream, where you literally have maps showing you where to go, Andrew's dream has many more dead ends and no map to guide him. The symbolic role he acts out gives him no clarity, and there's no overarching narrative; merely a bunch of disconnected symbols.

This is contrasted with Ashley's dream, which has narratives so clear that the story literally gives the dream an episode title.

In a sense, he wants to view himself as an actor acting out a role in a story. He wants his life to be poetic, to represent something greater, and to have a cohesive narrative. This is why he's so disconnected from his true desires: He's more concerned with acting as a representative of an ideal than a person with agency. But every time the mask drops, every time he stops acting, his true self becomes visible. He naturally settles into being comfortable around Ashley, in treating her with warmth and kindness, and their banter becomes much less toxic. As intent as he is on acting out his role, it does nothing for him, and as his dream sequence shows, it doesn't even form a cohesive narrative, because he can't act one out. It's too contrary to who he really is, and what he really wants. But that idealization doesn't just apply to himself, it also applies to Ashley. Specifically, who Ashley is, vs who he wants her to be.

In his unique dream sequence, he sees two versions of Ashley; the child version of her- Leyley- and the adult version of her- Ashley. And the differences in the ways he interacts with the two of them are stunning. Leyley is an obstinate, annoying child. She's the one he NEEDS to take care of, and he hates that. He hates Leyley for what she did for his childhood. He hates that he needs to provide for her. He has the option of trying to kill her, even, over something as small as a candle!

But in the room with all the murders, the gilded cage, he sees Ashley as an adult. This version of Ashley is stuck in a closet that he himself has to open- and to choose to see. Their interactions are calm and friendly. She teases him a bit, sure, but she's still helpful, and they have fun together. He doesn't need her, and she doesn't need him. He needed Leyley- needed the candle- but here, there are other limbs strewn about for him to take. And, crucially, he doesn't even have the option to kill this Ashley for one of the limbs.

And during the choking scene, he lets her go the moment she acknowledges that he doesn't need her anymore. This is the first time we know of that he seems comfortable enough to set a clear boundary, which is acknowledging that their prior dynamic is dead and that they're now Andrew and Ashley, not Andy and Leyley. It's a bit late to express a clear boundary -after- literally acting like he was going to kill someone, but it's the first time we know of that he sets a clear standard for what, in his mind, would improve his relationship with Ashley.

After all, what he wants is to want her, not need her. He wants Ashley for Ashley's sake. Not for what she can provide him. He doesn't even need her for sleep, he just wants her. But Ashley has trouble acknowledging this, because he's never before shown that WANT. Only a NEED. She keeps trying to find ways to make him need her, because she's never seen what his desire for her is really like. She's only ever seen him desiring someone else, someone other than her.

She's only ever seen him as Andy, because she's never truly seen Andrew, only the violence he can inflict on others. But Andrew can see both:

He can see Leyley, the needy, bratty child who always needs his attention, that he needs to provide for. The one he hates and wants to get rid of. The one he kills for to protect.

And he can see Ashley, the one who engages in friendly and cute banter with him. Who comforts and shows him physical affection. The one he loves. The one he kills for to make happy.

He just can't choose which one he wants to see. Every outside influence- from his parents, to Julia, to Nina- makes him see her as Leyley. Ashley herself makes him see her as Leyley too, whenever she brings up all the things he did for her, and calls him Andy, his child self, instead of Andrew, his current self. And as long as he sees that child, he feels like one too, and can never give Ashley anything that comes from the heart.

But he really, really wants to see Ashley as an adult. He wants to take pride in her, how much she's grown, and how driven and competent she really is.

But god damn, does that bitch ever make it hard, because there IS no real difference between Ashley and Leyley. She's grown and changed over time, taking more adult (and stereotypically feminine) responsibility upon herself, but the fact that her temperament and personality hasn't changed much obfuscates that growth. When you talk to Ashley in the closet during the dream after getting the limb, Andrew asks Ashley to come out of the closet, but she refuses to come out because he won't invite Leyley over to play, which is a pretty strong metaphor for how he interfaces with different aspects of Ashley's personality and refuses to accept others. But the reality is that he needs to accept both, or rather, see her whole self as Ashley, rather than just the parts he likes.

In the end, it's him who has to make the choice how to see her. Ashley can only see what she's been shown, but Andrew can choose.

And in the basement scene, he makes that choice.

If Ashley refuses to leave him alone with their parents, that's it. In one of the most critical and important moments of his life, she couldn't give him the space needed to make up his own mind. She couldn't treat him as an adult. She couldn't see him as Andrew. If she does give him that choice, she chooses to acknowledge that Andrew is an adult who can be trusted to make his own decisions, even though she (perhaps foolishly) believes that this choice lines up with her own interests. And frankly it does either way, but in accepting their mom's offer, her chooses to see her as Leyley once and for all. He chooses not to reciprocate what Ashley showed him. He does it because he needs to, not because he wants to. Because it's his duty, not his desire.

This is what results in the Decay ending. Through his inability to see Ashley as an adult, he surrenders his agency and views all of his actions as an extension of his responsibilities, his role, which he no longer wishes to uphold. He dissociates fully from who he really is, acting in accordance with that disconnected, barely-cohesive narrative that exists only within his mind. The game starts to resemble the heartwrenching tragedy that many seem to take for granted that it is, as their dynamic fully doubles down on its painful toxicity. And, in an example of a poetic book end, Ashley's dream shows a double suicide, closing the book on their tragic tale.

It's tragic. It's heartwrenching. It's poetic. It's beautiful.

...Except it's not. Not at all.

It's actually fucking stupid, pointless, and brutal, and Burial shows us that. When we view their spiral as beautiful, we project the same darkly romantic ideal that Andrew possesses onto the story.

But the actual reality is horrifying.

Ashley spends most of Decay terrified of Andrew, the one person she found comfort in. He acts cold, distant, and aggressive towards her, showing pointless cruelty instead of any warmth. All she wants is comfort; all she wants is to not die. She doesn't want to engage in this death spiral at all, and, in her dream sequence, shows none of the same willingness to die alongside Andrew that Andrew does with her. The moment we stop focusing on the end of the Decay dream sequence, which has very striking imagery, and if you choose not to shoot, one of the most beautiful scenes in the game, we can see it for what it really is:

A scared animal running away from a predator.

The moment you see Decay through Ashley's eyes, and not the perspective of some romantic ideal, Decay becomes terrifying, tense, and painful. There is no catharsis to be had in this tragedy. It's easily avoidable as long as Andrew chooses to engage with reality, and not the empty promises of his mother and incoherent narrative of his ideal.

Finding beauty and meaning in tragedy is how we cope with the harshness of reality. But there is no coherent narrative to the tragedies we experience, just like there's no coherent narrative to the ideal Andrew wishes to uphold. It's something we create- that he creates- but it's not something that actually exists.

And when Andrew casts aside his desire for that ideal, and the responsibilities it shackles him to, it grants him clarity that he never had before. He sees the world for how it really is, and acknowledges that nobody- the least of which their mother- is as different from Ashley as they pretend to be.

They're no better than her, and he's tired of people pretending that they are. People are all the same, no matter what ideals they try to uphold and represent. They still sacrifice others in the name of advancing themselves, still punch down whenever they can, and still lay blame on those beneath them rather than try to take control of their lives. They just use those ideals to justify themselves, but Ashley, and now Andrew, reject even the need for that justification.

This is why I believe the story is nihilistic. Not in that it asserts the inherent meaninglessness of life, but in that it grapples with the ideals we uphold and how they obfuscate the reality of the world we live in. The story, intentionally or not, highlights how ideals are often but a pretense we use to justify what we were likely going to do regardless, and how holding to them too strongly can lead to our ruin- and how monstrous they make us look to those who do not share them.

Consequently, this is how I view the part of the fanbase who thinks Decay is a good ending.

(the characters themselves represent existentialism rather than nihilism but i couldn't really fit that analysis in here without it feeling forced so i might cover that another time)

From that point on, their relationship becomes a lot more friendly, lighthearted, and playful. They ironically start acting more like children, but to quote CS Lewis:

"Critics who treat adult as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence."

He's not ashamed of being playful with Ashley, or showing affection towards her. He's grown up. He finally sees her, and himself, as an adult- although he still doesn't show that in full until much later on (more or that later). But in Decay, he still sees her as a child, and to an extent, probably himself. Let's compare the ways in which he reacts to being called Andy. In Decay, he lashes out at Ashley and gets angry, even threatening her. But in Questionable Burial, he calmly says that Andy is dead and doesn't need Ashley's comfort, but still tries to reassure her that she's still needed. He's not ashamed of or hostile towards their prior dynamic, because he's grown past it. He still acknowledges Ashley's need to feel needed, but here, he recognizes its importance to her, whereas he was hostile towards it before.

It's a display of respect towards her feelings.

This interaction doesn't happen in the Sane ending, however. He doesn't play games with her and is just a lot less fun to be around all together. Why is that? Because he still hasn't yet shaken viewing Ashley as Leyley there. He still views her as a burden, as someone who needs taking care of. He's calmly accepted that, too, mind you, but he lacks respect for her because she's still a child, in his mind. But in Questionable?

The vision did more than just make him extremely embarrassed and lay his deepest desires bare. It forced him to recognize Ashley as an adult. When choosing between "Never" and "Never say never," if Never is chosen, the burden of thought is lifted off of him. But if Ashley chooses "Never say never!", he has to reckon with the fact that Ashley is an adult, someone who can consent to those kinds of things. Someone who MIGHT. Someone who has agency, and can make her own decisions. And more importantly… someone who can trust him to make his own.

Whether he desires sex or not is secondary; he's always had those feelings and has always been ashamed of them. But now that the part of him where that shame came from is dead and buried, there's no childish impulse to grow up. There's no attachment to the hate and bitterness he had before. Look at what he worries about when he picks up that she's uncertain or confused about who he is now:

​

It's her feelings.

He wants to be fun to be around. He wants to make Ashley happy. He loves her, and not as a romantic interest or even as a sibling. He loves her independent of all that baggage.

He loves her as a person.

Their relationship runs contrary to societal ideals in some pretty huge ways. So contrary, in fact, that it's hard for some to accept it as anything good, that it can ever be best for the people involved. It's incestuous. It involves them killing and eating their parents. It involves them distancing themselves so much from society that it's hard to believe they'll ever fit in it again. It's chaotic, it's messy, it's codependent, and maybe even toxic. And yet, here they are. They're coexisting. They're happy. They're healing. They're navigating the world in the only way they can: together.

Meanwhile, in Decay, Andrew refuses to allow himself to get closer to Ashley. He surrenders all agency to her, buys into his own narrative, drinks his own Kool-Aid, and may or may not condemn one or both of them to death in the process. Like it or not, the only path where Andrew takes ownership of his life is the one where he's closest to his sister. It's the one where he decides where they will go next, the one where he decides his own feelings matter, and acts in accordance with what he wants instead of how he thinks he should act.

His agency, his freedom, and his growth don't happen in spite of his codependency; they're happen because of it. They can't grow alone. They can't heal alone.

In reading the story, one must interrogate how important those societal ideals are in the face of the realities of what makes people happy. Are those ideals worth upholding in spite of this? Can we really allow people to fall through the cracks in the name of social norms? Can we blame people for taking rash actions when the social contract has failed them?

Or are we so blinded by those ideals that we can't see that people can be happy while blatantly disregarding them?

All I know is that in Burial, Andrew, having cast aside normalcy, now appears to be truly happy for the first time in his life.

Who are we to take that from him?

[thankskenpenders]

And now for something new

So, here's something I was never planning on doing, but I just couldn't shake the idea... Thanks Ken Penders is gaining a sister blog featuring an entirely different comic franchise!

Introducing... Thanks Steve Ditko, a blog where I read the Earth-616 Spider-Man comics, starting all the way back in the '60s! It's gonna be much more casual and less thorough than how I run things here on TKP, though, which I'll explain in a sec.

If seeing me post weird bits from old Spider-Man comics sounds fun and you need no further info, then just head right on over to Thanks Steve Ditko. But for longtime TKP readers, I know you probably have questions...

Number one: Why?

Spider-Man's always been my favorite superhero, and with the Spider-Verse movies kicking ass and my excitement building for the new Insomniac game, I've been in a Spidey mood. Inevitably, a thought occurred to me: Maybe I should actually read the comics that everything else is built off of and see the wildly varying contributions of all the original creators, rather than filtering them through big budget adaptations. If I can power through One Piece and all these other manga with hundreds of chapters, it can't be that hard... right?

And, well, after a few issues I quickly realized that my options were to either clog up my other accounts with random Spider-Man panels for years, or to just make a side blog. And so the side blog was born.

Two: Will this blog replace Thanks Ken Penders?

NO!!!!!!!!!

Okay but prove it

To allow the two to exist side-by-side, Thanks Steve Ditko will have a different format than what Thanks Ken Penders developed. Rather than an in-depth guided tour that critically analyzes every story beat of every issue, TSD will just be a place for amusing panels and brief thoughts as I casually read the comics at my own pace.

If you've seen me make a few tweets about reading Spider-Man recently, I'm basically just moving that to a dedicated Tumblr. It's a place for me to dump these things so that it doesn't fill up my media tab on Twitter for the next decade. (You know, assuming Twitter is still around in a decade.) There will be many issues where I only post two panels that I thought were funny. There will be issues where I don't have anything to say at all. Maybe I'll reach a run that I just cannot get into, and I start skipping around more. Who knows!

This may sound similar to what I thought this blog would be before it blew up. Aside from the simple fact that there's already mountains of Spider-Man commentary out there and therefore less of a void for me to fill, one of the main steps I'll be taking to avoid repeating the past is not enabling an ask box on TSD. I do not need people to ask me to go into ten times more detail on everything. I do not need to write seven essay-length responses to questions about Spider-Man minutiae every day. I do not need a place for people to chide me for not covering certain scenes, issues, or ancillary series.

It also won't have any kind of update schedule. I'm trying to keep it very casual. I'm reading these comics at my own pace, and if I feel like sharing a moment or commenting on something while doing so? It goes there. That's it.

(On the subject of format changes, I'm also listing the issue, writer, and penciller in the body of every post. This is a thing I wish I'd done on TKP so that people didn't misattribute every weird Archie Sonic panel I post to Penders.)

Three: So when will TKP come back from hiatus? You said it'd come back after you finished SLARPG!

I don't know! Sorry. I have a couple things on the backburner right now for TKP, but I'm not sure when I'll get back to proper updates where I read more comics.

I wanted to bring TKP back this year, and that's still possible. The main hurdle is that I want to reread my own archive (again) as a refresher, which is, uh. A lot of posts. I've developed a high standard for myself on here, and I feel like I wouldn't be doing my job right if I forgot half the ongoing subplots and character arcs and didn't bring them up in my analysis. Especially when I'm discussing the work of an author as obsessed with continuity as Ian Flynn. Unfortunately, the nature of this blog means that every time I go on another long hiatus for Life Reasons I have even more comic continuity to catch up on than last time.

(This is a big part of why I'm making Thanks Steve Ditko an extremely casual blog instead of promising to become a Lore Expert on 60+ years of Marvel.)

Mostly I've just been very burnt out this year after having finally finished a video game that took almost eight years to make. I haven't really had the energy for any creative projects, including TKP. But I feel a little bit of a spark here with Spider-Man, so I'm chasing that feeling to try to get back into the swing of blogging about comics - no pun intended.

So, basically, bear with me on this as I start this low-energy side project. But hopefully folks will enjoy Thanks Steve Ditko as its own thing, too.

Look forward to goofy shit like this

[one-squash-one-end]

I wrote a giant Raven Cycle analysis

Hi! Over the last year or so I've been working on a sort of essay about various themes in the raven cycle series, and I finally finished it a few weeks ago.

It is titled: "Why I love The Raven Cycle - An excessive analysis of the themes of friendship, queerness and growing up".

And since tumblr loves its meta (and bc I love peer validation) I've decided to start uploading it bit by bit here, making this the masterpost (if I can figure out the logistics of the linking lmao, bear with me)

(beware of spoilers up to greywaren starting at like 3b!)

Introduction

What even is the Raven Cycle?

Trust me, the characters are queer as fuck and I can prove it a) Blue Sargent b) Gansey c) Adam Parrish d) Ronan Lynch e) Noah f) Henry Cheng g) Honorary mentions

The Gangsey is a polycule

Analyzing the reoccurring themes a) Friendship b) Being a teen/growing up c) (Found) Family d) Magic (as a metaphor) e) Further themes I appreciate

Drawing a conclusion

Click here to start with the introductory parts!

1. Introduction

So here’s the thing: I love fiction almost as much as I love my friends. There’s something deeply comforting about the escapism, even if the book actually makes me want to scream and throw it on the floor (only one book has been thrown so far, I promise!).  Fiction is a healthy thing to occupy my thoughts with: headcanons! Quotes being on loop in my brain! Just fandoms!

And for me, if I am hooked on a book (series), it does not even need a good plot where a lot of things happen. In fact, I would say that my enjoyment of a book is made up of 30% plot and about 70% characters and vibes. If the characters are bland, if they do not make me feel much emotion, it likely won’t be more than 4 stars (additional info: I am way too nice rating books!). I really, really need to love the characters, to be able to relate to some aspects of them, or it just won’t become an obsession.

Since I have already started explaining that a bit, let’s look at this question: What is important to make a book special to me? 1. I need to cry reading it. 2. I have to think about it often, even weeks to months after having read it. 3. Obviously, I need to love the characters. 4. I need to be in the fandom! This can be hard with some books, but the internet is a whimsical space allowing you to find at least a small number of people who are obsessed with a work of fiction to a similar extent as you are.

Now, why am I elaborating on this so much? It’s because The Raven Cycle did all that for me. It is my favorite comfort book series at the moment, for all those aspects mentioned, but of course I cannot just leave it at that. No, I wrote a whole-ass analysis on headcanons and some of its themes. You’re welcome.

2. What even is The Raven Cycle?

The Raven Cycle is all I adore and live for (next to my friends). So, naturally, it’s a book series, specifically a four book young adult contemporary fantasy series by American author Maggie Stiefvater. The books in question are: The Raven Boys (2012), The Dream Thieves (2013), Blue Lily, Lily Blue (2014) and The Raven King (2016), and yes I will admit that the publishing dates are a bit of a red flag. There is also the very relevant follow-up series called The Dreamer Trilogy (Call Down The Hawk, Mister Impossible, Greywaren), but it’s a lot less easy to get into that here as I do not know these entire books by heart, so I’ll stick to the original tetralogy here.

To stick to red flags, the books are set in the fictional Henrietta, a rural town in non-fictional Virginia, US, in the 2010s. However, that doesn’t really say *that* much about the plot, so let me summarize that really quick, because I can do better than the official synopsis! (Or let’s pretend I can.)

Blue Sargent comes from a family of psychics, yet she does not have any powers of her own. Even worse, she is a bit of an amplifier for the others, meaning she is always somehow but never directly involved in the business. As if that isn’t enough for an identity crisis, every psychic she has ever met has told her that her kiss would kill her true love. Yikes.

But because she is that amplifier, she comes to a church watch on St. Mark’s Eve, where psychics see the spirits of those to die within the following year. It’s important business, but to her it’s really just staring into the dark. Until she does actually see a spirit: That of Gansey. Of course this is not a coincidence. No, to add to this teen’s mount of problems, there are only two reasons why a non-seer would see someone’s spirit: They are their true love, or they killed them. Or, in Blue’s case, maybe both.

The aforementioned Gansey is Henrietta’s Golden Boy, the son of politicians (read: he’s fucking loaded). He does not run with the Republicans though, he runs with dead Welsh kings, meaning he has been searching for the probably dead, presumably sleeping Welsh king Glendower (*1350; †1416; yikes) for the past like seven years. Why the fuck would he do that? Well, legend says that he will grant a wish to whoever wakes him, and our favorite PTSD-ridden guy really wants that favor.

Aiding him are fellow Aglionby students Adam Parrish, Ronan Lynch and Noah Czerny, plus Henry Cheng, though only a lot later in the series, but I really did not want to leave out that menace (affectionately) here. The paths of Blue and the boys cross because of Gansey’s search for Glendower, plus the fact that Blue works at a popular pizza place, but that’s a lot less whimsical. And, well, there’s the implication that Gansey might also be her true love, but perhaps she just kills him because of his bad fashion sense, it would be justified. Anyway, in true Famous Five fashion (Ronan is the dog; I won’t elaborate, the girls that get it, get it) they are of course not the only ones searching for the king, so it’s not completely a wholesome friend bonding activity all the way through.

Be prepared for: friendship and growing up, lots of treasure hunting, family mysteries, magical forests, illegal and slightly distasteful activities (our favorite of course), but most of all, heavily queer-coded (or even canonically queer) characters. Be Gay, Do Crime.

[chunniwritesalot]

home - nh27

HELLOOOOOOOOOOOOOOOOOO!!!!!!!!!!!! welcome to my 3rd haas related fanfic 😍😍 i think i should be named the nh27 queen by the amount of ff i'm writing about him (not that im complaining... i want to eat this guy...) if you dont follow me, or check my rambles (go follow me PLEASE... im a desperate gal) you wouldn't know that im going to vacation so i wanted to write something super quick before i left. when i get back- TRUST an smau WILL be made, probably for nico because this man is so beautiful 🤗😋 the writing on this is super rushed but i've been out of practice (uni is starting soon PLEASE SEND HELP) because i major in english and BRO i write so many essays that when i get to break i just stop writing all together. my creative writing is SAUR shit because all i write are analysis's and shit like that BUTTTTT im taking a lot of creative writing courses this year (2) so watch out because i might become Shakespeare cw: sad, cursing, you have a son but your gender isn't included, mentions of crashing (obviously, its about the monaco grand prix), mentions of hate, banner is mine but photos aren't, use of yn, bad writing style

other: y/s/n means your son's name! I DIDN'T EDIT THIS SHIT SORRY FOR GRAMMAR OR SPELLING MISTAKES. MY REQUESTS ARE OPEN IM BEGGING YOU REQUEST wc: 682

you didn't watch f1 races because of your love for the sport. in reality, you hated the sport. the loudness, the chaos, the danger. you thought that maybe nico would've finally listened to you, he would retire and you two could finally live... peacefully, that you could live your life not fearing the fact that the love of your life could quite literally die almost every week. you watched those stupid fucking races because nico was your husband, and you would never forgive yourself if you weren't watching and something unspeakable happened. so nico promised you that he would always come home to you, and he would never break that promise.

sometimes you wished you never got involved in this stupid sport, because then maybe you wouldn't find yourself sitting in the haas garage with your 3 year old being restrained in your grip as you watch the screen. everything going in slow motion as the two haas cars and the redbull collide in with eachother. was it bad to say you hoped most of the damage went to kevin or checo? you didn't care, f1 made everyone a bad person. you were sure louise, who was glued right next to you, thought the same thing- that most of the damage went to nico or checo. "shit" you muttered, your son looking up at you. he was too young to know what was happening, but you could tell he was worried.

"its okay love, just an accident." you whispered to him, he wriggled out of your grip to go run around the garage. not that you cared, right now, you were focused on nico and lord, were you fucking mad. mad that he broke his promise to you, mad that he never listened, mad at this fucking sport. you hated nico for this, hated that he sacrificed his entire life to this sport, when he knew that he had a 3-year-old son. when he knew you were waiting for him, and you would never forgive him if he didn't come back. you sat there, arms crossed as nico made his way back to the haas area after getting checked with the medics. you watched as he approached you, a flash of guilt on his face. louise seemed to get the message because she quickly got up from the seat next to you and made her way over to the children as she waited for her own husband. "y/n, i'm sorry." nico cracked out quietly, reaching out his hand to take yours. he grimaced when you snapped your hand away and stiffened at his words. "what if you died?" you spat out, "god nico, i-" tears burned in your eyes, "i hate you." nico watched as you stormed to the bathroom, not bothering to follow you. he knew you needed time to cool off. after a while, you came back, sitting next to your husband again. "even y/s/n was fucking worried." you whispered to him, "nico, you-." nico stayed silent, his gaze never tearing from the TV infront of them, he nodded slowly. "i was thinking about you the entire time." he started, "and i'm *sorry*, i'm so fucking sorry." he slowly turned to you, "i-i would never forgive myself if something happened to me, love. i-" he stopped, reaching out to wipe your tears, "i'm... i know you hate this sport, but- its my..." you shook your head, motioning for him to stop. sure, you hated this sport, but you didn't hate nico. you loved nico, and loving him meant you would always be there with him. even if that meant you had to watch all his stupid grands prix. because as much as you knew nico loved his sport, he loved you more, and nico promised he would always come home to you and y/s/n.

"i..i don't hate you" you said back gently, "i'm sorry." nico cracked a smile, "i know, my love. don't be sorry." he reached out again, and this time? you didn't pull away, because nico kept his promise. he was always going to come home to you.

[saltpepperbeard]

OBLIGATORY COMPLETE OFMD SEASON 2 TRAILER THOUGHTS AND RAMBLES POST™

Woo boy this is going to be a long one, and I mean, A LONG ONE LMAO. And, of course, all in good fun; i simply just Have To Scream and Incessantly Ramble. So, if you'd like to scream along with me, and read through an ESSAY OF THOUGHTS HERE SHDKJSDHS-

I just have to start things off with my babygirl. With the babygirlest of babygirls. LOOK at that pining. INSANE levels of pining. "When will my husband return from the war" levels of it, quite frankly PFFF. And with the hair back and the slut strands out too like???

I will say, it's very interesting to see him pining like this out in the open. I very much expected him to say locked away in his cabin most of the time, and stay entirely masked whenever he's out. But it seems like he makes STEPS towards healing rather early into the season, as the Kraken Getup seems to drop pretty quick. So, I'm very interested to know how that'll play into his dynamic with other characters (Fang, for example, seems to take notice, based on the comment he makes in the next screenie).

regardless, babygirl you're so strong and beautiful and i'm wrapping you in a blanket, kissing you on the forehead, and express shipping your man RIGHT into your arms. it'll get better, i promise.

but no really i'm going insane because like...just when edward teach couldn't get anymore beautiful, he really decides to pull up with a MESSY BUN???

HIIIIIII FANGY HI FRENCHIE HELLLOOOO MY SWEETHEARTS <3

I don't talk about Fang nearly as much as I should because I love him so much. I think getting a hug from him would Heal Me, actually. Like please hsdjkss he's so sweet- "I've never seen Blackbeard like this 🥺." CAN I GET HIM A PUPPY? I'M GETTING HIM A PUPPY.

Also please are they eating cake hsdksjks. ARE THEY EATING WEDDING CAKE. Imagine your raid is to crash a wedding, steal cake toppers, and then eat what's left of the wedding cake jskdhsdjkls. DREAM JOB???

AND THEN THIS. HOOOOO BOY. HOOOOOOOOOOO BOY.

when i tell y'all i am Foaming At The Mouth over this. Like, it obviously guts me to see Stede crying, but it makes me SO intrigued to know what made him come to the more stark realization, what made him flip from optimistic and bitchy to more somber and pained.

There SEEMS to be some sort of shift sometime around when he sees Ed's wanted poster, because there's that shot of him looking melancholic in the rain. But it doesn't quite seem as stark as THIS.

It makes me wonder if it's a gradual assembly of puzzle pieces, ie finding out about the marooning, then Lucius, then Ed's scourge across the Caribbean, etc etc. And it slooooowly dawns on him that his decision to leave in order to keep Ed happy ended up doing EXACTLY the opposite.

OR, I wonder if this is following the reunion—a PAINFUL one at that. Like, maybe he still was going into it a bit idyllic, and was holding onto the hope that it would still be alright...only for Ed to react poorly/in a way he never anticipated to see. He went into it maybe with a bit of anxiety, but ultimately leaned on the denial...only to have all the fears confirmed.

Or maybe it's a mixture of both. But either way, it's SO so interesting to see him have to SIT with it all. And even though it hurts to see HIM hurt, I'm actually very glad they addressed this and made him feel the heavier weight.

...Only to transition right into silliness here with this shot dHJKSDKLS. ed babe listen i get it. i Get It. i'm right there with you, babe.

BUT ALSO, makes me wonder what he was smoking in his pipe beforehand. Or maybe it was the transition from pipe to a straight BLUNT that got him shdjksd. Or MAYBE it was just ~*~the sapphic kush~*~ that took him out PFFFF. wlw on mlm violence idk.

SPEAKING of which...

here we go, lesbians. here we go, lesbians, come on. oH MY GOD, LESBIANS,,,

do you think anne and mary want me

BUT OKAY LMAO THESE TWO,,,

With that whole shot where it looks like Anne just kissed Stede, and the way they're both 👀👀 at Ed and Stede having their tense little interaction, I have to wonder if their gaydars go off and one or both subsequently decide to stir shit up PFFFF. Like, causing chaos by making Ed/Stede jealous type deal. And maybe Anne kissing Stede is what makes Ed choke on the blunt sdhkshdks WHO KNOWS.

Regardless, very excited to see the pairs interact. WHO KNOWS WHAT SORT OF MLM WLW SHENANIGANS WILL HAPPEN SDKJS.

And ALSO in relation to that scene, I just have to shdjksdhljksdkls over the editing because it took me out. Ed being like "And more importantly, no more Stede >:)" only to show his little wedding topper doll with Stede's subsequent "HULLOOO, IDWAD."

Killed me. KILLED ME DEAD. And also, a neat little way of editing call Ed out on his bullshit REAL FAST HSDJKSL. like, honey, you can try, but you know full and damn well that silly little guy has burrowed into the deepest chambers of your heart. he has your heart and you have his, WHOOPS.

Ricky, right? This is Ricky??

"WHEN I CATCH YOU, RICKY. RICKY, WHEN I CATCH YOU, RICKY..."

So okay, a nose prosthesis is metal as hell, but that means we ALLLLLL know who he got tangled with PFFF. And I believe we see him in the Republic of Pirates talking to Stede and Co??? So I'm very VERY interested to see how that all devolves, and how he goes from vibing to wanting to throw hands.

Unless he was like, on some sort of reconnaissance mission for the British in the first place.

But I digress. RICKY, WHEN I CATCH YOU, RICKY. RICKY, WHEN I CATCH YOU HSDJKLSLKS

...The way I missed this SEVERAL times over, and didn't even see it until someone else pointed it out in another post.

IZZY WITH A HOOF PEGLEG. PRESUMABLY FROM THE UNICORN. BECAUSE WHERE ELSE WOULD THEY GET A WOODEN HOOF HSDKLJS.

But that also has me like 👁️👁️ for SO many different reasons. How did he lose a good portion of his leg? Was Stede the one to offer up the unicorn leg as a pegleg?

And TRULY, WHAT IS THE DEAL WITH HIM AND STEDE ANYWAY HSDKJLS LIKE I STILL CAN'T EVEN WRAP MY MIND FULLY AROUND THAT ONE,,,

My running theory is still that like...Izzy wanted a very specific version of Blackbeard. Izzy wanted someone who no longer exists, or maybe never existed to begin with. And so Izzy thought he was doing right by taking Stede out of the picture and nudging Ed back into a more viscous type of pirating...

Only for that to COMPLETELY backfire, and for Ed to get far more unstable. And like, something something Izzy was already complaining about Ed's "erratic moods" and "questionable decisions" BEFORE Stede came into the picture, so I doubt he's going to be content with Ed's turmoil and all the impulsivity that'll likely come with it.

So maybe, MAYBE, I'm thinking he'll have a bit of growth by realizing that Ed and Stede need each other, or maybe that Ed was way happier when things were smoother between him and Stede, at least. And knowing him and his characterization lol, it might not even be a selfless realization/decision. Maybe he'll only be doing it because he wants a less emotional version of Ed, and thinks that having Stede around and being cordial with him will allow that to happen.

And maybe it leads to even MORE growth when he gets roped into training Stede/the crew idk.

Regardless, REGARDLESS, they are one of the last pairs I ever expected to team up, because they were ACTIVELY bitching at each other all through last season HSDJKS.

HI AGAIN OLU MY SWEET LOVELY OLU MY SWEETHEART DARLING <3

BUT WHO ARE WE FIGHTING, SIR. WHAT'S THE TEA????

I'm not 100% certain, but it SEEMS like this is at Jackie's, or at least in the Republic of Pirates somewhere. And based on Ricky's injury, and also other little tidbits of footage, it SEEMS like something goes down there. Maybe some sort of scuffle between the Navy and our guys or something equivalent that snowballs into even ~*~Larger Problems~*~

SEE BECAUSE YEAH—EXPLOSIONS?? CANNON FIRE??? WHAT'RE Y'ALL DOIIINNNGGG LMAO.

And it's so wild because I definitely see Olu (with the CROCS OFC LMAO) and Pete, and then I THINK I see Lucius and Izzy in that mix too??? So like,,,

WHAT DID Y'ALL GET TANGLED IN SDHJKSKLS. AND WHERE IN THE SEASON WOULD THIS FALL??????

Oh this hurts lol. This one hurts. This one hurts a LOT. Stede Bonnet stop breaking my heart Challenge: impossible.

Because that's his home. That's his soul placed into a ship. That's the conglomeration of his hope, and heart, and adventure, and family,,,

And it's in RUINS.

LIKE, CAN THINGS STOP GOING BADLY FOR HIM ACTUALLY HSDKJS. CAN HE STOP GETTING DECKED BY HIS TRAUMA OVER AND OVER AND OVER. BECAUSE,,,

Fresh off the "you defile beautiful things/you're a monster/you're a failure/you ruin everything you touch" train, and he comes back to this. And if this is after he reunites with Ed and realizes things are bad, then man, that'll be even WORSE.

LIKE, NUMEROUS CHAMBERS OF HIS HEART HAVE BEEN SHREDDED. HIS HOME AND HEART ARE BROKEN.

mmMMmmmMMMMMM DAVID CAN WE MAYBE NOT <3 SHDJKLSKS

BUT, off we go cartwheeling from that footage to a VERY interesting bit of dialogue from Stede:

"The entire escape relies on this."

Escape?? ESCAPE???

Here I was thinking they enlisted they help of the Red Flag Fleet and/or Susan to try and catch up with the Revenge. So, ESCAPE???????

Did they get captured? Snatched up from the Republic of Pirates or something equivalent? Does someone have beef with Ed and holds Stede and Co hostage because they're trying to aid him?

OR, are they voluntarily on that ship to hide/lay low from the Navy or something, but their cover has been blown, and they have to quickly flee back onto the Revenge?

Very very inch resting whatever the case.

...

STEDE. FOOKIN. BONNET,,,

🧎🧎🧎🧎🧎🧎

LIKE SIR, WHAT THE FUCK SHDSKD, Y'KNOW??? WITH THE STIDDIES OUT AND THE EARRING AND THE SCRUFF,,,

GOD LMAO. JESUS CHALUPA. CEASE.

like, you're telling me ed is going to see him like this and isn't going to IMMEDIATELY drop and start tying his hair into a ponytail? mmmMMKAY

BUT OKAY—ACTUALLY, that joke sort of brings me to a more angsty theory, because of course it does lol. I have to wonder if Stede is dressing like this because he legitimately wants to, OR, if it's because he feels like he has to.

Like, something something he's trying to do everything he can to win respect and establish himself and ALSO win back his man. And, something something he is ONCE AGAIN doing what HE thinks Ed wants, as opposed to what Ed might ACTUALLY want. Like, "Oh, he's a notorious pirate. He'll like me again if I have a little more gruff and backbone, right? That's what pirates like, right???"

LIKE NO YOU DOOFUS HSDSHDS HE LOVES YOU AS YOU ARE, JUST AS YOU LOVE HIM HOW HE IS. AND HE DREAMS OF DRESSING IN A DRESS WHEN MARRYING YOU. SO LIKE,,,

IF THAT IS INDEED THE CASE, I'M BEATING ED TO THE CHASE AND HEADBUTTING HIM MYSELF HSDKJLSDS.

*grumbling* even though it's a very VERY good look on him, so i hope it's more on his own volition.

I just want him to feel comfortable as HIMSELF, and feel like he doesn't have to perform/conform to anything. And I think there's something very deeply queer about him and Ed BOTH going through that. They're BOTH trying to figure themselves out and what they're comfortable with and who they want to be. And I hope that, IF this is his look, it's something that HE wants entirely.

((Which makes me raise my eyebrows a bit more because of the Cunty Red Jacket. Because he's CUNT. And also his curls are more pronounced when he wears that too. SooOOOoooOOO?????? VERY interested to see what he wants, and where he comfortably settles))

AND GODDDDDD ONTO YET ANOTHER VERY EYEBROW RAISING PART LMAO.

So, we've seen that shot of someone falling into the water like 80 million times at this point. And this trailer ALSO showed an additional shot of said person SINKING into the gloom. At least, I THINK it was the same person/connected. Again, could be a total misdirect lol.

And then we've seen all the blue-tinted shots of Ed off on his own somewhere, fight someone/something all the while being accompanied by some unknown figure.

And BECAUSE of the tinting/consistent lighting, and BECAUSE of the figure accompanying him, I have to also wonder like others similarly are...

Is this a DREAM???

Is this some sort of unconscious sequence where Ed works through trauma/hurt/demons? Is that person with him the ghost of Hornigold or another significant figure from his past? And does said sequence end with him jumping from the cliff and allowing the Kraken to disappear back to the gloom???

But something that makes that whole theory SUS is the shots we've gotten of someone, presumably Ed, coming up out of the ocean. And it's not tinted blue like all of these other shots are.

So it's just hsdjkhsdjksdhskjdhsjksfs??????

Regardless, REGARDLESS, I think all of this points to Ed going on some sort of journey, some sort of bout of self-discovery and self-acceptance. I think he's going to heal parts of himself, or at least SETTLE with parts of himself, no matter the circumstances. And that would be so good because I want that so badly for him. I want him to be able to do that for himself.

...AND SPEAKING OF HEALING SHDJKSKLS

BUNNY. BUNNET. SIR THAT'S MY EMOTIONAL SUPPORT STEDE BUNNET.

but omfg this is yet another case of my brain not being able to piece together timelines. because ed babe where ARE you. "BABYGIRL WHERE ARE YEEEWW..."

He looks so soft, and also has on a different ring??? An emerald/cyan looking ring??? AND THE KRAKEN RING THAT TAIKA ALWAYS WEARS HSDKJS.

So I just hsdjkhdjklsdhdjklshsjkls. "jodi you'e literally going to find out in like less than a month" I KNOW I KNOW OKAY BUT THAT DOESN'T PREVENT ME FROM GNAWING ON MY DESK FOR 18-ISH MORE DAYS HSDKJLS.

Also, as an aside, I SO very hope this leads to Fangy getting a puppy. I SO very hope that the "pets befouling the ship" clause is scratched from the rulebook PFFFF.

LOOK AT MY SWEETHEARTS HAVING FUN. LOOK AT JIM BEING UNHINGED SHDKJSS LOVE THAT FOR THEM. SERIOUS GOOSE IS BACK TO SILLY GOOSE!!! LOOK AT STEDE LOOKING LIKE A PROUD DAD. THIS IS THE SHIT I'M HERE FOR!!!

also hi hello is that archie. dO YOU THINK ARCHIE WANTS M-(GUNSHOTS)

i'll just be in the corner sobbing over being attracted to so many of these damn pirates. like, it's an Issue

...mmMMMMMM ONLY FOR ME TO TRANSITION RIGHT BACK INTO ANGST TERRITORY LMAO. BECAUSE STEDE, DARLING, WHAT IS THAT INJURY???

I've seen people theorize it's a stab wound, a bullet wound, or some sort of wound that was burned/cauterized. Either way, EITHER WAY, OUCH??? CAN MY DARLING PLEASE KNOW PEACE HSDJKSDKL

Also again, this all plays back into my theory that they're having a party, only to get crashed by some sort of navy personal or another pirate bounty hunter of some variety. And Stede gets captured/tortured.

*Banging pots and pans together* WHEEEEERE ARE WE IN THE TIMELINE WHERE ARE WE IN THE TIMELINE WHERE ARE WE HSDJKLSHDLKS

Same shirt, but has his EARRING. And is BATTLING A SHIT TON OF PEOPLE. So I would assume this comes AFTER the party fiasco, but also jsjshdjkshlJKHDKLS????

Also the CONCERN on his face is so striking. It makes me wonder if he's looking at Ed. ESPECIALLY because—

SAME BEACH, SAME BATTLE??? SEPARATED BY THE PARTY FIASCO AND ARE NOW FIGHTING TO GET TO ONE ANOTHER?????

But two things about this shot. Well, three, if you count me absolutely FOAMING at the mouth at getting to see Ed battle because hsdjhsjkhsdjkls bARK,,,

One, his sword is bloody. Love that for him. King shit. Slicing and dicing.

BUT TWO, AND MORE IMPORTANTLY, HE APPEARS TO BE HOLDING HIS RIGHT SIDE. NOT THE LEFT SIDE WHERE HE'S BEEN STABBED LIKE 12+ TIMES, BUT THE RIGHT.

HE GETS INJURED??? DO THEY BOTH GET INJURED?????? DAVID I KNOW WE HAVE LIKE 18+ DAYS LEFT BUT I'M DYING OVER HERE HSDJKSLDS

oh hi izzy lmao the way i did not expect the hardest line in the trailer to come from him.

"You don't know the first thing about piracy. It's not about glory, it's about belonging to something."

God. GOD. I really feel like he's going to end up surprising me so much this season lmao.

((BECAUSE NOT TO MENTION, THE FACT THAT HE'S TALKING TO RICKY, AND IT JUST SEEMS,,, 👀))

oh god y'all lmao. want to see how loud i can scream. because, i missed this my first few watches, and didn't even notice until it was later pointed out in people's posts, but,,,

LUCIUS!!! L U C I U S!!!!!! MY BEST FUCKING FRIEND LUCIUS!!!!!!!!!!!!!

BEARD, WOODEN FINGER, AND ALL.

MY DARLING. MY GUY. MY BESTIE!!!!!!!

Listen, I was like 99.9999999999999999% sure he was alive okay lol. Because NARRATIVELY, he had to be. NARRATIVELY, I think his death would have sent things into irreparable places. Also, silly little pirate rom/com; Y'ALL CAN'T KILL OFF ONE OF THE MOST BELOVED CHARACTERS LMAO LIKE NO WAY.

But regardless, I'm so happy to see him. I'm SO so happy to see him. AND I CANNOT WAIT TO SEE HIM REUNITE WITH PETE, AS WELL AS SEE HIS REAL AWKWARD INTERACTIONS WITH ED, I'M SURE HSDJKS

Obligatory Wee John in drag mention/shoutout. Because come on now. COME ON NOW. HE'S FUCKING SERVING. ABSOLUTELY SLAYING. THAT BLUE LOOKS SO SO FUCKING GOOD ON HIM TOO. AND IT MAKES ME SO HAPPY FOR KRISTIAN AS WELL LIKE WHAT THE FUCK!!!!

Annnnnnd Obligatory Tealoranges mention/shoutout because goodness, look at them. LOOK at them. LOOK HOW SOFT JIM LOOKS. LOOK HOW SWEET THEY ARE. I'M EATING MY ARM!!!

*Baywatch Theme starts playing*

But okay okay what are we thinking:

Training montage/sequence? Or romantic moment?

STEDE'S ROCKY MOMENT LMAO, OR STEDE'S ROMANTIC HERO MOMENT. RUNNING TO GET GAINS, OR RUNNING TO GET HIS MAN.

OOOOOOO BITCH LMAO. OOOOOOOOOOOO BITCH. *RUBS HANDS TOGETHER*

and also snorting at ed's eyes because, just when i think they can't get any bigger,,, just when i think he can't possibly get even More Eyes than usual,,,

But okay hi hello WOWZERS this sequence. This one REALLY has my brain churning.

And I'm subsequently in the camp of thinking that this is very very soon after their reunion, if not their REUNION PROPER. I'm sort of leaning more towards the former, because something tells me they'd want to keep their reunion proper a secret/save it, since it'll likely be a very pivotal moment.

But regardless, SOMETHING SOMETHING SEASON 1 EP3 MIRROR? STEDE FINDS ED INJURED AND WATCHES OVER HIM???? I CANNOT EXPRESS HOW HYPE THAT WOULD MAKE MEEEEE HURT/COMFORT AND PARALLELS MY BELOVED!!!

Because Ed is DEFINITELY injured. Blood on the side of his head, various cuts and bruises across his face, etc etc. And Stede looks very Concerned when he calls his name. So I'm just 👀

Not to mention also, Ed seems VERY out of it. His eyes are wide/glazed-looking in all of the subsequent shots. And his first reaction is to headbutt Stede away shdkjshdkjs.

So again, the theory that it's right around their reunion seems very plausible, based upon reactions and outfits and the like. BUT WHO KNOWS.

also, for the record, still sobbing at how stede keeps his arm protectively draped over ed during these shots,,,

AND *RUBS HANDS OVER THIS ONE TOO*

,,,and maybe also *wipes tears away* because he just looks so SERENE. he looks so CALM. i have to wonder if this is after a pivotal moment in his healing, be it from his own realizations, an intimate conversation with stede, or both.

i just hope he's legitimately feeling better right here because i want that for him. i want that SO bad for him. I WANT THE WORLD FOR HIM!!!

Annnnnnnd ending it off with this shot because omfg. Three things.

One, JACKIE AND ED GIRLS NIGHT REAL,,,

Two, Ed trying something "different" has me sobbing and throwing up. He just wants to be comfortable. He just wants to be HIMSELF. He just wants to stop PERFORMING AND MASKING.

Three, THE SWEDE AND JACKIE LMAO??? SWACKIE??? THE SWEDE LOOKING SO INCREDIBLY HOT??? THEY WERE NOT LYING WHEN THEY SAID EVERYONE WAS GOING TO BE HOT SHDJKSD

anyway, if you made it this far, then bless you and your resilience LMAO. but also if you made it this far, you're probably just as excited as i am. like, after this trailer, after seeing all of our darlings and seeing the silliness and seeing the interactions...

idk, i'm just feeling THAT much happier. i'm feeling THAT much more confident in our showrunners/cast/crew. and i cannot WAIT to continue feeling happy with all of y'all <3

18 DAYS AND COUNTING. CANNOT WAIT TO SEE HOW WRONG I AM LMAOOOO <333

[arinbelle]

So I saw a Nesta anti say they want a normal civil convo on why we like Nesta because they just don’t see it. I can respect someone trying to see a different POV so I wrote an extremely long essay on it and I think since my tags aren’t working I wanted to share this. For context, person said that Nesta is abusive and they have provided textual evidence. They also said Nesta excuses her actions because of her mental health. So they wanted to see what we see different because that is all they see. I thought I’d share this ridiculously long exposition I wrote out, since this is the most writing I’ve done in months.

Addition: I saw this creator say they understand why Nesta lashes out and acts so harmfully but their issues is the stans who excuse her actions. I do see Nesta stans who ignore some of the “bad” things she’s done but that’s really not the majority. Also if your issue is the fandom and not the character itself, idk if you’re really an anti. I hate Rhys stans, I’m not really anti Rhys. I dislike some of his actions but I more so hate his fans. It’s not the same thing.

My reply:

I think there's a lot to unpack here but I'll try my best to explain. I've seen your posts before where you bring evidence of Nesta's abuse on Feyre. And I'll give it to you. Yes. That is abuse. It's verbal abuse, it's mental or emotional abuse, and yes it's wrong. All of it is actually textbook, and yes, lots of Nesta stans like to say it's not because they are siblings but yes, unfortunately, abuse is abuse. (Addition: no one is saying verbal or mental abuse isn’t as impactful or dangerous as physical. It is. Studies have shown verbal abuse can at times register as physical pain and abuse to victims. And yes, Nesta was abusive to Feyre growing up. But my key word is WAS).

That being said, I have never thought Nesta gives her mental health as an excuse for her actions or words. If anything, she is completely closed off about what her own upbringing and traumas were like until we were well into acosf. If you can move on from the first few chapters of acotar, you can see that deep down Nesta loves Feyre and even her father.

It is Nesta who goes after Feyre and tries to get across the wall. It is Nesta who tells Feyre it is okay to go back to her life with Tamlin- and she tells her, don't come back, not in "we hate you" way, but in a, you've taken care of us, you've shouldered this burden, and I'm telling you it's okay and letting you go. It is Nesta and Elain who are turned Fae against their will, and you know, it is unfortunately Feyre's fault. Was that the goal? No. But you can understand some bitterness on Nesta's part. Even so, with all the trauma she went through in the Cauldron, she sees the importance of speaking to the High Lords about what is coming with Hybern and she does. She has a sense of morality and inner self, and she doesn't want to act like a coward even though she admits to everyone she is afraid. It is Nesta who helps in the war anyway that she can with the healers and the scrying, even though her entire life has just been upended and again, this is so scary to her. Everything about this new life is scary to her but she is trying.

Then her father dies and what little progress she had sort of reverses significantly and quickly. I will argue that Nesta has not at all been abusive to anyone past Feyre's childhood and the few first chapters of Acotar. Being mean to people who invade your personal space (Mor, Cassian) every once in a while is not abusive. It's just being a bitch. And honestly, everyone in acotar for the most part has had their bitchy moments.

She never excuses her actions and words. In fact, she KNOWS what she's doing. She's well aware of the hurt she's caused in the past and what her regrets are with her family and it tears her up inside, which is why she so rarely addresses it to herself and definitely not to others.

Why we love her? I think she's so different from all the other characters in acotar because she is so jagged. Because she admits that she's broken and sad and lost and she refuses to make it nice for everyone else's sake. That doesn't mean she keeps punishing people around her even though I've seen many antis say she does. Nesta moves away from Feyre and the IC when she's spiraling and the only times we get references of her being mean is when she's forced to meet them and play nice. Think of it this way- your dad is dead, you're grieving, you haven't had the 500 years plus of experience to navigate this in a healthy way, and people are constantly in your face either trying to get you to play nice or judging you foe it. Many antis love Rhys's quote on how Elain is nice or how Mor is so nice even though she's been through so much. But the reality is this, hurt people are HURT. They are not happy. It's not a realistic expectation for a person going through a major depressive episode to put on a facade to make everyone else feel good about themselves. It's not even in any selfish way, their mind is literally incapable of doing it because they are stuck in grief or numbness.

I think a lot of her stans, myself included love her because we see ourselves in her. Saying the wrong thing and then regretting it afterwards. Being stuck in our own minds and constantly being sad and anxious about everything and having nowhere to turn. Keep in mind that when Feyre was depressed, Rhys constantly tried to help. When Nesta was depressed, Feyre even admits rather than stepping in and doing something about it, she let it go on because she thought it would be fine. Everyone did. Cassian did that, Elain did that, even Amren somewhat. And maybe it would have been but we see it wasn't. I'm not going to argue about how wrong the entire "rehab" bit was, because that's not the point here.

In acosf we see Nesta deal with her inner demons. She reflects on her mother, who we can tell was somewhat emotionally abusive and definitely manipulative. Her grandmother was physically and verbally abusive. We hear her self doubt and we hear her tell Cassian she regrets what she did growing up in that cabin, she regrets how she treated Feyre, and she has no idea how to make it better. It is so much self hatred and it has morphed into something that forces her to lash out on people when they even slightly push. It's not healthy, but again, it's not abusive. Another issue is that besides Feyre and Cassian and Azriel, everyone else around her is NOT helping the situation. You can have your favs too but the fact is, Rhys constantly provokes and goads her. He has a grudge against Nesta and he has in writing admitted that he holds her to a higher standard than Elain. Mor tells her she wants to throw her into the Hewn City, a place known for brutalizing and abusing women. Amren calls her pathetic and a waste of space. This is a woman who is extremely depressed and on the verge of suicidal. None of these taunts and behaviors is kind and it probably does even more damage but we never hear anyone talk about that unless we bring it up in Nesta's defense.

I think there is another thing to account for. Feyre wants Nesta in her life. It is very different if Feyre said, you know what, I resent everything you did to me and I don't want you in my life. And I'll admit it, Feyre would be valid to do that. But she doesn't! That's a key fact. Feyre wants Nesta in her life, she wants this relationship intact. And by doing so, that means accepting that there will be days when Nesta will not be her best self, when she will lash out and say mean things in retaliation. It would be a very different story if Feyre went no contact. But it's not. And to be so hateful towards Nesta never really made sense to me since Feyre herself is her biggest advocate.

It is FEYRE, who stands by her sister when anyone tears her down. It is Feyre who tells Rhys off everytime he makes a snide comment and that's often. It is Feyre who explains to Cassian that she knows how much Nesta cares and how difficult it is for her to show her true feelings (this is Feyre giving not an excuse but an explanation for Nesta's behavior, something Nesta doesn't bother to do.) Feyre defends Nesta more than Nesta does for herself, because Nesta never does. I'd argue that Feyre loves Nesta more than Nesta loves herself. And even by the end of acosf it's not clear if Nesta has a good and healthy self love for herself but she most definitely loves Feyre very much.

One random thing that I see antis love to run with- Nesta didn't teach Feyre how to read. Nesta didn't know. She says that to Feyre, she's very surprised to learn this, and it's in writing. Now Feyre does say she didn't think Nesta would teach her, which also hurts but also surprises Nesta. Because she says no, we would have taught you why didn't you tell us. Because Nesta has not seen the damage she has done to Feyre with her words until they have these moments and talks. To Nesta, she was lashing out because she was so angry at their father for not doing more to keep them alive. And to be clear it did fall more on their father than any of the children. But I do believe that had Nesta realized how truly hurtful and damaging her words were to Feyre, she would have stopped. Each time Feyre admits something that affects her about Nesta's actions, Nesta mulls it over and is shocked. It shows compassion and objectivity towards herself. She sees an error in her ways and she tries her best to correct it.

Now onto the controversial reveal on Feyre's pregnancy. First things first, Rhys has no excuse to lie the way he did. None. And in our modern world, that is indeed considered spousal abuse. Now as to why Nesta said it- yeah, she does it for the wrong reasons. We hear it in her POV. She is so angry at Amren, she is so angry at everyone for lying to her and sitting around discussing her and then saying that she needs to be the respectful one. But, and this is so important, the minute she says it she instantly regrets it. She KNOWS she's fucked up. She hates that Feyre is crying and hurt and it's because of her. A truly abusive sister who's as cruel and heartless as everyone makes her out to be would have relished in the hurt she caused. But she doesn't. She just hates herself even more for what happened. And the fact that Rhys's threat doesn't even upset her, the fact that she is just so done and ready to die on that hike should tell you this is not someone who enjoys hurting anyone. Everything is aimed at hurting herself.

Antis like to say that Nesta saving Feyre and Nyx was the bare minimum. And sure. Yes. It is. But that's not the point. The point of that entire scene and end is that Nesta took from the Cauldron in anger and hate and vengeance for what was done to her. She stole it as a big fuck you to the Cauldron and everything else that forced her to turn Fae. And she fears that power and never touches it, never wants to actually use it, because she hates it. And yet, when Feyre is dying, Nesta is willing to do anything. She will use the power she fears to try and save her and most importantly, she willingly gives it back and says she will give it all back as long as Feyre is safe. The very thing she took out of anger and retribution, she will let that go. She will let it all go as long as she can keep Feyre alive. Is that not love? Is it not growth and healing?

I think one of the issues with SJM as a writer is sometimes she shows instead of telling. You need to do a lot of reading between the lines sometimes to understand her characters. Nesta especially because she is very much so an actions over words person and shes so rarely upfront with how she's feeling. And not just Nesta, we see this issue with Cassian too. Because they both do things to represent and signify love and honor and sacrifice yet their words can be jagged and mean and give off a different impression.

Just to reiterate, there's never been a time that Nesta has actively used her poor mental health to excuse and justify her words or actions. In fact, more often than not we hear more about how angry and hateful she is towards herself and how much she regrets her past. A true villain would offer excuses and justify what they've done. The most we ever get with Nesta is an explanation regarding her upbringing and trauma, and to clear it up, an explanation is not an excuse. Nesta never excuses her actions. When she's being honest with herself and her feelings she admits her errors, she admits to her shame, and she says she wants to do better and be better.

Another thing I think is important to remember is that SJM herself sees Nesta as a strong impactful character. She herself said in an interview, no, you aren't supposed to hate Nesta and she's quite surprised people do because after she re-evaluated her own writing during acotar, she realized Nesta is not the villain in this story. She's a hurt girl who's been through some horrible things and her life experiences have then impacted how she acts and reacts. SJM said sees herself in Nesta. She has denounced Tamlin as an abuser many times and would never put forward a main character with this much impact on the plot of this book and the Crescent City series if she thought otherwise.

This was super long but I'm happy you've tried to see it from another POV. I won't be getting into arguments with people who DM me or message unkindly on this post simply because I don't care. Acosf came out years ago and I'm no longer in the mood to engage with anyone who won't try and keep things civil in a conversation about fictional characters.

Have a good day!

[thecurioustale]

My New Book Is Out! | Tokens of Zeal

My new book is out!

Buy it! Buy it now!

That's right: In secret, on January 2 of this year I began writing a book of essays. Some of you may know that I have an online journal, which I created in the summer of 2003 when I was just 21 years old and have kept up with ever since. For my new book I went back to the journal and read through it, entry by entry, drawing out excerpts of interest that became conversation pieces for 81 various and sundry essays reflecting on my past life and past thoughts.

The essays are short, often very short. They are less challenging than my usual writing, I would say. My purpose was not to advance my personal frontier of philosophy and intellectual thought in 2024, or to reach a niche audience of deep thinkers, but instead to reflect sincerely on some things I've seen along the way and muse upon how my thoughts have changed and stayed the same over twenty years.

I mention this to you because I am a bit worried that anyone who reads this book might think there's not much to me as an author, and might be dissuaded from reading my works of fiction when those books eventually come out, so I'll lampshade that by adding that I wrote this book in two-and-a-half months. Make of that what you will. I told myself I wouldn't self-sabotage the book by needlessly saying negative things about it, and I am proud of it, not only the fact that I finished it at all, let alone so quickly, but of the actual contents too.

This book is "Volume 1" in a hypothetical series, as it doesn't cover the entire twenty years of the journal but only the first four months, from August to November of 2003—at which point the essays had reached "book length" (lol). So really this book is a snapshot of my life in the latter half of 2003. At that time, I was fading out of college due to financial hardship and other issues, and did not realize that I would never (as yet) return.

I have been wanting for years to go back and reread my journal, and writing a book out of it was the perfect impetus to finally do it. I think a few things stand out about the Josh of 2023:

First, my principles have remained remarkably consistent, but my awareness and understanding of the world has grown drastically, and so those same principles have led me over time to some different policy views and worldviews on some things.

Second, I was a 21-year-old arrogant block of cheese, full of hormones and self-conviction, and that definitely shows up at times in ways that I simultaneously am not proud of and yet which I admire for their sheer gall. There is something very magnetic about the old me which doesn't exist anymore.

Third, following up on that point, it was pretty inspiring and encouraging to revisit the old me, with all that native optimism and drive. I don't express those qualities anymore because life has worn me down and also because I have come to recognize that humanity's problems are a lot more stubborn and irremediable than I thought. By glimpsing into the past, I couldn't help but be cheered on by the old Josh's proud, utopian sense of human inevitability. It lifted my own spirits in the here and now!

I made the mistake of announcing the book on Patreon right after I finished writing it, i.e. back in mid-March. Then I had to wring my hands every week about how post-production was taking longer than expected. Between the irritating realities of formatting a book in software not properly equipped to format a book (never write a book in Google Docs), the complexities of my detail-oriented manner and strong vision regarding the cover design (and engaging for the first time ever with modern generative AI, and having to learn those ropes), and sustaining illnesses and other life priorities and so on, it would take me another two months in all to finally reach today, where I can now publicly declare:

The book is done! It is for sale right now. It is called:

Tokens of Zeal: Words from a Vanished Age

(Caption: Book front cover of Tokens of Zeal: Words from a Vanished Age, by Joshua Calars.)

You can buy it through Amazon in either paperback or e-book format. (I recommend the paperback version for aesthetics as it is much truer to my design vision for the book's layout and appearance, but my profit margin is actually a dollar bigger with the e-book version, so really just go with whichever version you prefer.) It is available in the US as well as in basically all the other countries that Amazon has expanded its publishing service into. If you need help finding a link to a particular version, give me a ping and I will point you there (if there is a "there" to be pointed to). This is my second published book, following Prelude to After The Hero in 2015, and the first book to be published in print.

If you do read it, first of all thank you! It's an honor that you would take the time. Second of all, I would love any feedback you care to offer. That's not a platitude either; feedback is hard to come by and I really would be interested in anything you have to say, good or bad. You can e-mail me, DM, reblog this, drop an ask, or tag me in an independent post. Whatever you like! Feedback will help me greatly when I eventually get around to writing Volume 2. And feel free to leave a review on Amazon, whether good or bad (though hopefully you enjoy the book); I am told it pleases The Algorithm. But most of all, if you enjoy the book, tell someone about it! Your word-of-mouth is currently 100 percent of my advertising budget, lol.

That's all. I wrote a book; it took four-and-a-half-months; it's done now; and it's the first time I've ever gotten to hold a book that I wrote in my hands as a physical thing, and that's pretty neat.

[troius]

I just want to say a few things before you get to the end. First up, it's been a pleasure to read your thoughts on the series; like any fan, you have your own unique interpretations and it's always good to read how fans see certain scenes. It's also been fantastic to see fellow fans respond to your posts adding on to what you've written, again bringing your thoughts out more and generating discussion.

Also, seeing your thoughts has made me appreciate scenes and characters I never thought I would -- Yamamoto for instance, who would've thought?! They've also reminded me of why I fell in love with the series as much as I did, from the artwork to the themes to the incredible bonds between the characters. You've reminded me that BLEACH has it's flaws that can sometimes take you out of the story, but when it hits, it 100% HITS! It's a manga that's about the bonds we form, how they can help us overcome challenges and be a source of light in our lives. It's about the ways we overcome grief and the fear of death, whether it's literally fighting your way through it or slowly coming to a state of acceptance as time goes on. It's about the 'hearts' of people, about what they look like and how they're shared between those you choose. I could go on and on, but then this would become an essay and we'd be here all day.

All of this is to say, thank you for choosing to create a Tumblr account and deciding to read the series and give your thoughts along the way. I can't believe you've finally reached the end, it almost feels like I'm saying goodbye to the manga again!! I don't think I'm the only one here who sees you as a big and valued part of the community on here, so I hope you'll be sticking around! :)

Thank you so much Rays! Response under the cut because it went long.

This won't surprise you, but I too have grown in my appreciation for the series over the course of the uh three years that I've run this blog. Bleach has character concepts I've never seen elsewhere. It has moments of storytelling brilliance. It has truly, phenomenally astonishing art.

But more than anything else, I, like you, am impressed by the heart. For a story that's largely about the afterlife, Bleach is shockingly humanistic, locating virtue not in any system of belief, in any group or faction in the various conflicts that provide the setting for the manga, but in people. All people, whether they're our extremely relatable teenage protagonist and his friends, the occasionally sketchy adults in his life, or the various adversaries ranging from evil monsters to supernatural samurai to a regular-ass gang to a foreign apocalypse cult. Bleach never, not once, lets the viewer fall into the comfortable childish space of believing that there's good people and bad people in the world.

There's just people. Sometimes these people want to do bad things, like execute their sisters, or kidnap your girlfriend, or isolate you from your family, or destroy the entire world. Bleach doesn't flinch away from that either. But it (again, very humanistically) locates those bad actions not in the individual human beings, but in our relationships with one another through the systems and structures we've created to organize ourselves.

And yet in the face of the idea that humans do their worst work through other people, that's also where Bleach locates its greatest virtue. Alone, we're nothing. It's the bonds that we have with others that are what make life worth living, that are the source of everything good in this world. And navigating that dynamic, between spiritual bonds and structural shackles...that's really what adult life is all about, isn't it?

Anyhow, my adult life has been greatly enriched by all of you on here. But I'll take the chance to thank you specifically Rays, for being such a source of joy. Your positivity and passion are the sort of thing that makes a humble blogger want to come back for more, and I've deeply enjoyed hearing all of your thoughts, not just on my liveblog, but through your own posts and writing. I'll be sticking around for sure.

[andkisses]

♡ new clarity | heeseung ♡

you thought you’d made peace with your past–but here, at this pre-finals christmas party, it seems like there’s much, much more than you bargained for

♡ heeseung x gn!reader | wc. 2.8k ♡ genres/tropes: college!au, party atmosphere, high school sweethearts to strangers to 👀 ♡ mentions of/warnings: party atmosphere lol, drinking/drinking games, kissing, pet name usage, reader is implied to be shorter ♡ a/n: an old writing from my old blog that i accidentally deleted :”) inspired by pool by paramore but specifically this version lol i've added and revised it a bit as well

♡ masterlist ♡

Whatever this is, it had been building and bubbling and rising since eleventh grade. That’s when you set down on this path. When your friend introduced you to her friend, who in turn introduced you to all of his friends. He had seemed kind enough, with sparkly doe eyes that caught the sunlight in enchanting ways. The way his eyes seemed to light up, too, when he met you for the first time. He had some sort of magic to him, you figured—an air that made people want to get to know him better. It had been a simple meeting in the cafeteria during lunch period.

It had been simple, once.

Now, it’s anything but.

Navigating senior year had been stressful enough, but Heeseung’s laugh made it easier. Heeseung had been the kind of person who could cheer you up with a terribly bad pun—puns he never seemed to run out, a seemingly endless supply of groan-inducing monstrosities. His firm shoulder and tender touch and listening ear made hardships bearable.

The way he would look at you, with all the love he could muster in his eyes, small smile on his lips, made it bearable. His kisses, loving and gentle and playful and passionate. The way he would come over to help you with your essay but end up chatting with your mom while cutting fruit. His whispered nothings when he said goodbye, fingers slipping from yours, with a promise to see you in the morning and a smile that would leave your cheeks flushed and your heart full.

You balanced each other in this way–you did the same for him. Cheering him on at his softball games with cheesy homemade signs that were completely embarrassing but made his heart ache in a unique way nonetheless. Helping him study for AP exams that would boost his college applications. Holding him while he cried into your arms after not getting accepted to his dream college, muttering confusion after confusion that you had no answers to. No solution or fix. You couldn’t fathom why, either; he had the grades and the extracurriculars. He was a model student. He was everything. You told him to try again. He told you it didn’t really matter anymore.

Heeseung was different after that night, in subtle ways that close friends picked up on but teachers and passerby people missed entirely. You saw him changing right in front of your eyes as he grappled with the consequences of his future. His laugh wasn’t as loud anymore. His jokes became less frequent. He got quiet.

His touch felt more distant.

You broke up the week before graduation, a shared agreement where you were both okay with the fallout. Your mutual friends were shocked, especially the ones who introduced you all the way back in eleventh grade. It felt like so long ago. Yes, you would miss his touch. Crave his kisses. Long for being held when all you two would do is watch the stars on a gingham blanket and talk about the future, any future. As long as this imagined future involved you two together, it was okay.

As you sat in a crowd of your graduating peers, it felt like you didn’t know which way was up or down.

College came, and freshman year blew by, as did sophomore year. Memorable only the way you would recount a movie that was neither bad nor good. You tried a bunch of things: club activities that failed because the ones you wanted to join occurred at conflicting times–class had to come first. Jobs that turned to dust because they were only temporary for various holidays or tourist influx. Dates with no one ever worth mentioning.

The first half junior year melted away with major-related courses and more papers than you could believe. You tried not to think about the times Heeseung would come over to be your editor, scribbling nonsense in the margins of your rough drafts. Just like you tried again at the dating scene. There had been others, but none like Heeseung. None with a smile like his, that lit up a room it shined so brightly. None with eyes that sparkled and softened whenever they saw you. Or with a voice like his when you were sad, and he would sing to you.

Some of them wouldn’t even try to sing to you.

And now, here you are: at a Christmas party you said you wouldn’t attend because you had to study for finals–class had to come first. But your friend dragged you along, saying you would enjoy it and have fun. “I guarantee it,” she’d promised, chucking cute, Christmas-y clothes in your direction. You normally wouldn’t have been persuaded, but the incessant asking began to overpower any odds of studying. You’d settled on your favorite jeans and a loose red sweater with sequins interweaved before you had even decided on actually attending.

Your friend was giddy on the way over, in a way you’d never seen her before. As she shifted the car into park, practically jumping out of her seat, you’d put it down to her succeeding in dragging you out to some random party. She was gone the moment you two stepped inside, telling you to “have a great night!” with a wink as she vanished into the crowd.

Which brought you to this.

“What are you doing here?” you ask as Heeseung begins to kiss your cheek down towards your jaw. The bathroom lights were off, but the owner of the house had strung up oversized Christmas tree bulbs to illuminate the space and bring festivity or what have you to the small room. At least, that’s what you assume as your mind tries to process everything all at once.  Red, green, and blue tones dance across his dark hair that curled up at the edges, a tousled look. You notice he still smells like orange and cinnamon, even after all this time.

It has a particular effect on you.

He hums against your skin, and you can feel his smirk. “Kissing you,” he says simply, as if it were the most obvious thing. Maybe it is.

“Be serious!” You playfully bat against his shoulder, and even with the solid hit, warmth against your palm, he doesn’t feel real. This couldn’t be real. You hadn’t seen each other since that summer after freshman year.  You texted and talked but it regarded boring mundane things, nothing ever too personal or revealing. You’d become strangers. You hadn’t even told him about your boyfriend, or the break up following, or the other boyfriend, or the other break up, or the third boyfriend and the third break up...

But they never sang to you, so they weren’t worth mentioning.

A quick peck on the tender flesh of your neck, warmth spreading from each spot Heeseung kisses. “I am.”

“Seung…” you warned, resolve waning.

He laughed against your neck, pulling you closer in the dark. “I missed that,” he murmured.

“What? Me scolding you?”

“No, you saying my name,” he replied, slowly rocking you back and forth. “Actually, no. That was a lie. Just you. I miss you.”

Even though you’re sure it only happened less than half an hour ago, it feels like a million years since you caught Heeseung’s eyes in the living room. It was filled with people, milling around each other and shouting over the obnoxiously loud music in order to hear better, which in turn only made everything else louder. The din was slowly and surely becoming unbearable, and you turned to leave when you felt a stare.

You searched the crowd, standing on the hearth to see above the drunk people and the sorta-sober friends crying about how finals were next week and here they were, playing beer pong with ginger ale because someone forgot to bring more beer to play said beer pong. He looked as shocked as you felt, eyes wide and sparkly and lips slightly agape. Your heart jumped as he began to part through the pained students attempting to forget their GPAs and make his way to you, and you were moving towards him before you even realized it.

Somehow, that led to kissing in the bathroom down the hall, where both of you had raced to lock the door, with no real lights and stupid dollar store Christmas bulbs strung about.

Somehow, you’re okay with it.

“Sing me a song,” you request. You can still hear the party outside, tinny-sounding songs bleeding through the walls and party noise. It sounded like someone just scored big in ginger ale pong or failed miserably. But Heeseung, your Heeseung, is here and in front of you and in your arms. You wrapped your arms around him, arms tight against his back, your head tucked into his chest. This was probably what your friend meant, why she was so adamant about your attendance, though you don’t know how she could have known about Heeseung. Maybe it was his magic again.

You suppose it doesn’t matter. She’d probably tell you all about her evil plan to get you and your ex back together—

You flinched in Heeseung’s arms, eyes shut. Calling him an ex didn’t seem right, though that’s certainly what he was. You’d dated, then you'd broken up. You both agreed to do so, regardless of the begging of mutual friends. Regardless of all those different futures you’d envisioned together. Yet, here at this party, in a place you didn’t expect to see him, a place that didn’t make you even think of him, in his arms, ex seems too harsh.

“Please?” you ask quietly, finding yourself nuzzling into the softness of his flannel.

Heeseung laughs, bright and so much like him, and the rumble through his chest makes you smile. “Needy, are we?” he teases, voice soft. You can imagine him biting his lip like he would when he teased you and his own cheeks flushed. You lean more of your weight against him as he quietly sings to you. “I’m underwater, no air in my lungs... My eyes are open, and I’m giving up... You are the wave I could never tame... If I survive, I’ll dive back in…”

You turned up to him, chin resting on his chest, confused pout on your lips. “Are you asking me on a date?” you question. “I don't even know why you’re here. You don’t go to school here. Or anywhere near here.”

“One,” he begins, bringing up a finger and lightly booping your nose, “I have no idea what you’re talking about. You’re the one who asked me to sing, so I sang. How dare you label me with ulterior motives.” He smiles, nose scrunched against yours, and you can’t help but giggle at his affections. “Secondly, my school had finals last week. I’m finished, and I thought I’d come over and watch all the other people suffer and drown their sorrows in cheap liquor and apple juice.”

“It wasn’t ginger ale?” you ask, frowning.

“They’re too broke for ginger ale, my delight,” he says, the pet name rolling off his tongue like he never stopped calling you that. Like there wasn’t almost three years separating you two like this. “They’re college students.”

“Did you come here to see me?” you ask, the idea popping into your mind. Part of you is screeching because oh my god did you seriously just say that? To him? To his face? But another part, the one closer to your heart, needs to know. The part that’s been daydreaming about something similar to this, though none of them ever occurred in a bathroom at a Christmas party with cheap lights. A part that longs for the simple time, of falling asleep after sweet kisses and talking about the future, any future.

A future with you two together.

“If I survive, I’ll dive back in... I’ll dive back in, I’ll dive back…”

“Hee-seeeeung—” you drawl, sounding like a petulant child. You don’t care, you’re too hopeful. “Answer meeeee.”

He mimics your tone. “Fiiiiiiiine.” He stood you up, pushing you off him with his hands on your shoulders as he levels a stare. His eyes sparkle, even in the low light“Go out to dinner with me tomorrow night.”

You raise an eyebrow.

He smiles awkwardly. “Please?”

“Heeseung, I’m one of those sad college students waiting to suffer for finals. I need to study.”

He groans playfully, like you’d told him he had to win a golf tournament for a chance at dinner. He drops his arms and rolls his head back before looking back up. “Let me try again,” he says, hands clasped behind his back and smirk barely contained on his lips. “Can I purchase your favorite takeout and bring it to your dorm and help you study?”

“Depends.” You pinch your chin between your thumb and forefinger in a mock thinking position with pursed lips. You’ve gotta tease back somehow, right? “Study like real study–you know, the boring way–or study like you kiss me after I get a review question correct?”

“Hey, studies show that rewards help you learn and retain more information.” Heeseung shrugs before his faux seriousness fades into a myriad of giggles as he quietly repeats himself, “Studies... study... haha.”

“Oh my god.” You lightly shove his shoulders back, causing him to break out into more laughter. And there it is, that bright smile that made the sun ashamed. That warmed your cheeks and kept your heart beating on the bad days. The one you’ve longed to see so dearly.

“I miss us,” you say. Or breathed. You didn’t really put effort into saying it, but it came out nonetheless. You lean back against the counter, and Heeseung mirrors your stance against the opposing wall. “Why did we break up?”

“We were different,” Heeseung replies, as if it’s the easiest answer. Maybe it is. “We needed space.”

You bite your lip thinking, eyes everywhere but Heeseung. Is this really a good idea? Had breaking up even been a good idea? College had been lonely without him. He was there but he wasn’t. Baseline text messages were different from face-to-face heartfelt conversations. He’d become a stranger, an idea you kept in your memories. But now, he’s within reach of your fingertips, and something deep inside tells you that if you catch hold, you’ll fight to keep him close this time.

“About tomorrow night…”

Heeseung’s head shot up, eyes anxious. “Yeah?” he exhales, as if he’d been waiting for you to say something, anything.

“If you promise to bring my favorite takeout and a decent supply of kisses,” you say, stepping forward with your hands behind your back just like he had been, “because I do have a lot to study for, I guess you can come over.”

“Really?” Heeseung steps close, and he seems timid. Like you might yell and tell him to go away. Like this whole moment isn’t actually happening. His eyes hold hope and joy and happiness. And you want to keep them that way. “You’re willing to give us another try?”

You nod, biting down a shy smile. Heeseung moves to hug you, swoop you up in his arms and you know he’s going to try and spin you around like a Disney movie. A thought comes to mind quickly, new options forming now that there’s more possibility. You hold up a hand, and his chest runs straight into your palm. “What?” he asks, fearful and worried.

“You still haven’t actually kissed me tonight, Seung,” you remind, tilting your head up towards him. You point all around your face and neck before tapping on your lips. “I don’t think I could wait until tomorrow night after all this time.”

Heeseung pouts, pulling at your hands. “I’d get red lipstick on me, though.”

You smile slyly this time, wrapping your arms around his neck and pulling close. Heeseung’s smile grows wide, making your heart pound with the puppy love you’d felt before, but this time, it feels like it could grow into something more. You two were older now, maybe wiser if the school system had done its job. Or maybe you were still fools.

At least, you can be fools together.

You bump into his nose with your own, something that makes you feel little and young and powerful again. You smile up at him and, even in the darkness and the stupid Christmas lights, you can see how his eyes glitter and shine with a particularly new clarity. “Something tells me you wouldn’t mind,” you whisper.

Heeseung bumped his nose back. A quick peck, and you smile that he still tasted like hot cinnamon candies. “Something tells me you’re right.”