#Just a little dramatization because awakening scenes are always the best | Explore Tumblr Posts and Blogs

galladerocksgamer · 3 years

Text

Okay so I love the Paranormal Liberation War arc, it does so much fantastic stuff, dang near perfect across the board. But I think it’s pretty widely felt that the pacing got a bit off the rails near the end, we had big reveals and character moments stacking up and half of them barely even felt relevant. And me being the person who just thinks about things in depth and for long periods, I’ve still been dwelling on it for months. And now as the manga has continued, I’m finally seeing how some of the aforementioned War moments could have been better executed in different situations, because honestly this latest arc seems like it would have been tailor-made to address them all. So lemme take a closer look at three different components here: Mirio/Eri, Bakugo, and Hawks.

1. Mirio and Eri

Probably the most random moment from the war’s climax, don’t think anyone was predicting the sudden return of Mirio to battle. I love Mirio, he’s one of my favorite characters, but it was a pretty anticlimactic way to bring him back into the fold. He doesn’t even really bring anything special to the battle, nothing uniquely Mirio. His role is just backing up Best Jeanist against the Nomu, and anyone could have done that. Burnin could’ve arrived sooner, or Manual and Rock Lock could’ve come back after getting the injured heroes to safety. Heck, if you still wanted the Nighteye agency to be involved, then Bubble Girl and Centipeder could’ve been the cavalry to help Jeanist. But instead Mirio returns unexpectedly and none too remarkably.

And on top of that, we’re basically just told “oh by the way Eri has some control of her power now.” Something that the series had been building up toward for awhile just … occurs off-screen with no forewarning. Really feels like a disservice to Eri and her development to not give that intense moment any real spotlight.

It felt extremely weird for me at the time, but I also kinda wanted to give it the benefit of the doubt. Maybe the coming arcs just couldn’t afford to place focus on Eri and Mirio, so their respective developments were tied together to lend an extra surprise to the war’s final bout. But instead this most recent arc has gone the opposite route … through the return of Chisaki.

The man once known as Overhaul, now thoroughly broken and wanting nothing more than to fix his one great regret. With Nagant’s defeat, he winds up back in custody, but having now once again met with Midoriya and made his wish known. So indeed, the opportunity arises for Eri and Mirio to be brought back to the forefront. I don’t doubt that we will indeed have at least a brief glimpse at Eri healing Chisaki’s boss as Midoriya promised, but the potential for that scene could really have been through the roof if it was the impetus for Eri to willingly use her power on a person for the first time.

Imagine Midoriya coming to Eri with that heavy request, of Eri deciding to offer this kindness toward Chisaki of all people, using her power to heal before the man who always told her that she could only destroy. Because really, I don’t think there’d be a question of that, we know the kind of kid Eri is, and she won’t let anyone suffer if there’s any way she could prevent it. Even if Chisaki was the person asking, there might be hesitation and fear, but is there any doubt she’d offer what aid she could in the end? And for Pops to be the first person she helps, to undo the harm carelessly inflicted by Chisaki … well, it’d certainly be poetic.

As for Mirio in this scenario, that could go a couple ways. Route 1: Eri is hesitant to help Chisaki with Pops because she would rather help Mirio get his Quirk back, and we know that her power seems to have a bit of a limit on it via the energy stored in her horn. So what if it did work, but she ran out of juice healing Pops and then made Mirio wait even longer? Well, of course that’s exactly what he’d insist on, he wouldn’t let himself take priority over another person in need of Eri’s help. And he’d take it all in good spirits as always. Or Route 2, if there was concern that Eri’s power could run wild while trying to help Pops, then they could go the complete opposite direction and have Mirio offer to go first, to be the guinea pig for Eri in case of emergency. But of course, he’d have full faith in her all along and coax her through, ensuring her of just how helpful and brave she always is.

So yes, can see how Eri and Mirio’s development could have taken a more satisfying route, and cap us off with some good ole Chisaki angst to boot (though at least we’ve still got a decent serving of that). Now moving on …

2. Great Explosion Murder God Dynamight

So Bakugo’s long and arduous journey of personal growth reached a new peak during the battle with Shigaraki, where his body moved without thinking and he underwent his true heroic awakening to protect Midoriya. Such a sacrifice seems like a perfect cap for his development for the War arc … and then a couple chapters later he forces himself right back into action to back up Best Jeanist, and as promised he reveals his over-the-top hero name to his mentor. In this case I don’t think there’s anything inherently wrong with the reveal, but in light of his preceding big heroic action, it really feels like a hat on a hat.

It’s not like Bakugo’s hero name heralded some major turning point for the battle; Jeanist’s arrival (and subsequently Mirio’s) had already assured that. And like Mirio, there wasn’t any real special reason for Bakugo to rejoin the fight with the Nomu, especially with Iida and Hado on the scene. After getting skewered by Shigaraki, it would have been pretty simple for Bakugo to just spend the rest of the fight bleeding unconscious on the ground, rather than complicating matters by shoving him back into the fray. And ultimately, the moment feels a bit anticlimactic. All the suspense waiting for Bakugo’s hero name, and then it’s revealed at a time where he barely even has the spotlight.

Of course, such a bombastic name as “Great Explosion Murder God Dynamight” doesn’t particularly lend itself to a quiet or emotional scene, so it wouldn’t be thematically fitting to move that revelation to Bakugo’s hospital bed or his somber apology to Midoriya. That said, given his decision to announce the name first to Jeanist, there would at least be precedent for him to have a “Dabi says secrets in a black speech bubble” moment in the hospital in which he talks to Jeanist but leaves the readers in the dark, before coming back to the actual audience reveal later on.

And there must certainly be other opportunities to present the name appropriately. Bakugo is a master of making an explosive entrance, after all. And when Class 1-A finally catches up to Midoriya, if Bakugo really wanted to make a big impact on his friend/rival before getting into the sentimental stuff, then it would be a prime chance to reveal his hero name in grandiose fashion, both to Midoriya and the audience.

Or if his hero name had been Kacchan, then that reveal would have fit right in with his apology to Midoriya, but that’s neither here nor there

This could be one scenario, of course, but it hardly feels like that would’ve been the only option. And compared to the crammed-in reveal in the final fight with the League, it’s easy to say that there could have been plenty of smoother roads to take. But setting that aside, moving onto the final touch:

3. Hawks

The long-awaited Hawks backstory doesn’t really disappoint. Admittedly, there weren’t really a lot of holes necessary to fill in there; we’d had enough bits and pieces provided before this point to pretty much put together the whole picture of his crummy childhood. But even without any really surprising turns, the flashback is welcome and hits some good emotional beats. But really, the glaring issue in this area is the timing.

We’re presented this backstory at an instance where Hawks is hardly the most relevant character. Shigaraki is undergoing a personal crisis as All For One seizes the reigns of his own body, Endeavor’s dark history has been exposed and the Todoroki family is in turmoil, escapees from Tartarus roam the streets, and Midoriya consults internally with the vestiges of One For All ... and the narrative decides to take a chapter to look at Hawks. Practically nothing from his flashback directly relates to present events, serving only to further emphasize his already well-established devotion to Endeavor and his (misguided) understanding of Twice’s feelings. The timing is just kind of baffling, especially with some other more appropriate places being readily apparent.

For instance, only a dozen chapters later, we’re properly introduced to Lady Nagant. As Hawks’s predecessor within the Hero Commission, the two have a lot in common, and the similarities and differences between the two could set up some interesting comparisons if Hawks’s backstory was saved to follow up Nagant’s. Two idealistic young children, handpicked by the Commission and groomed into assassins, yet whose outlooks in the present day are starkly opposed? Nagant's guilt driving her to turn on the Commission, while Hawks holds few regrets despite the blood on his hands, longing for freedom from the Commission’s grasp? That kind of parallel could really have built a more solid foundation for Hawks’s past to be laid upon.

That could be an effective setup, but there’s another approach I’d actually much rather have seen, one that brings Hawks’s backstory not later, but earlier: during the dramatic confrontation between Hawks and Dabi. The instant that Dabi reveals he knows Hawks’s real name, the story opens itself up perfectly to dive into his past. And the timing would be superb, showing Hawks at his worst as he murders Twice, then turning back the clock to look at the innocent child who just wants to save people. A little boy whose feathers tingle with the need to rescue those in need, superimposed against the man whose same feathers are used to deliver the killing blow to a victim of hero society’s ills. You want angst? Now that’s how you do angst. Placing the backstory there would play up the tragedy of both Hawks and Twice simultaneously: a “hero” raised by the Commission to cut threats to their control short at the root, and a “villain” who could have been a kindred spirit but instead suffers for their would-be friendship.

And that’s not even the icing on the cake. The real matter of interest here comes in Hawks’s view of Endeavor. By the time we get to Hawks’s backstory, all of Japan has already learned of Endeavor’s history from Dabi, and the result of the timing feels a smidge tone-deaf, and fails to realize the full potential resonance of the situation. The flashback to young Hawks as a victim of child abuse, who is rescued (unwittingly) when Endeavor arrests his father, is presented to us as the moment when Hawks realized that heroes are real, not merely a fantasy. We see why he developed such an ideal view of heroes, and why he is so specifically loyal to Endeavor ... so just imagine if all that was presented during his showdown with Dabi. Imagine if all that came before the tragic revelation of Toya Todoroki. The true terrible irony, that Hawks was rescued from his abusive father by someone secretly guilty of the same crimes, that Hawks’s whole epiphany of “real heroism” was founded upon one of the most corrupt enforcers of all.

The end result would be the same, I’m sure. After all, this is certainly the same thought process Hawks was going through all along, and his decision to maintain his faith in Endeavor’s personal growth would presumably remain unchanged. But presenting Hawks’s backstory before Dabi’s would have opened up a lot more room for us as the audience to actually see Hawks’s views be challenged. If there’s one real complaint I’ve got about Hawks’s character, it’s that we don’t really tend to see him questioning himself or his actions; whatever happens, he rolls with it and presses on, no matter how his ideals are brought into question. But this simple matter of timing could go a long ways to remedying that, granting the audience the chance to watch Hawks grapple with his personal image of and approach to heroism, and his relationship with Endeavor, rather than allowing most of that to pass unseen in the wake of the war’s end. Even if he would ultimately come to the same conclusion, at least such a narrative structure would provide a much more satisfying presentation of his struggle up to that point.

So, I’m not great at endings, but that brings us to the conclusion of my rambling though process here. To recap, the more I’ve thought about it, the more obvious it is that the backloaded War arc could be remedied, and the following arc only made that more obvious. Why force Mirio’s return so soon when he could be tied in later with Eri mastering her powers and the desperate pleas of Chisaki? Why shove in Bakugo’s hero name when the boy has already made a tremendous impact on the arc, and will be more open to further focus during the conflict with Deku in the next? And why throw in Hawks’s backstory as a standalone chapter at a time when it’s largely irrelevant, when there was such great potential to emotionally contrast him with the backstory of Nagant or Dabi? These are the kinds of things I think about. Little things, really, and honestly the whole reason they stand out to me is just that the rest of the arc around them is so dang fantastic. So … yes. This is the testament to my love for this manga, thanks for coming to my Ted Talk, byeeeeee

#mha #bnha #mha manga spoilers #bnha manga spoilers #paranormal liberation war

15 notes · View notes

royaltywhxre · 3 years

Text

this is specifically for @cactiem, but idk this might appeal to other hsm fans

EM I'VE DONE IT. I HAD TO LISTEN TO ALL OF THE SONGS BUT I FINALLY HAVE A LIST OF MY TOP TEN FAVE HSM SONGS.

now the list is definitely not set in stone and is mostly what i was just feeling at the moment BUT:

1. We're All In This Together (HSM 1) - Classic. Iconic. I'm pretty sure everyone knows this songs regardless of whether they've actually seen the movie or not. Perhaps not actually the best song in all three soundtracks, but the most memorable for me. I can recognize that it's mainly at #1 because of nostalgia, but I think I'm okay with that. The rush of serotonin listening to this songs gives me is insane. I can listen to this song a million times and it never gets old.

2. Scream (HSM 3) - LISTEN I WILL DEFEND THE HSM 3 SONGS TO THE DEATH. The actual movie itself may not have been as great as the other two, but the soundtrack is criminally underrated. That being said, THIS SONG. HOLY FUCK. It manages to encapsulate the young adult experience SO WELL. Like the mental breakdown he has because he never truly figured out who he was and now he's graduating and hOLY FUCK WHERE DID THE TIME GO. And he's got all these important people in his life advising- no, TELLING him to do different things and TELLING him who he is and it’s just all too much, too overwhelming and....yeah. This song fucks.

3. HUMUHUMUNUKUNUKUAPUA’A (HSM 2) - Listen. Is this song cultural appropriation? Perhaps. Is it kinda problematic? Sure. Is it still one of my faves? YUP. It’s just so catchy????? Like I can’t not get upp and dance when I listen to it. Obviously, as seen with Bop To The Top, Sharpay and Ryan are masters at making bops by taking elements from cultures they’re not part of. This song isn’t actually in the movie since it’s part of a deleted scene, and it’s not very hard to see why it was deleted lol, but I still had to include it.

4. I Want It All (HSM 3) - Another Sharpay and Ryan fave of mine. One of my go to songs for family karaoke night. It’s impossible for me to not go full diva when singing this song. Also, I feel like it’s no secret that I do have fantasies of being famous and making it big on either Broadway or in Hollywood, so for little 7 year old me, this was my motherfucking JAM. And can we just talk about the CINEMATOGRAPHY OF THIS NUMBER?!?!? Like holy shit, the costumes, the set design, the pure DRAMA of it all. All of Sharpay and Ryan’s songs are dramatic as hell, but this one is the icing on the cake for me. (Also I’m pretty sure Sharpay in the sparkly white bodysuit and blonde bob wig was my gay awakening)

5. What I’ve Been Looking For (HSM 1) - Sharpay and Ryan’s version, of course. Looking back now, it’s definitely weird that they did everything together and auditioned to play love interests in the musical, but we’re just gonna over look that because I feel like there’s a deeper issue at play there that I don’t have time to discuss. ANYWAYS, twas our first introduction to the duo and I think really set the precedent for all the future performances. Like their dynamic is evident right away and it was introduced in the best way possible. I like their version of this song WAY better than Troy and Gabriella’s. Like obviously they're different because one is platonic and the other there’s some serious romantic tension, but this version is superior. I’m sorry, I don’t make the rules.

6. Everyday (HSM 2) - I feel like of all the songs in this movie, this one is highly underappreciated. It comes at a pivotal point in the movie, and acts as kind of closure before the final number. It’s just so beautiful. The music, the lyrics, Gabriella coming back after her dramatic ass exit in Walk Away, it’s all just *chef’s kiss*. Also idk why, but that moment when everyone (YES, SHARPAY TO) get together towards the end of the song always gets me. Like, for me, it’s the fact that Troy went out of his way to get Sharpay up on stage and make sure she still felt included even if he wasn’t singing alone with her like she planned. Idk it’s just a very moving song.

7. Just Wanna Be With You (HSM 3) - SPECIFICALLY NOT THE ONE WHERE THEY DID MY GIRL SHARPAY DIRTY! The fact that over half the people on that stage didn’t even know the theater existed before a year ago and she was still upstaged will never not piss me off. BUT ANYWAYS, I meant the one during the rehearsal where they’re all just goofing off and having fun, not really taking it too seriously and just enjoying being together. It’s just so cute????? The song, the scene, the everything. Just a really wholesome and adorable song, in my opinion.

8. Bet On It (HSM 2) - The one we’ve all been waiting for. Honestly, if you’re wondering why it isn’t higher on the list, I’m just as surprised as you are lol. But after listening to all the other songs, I had to rate it lower IM SORRY. I feel like in terms of iconicism (is that even a word???), it doesn’t quite match All In This Together for me. Where I could play All In This Together over and over and never get sick of it, I feel like Bet On It has a limit. Regardless, it’s still a bop and deserves to be in the top ten. It’s Troy’s second existential crisis song, and I see it as kind of the sequel to Getcha Head In The Game and the prequel to Scream. He’s having this conflict where he has the chance to become the person he was always told he would be and in turn ditch his friends, or stay who he was before and possibly miss out on the chance of a lifetime. It’s not a situation that I can personally relate to, but there are elements that definitely resonate with me.

9. Can I Have This Dance (HSM 3) - JUST SO FUCKING CUTE. It’s a cute song, okay??? It’s super romantic, and I feel like Troy and Gabriella’s love for each other is especially evident in this song. Also, THEY’RE DANCING IN THE RAIN. It’s truth universally acknowledged that singing and slow dancing in the rain is one of the most romantic acts a couple can do.

10. When There Was Me and You (HSM 1) - An underrated fave of mine, and I still can’t totally pinpoint what about it I love so much. It’s such a beautiful song, wonderful composition, and...I just love it okay??? Vanessa Hudgens does such a wonderful job in capturing the heartbreak she feels after overhearing Troy basically say she means nothing to him. The heartbreak, the betrayal, the potential loss of a first love. I don’t understand how more people don’t see it for the powerful, impactful bop that it is.

#dear jesus this took me forever #i was originally just gonna list the songs #but i just had so many thoughts it had to write them down #also a VERY close second is the last song from the last movie #GETS ME IN TEARS EVERY TIME #it felt like the end of an era for me #high school musical

3 notes · View notes

middle-class-trash · 3 years

Text

Rise of the Titans liveblog!!!

that intro made me unexpectedly emotional

So if Blinky is narrating, he can't die, right? Right????

BRO THE SUBWAY SCENE!!!! We're getting right fuckin into it!!!

Steve, my son!!!

I wish Toby wasn't a constant punchline 🙃 it just makes me not take his character seriously

CLAIRE!!!!!!

Something about Douxie decking Skrael at the first opportunity is just so sexy of him

Jim is incredibly brave but it's really reckless to go hand-to-hand with a demigod without proper armor

My heart goes BUMBUMBUMBUM when Douxie looks out the traincar window

Sexy traincar tracks spell WHO

THE WRECKAGE AWWWW

Oh my gosh the people stuck in the magic circle because they wouldnt get out of the way

NO NO NO DOUXIE NO

So they were arrested that early?? Jeez

Nari's such a cutie

"None of us will be talking to you" *cut to Toby spilling every bean*

TOBY'S FACE AT THE END HAHHAHAHA

Something about Nari's voice coming out of Douxie's body is so deeply odd

Oh hey, Krel to the rescue

AREA 49 HAKSHDKSKD

"And your mom."

Oh my gosh he's still broken from Wizards 😂

The Guardians are just dead set on pissing off local authorities huh

JIM!!!

STRICKLER?????

BARBARAAAAA

Stricklake supremacy 😌 they both look so good

Claire listening in 😭😭😭 she's so cute

AWWWWW ENGAGED ENGAGED ENGAGED

......does that give them death flags? Fuck. Fuuuuck fuck fuck fuck. It totally does.

AWWW DOUXIE!NARI HUGGING ARCHIE

Aja!!!!

Your majesty!!

Oh yikes, here's that running gag everyone was talking about.. pregnant Steve

Oh hey, Eli's hot now. We been knew 😂

"Mazel tov!" HAHA

Poor Jim needing a bunch of support to walk 🥺 he's such a trooper

I will simply pass away if Blinky dies

I hope Douxie is okay, we haven't seen him in Nari's body and that makes me ✨nervous✨

OH JKJK

Nari is so goddamn pretty

"Only your presence, not your commitment" is such a rapey saying

"Abra-cadabra, buttsnacks" I love that he still says that 🥺🥺 he loves his friends so much

"Do your worst" *cue both Douxie and Nari absolutely screaming in pain*

Krohnisfere? Alrighty then, that's the first mission

"I wouldn't be so sure of that" AWWW

They fixed the amulet???? DUUUUDE

"For the good of all..." 😭😭😭😭

"Or I could lock onto Nari and portal us there" *dead fucking silence*

I hate how Toby's used as a constant punchline.. a penny? Really?

TRAINTRACK MAGIC CIRCLE GO BRRRR

Poor Nari 🥺 Douxie's in so much distress

Oh no, the new amulet isn't working?? Fuckk

That absolutely gorgeous screencap of pissed Aja

Part of me is glad Nari was forced to do this and wasn't actually a traitor

Ice titan awakening sequence? Ice titan awakening sequence.

Oh Nari. Oh sweetie

Oh my gosh she's fucking tied to her titan

Boiling water!!! Or underwater explosion, that works too. Much more dramatic but that's Bellroc's style

Oh wow Steve actually has a bump?? What the fuck???

Oooh, TrollDragons?

Charlie!!!

"We still don't have a trollhunter" Aja, honey, not helpful

"Does he even trust himself? AJA, HONEY, NOT HELPFUL

Barbara being proud of her son 😭😭

OOH fusing excalibur with the armor?

Aja is so full of confidence, it's a good look for her

Steve being preggo is..really fucking weird. When they said

AWWW BLINKY AND AARRRGHHH

Your honor, I love them

OOH IS IT SOFT JLAIRE TIME

Ohhhh it's soft Jlaire time

He's always looking out for his mom 🥺

"I will always be here (head), and here (heart)" just fuck me up fam

Charlie!!!

Zong-Shi?

"Only death will come to those who go looking for it" oh dear

"The troll with many eyes" how does Charlie know Blinky? 😂

AYYY this where the banner that I found first is from!!! it was so cool seeing my screenshot circulate when we were starved for content 😂😂 everyone was posting various rott icons and banners that they got hoping they'd find a new one

Oh dear.. government

Blinky dear they can't understand you

"Holy frijole" Claire I simply adore you

WOW THAT'S PRETTYYYYY

Troll slaves???

So is Zong-Shi this ugly ass pear-lookin ass

Aja chilling with Jim even though she has doubts is an interesting strategic choice

Douxie, AARRRGHHH, and Nomura? Talk about rarepare

NOMURA CATCHING HIM 😭😭 SEXYYYY

DOUXIE RESCUING NOMURA 😭😭😭😭 SEXXYYYYY

If I havent said it yet, the animation is breathtaking

OH SHIT JIM

aaaaand here come those frozen wings

Nari cant be in control of herself, there's no way. She's still tied to the titan for Pete's sake

NOMURA????

Please dont let this be a sacrifice

PLEASE NO

BOTH CHANGELINGS????

STRICKLANDER??????

No on-screen death, so it's not real. No on-screen death, do it"# notbsmejelreal

NO ON-SCREEN DEATH BUT IT'S NOT REAL

THEYRE TALKING AHOUT HIM PAST-TENSE NOOOO

THEY RBOGUHT UP HIS DADDDDDD

"There's no revelation I can give you" is a great way of saying he's not relevant, genuinely

Oh wow this guy's freaky

Ohhhh so the green thing from the trailers and promo photos is the Krohnisfere

Archie to the rescue!!!

"That's my boy!" AWWE

"Claire nooo, no no no no YESSS, I'm free!!!" Blinky, never change 😂

Oh wow, they're already in contact with Bellroc's titan??

Different note, but the titan's designs are just different enough to make them interestun

VARVATOS??? Okay jk somehow it's gun robot lmfao

WAIT NEVER MIND HAHAHAH HI BUD

....if the bridge falls, can't Charlie just fly them across

LMAO he just saw his death?? That is what he wanted to see 🤷🏻‍♀️

It's too early to celebrate, there's no way Bellroc is down after just a few pinches

Yeahhh

Oh dear... is Varvatos in danger?

Claire being the warrior of the group is incredible and sexy and hhnnngggg

Toby is a Hufflepuff. I will not be answering questions

OH WOW THAT'S HOW HE BURNED HIS HAND??? THE HONRGAZEL?????

ARCHIE SAID GOODBYE??? NO NO NO NO NO

Douxie's gonna be a flat mess!!!

God, plus Nomura and Stricklander

NOOOO DOUXIE YOU BIG SWEETIE

Oh my gosh this is the scene with Douxie trying to connect with Nari, it has to be

"I need to try again" AWWW HONEY

That shot of Mexico was incredibly stereotypical

DOUXIE SWEETHEART 🥺🥺

He's trying to hold her hand???? AWWWW

Oh my gosh he's being choked 😳

NARI BABY!!!!

The huggos 🥺🥺

Jim being frustrated is totally realistic

Wait wait wait waittt do they have the entire titan at their disposal?

"There's absolutely nothing all the way out here" cue a titan. Any of them.

And there it is.

CLAIRE SUPREMACY!!!!!!!

White haired Claire? White haired Claire???

Oh dear it's like.. a little over halfway and there's so much left that could happen

COACH. COOOOACH

OH THANK GOD!!! Steve doesn't need another paternal figure dying on him

Time for Skrael to fuck shit up 😬

I find it interesting how Bellroc and Skrael's titans are both bipedal but Nari's is on four legs, much more animalistic

NARI, NOOOOO PLEASE NO

At least Skrael's done????

We kinds knew Bellroc was the final boss but NOT LIKE THIS

DOUXIE SCREAMING FOR HER

NOOOOOOO

No more running. GODDAMNIT

The three can no longer unite but Bellroc can still fcuk shit up

A HIDDEN PAGE??? FUCK THE WORLD IS TO BE REFORGED WITH FIRE

THE HEARTSTONE??????

Oh shit, the explanation for why Arcadia's the center of everything!!

The only heartstone?? Really???? That's scary as shit, trolls could go instinct without a reliable hearthstone!!

EXCALIBUR TIMEEE

JIMMMMMM

Come on honey, you can do it!!

Aja, honey, I love you so much but now's not the time

THE HEARTSTONE???? FUCK DUDE

.......Steve

Eli the midwife?? ...gross

Jim, my love, my baby boy!!!

The nine of them!!!

AWW BLINKY BEING THE BEST DAD

THEY WORK TOGETHER 😭😭😭😭

FUCK YEAH!!!!!!

"Quiet desperation" is a great word for it

Are we coming on to the big final battle?

Ohnoohnoohno they all said the thing 😭😭😭 someone's gonna die. At least one more is gonna die.

HE'S DRIVINGGGG. LOVE THAT FOR HIM

STICKY SPELL TIME!!!!!!

"Some sort of stickum!" Bro 😂😂

I love how he calls them all Trollhunters 😭 throwback to the OG show where the three of them were all called that

Aja Terron supremacy

Oh it's weird.. it's very weird. Why did Steve have to be pregnant again

Oh dear, there's half an hour left.. this has to be the final battle

JIM

Varvatos shielding Claire and Krel 🥺

Fuck, man, people are getting thrown left and right

DOUXIE MY LOVE

Oh here we fucking go, rematch

NEW AMULET???

Jim's about to get royally fucked up

LIKE THAT

FUCK

WHY IS SHE TAKING HIM??? GOD NO

Anti-magic beacon??

Helloooo that's smart asf

This gives Mount Doom vibes

"Embrace your loved ones for the final time" FUCK MAN STOP IT

"I already was" DAMN RIGHT BUD

NEW AMULETTTT

GO GET JIM GO GET 'IM

DAYLIGHT ARMOR!!!!!!

He was ready to just sacrifice himself like THAT

DAYLIGHT ARMORRRRR WITH EXCALIBUR??????? FUUUUCK

Jim being great at combat is just the best fucking thing

Oh fuck. OH FUCK.

STABBED??????

PLEASE NO, GOD NO

FUUUUCK

"I'm powerless" "You get used to it" WE DONT HAVE TIME TO UNPACK ALL OF THAT

JIM HONEY PLEASE DONT DIE

Is that....is that it?? Oh dear god, is that it????

JIM WHERE ARE YOU

I'm calling it now it's too early to be celebrating

Oh god the weird babies

WHERE IS TOBY

WHERE

MY JAW FUCKING DROPPED

NO WAY, NO FUCKING WAY

HE'S GETTING A DYING MONOLOGUE??????

ALWAYS HAVE BEEN, ALWAYS WILL BE

"Itll be the two of us at the end" WHY DOES THAG SEEM LIKE JIM WILL GO OUT TIO

THERE'S NO WAY TOBY JUST DIED

THHERE'S NO WAY

That was sad as fuck but in a narrative way I hope it's permanent

Oh dear, Jim's going back????

Oh shit

WWHAT IS HE DOING

NOOOOO

"I have cherished every moment with you" STOP IT HE'S HIS FATHER

"I FYOU WERE MY OWN SON" STOPPPPPP

WHAT'S HAPONEINGGGGG

CLAIRE

NOOOO

THIS IS WHERE IM SOBBING

THIS IS WHERE IM LOSUNG IT

"Dont give up on me" FUCK STOPPPP

"I WILL ALWAYS BE HERE AND HERE" FUCK IT STOPPPPP

"I would date you for a hundred lifetimes" IS REALLY BEING TESTED HUH

THERE ARE 10 MINUTES ELFT WHAT THEBFUCK

AND WE'RE BACK TO TROLLHUNTERS?.????

HUHHHH

Fuck, man. FUCK, MAN.

Oh, Toby. Ohhhh Toby

CLAIRE 🥺

ROMEO AND JULIET!!!!

Oh my fucking god

"IF YOUD COME OVER TO DINNER" AYYYYY

His smile at Steve 🥺

HE'S HAVING TOBY TAKE THE CANAL???? But wouldnt the amulet still call for Jim?????

"Nothing interesting ever happens in Arcadia" VERY FUCKING FUNNY

Destiny is a gift. Some go their entire lives living in an existence of quiet desperation, never learning the truth- that what feels as though a burden pushing down upon our shoulders is actually the sense of purpose that lifts us to greater heights. Never forget that fear is but the precursor to valor. That to strive and triumph in the face of fear is what it means to be a hero. Don't think. Become.

.......it actually called his name. I can't believe it actually called his name.

The fuck is that ending??? Let Jim REST

#rise of the titans #toa #shut up charity #tales of arcadia

9 notes · View notes

necroissants · 4 years

Text

Okey so uhhh yea no one really asked but obviously thats not gonna stop me me!

Since I'm only just getting back into thinking about them and I have literally never done this before I'm going to just throw my thoughts out there like unshapely confetti and be like "go fetch!"

Also keep in mind that I did zero research before this and its all based on what I remember about the books when reading them like idk 7 years ago... I can not stress how little any of this might make sense lol

Ok here we go:

to start of unsuprisingly i think barely any of them are cishet (maybe with exception of Torte, I do not care for Torte)

I always read Melanie as a deeply closeted lesbian (esp bc of the Big Yikes Scene in the 5. Book)

And Trude definitely had a crush on her that she was aware of but stuffed deep deep down and chose to interpret as platonic admiration. Which is also why she always was boderline shitty to her bc she didnt know how to deal with that and tried to keep her at arms length.

Obviously that didnt work bc Trude is a Long Suffering Dramatic Gay who was willing to put up with way to much bullshit to stay close to her (I feel... seen lol)

(At some point when they got older they definitely would have to talk about this and I'd like to think that Meli did lots of deep self-reflection, maybe even went to Therapy, after her gay panic and eventually apologised to Trude)

I do think Meli and Willi actually did love each other but their relationship was based on a deep platonic understanding of each other

Willi understood Melanie better than anyone else and went along with her need to perform heterosexuality in front of their friends (like them making out around them constantly)

Which made it so hard for Meli when Willi actually fell in love with someone. Willi tried to stay friends with her but Melanie felt betrayed and abandoned and wasn't having it

I don't think the two of them actually talked about Meli being gay at the time although Willi kind of Knew but I think when Melanie finally stopped hiding it from herself Willi was the first person she told and they were inseparable again from that point on. The others just kind of assumed that they were back together

I remember even when I was reading the books for the first time at like 13 I was convinced that Wilma had the hugest intensest crush on Sprotte which she channeld into trying to impress all of the Hühner and join the Bande

And who could fault her if Sprotte was just out there in her shabby leopard leggings and wild red hair and over-all intensity and fierce loyalty to her friends who wouldn't have a gay awakening?!

Although that it was that was not immediately obvious to Wilma she definitely went that route of Very Intensely Wanting To Be Close to her and the others by extension

She kind of had to confront all those gay feelings once it became clear that those were not going away even after she joined the gang

Actually I think all of the Hühner, maybe with exception of Trude, had a crush on Sprotte at some point (I mean come on!!)

And Sprotte is definitely the kind of person who just Doesn't think about stuff until she absolutely has to! Although not in a violently outlashing denial way like Meli but in a "there is more important stuff to think about!" kind of way

Like that she has never really cared what gender the people she found interesting were or what gender she is. All of that is unimportant and a waste of time when the Pygmän are definitely planing something and they need to figure out what!!

At some point she would just accept that without much fuss and be like "allright then whatever"

Frida would deal with it in kind of a similar fashion although waaaaay less intense and more calm than Sprotte

She had that moment of "oh okey" much earlier that the others but because she is someone who does a lot of introspection anyway and is in general very calm about most things after carefully thinking them through she just very early on gained a level of comfort with her bisexuality

She did notice the stuff the others were going through because she is observant like that but didnt want to push

the only one she talked directly to about it is Trude after she found her crying bc of something Melanie had said to her and Trude broke down and told her about her very obvious crush on her best friend

After all that is something Frieda can understand even if her feelings for Sprotte are way less intense and dont hurt her like Trude's do

This talk really helps Frida and Trude bond and they share a new level of closeness and understanding afterwards

Fridas feelings for Sprotte kind of fade but maybe dont entirely go away after she falls in love with Mike - and why would they they are not bothering her and Sprotte after all is still her best friend

Sprotte definitely has one of those "huh..." moments after Fred shaves Fridas hair and she is a bit overwhelmed with all the confusing feelings of fondness and attraction and jealousy that she cant properly place and that are all mingled together

Okey this is getting waaaaay to long and im not even remotely close to being done but my headache is gone now and I can finally do some stuff that actually needs doing lol

I know this is probably only relevant or interesting for like two people but please talk to me about it??!

#die wilden hühner #might make a part 2 soon if i have time #i didnt even get into the pygmän or their lives as adults or much of their relationships and stuff!!#yay for chronic illness forcing me to stay in bed and write this instead of working??#thetalkingtag

26 notes · View notes

peemil · 3 years

Note

☕evangelion 😳

y'all are killing me

the more time i spend apart from this show, the more i find myself kind of hating it shsjhl;hjsdhjso;d. i am somehow now in an even worse place mentally than i was when i first watched evangelion but even so i am NOT letting myself fall in the same traps of woobifying shinji and excusing the behaviors i shared with him and vice versa.

starting with my most general take, i don't like the rebuilds. like, at all. granted, i haven't seen 3.0 + 1.0 yet, and i will be avoiding spoilers until there is an official english translation, but i feel like the rebuilds are kind of what you get when you listen a little too hard to people who didn't get the psychological parts of eva and spent the latter half of the series wishing it would go "back" to being a regular mecha anime (which it never was in the first place). the rebuilds lack a lot of the same internal conflicts that drive the characters (especially shinji), and higher budget means the rebuilds can be more direct in their storytelling and less reliant on alternative ways of communicating ideas, which causes the rebuilds to lose some of the avant-garde present in the original series. as a result, it's jarring to see some of the attempts made at this in 3.0, and painful to watch these attempts fail, as they have no real precedent in the film series. the best way for me to explain the rebuilds is they feel like sterilized and polished, but hollow versions of the original anime series. but maybe i'm just biased, because none of the things i liked about the original are present in the films.

on to more minutiae... i've said it once and i'll say it again, asuka langley soryu is a LESBIAN and there's nothing anyone can do to make me stop reading her character in this way. the only male characters she is depicted as having any romantic feelings towards in the series just (unintentionally) so... comphet. her obsessive flirting with kaji is rooted in her need to prove her worth as an adult, i.e., to prove to others that she is something she inherently is not. plus, he's older, and he's conventionally attractive, so if she didn't have feelings for him (or at least publicly perform having feelings for him), she'd be out of her mind, right? asuka is also someone shown to pursue connections out of convenience (literally citing it as her primary reason for wanting to be friends with rei), and any intimacy she shares with shinji (i.e., their kissing scene) is done only because 1. she's bored 2. shinji is the closest person available. i find the notion that she's a tsundere hiding her real feelings for him laughable, because we've seen what asuka is like around people she genuinely likes and whom she wants to like: the hatred she shows for rei takes a different form from her hatred for shinji: whereas asuka is disgusted by shinji, she is resentful towards rei. her resentment towards rei curiously begins only after rei rejects asuka's offer of friendship, so i am inclined to believe that asuka's feelings of anger when she sees rei receives more respect than she believes she does at nerv are compounded by the fact that she wanted to like rei and have a connection with rei, but wasn't permitted to do so. we also get to see how asuka acts around the one person with whom asuka is able to form a meaningful connection with, whom she lets herself trust and open up to: hikari. asuka actually has fun with hikari and feels safe enough around her to not only seek refuge with her and her family in her time of need, but also to admit that her rage is mostly towards none other than herself. her behavior towards shinji is nothing like her behavior towards either of these characters, but it is not much different from her behavior towards kensuke and toji, two other boys in her class, so maybe... maybe she just doesn't like boys? lol. i'm aware that asuka is genuinely homophobic and awful in the episode 24 drafts, and that it was in no way, shape, or form the writers' intent to turn that into some sort of commentary on internalized homophobia. but with the canon footage that did get animated, i'm really not sure how else i'm supposed to analyze this aspect of her character.

similarly, i don't appreciate how many fans will treat headcanoning shinji as gay instead of bi is somehow "bi erasure." number one, shinji's behavior and attitudes towards the women around him is actually kind of appalling, so i wouldn't necessarily want to use his objectification of and acts of violence against their bodies as particularly strong evidence that he's genuinely attracted to women. number two, of course a show about a young man made in the late 90's is going to try to portray the people to whom he is attracted primarily as women. partially because they can't start from the get-go with him having his teenage sexual awakening with another male—for a mainstream anime, that wouldn't be profitable—and partially because this is an anime and showing women and girls in a sexual light is profitable. and given shinji's role of audience surrogate, of course he is going to be the one doing the ogling and sexualizing because he is us, and after all, it is the viewer who wants to see the anime tiddies, no? shinji's more sexual encounters with the women in his life are always either deeply awkward, uncomfortable, and even unnatural, or they completely obectify and commodify the bodies of the women in question. for this reason, i have always seen these moments as existing without genuine attraction: only either confusion (because these situations really are quite blatantly sexual) or simply a disingenuous performance of the attraction shinji thinks he should be displaying, manifesting as the same objectification of women he has seen men exhibit for all of his life—it's little more than a mimicry of the bad behavior he has grown up watching, because that's what he thinks attraction towards women is supposed to look like. conversely, his actions with kaworu, while skittish, seem to come much more organically. shinji is constantly and consistently drawn to kaworu, in addition to being willing to open up to kaworu in ways he doesn't let himself with any other person. granted, kaworu is the only person to give shinji the love he desperately needs and craves throughout the entire course of the series, but the fact that kaworu is the first person shinji genuinely acts like a kid his age with a massive crush in a way that doesn't feel blatantly scripted around, as well as the fact that shinji goes on to feel more slighted by kaworu's perceived betrayal than any mistreatment he experiences from anyone in the whole course of the series (save for his literal father)... idk. sus lol

been awhile since i've done a proper rewatch of this show so i can't speak super generally since i unfortunately don't remember too much. one thing i will say though, i LOVE how the series is very upfront about the fact that shinji's loneliness and trauma (and loneliness and trauma in general) are going to be core themes in the series from the start. people say the first 6 episodes are slow just because they don't have as much action as some of the episodes in the middle of the series, but i remember speeding through them in one sitting because i wanted to understand more about shinji and his inner workings; i was fascinated by his psychology. people famously refer to evangelion as a bait-and-switch, and maybe that's true to a degree, because i don't think anyone really saw the shift to more trippy animation coming, but the psychological themes present in the latter parts of the series are still very present in episodes 1-4. i'm also amused by people who say they're "caught off guard" by the last four or so episodes, because the major shift towards being a show primarily about psychology really begins in episode 16, when eva unit 01 is consumed by leliel and shinji has to confront the "self within his self" for the first time in the train car of his mind. i know it begins as just another angel fight but like... guys... how did you miss that... episode 16, because it really is where this shift begins, is actually my favorite episode in the entire series. that, and it was where i was first introduced to this hegelian concept of each person functioning both as an actor or operator who carries out actions, as well as an audience perceiving and observing their actions, their thoughts, and themself. which, to a degree, solidifies the notion that anything and everything technically could be considered performance. it's made my work much, much easier and my day-to-day life much, much more dramatic.

#nge #he scream at own follower #i'm sorry for talking so much about shinji and asuka. the worst part is that theoretically i could say even more #i haven't even started with rei #though she reminds me of someone i lost contact with so i get too emotional about her to say much of any real value

8 notes · View notes

waywardfacegarden · 4 years

Text

burning embers

Modern Au: Zuko centric + The Gaang + Zukka + Friendship/Family feels + Angst and Fluff.

Summary: Zuko learns the meaning of love.

Read on Ao3 here.

There’s something so tragically painful about falling in love, they say.

But Zuko wouldn’t know. He doesn’t know what falling in love with someone is, he doesn’t know what it feels like. Love is a concept so alien to him; he can’t even grasp the root of it. He just knows a broken home, the remaining ashes of a devastating, blazing fire that was supposed to be his father’s love.

He doesn’t know what love is. And yet, he understands: the underlying and heart-wrenching agony that comes with loving. The sorrow that comes with it; it is just there, intrinsically linked. It’s something that the small kid—full of unknown love and golden warmth, but also deep, bitter pain—comprehends at the tender age of 11.

It’s just common knowledge for him, the same way he knows the sky is blue and the sun hides at night.

Family. Love. Father.

Those words don’t have meaning, Zuko thinks, lying on his bed one night, still hearing the disappointment in his father’s voice echoing in his ears in the quiet darkness of his room. They’re there, of course. And he knows them. He can say them. But they feel far away, slipping through the space between his fingers, becoming dust that blows away with the chilly wind of an autumn midnight, escaping him before he can place what was there in the first place.

They don’t hold weight. They don’t mean anything. They’re shallow; they just exist, like a couple of letters strewn together, like when you say your name so many times in a row it doesn’t even feel right anymore; but, he supposes only a few people are blessed with their significance, with tasting them in their mouth with something not akin to hate or bitterness or emptiness.

Loneliness. Despair. Dishonor.

Those have meaning. Those have weight, despite being such empty words.

(But they very much taste like something akin to hate, too—and that’s the thing.

Maybe Zuko just doesn’t know anything aside from [self-]hate.)

Family, love, father. They are concepts that come alive to him the same way a phoenix is born.

They rise, awakening from the ashes that the fire within themselves has burned to death; so beautiful, so mystical, so mesmeric and so incredibly fragile and precious and wondrous, like a mythological creature coming back to life after having known its own death.

He learns the words and their meaning the same way his brain starts learning new things and concepts by reading a book; but he doesn’t learn with his mind—even though a part of him knows that this is where knowledge is stored—Zuko learns with his heart (he has always learned things best with his heart; after all, Zuko wears it on his sleeve; he’s emotional, visceral, volatile—his feelings are way too intense, too much that they burn his chest open; he’s always aflame), with his eyes, with his hands. He learns it in every little gesture that’s given to him, in every little crack (that keeps filling and filling and filling) of the time that goes on, in every little drop of ink that is spilled on the parchment where his life is being written.

He learns the words in the way he begins learning his uncle's tea recipes, in the satisfaction and pride he feels when his uncle congratulates him for a job well-done on a warm, quiet Saturday afternoon as he finishes helping cleaning and serving the tables around the teashop, in the way his favorite cup sits next to his uncle's on the kitchen counter in the mornings, full of Zuko’s favorite bubble tea; he learns them in the ugly, endearing, oversized sweater hanging at the back of his closet, the one his uncle gave him in his last birthday; he learns about love in the gentle smiles of weekends, in the singing of the birds outside his room’s window, in the blanket that rests around his shoulders when he is sitting on the comfy couch on a calm Thursday night, dozing off while trying to study for an English test, in the way the nightmares that used to haunt him are tormenting him less and less every time; he learns the meaning of father in his uncle's ridiculous pajamas, full of tiny drawings of cherry blossoms and tea leaves, in his uncle’s obsession with Pai Sho, and in the wise phrases he keeps throwing at Zuko even when he cannot fully understand them.

He learns, little by little, step by step, like a slow fire burning inside his guts.

And it's a weird, strange thing. Zuko learned that fire hurts you, the same way he learned that love does, but somehow, after years of building his new life, it doesn't feel that way anymore.

His uncle is patient with him. Patient as someone who would teach someone else origami or as someone who’s slowly writing a book. He teaches him, sees him fall, stumble and trip over his feet (both, metaphorically and literally speaking) and he’s there when Zuko gets up again.

It’s a nice feeling. Knowing that someone is going to be there, even if you fall. Even when you fail.

His uncle teaches him, the same way he creates a new tea receipt for the menu; carefully, gently, ever so softly. He takes Zuko, the broken child who looks at him through his pain and hatred, and makes him open his eyes. He points out, over and over and over again, that failing is not a bad thing, that love exists and that it doesn't have to hurt, and that if it does, you can heal from it; he teaches him that Zuko is full of it, full of love, he says that he’s always been.

Somehow, it feels a bit like healing. Of course, Zuko is still broken. Probably, a part of him always will be; but, somehow, he doesn't think that being a bit broken is so wrong now.

Friendship was a foreign concept to him, too. Or maybe not, but Zuko never wanted to get involved with it.

Too much trouble.

(Or maybe fear—fear of what it carries, what it holds in its nature; fear of failing, of not being enough, of being left out, of getting too attached.)

But just as Zuko was wrong about so many things in his life, this is not the exception.

He comes to learn that, too.

It’s a different process than with his uncle. Maybe because it’s slower, or maybe because it’s, rather, faster. Maybe because he wasn’t aware he was learning at all.

Zuko doesn’t know exactly when it starts. Can’t pinpoint the exact moment he started getting involved. Not that he cares much about that at this point, but he would like to know.

They kind of adopt him in their group (or, er, gang, as they call it), without Zuko noticing. But to be fair, Zuko doesn’t notice a lot of things.

Toph is a friend of his Uncle, and she lives near the teashop, so she’s around more time than she’s not; she’s loud and kinda rude, and always calls Zuko a dork or a nerd or an idiot, but Zuko realizes he likes when she’s there. Aang comes along sometimes, with his scarily bright smile. There’s also Katara and her big brother, Sokka.

He likes all of them, to his extreme surprise. They’re all good people. Aang is way too kind, Katara may be scary but she’s pretty cool, and Sokka is just a combination of a very, weirdly endearing, smart dumbass, which is, uh, new.

He honestly doesn’t know how it happened, or when it happened, but suddenly he’s tucked under a soft fuzzy blanket in winter, sandwiched in the middle of the three-spot sofa, with Aang almost laying over his lap. He’s almost sitting on Sokka’s right leg, pressing him against the arm sofa, his side overlapping with Sokka’s. He doesn’t seem to mind, though. He’s sitting there, cross-legged, with his right arm fully extended on the back of the sofa, almost like he’s hugging Zuko’s shoulders; he’s practically leaning on Zuko.

His arm and his side are really warm, though. Not as much as Zuko generally is, but it’s… kind of nice.

“Katara, Titanic is a classic, dude. What the hell.”

Zuko takes a sip from his hot chocolate, blowing off the clouds of steam gathering over the cup—the warmth of it is pretty welcomed in his throat, to be honest, while Katara rolls her eyes at her brother.

“I’m not watching that for the fifth time in a month and seeing you and Aang both cry for an hour later after the already three long hours of the movie.”

Sokka looks pretty indignant about Katara’s attitude towards his (probably) favorite movie, which is pretty amusing.

“You’re just a monster,” Sokka says, dramatically, “that’s why you don’t cry.”

Katara rolls her eyes again.

“I don’t know,” Toph says, from the couch closer to the TV, sprawled all comfortably over it. “It’s actually a really funny movie,” she points out, and then draws out her voice. “‘Jack, draw me like one of your French girls’.”

Aang laughs pretty loud, and Zuko smiles at the bad impersonation despite himself.

“Well, My Heart Will Go On is my anthem.” Sokka says, puffing out his chest.

Zuko actually snorts into his cup and Sokka shoots him a look. He remembers the time Aang and Sokka recreated that iconic scene, with Toph singing at the top of her lungs in a ridiculously obnoxious voice. He actually laughed at that.

Sokka seems to read his mind, because after a few moments of staring at Zuko’s face, his entire expression lights up. He grins, eyes sparkling, and starts singing really loud and purposely out of tune. Aang starts laughing and Toph doesn’t waste time on joining Sokka in singing. Even Katara smiles.

A few minutes later of terrible singing, they’re all laughing. Toph is cackling so hard she’s on the floor, and Sokka keeps leaning over him, laughing in his ear. He believes it should be annoying, but instead of that, it’s actually infectious and Zuko laughs a bit harder.

After they calm down, Toph is clutching at her sides and Sokka is wiping tears out of his eyes.

Aang smiles, then, softly and content, and raises a hand in the air, like asking for permission to talk.

“I have an idea.” He says, and turns around to look at him. “Why don’t we just let Zuko decide? He hasn’t chosen anything yet for our Friday movie nights.”

All eyes turn to look at him at that. He stops his movements, mouth hanging open, hot cup halfway to his lips.

“Uh,” he frowns. “Thank you, but, um. Why would I choose? It’s your thing.”

Everyone stares at him like he has two heads, which, okay fair but why.

“What?”

Aang gives him a soft smile, all kind eyes and gentle features, like he’s about to talk to a baby, but before he can say anything, Sokka is putting an arm around his shoulders and leaning all his weight on him, as if they weren’t already close enough.

“This is your thing as much as it is ours, dude.” He says, grinning, “You’re one of us.” He vaunts, proudly, and ruffles Zuko’s hair.

Katara nods, at the same time Toph goes:

“Yup, you’re already in, loser.”

Aang chuckles. “Yes, you’re our friend, Zuko.”

Zuko blinks, stunned.

That’s…

There’s…

That’s… the F-word.

Friend.

Huh? What? How? When did that happen? Huh? Did he miss something in the past few months?

Sokka, completely oblivious to his emotional turmoil, insistently points to the TV while squeezing him. "So, buddy? Don't you think we should watch Titanic to cry and share a couple of very male tears?"

"You only want to watch it because you have a crush on both Kate Winslet and Leonardo DiCaprio." Katara accuses.

"Nuh-uh!"

"Yes, you do! You even still keep that poster of them behind your…"

"Katara!!!!"

Friend.

It’s a nice word.

It tastes like hot chocolate in his mouth on a cold night, it sounds like Sokka’s laugh and Toph’s jokes, and it looks like Aang’s kind eyes and Katara’s nice smile.

It feels like something. It holds meaning. It’s not an empty word. At all.

Sokka’s hand ruffling his hair or over his shoulders, Toph’s nicknames for him, Aang’s offer of help in times he feels like Zuko needs it, Katara’s help with homework and advice on his recipes doesn’t let him forget that. ‘Friend’ is never going to be an empty word.

Friend tastes like hope, like warm food and bear-hugs.

Friend is such a nice word.

The thing with Zuko being generally—and strangely—warm all the time is that summer is a complete nightmare for him.

He's sitting directly in front of the fan at full power, barefoot in just jeans and a light T-shirt, and yet he still feels like he's going to explode. The weather forecast in the morning heralded a heat wave in midsummer, and it's exactly the worst thing in the world that could happen to Zuko's already overheated body. Toph groans beside him, lying with her arms and legs spread like a starfish on the cold ground. It is no comfort to her, however, and Zuko can understand that well.

Katara is looking at something on her phone, fanning herself with a magazine, and Aang remains practically unaffected, just as energetic as ever as he eats the remaining watermelon slices from the bowl they recently filled.

Zuko is wondering if he should go, or if he should fall asleep on the freezing ground that doesn't seem to be freezing at all, when Sokka walks into the living room in his baseball uniform. He has just returned from his morning summer practice; sweat is running down the side of his face, and his shirt is partly sticking to his body from the moisture. He smiles at everyone in greeting before gulping down all that's left of the water on the bottle of his hand. Zuko stares at his Adam's apple bob while he's drinking, and then his eyes trail the trickle of water that slides down his jaw over his desperation to drink all the water so fast. The drop goes down, down, down, dripping over his collarbone and sinking into his neck until it eventually gets lost somewhere inside his shirt. Sokka throws the bottle over the trash can and uses his shirt collar to wipe the water and some of his sweat off his face. Zuko's eyes unconsciously move downward; he can see a line of skin on Sokka's abdomen and stomach.

He swallows. Uh. His mouth is suddenly very dry. He's probably dehydrated. Is he dehydrated? He's starting to feel a little dizzy.

"So? Beloved friends, beloved little sister? Did you miss me? Obviously, you did."

Katara rolls her eyes, but still asks, "How was practice, dumbass?"

"It was cool! I hit twelve curve-balls in a row and sixteen of that weird fastball Suki pitches. Oh! And I'm finally getting the thing about that forkball. Also... woah, Zuko, are you okay?!"

Zuko blinks from where he was staring at Sokka's hair. It's kind of wet. Is that sweat? Shouldn't that be gross? Why is Zuko staring? Does he find it gross? He doesn't think so, but he also can't quite explain why...

"Woah, bud," Sokka says, kneeling in front of him and getting dangerously close to his face. "You're so red, are you having heatstroke or something? Do you feel dizzy?" He leans on his knees and presses a hand to his forehead, pulling up the bangs hanging over it. It feels nice, actually. Sokka's soft hand on his boiling skin feels like fresh water. He kind of wants to lean into it.

He probably does, because Sokka frowns. "Maybe you have a fever..." His mouth presses into a thin line. "Don't you want to take a shower to cool off? I can lend you some clothes, we're about the same height, they'll fit."

Zuko blinks. Huh?

"Here, let me help you." Sokka says, helping him up.

Around an hour later, Zuko feels a lot better, laying with his back on the floor in Sokka's baggy shorts and blue T-shirt with a cartoonish drawing of The Pink Panther. Zuko smiles involuntarily when he looks at it. It smells a bit like Sokka, or at least the detergent he uses. That makes his stomach do weird flips. He's not feeling that hot anymore, but maybe he is getting sick...

"Hey," Sokka tells him, looking at him from above, standing just behind Zuko's head. His toes are barely avoiding touching Zuko's sprawled hair on the floor.

"Hey," Zuko answers back, looking up at Sokka's soft face. His hair is down and still wet from the shower, and a few drops fall on the bridge of Zuko's nose when Sokka hovers over him. Zuko's face scrunches up, more out of involuntary reaction than out of bother, but Sokka chuckles.

"Sorry," he says, not sounding sorry at all. He uses the towel around his neck to messily dry his hair. "You look a lot better, now."

"Yes," Zuko muses, still a bit mesmerized by Sokka's wet hair. And Sokka's face. "Thanks."

Sokka grins brightly at him. "Sure."

He looks like he's about to say something else, but before he can say anything, Toph groans just a few feet away, sitting now on the couch. "Stop flirting and get a room already; it’s gross. We're here, too."

"What? We weren’t—"

Katara agrees, quietly.

"Hey! I was just worried!" Sokka excuses himself. "Weren't you all? His face was as red as a tomato."

Katara looks up from her magazine and gives him a pointed look, with one elegantly arched brow. Apparently, she doesn't even need to say anything else, because it's enough to make Sokka blush.

Oh.

He's cute, Zuko thinks. And then, oh, I think Sokka is cute. And then Sokka stomps over the kitchen muttering unintelligible things, still a faint blush over his cheeks.

Zuko smiles to himself watching his childish behavior. He is, though. He is cute.

It's raining heavily outside, drops pouring loudly against the asphalt of the sidewalk.

Zuko side-glances at Sokka. Maybe it's because after the course of a year, Zuko has learned to recognize many of Sokka's little gestures, or maybe it's the fact that the boy has been so much into his own mind lately, but Zuko recognizes that way he scrunches up his nose, that wrinkle between his eyebrows, that way his eyes twitch.

“Are you okay?”

He’s asking mostly just to be polite, to be honest; he already knows he’s not. He knows something’s up.

Sokka turns to look at him, and then stares at the rain hitting the glass window of the lonely teashop.

“I’m…” He says, and looks at his hand. Then he presses his mouth into a thin line.

“You don’t need to talk about it if you don’t want to,” Zuko says, awkwardly, because as much as he cares, he’s still a mess when it comes to social cues. He’s never going to stop being a mess. And terrible at comforting people.

Sokka sees right through him, though, like he always does, and smiles softly at him. His whole face mellows. It kind of makes Zuko’s heart flutter in his chest, like a butterfly flapping its wings.

“I’m…” Sokka tries again, looking at Zuko’s face. At his eyes, at his scar, at his neck. He feels weirdly exposed, but at the same time… He doesn’t. It’s just Sokka. Which means it’s okay. “Scared, I guess.”

Zuko blinks and tilts his head to the side. He’s not sure if he should ask, but…

“Of?”

Sokka gives him a wry smile.

“Of failing? Of disappointing my dad? Of not being enough? I don’t know, I can’t quite pick a single one.”

Sokka’s voice is not quite bitter, but it feels like that, in the air around them. Zuko knows the feeling pretty well.

“You are enough.” Zuko affirms, without a single trace of hesitation in his voice. Because Sokka is enough, in every single aspect, and he shouldn’t feel like any less than that. Zuko’s also aware of what he’s worrying about, and for Zuko, it’s just absurd—Sokka is one the very few people that shouldn’t worry about passing the entrance exam of college at all, he’s crazy smart. He should know that. But, to be fair, Zuko can’t judge him nor scold him for self-doubt when it used to be all that he was, along with his self-hate. So he says it out loud, looking into Sokka’s wide, surprised eyes. “You’re also really smart, Sokka, I’m sure you’re going to ace the entrance exam. You shouldn’t worry.”

Sokka rolls his eyes, but he also adopts that playful-kinda-flirty side of him. It’s painful because Zuko can see the sadness underlying in his voice and body language so clearly. Can see the lack of confidence in every single motion.

“You’re just saying that to make me feel better.”

“I am,” he agrees, “but it doesn’t mean it isn’t true. I really believe so. You’re the smartest person I know. You’re very capable of doing whatever you want, so have faith in yourself just like I have faith in you.”

Once he says it, and Sokka blinks once, twice, thrice at him, Zuko feels painfully aware (and painfully embarrassed) of what he just said.

Oh Lord, what did he actually…

“Ah,” Sokka says, and makes a face that Zuko can’t name. “You’re blushing.”

Zuko covers his cheeks with both hands. Sokka is probably right, they’re so warm, but still.

“I’m not.” Still.

Sokka laughs, and raises both eyebrows. “You sure?” He asks, staring pointedly at his face, which only makes him blush harder.

Stupid Sokka.

He must know the effect he’s having on him, because he laughs again, lightheartedly. Well, at least he’s not upset anymore…

“I’m not,” he uselessly and pathetically insists, even when it’s tragically obvious he is. But he has some pride, okay.

Sokka grins, but it’s all devilish. It makes Zuko’s hair stand on end. A chill runs down his spine.

“It’s just hot.”

Sokka smirks. “Sure, you’re always hot.”

“Shut up,” Zuko complains and groans, facing away from him so that he can’t see his blatant embarrassment. Sokka’s natural flirty personality wasn’t that much of a problem back then, but it’s only gotten worse, and Zuko just can’t handle it sometimes. It feels like way too much.

“Ah, but you blush when you’re embarrassed. That’s cute.” Sokka points out, a wide grin on his face. “Imagine being both cute and hot, what a crime.”

He sighs theatrically, and Zuko is very tempted to answer, “shut up, look who’s talking,” but he knows he will just get more embarrassed after saying that. He needs to calm down. So he just grumbles while Sokka laughs.

Then, when Sokka has already calmed down and Zuko can feel his face like normal again, they look quietly at the rain, steadily keeping its pace.

“Zuko,” Sokka says, after some time, and Zuko quirks an eyebrow in reply.

Sokka smiles. “Thank you. For believing me. It means a lot.”

Zuko smiles back. “Of course.”

Zuko notices it one night. (Though, looking back, it’s weird he didn’t notice it before.)

Well, more like, Aang notices and points it out, and then Zuko realizes that what he said is pathetically true, lying in bed at night because he still mulls things over sometimes before going to sleep.

“You know,” Aang had casually said, holding a can of orange juice, sitting next to Zuko on the bleachers at one of Sokka’s practice games. “You stare at Sokka a lot.”

Zuko frowned. “It’s his game, after all. We’re here to watch him,” he had retorted, like it was obvious.

“Well, yes, but I don’t mean only now. You stare at him all the time.”

Zuko didn’t feel like he liked where this conversation was going. Something about his expression must had given him away, or maybe Aang was just too good at reading him now, because he said:

“Wait.” He actually had sounded surprised. “You mean you’re not aware you have a crush on him?”

Zuko’s eyes went wide. “What? I don’t have a crush on him.”

Aang quirked up an eyebrow. Sure, he didn’t need to say.

“I don’t,” he had pressed on.

Aang hadn’t looked any more convinced of what he had said. If anything, he looked more convinced on what he himself had said. Aang had looked at him for a very long period of 1 minute before lightly chuckling and nudging him in the arm with his elbow, smiling brightly at him.

It was weird, but Zuko has gotten better at reading them, maybe just as much as Aang has with him. Maybe that’s why he knows what Aang means with all of that. Admit it when you’re ready.

It’s not like he was trying to deny or hide it. It’s not like he was trying to lie. He just didn’t think Aang was actually right.

But he is. Zuko can’t stop looking at Sokka, all the time. Thinking about him. About the way he smiles, with his hair up, with his hair down, with that denim jacket that fits him in all the right angles, with his baseball cap, ecstatic after he scored a run in the 8th inning.

Sokka, practicing on the field. Grinning widely and openly and hugging him tightly when he aced the entrance exam. Leaning in to taste Zuko’s ice-cream into his own mouth. Ruffling his own messy hair. Wearing those silly cartoon t-shirts. Serenading Zuko with Electric Love and the most ridiculous voice ever on his birthday as a joke. Messy eating. Scrunching up his nose while drinking green tea. Reciting 80% of the Star Wars dialogues by heart. Being obsessed with boomerangs and swords (though not as much as Zuko is with that last one). Biting into the end of his pencil when he’s focused on writing an English essay.

Ahhhhh.

Oh, holy honor.

He has a crush. A crush. Feelings.

When did that happen? Why did that happen? He doesn’t know. Was it because of his warm eyes? His pretty smile? His pretty lips? Was it because he opened up to Zuko, let himself be vulnerable around him, bled his heart out so Zuko could piece it back together? Was it because he’s funny? Charming? Cool? Smart? Astonishingly cute? Was it because he made Zuko feel made out of thin air, sometimes, so raw and exposed but yet so safe, so comfortable in his own skin? ...That is, the others don’t necessarily make him feel unsafe, or uncomfortable. He just feels like he can be all open and vulnerable with Sokka better. Maybe because he opened up to him first, about something so personal like his mom (and Zuko knew about losing a mom, too).

Well, whatever the reason, it doesn’t exactly matter, does it? He’s already in deep.

Zuko rolls over his stomach and sighs, groaning loud into his pillow. Why, why, why, why. It’s not like he even has a chance, so why did he have to…

Ugh.

Feelings are stupid. His heart is stupid.

And the way he falls asleep thinking about Sokka’s laugh is even stupider.

The thing is, because Zuko notices all the little details in Sokka’s gestures and behavior, he also notices the way he acts differently towards… Certain people.

“Me and Yue?” Sokka laughs, and Zuko blinks. He didn’t even mean to ask it out loud. Now, he would just hear the confirmation of what he already knew from Sokka’s lips. How is that any better? Good job, Zuko.

“Nah, man, Suki would kill me if she sees me wooing her girlfriend. Or at least kick me pretty damn hard.” Huh? Zuko blinks again. Huh? So they’re… Sokka and Yue… They’re not…

“And believe me, she’s super strong. She kicked me once and I’ve always regretted eating that last cupcake on the fridge.” Sokka makes a face and shudders, like the mere flashback is enough to make him fear. But then he smiles, in that soft way of his that makes Zuko’s knees go really weak. “And I’m pretty sure Yue is immensely happy with her, too.”

Zuko doesn’t know what to say, so he just oh-so-eloquently utters:

“Ah.”

Sokka seems amused.

“Didn’t you know they were a thing? The PDA is so strong when they’re together, you have to have seen it.”

Well, that was… Zuko just thought they were touchy with each other? Sokka is pretty much touchy with him all the time, but that doesn’t mean they’re a thing.

Well.

“That’s rough, buddy.”

Sokka blinks. “Why?”

Zuko frowns. He tilts his head in confusion. “Because you are… Romantically attracted to her? It must be rough.”

Sokka blinks once, twice, three times. Stares. Then, he throws his head back and cackles, clutching his stomach.

“Dude, what the hell.” He wheezes. “Just say the word crush like normal people.”

“Hmm.”

Then, when he calms down, Sokka eyes Zuko.

“Wait, what?” He says, serious all of a sudden. Or at least, surprised. “Do you really think that?” At Zuko’s lack of response, Sokka looks at him, then at his hands, then at the TV, where the video game they were playing is still on pause. Then, back at Zuko’s face. “No, I don’t have a crush on her. Or on Suki, for that matter.”

Zuko frowns. Sokka must know he doesn’t believe him, because he continues.

“I mean, I did.” He admits. “Back when I met her, when I was, like, 14. But I’m over it, now—Not that she’s not great; she’s awesome and I love her, just… Not in that way. It was just a silly teen-crush, anyway. And Suki is my best friend. We had a thing for a few months like two years ago, but we hit it off so much better as friends. She’s my bi icon, though. And bestest friend.”

“Oh.”

“Besides,” Sokka adds, and eyes him pointedly, “I’m interested in someone else right now.”

Zuko stares. Blinks.

What.

So he does have someone he’s interested in anyway. God, Zuko really doesn’t stand a chance. Why even bothering trying? And it’s not like he knows how to try something, anyway…

From the other corner of the room, Aang shoots him a very cryptic look. Zuko can’t describe what he’s thinking, but he guesses he’s taking pity on him. After all, he knows.

Ah. He really doesn’t like having feelings.

His mind is a cruel thing. It’s what keeps him up at night, what reminds him of all his insecurities, what makes him feel undeserving of love, what keeps throwing image after image into his head of his broken childhood on bad days. It’s what, as much as his heart, knows about his deepest desires, his longing, his yearning and thinks it’s amusing to play with Zuko for a bit.

“Zuko,” Sokka says, with a fragile smile on his face, his voice going ridiculously soft, his eyes warming up, and Zuko’s heart pounds on his chest like big waves crashing on the shore of a lonely beach. “Zuko, I love you.”

It’s kind of—very—criminal the way Sokka makes him feel. The way he makes Zuko’s heart seem like it’s going to burst out of his chest with how fast it beats after hearing just those three words, the way he makes Zuko’s entire soul ache and want, the way he makes him feel so grounded, so him, yet so tiny and delicate, like he’s made out of thin sheets of ice.

Is this how love feels?

Is this how it should feel like?

He wouldn’t know. He doesn’t know what falling in love is. He just knows a broken home, the destructive, neon-like, toxic obsession with power his dad had, instead of any tender form of anything else that can be called love that his dad should have had for his mom, but never did.

Falling in love is made to hurt. Falling in love is destined to make you feel sad, and alone, and unsafe.

Falling in love is a cruel thing. It’s not cut out for weak people, and Zuko is weak. He’s destined to break. He has always been made out of fragile, easy-to-destroy things.

That’s why his mind plays with him all the time.

He wakes up in his bed, opens his eyes to the dark quiet of his room, feels the way his heart beats so hard that he can almost feel it on his throat. And he feels lost. And sad.

He doesn’t even scream. He just lies there, feeling the world becoming smaller, feeling himself becoming smaller.

Lord, he’s royally fucked. Screwed. He knows. He’s destined to break.

There’s something so tragically painful about falling in love, they say.

He’s sitting with Toph leaning back on his right side, on the fluffy couch in Katara and Sokka’s living room, cutting up squares out of colorful paper.

They are both terrible in the kitchen. Something coming from being rich kids, Sokka playfully teased earlier. And he guesses it’s true. Either way, they are terrible—Zuko even burned his own kitchen once while making scrambled eggs (and that was. Not a very good day). Sure, he has tried to help Uncle Iroh a couple of times, and he knows a bit of the basics, but besides preparing tea, he’s lost. He can’t cook to save his life. So when Zuko almost lights a fire to bake cookies and mixes up the recipe for the second time, Katara kicks them out and bans them from the kitchen for the next 4 hours. Toph protests just to be annoying—she doesn’t like cooking at all, she has told him, but she loves annoying Katara, it’s her favorite idle activity. Zuko would be offended, but it’s the smartest choice if they want to finish baking Aang’s birthday cake without setting the kitchen on fire, so it’s fine.

Besides, this way he can steal a few glances at Sokka, as he hangs up the decorations he and Toph are making. The muscles under his shirt flex when he raises his arms above his head, his messy hair down from its ponytail, falling over his face when he moves a bit to the left, a line of the smooth skin of his back making its way to Zuko's curious, avid eyes.

Zuko swallows.

Toph sighs heavily and throws her head back. “So, are you planning to make a move any time this century or are you a loser?”

Zuko eyes her, coming out of his stupor, confused. “What?”

Toph smirks. “Right, you’re always a loser, my bad.”

Zuko blinks. Not because of Toph calling him a loser, but because, for a second, he really doesn’t get what she means.

Then, when he does, he buries his face into his hands and groans.

“Even you know?”

Toph laughs. "Yes, idiot, it's stupidly obvious.” She pats his arm. “I can see it and I'm blind, you know."

Zuko groans again. He’s in physical pain right now. "How?"

She shrugs. "I don’t know. Maybe the way you say his name. Or talk about him."

Zuko feels a bit of panic.

What? Is he that obvious? How does he say Sokka’s name?

"His name?"

"Yeah,” Toph confirms, nodding exaggeratedly, “stupidly sappy. It's gross."

"Oh my god."

She laughs again, loudly, because his suffering is apparently amusing. "You also talk about him a lot," she chuckles, "and sigh every time you see him. At least that’s what I assume, given that he’s in the room and you keep sighing like a 12-year-old girl in love. Pinning all the way.”

Zuko wants to die. He seriously wants to die. Maybe he should just tell Sokka he likes him, so when he rejects him, Zuko can just die a quick, albeit painful, death.

Toph nudges at his arm, with her typical abnormal strength for someone her age, but she doesn’t mean any harm. “So?” She asks, again. “Are you planning to make a move or not?"

Zuko sighs, "I can't do anything, he likes someone else."

Toph kind of stops where she’s fumbling with a couple of paper sheets. She then turns around and makes this face, where she’s scrunching up her nose and frowning like she just smelled something sour, or like when she’s deeply confused. "Did he say that?"

"Yes."

"Did Sokka seriously tell you that?"

Zuko’s confused at Toph’s relentless insistence. "...Yes?"

Toph’s face goes back to normal, but there’s something about the way she continues to hum that makes it seem like she still thinks Zuko is an alien, or something.

"You must have misunderstood him—which wouldn’t be a surprise, to be honest." She says the last part in a whisper, but he still hears her. That’s probably what she wanted anyway, but it’s not like he gets it. What does that mean? Zuko gets Sokka. That’s one of the few things he’s really proud of. Did he just think that he got Sokka while, all this time, he actually didn’t?

No. He understands Sokka. Sokka himself has told him that.

"No, I didn't. And I don't have a chance if he likes someone else, so I might as well not even try."

Toph looks mad. "You're super pessimistic, dumbass."

"Hmm."

She sighs, looking deeply tired and frustrated, like Zuko has completely worn her out. Then, she raises her fist and punches him. Hard.

Ouch.

Zuko yelps, and rubs at his sore arm. “What was that for?” he grumbles.

She frowns. “To punch some sense into you, big oblivious idiot!" Toph hums a low, guttural sound in the back of her throat, like she’s a feral dog trying to threaten a pedestrian. “Just try, at least. Everyone is kind of getting tired of your pinning, too."

"Ah." Everyone?

"Full offence."

"Ah."

“Even Katara. The only reason she hasn’t intervened yet is because she says it’s not her business to push you, but I don’t think her reasoning is gonna last long.”

Katara too!? Oh, no.

Zuko seriously wants to die.

Eventually, things go on.

Zuko’s “crush” doesn’t go away. If anything, it just grows and grows and grows until it becomes almost unbearable. But he still can’t say anything.

“Zuko.”

“Hmm?”

“You know,” Sokka says, looking at him with feign innocence, sitting with his hands upwards behind him in Zuko’s room, “that looks heavy, want me to hold it for you?”

Zuko frowns. He looks up from his work to give Sokka a confused look. “What is, my pen?”

Sokka gives him that little, playful smile—the one that is so incredibly hot for some reason Zuko can’t understand. His eyes gleam, even more than they do all the time.

“Nope,” he says, and his smile grows an inch, “your hand.”

Zuko blinks. Sokka flirting with him is nothing new, that’s why he manages to hold back his blush a bit and remain calm, even when he’s a bit dying inside.

He is just trapped between telling him, “god, I wish you were flirting with me for real,” and, “please stop doing it, it’s not good for my heart,” and, “If only you knew how much I really want to hold your hand”, but neither of those options are actually. Something viable.

“Are you flirting with me?” He asks instead, knowing the answer already.

Sokka would laugh, brush it off, and say something like, “ah, but you didn’t blush this time,” and let it go.

He doesn’t, though.

What he does, instead, is shrug and look at Zuko’s textbook, like he’s completely uninterested in the conversation.

Huh.

But then he speaks up again.

“Have been for the past year and a half or so, but thanks for noticing.” He answers.

Zuko blinks. He’s tempted to answer, “yeah, I know, which is a cruel, cruel thing to do, by the way, given how my heart just wants to escape out of my chest and go with you every time you do it,” or something equally playful to play it down like they always tend to do, but… for some reason, this time it feels… Real.

Maybe he should just laugh.

He doesn’t, though, and, “What?” is what comes out of his mouth.

Sokka looks up. “I said that I’ve been doing it for a year and a half or so, thank you for finally noticing.”

Zuko doesn’t understand. He’s not following the conversation at all. “Wait.”

“Ahh,” Sokka sighs, “honestly, if you didn’t notice by the end of the month, I would have felt deeply embarrassed. I was starting to think I lost my charm and I didn’t know how to flirt.”

“Well, that was a terrible pick-up line,” Zuko can’t help but retort, and like he wasn’t mildly-insulted, Sokka grins at him.

“But it worked for you, didn’t it?” He teases, leaning on Zuko’s personal space, “it made you feel something.”

Zuko frowns. “How would you know?”

Sokka stares. “Your face.”

“My face?”

“I can see it. In your face.”

Zuko covers his mouth, frowning. He can feel his own heart race.

Sokka is still way too close.

“You can…?”

“Yup.”

“Wait, wait, wait,” Zuko says, blinking. “That means—are you—are you flirting with me? For real?”

Sokka quirks both eyebrows. “Yes...?”

“But you—you…”

“Zuko, I don’t know where you got the idea, but I don’t flirt with anyone aside from you—at least, I haven’t done it in a long time. So yes, I am actually flirting with you.”

Zuko feels like he just got hit in the head. “Why?”

Sokka blinks. “Because I want to?”

“But why do you want to?”

Sokka shoots him a look. “Zuko,” he says, slowly, “I like you. I thought that was obvious already.”

Zuko blinks. “You have… romantic feelings for me?”

Sokka laughs, amused. “Yeah, Zuko, I have ‘romantic feelings’ for you.”

Zuko blinks again. He’s blinking too much. “So all this time… it was real… when you said… and that time you also said… and… oh.”

Sokka smiles, softly, and ruffles Zuko’s hair. It makes him blush. His heart might also not even work at this point, if it wasn’t for the fact that he can clearly hear it thundering in his ears.

Why is Sokka so calm? Zuko’s about to pass out.

“Katara is right, I’m dumb.”

Sokka grins. “Toph thinks so, too.”

“Toph thinks everyone is dumb.”

“Fair,” Sokka answers; he’s still grinning so wide. God, Sokka is so pretty. “Though I think she only calls us dumb, not that she means it.”

“Mmm.”

He’s so unfairly distracting, too. Zuko can’t stop looking at him.

“Wait,” He says, suddenly realizing something, “so you knew that I—that I—had feelings for you, too?”

Sokka looks at his lips when he talks, and Zuko has to concentrate hard to not straight up pass out from shock and his heart racing so fast it might give him an attack. Has he done that before? He would have noticed, right? Sure, Zuko looks at Sokka’s lips a lot instead than at his eyes, but he would have noticed if Sokka did it, too.

… Right?

He’s starting to feel dizzy. Is he dreaming? Is any of this real at all?

“Noticed it a while ago, yeah. That’s why I’m not freaking out that you noticed my flirting 100 years later.”

For a moment, Zuko is able to set aside his internal emotional turmoil and state of panic, if only to complain.

“Hey!” He frowns. “Wait—”

“You have said that a lot.”

“Wait,” Zuko repeats, just to be annoying, “if you… liked me, and knew that I liked you back, why didn’t you… make a move?”

“Like asking you out? I tried to, but you’re too oblivious.”

“Huh?” Zuko utters. What does that even mean? He’s not—well, he is, maybe, just a bit, but. “Well, if you knew that, you could have been more straightforward, you know!”

Sokka smiles, then shrugs.

“I guess we’re both dumb.”

Zuko feels his lips curling up, not able to contain all his happiness anymore, his brain catching up with the last 20 minutes of his life.

Holy shit, Sokka likes him. Sokka likes him. Him. Zuko. As in, romantically speaking.

Oh.

“I like you, Zuko.” Sokka says, as if Zuko’s brain didn’t shut down already. He reaches out and slides his hand on the table Zuko was previously working, the tip of his fingers touching Zuko’s. “So can I finally, please hold your hand?”

Zuko might pass out for real, but before that, he finally, finally, finally takes Sokka’s hand into his own.

It feels even better than in his dreams.

He feels like burning up, like all of his body is setting itself on fire.

Sokka’s hand is warm, so warm, and soft, so soft, and makes Zuko’s heart flutter like delicate flower’s petals in the wind.

Sokka’s thumb brushes over his knuckles; Sokka’s lips turn into a bright smile, like he’s been wanting to do that since forever.

It feels like home.

When they tell their friends they’re dating, Yue is the first one to say something.

“You mean you weren’t dating before?”

“Shocking, right,” Katara deadpans, but then she smiles, genuine. “I’m happy for both of you.”

(Although remembering that minutes later doesn’t make her any less scary, when she decides to corner him out of the bathroom and put a steady hand on his shoulder, feign-sweet smile on her face, and say with a weirdly off-calm voice that, if he ever dared to hurt Sokka on purpose, she was going to break all the 206 bones on his body.)

Toph grins brightly and kicks him enthusiastically on the side with a loud “Well-done, loser!” while Aang jumps on Zuko’s back and clings to him like a koala.

“That’s awesome, guys! Be happy!”

Zuko smiles.

“Finally, I won’t have to hear Sokka’s pinning all the time,” Suki quips, like she’s tired and utterly uninterested, but even the happiness is evident in her voice.

Sokka still complains. “Hey! I had to hear you be head-over-heels for Yue for months, too.”

“It wasn’t months for you, though.” Suki deadpans, but then her face goes all soft, “I’m kidding, So, I’m really happy for you two.”

Sokka smiles, and she gets up from where she’s cuddling Yue on the sofa to hug Sokka tightly, grinning wide, and then look at Zuko (stumbling with a happily laughing Aang on his back and Toph annoyingly ruffling his hair like a proud little sister) and whispers something in Sokka’s ear.

Zuko is glad that he’s still looking at Sokka from the corner of his eye, because he catches him blushing after that.

He’s cute.

Suki laughs. Sokka frowns, still blushing, and when he catches Zuko watching, he blushes harder.

He’s really cute.

Zuko smiles softly, and Sokka blinks, once, twice, before smiling back.

The cutest.

“Zuko.”

Zuko hums, but doesn’t look up from his work.

“Zukoooo, darling, love of my life.”

Zuko is used to it by now. To Sokka calling him pet-names like those. Of hearing Sokka say he’s cute, or hot, or smart, or witty, or pretty. It still makes his heart flutter, though. Just as Sokka’s laugh does. It still makes him blush sometimes.

(It’s funny because Sokka is the same way—or mostly the same. Zuko said he looked really hot after a baseball game once and Sokka almost died on the spot. He blushed like mad, but after he calmed down, he couldn’t stop bragging about Zuko calling him ‘hot’.

“Look at you, flirting shamelessly with me! You’re all grown up!” and, “I shouldn’t be near Zuko if I’m wearing my baseball uniform, he’ll get a boner,” and a lot of more phrases.)

“Hm?”

“You are—” Sokka sing-songs, and crosses his arms over Zuko’s textbook. He puts his chin over his forearms and looks up at Zuko’s face, grinning, and Zuko would probably be a bit annoyed that he’s not letting him finish his essay if it weren’t for the fact that he’s Sokka. His, ahem, boyfriend.

“I am…?”

“You are,” he repeats, and his smile grows bigger. Zuko thinks about kissing him; Zuko thinks about kissing him all the time. But, to be fair, he used to dream about that, just as much as he used to dream about them holding hands. And just as if he read Zuko’s mind, Sokka reaches out and holds his right hand; gently, like all of Sokka’s touches. It feels so nice, Zuko never wants to let go. “You are pulchritudinous.”

Eh?

Zuko tries to smile, but Sokka looks at him like he’s looking at a cute baby and throws his head back, still close and still holding his hand.

“You’re adorable.”

“What…?” Zuko is sure he looks as puzzled as he feels; he once caught his reflection in the mirror while playing Scrabble with Sokka and therefore knows how he must look. For some reason, Sokka finds it extremely cute. “What does that mean?”

Sokka laughs again.

Zuko narrows his eyes into slits. Or, maybe Sokka’s just making fun of him. (Not in a bad way, of course, Zuko knows. Sokka never means any harm, but he sure as hell loves teasing Zuko all the time.)

“Are you insulting me?”

Sokka wipes tears from his eyes and looks at Zuko with such a sweet face that it kinda makes Zuko stumble, even when he’s sitting.

His heart flutters alive, his face grows warm. He wants to kiss Sokka.

Sokka does, though, pulling gently at his hand and softly pressing his lips into Zuko’s wrist. He grins up at him.

“You’re adorable.”

(Later, when he’s waiting for a toast on Uncle Iroh’s kitchen, still barefoot, decked out in his pajamas and half-asleep, he finally finds what he thinks is the correct word using the search function of his phone—after 20 lame attempts of trying and failing at remembering—and pronouncing correctly—the right word.

He clicks on the dictionary tab, reads over the meaning, stumbles over, slips and falls flat on his ass.

He almost sets his kitchen on fire for the second time.)

Zuko is bad at flirting. He knows. But that doesn’t mean he doesn’t try, hard, and sometimes, sometimes, he succeeds (conscious and unconsciously).

Or maybe Sokka is just too easy to fluster (even when Sokka says it’s the other way around; even when that’s actually, probably, just a bit, true.)

Either way, Zuko basks happily in seeing Sokka get all flustered. It makes him even cuter than he already is.

(Whipped, Toph would draw out, mockingly sing-song.

And, well, maybe he is.)

Kissing Sokka is like setting himself on fire. Like burning up alive, but not in the bad sense. Not in the way he was burned as a little kid.

Kissing Sokka is like sitting near a campfire when you’re feeling cold; like standing on the edge of a cliff, feeling your chest contract; like tucking yourself in a warm blanket, with fuzzy socks and drinking your favorite drink, while hearing your favorite song. It’s like waking up on a good day, like basking in the sun at twilight, like taking a warm shower after a long day.

He feels too much, way too overwhelmed, even with just a brush of lips.

Kissing Sokka is a blessed thing.

There’s something that comes alive in his chest at the same time their lips touch. It blossoms under his ribcage, spreads over his chest, warms up all the way up to his throat. Beating, growing, marveling in every fiber of his being. Maybe that’s what love is—maybe that’s what Zuko has been searching for all this time; this connection, this overwhelming feeling, this deep, raw, unfiltered emotion, coming off him through waves of desperation for more.

He can’t be sure. But even if it wasn’t something he has looked out for, the discovery of it still feels like a sacred thing.

It’s like watching cherry blossoms falling on the street for the first time, like falling asleep on the comfortable side of your bed after a tiring day, it’s coming back home—or to what home should feel like.

It’s something delicate, at first. Zuko doesn’t have any experience, so he just lets himself feel as Sokka presses his lips softly into his own, carding his long fingers into Zuko’s hair.

Zuko feels an electric chill run down his spine, where Sokka’s fingertips—from the hand that’s not on his hair—make a slow path down. He can feel them burning, even through his clothes, even when Sokka’s hand is not that warm.

But it feels like that.

Zuko breathes shakily, moves his lips experimentally, feeling Sokka’s smile against his mouth.

He wants to do something, so he leans in, feeling Sokka’s eyelashes tickling his cheekbones, feeling Sokka’s thumb under his jaw, angling his head in a better position, feeling himself become aflame. He wants to touch Sokka. He really wants to touch Sokka.

So he does.

He uses one hand to gently touch Sokka’s wrist—the one Sokka’s using to keep Zuko’s head up—and, carefully, tentatively, he wraps his fingers around it, caresses the skin like he wants to print a topographic map of it into his mind.

Sokka makes a low, appreciative sound, and Zuko feels so happy it should be embarrassing.

Sokka has his hair down, and Zuko wants to touch it so much because he loves Sokka’s hair. Sokka’s hair is so pretty—Sokka is so pretty—so he goes for it. He brushes his fingers on Sokka’s shoulder, touches the strands of brown hair that lie there, moves his fingers to the nape of his neck. Zuko does this slowly, he wants to feel everything and he’s not going to rush, not after how long he’s wanted this.

He cradles his head with his hand, touches and touches and touches. He pulls at his hair, lightly, and his hand goes down just a bit; the skin of Sokka’s neck under his fingertips is warm, and so soft. He can feel the gentle echo of his heartbeat thundering in the tender curve of his jaw.

Just then, Sokka’s thumb brushes on his bare clavicle, and Zuko hisses, feeling like he’s on fire. Feeling like he’s become burning embers.

It’s just—too much, and at the same time, not enough—he wants more.

He has always been sensitive, but it’s different now. It’s like all his senses are turned on—he’s hyper-aware of everything around him—of Sokka’s hands, of Sokka’s steady, fast heartbeat under his open palm, of Sokka’s smell, of Sokka’s warm mouth, of Sokka’s soft skin, of the way Sokka keeps mumbling his name, softly against his lips or when he breaks apart to breath. He touches Sokka’s face, Sokka’s arms, Sokka’s neck; breathes his name into his own mouth, makes sure Sokka knows how much he wants this, how much he’s dreamed of this: of kissing him, of him kissing him back.

It feels too good to be even real—just as Sokka always makes him feel, even when they’re not kissing.

He might as well die there.

It wouldn’t be a bad way to go, though.

Linked, bare soul to bare soul, with the prettiest, smartest, kindest boy he’s ever met.

There’s something so tragically painful about falling in love, they say. But as he sees Sokka laughing in front of him because of some ridiculous joke Toph made, holding Zuko’s hand like it’s the most precious thing in the world, he can’t help but think that falling in love is anything but painful.

Sokka turns around, catches him staring and grins, playfully wiggling his eyebrows.

Zuko smiles, thinking just how much he loves Sokka, how much he loves his life, how much he loves his uncle, how much he loves his friends, how much he loves being alive, being there, curled up with Sokka on his couch, watching a stupid rom-com movie on Sokka’s cell-phone screen, sharing earphones with his boyfriend. Being there, in the house that he shares with his uncle—his real dad—in the house that he has come to call home. Being there, feeling safe in Sokka’s arms, with Toph hearing music on the TV, while Aang and Katara and Suki and Yue sleep, sprawled there and there all over his living-room.

“I love you,” Zuko tells Sokka, like he just revealed the biggest secret of the universe.

Love.

He feels the word on his tongue, and it tastes sweet. It tastes like the color of Sokka’s eyes, like the tone of Sokka’s laugh, like all of Sokka’s smiles—the gentle one, the soft one, the playful and flirty one, the wide one—all of them. Love tastes like Sokka holding his hand while they go for a walk, like Sokka’s voice when he talks about what he likes, like Sokka’s proud eyes after scoring a run, after Zuko shows him his grades. It tastes like a lot of things he can’t name, like the way Sokka says his name, like the way Sokka makes him feel, like that little mole under Sokka’s jaw, like the way his eyes crinkle when he smiles with the setting sun of the beach, like the way his fingertips feel against Zuko’s neck. Like the way he looks at Zuko like he’s not broken, like he’s the best thing that ever existed, like his scar is beautiful and all of Zuko’s failures don’t matter to him because he’s him, and that is enough. Like Zuko is more than enough, and how he loves that he’s more than enough to Zuko, too.

“I love you,” Zuko says again, in a low voice, and it feels real. It has meaning. It’s not an empty word at all.

For some reason, he feels like tearing up a bit.

Sokka’s face mellows, softens; he brushes his thumb under Zuko’s left eye, just at the edge of his scar, and his eyes become impossibly warm. Zuko wants to kiss all of his face; he wants to taste all of Sokka’s softness on his own lips.

There, in the quiet of Zuko’s living-room, Sokka smiles, and Zuko thinks he’s the most bewitching, stunning, ineffably beautiful being.

It feels like something ethereal. Sokka smiles and Zuko feels blessed to exist.

“I love you, too,” Sokka answers, like he’s sharing one of the secrets of the universe, too, like he’s never told anyone anything more true, and ever so gentle.

Zuko smiles and kisses him.

Falling in love is a blessed thing.

#zukka #zukka fic #atla #avatar the last airbender #my writing #... this is my contribution to the atla/zukka fandom #please let me know what do you think in the comments/tags/ao3!!!!!!!!#have a lovely day and thanks for reading :')

48 notes · View notes

tlbodine · 4 years

Text

An Irritated Review of an Aggressively Bad Book

As a child of the 90s, I cut my teeth on R.L. Stine’s books. Goosebumps in elementary school, graduating up to Fear Street -- with its guts and gore! -- by my tweens. But the time came when I had voraciously consumed all of the R.L. Stine at the library, and I hungered for more books in the same vein.

Which led me to Christopher Pike.

Christopher Pike was another of the “Point Horror” series writers popular through the 80s, and they were an obvious thing to recommend to a budding young horror fan (especially as his books tended to be popular with young girls, thanks to the romantic subplots they often featured). But I just never really enjoyed them. I read a handful, shrugged it off, and eventually moved on to reading Stephen King and other adult authors instead.

Which brings us to this motherfucker.

@comicreliefmorlock sent me a small stack of vintage YA horror titles, because reading ridiculous cheesy teen thrillers sounded like good nostalgic fun.

But this book isn’t the fun kind of cheesy. It’s the kind of cheesy that drives me to start blogging in irritation at 12:57 am. Because this book isn’t just bad, it is aggressively bad, and it says a lot about 1984 and the state of horror fiction and YA fiction and publishing in general that this fucking book launched Christopher Pike’s career.

So let’s talk about this sumbitch below the cut.

The story is about a group of teens who meet up for a ski weekend. The girls were all very close when they were younger, but drifted apart after an accident that left one friend badly burned and her little sister dead. The burned-friend is the one whose family owns this very fancy house and so graciously invited everyone to come hang out.

Our characters don’t really get much in the way of actual characterization, but here’s the cast:

Nell, who has some facial scarring and whose family is apparently loaded

Nicole, the dead little sister

Lara, the main character (ostensibly)

Dana, who likes to eat and crack jokes (funny fat friend solidarity fist bump)

Rachael, the gorgeous blonde beauty rival of Lara

Mindy, who chews gum

Celeste, a shy girl with back problems who they’ve befriended somewhat recently

They arrive and hand over their keys to a park ranger to valet-park their car while marveling at how they don’t really know if he was a real park ranger, because I always give my keys to strangers when visiting an isolated location. Celeste asks some innocent questions about why the group hasn’t hung out recently, and the group neglects to mention the dead sister, but the reader figures it out.

Don’t worry, we’ll hear all about that in a moment. But first there’s a small, stupid mystery about a disappearing snowman, that melted really fast like it was burned and Lara will continue to fixate on this for the rest of the book.

They spend a little time getting settled in before hitting the slopes. Celeste and Nell hang behind despite being the two people at this gathering who presumably don’t know each other, but they hit it off great right away so good for them.

At the ski lodge, they run into a pair of boys that Rachael and Mindy know -- Percy and Cal. Lara falls into an instant and irritating infatuation with Percy for some reason, deepening that rivalry with Rachael. Cal creeps on Dana, trying to grope her when they get a minute alone, but Mindy of course gets jealous of Dana for horning on on her man because of course she does.

Note: The book was written by a man in 1985.

Anyway, at the ski slopes, Dana disappears, and everyone kind of assumes she’s just trying to avoid Cal even when they find one of her skis sitting in the middle of a very mysterious patch of snow that seems to have some ash and ice in it (just like the snowman! gasp!) but it’s probably fine!

Somewhere in here we get an entire chapter told in italics to provide helpful background information about how Nicole died -- which involved a bunch of 6th graders at a sleepover getting drunk from stolen brandy in the liquor cabinet, deciding to hold a seance, knocking over a candle, catching Nicole on fire, and then Lara trying to put her out with the brandy (because it’s wet!) and that of course creates a Nicole-Flambe situation. Nicole is whisked away to the hospital and dies there and Lara is wracked with guilt and so forth and so on.

And scene. Back to the present, where Dana is still missing, they can’t find the ranger who has their car keys, there’s a storm bearing down on them, but of course the most important thing is whether Percy likes Lara better than he likes Rachael. They invite the boys to come over that night.

Dana’s not back at the house, so Lara calls the lodge to ask for them to have her call if she shows up, but otherwise big shrugs about the friend’s disappearance and presumably being lost in the middle of a storm. Celeste is scandalized that they were going to eat cold cuts at a party and sets to dressing and roasting two whole chickens and a bunch of side dishes, which is of course an extremely normal thing for a teenager to do at a party.

The boys show up, and Lara feels kind of bad about not really caring where Dana is, except not guilty enough to do anything about it. Dana, you’re too good for these people, get better friends.

Anyway, they eat and do some drinking then play charades, which Celeste and Nell are eerily good at (hmmmm) and then Cal creeps on Celeste which starts a whole argument culminating in Percy punching him in the face, Cal stumbling backward, and Mindy’s arm catching fire because Nell had bitchily thrown alcohol at her earlier. They throw out the boys and start doing some first aid on Mindy, including dosing her on some codeine that they conveniently have lying around.

Percy’s gotta go, so Lara walks him out in the woods, refusing anybody else’s offer to come with her so she doesn’t get lost because she wants to make a move on him. There’s some painful flirting, some kissing, some talks about pyrokinesis and the mysterious Dana disappearance (and the snowman! that damned snowman!) and also Percy has a flare gun in his pocket for some reason.

Gag. Ugh. But ok, fine, Percy gives her the flare gun, presumably because he’s letting her walk back through the woods alone in a blizzard. She scoops up some of the ice from Dana’s disappearance-spot to bring home for evidence and then goes to bed. When she awakens, the ice has melted and she can see bones! and ash! Ahhhh!

This causes her to panic, so she runs out of the house at 3am into the woods and then, idk, freezes or something. Cal is there for some reason? She conveniently blacks out and awakens to find herself tied up in Nell’s basement. But hey look, Dana’s here! And so is Rachael!

We helpfully learn that Dana’s been tied up in a closet this whole time. Also, SURPRISE! Celeste isn’t actually Celeste, she’s Nicole! (in case this wasn’t already painfully obvious from all of the foreshadowing). She didn’t die after all! She just assumed an entirely new identity! She was just pretending not to know who Nell is!

Never mind that Celeste has parents who we have literally talked to in this book (they briefly call to check on her and Lara speaks to them instead). Apparently Nicole’s family....gave her up for adoption? but she’s still really close to her sister? Or else Lara somehow doesn’t realize that Celeste’s parents are Nell’s parents? Literally no part of this is explained in a way that makes any sense at all.

But anyway, turns out this whole weekend was just an excuse to get everybody together so that Nell and Nicole/Celeste could get revenge by dousing them in kerosene and burning them alive. Like you do.

There’s a lot of waffling and trying to win over Nicole with the power of friendship, and then she changes her mind about the plan but Nell doesn’t, which leads to some dramatic scuffling and ultimately Lara shoots Nell with Chekhov’s flare gun, but it’s totally OK because her expression is “the most peaceful” Lara has ever seen so that’s cool, and then they manage to rescue Mindy before the house blows up.

From there, we’ve just got some loose ends to tie up. We’re rescued by the suspicious ranger from earlier who it turns out actually is a ranger, so that’s cool. How did he find them? Why, that strapping young man Cal tipped him off that they might be in trouble!

You heard it here first, folks. Cal, the guy whose characterization up to this point has been “gropes girls without consent” and “tells funny war stories about napalm” is actually the real hero here! What a find stand-up young gentleman that serial offender is.

Also, again, Dana, you are too good for these people, find new friends.

Anyway, the girls end up in the hospital, where they promise a vow of secrecy but also Lara and Nicole are totally going to be best friends now, no harsh feelings. Also Lara is totally going to hook up with Percy, because that was definitely the most important thing to come from this weekend and she’s definitely not in any way going to be traumatized about any of this.

The end.

distant gagging sounds

#christopher pike #slumber party #books #amreading #book review #bookblr

20 notes · View notes

hannidae · 5 years

Text

The Value of Forgiveness

Why Reylo is one of the most valuable elements of Star Wars Mythology

And why Disney should not let Reylo end with The Rise of Skywalker if it wants to take the moral high ground.

As an American, I’d like to suggest that Americans have a lot to learn from Rey and Ben. Forgiveness, hope, and redemption, while recognized as nice ideas, are so often not given the deference they deserve. Instead, we’re so much more focused on the pursuit of justice and power, which reflected in film leads to resolutions like Kylo Ren’s/Ben Solo’s death. Or, in real life, leads to paradigms like those present in American criminal justice.

We are doing an unarguably terrible job with criminal justice and reform. We are not forgiving or empathetic as a society. Our justice systems cling to our grudges and desire for punishment when nothing good can come of it. I can only hope that we can recognize our faults, learn, and grow--with a little help from film and story-telling.

As does all good mythology, Star Wars presents morals. The intentions in the sequel trilogy are *ahem* perhaps less thoughtfully crafted than the previous trilogies, but there’s still something to be learned. In TRoS specifically, moral guidance is best sought in critically analyzing the filmmaker’s choices and identifying the fallacies presented.

Enter Reylo, the age-old enemies-to-lovers archetype where a heroine and anti-hero restore justice and find happiness. TRoS did it, then killed Ben. Why? Because in the American mindset Ben did ‘horrible’ things, and he should recognize his failures and welcome his own death in order to preserve the ‘pure’ deserving soul, Rey. Criminals don’t deserve a redeemed life of happiness, according to the American creators.

I object.

Now, before I get into how wrong this is, here’s a shout out to all of the incredible works out there that have analyzed Reylo and all its glory and value. Here’s a wonderful masterpost by raven-maiden.

The impact of Reylo in analyzing criminal justice

Our current criminal justice system, at least within the American cultural setting where Star Wars has been developed, is a self-defeating, myopic mess.

There is the profit-driven corporatization of its structures that ignore best treatment practices opportunities for convicts within the system. There is the systemic discrimination that plagues fair treatment of both individuals and groups in the criminal justice and judicial systems from beginning to end. There is the unwillingness and/or lack of resources in our criminal justice system to address and improve the mental health concerns and socio-economic disadvantages of its prisoners and, as a result, cultivate reformed behaviors and improved opportunities among people who have committed crimes. There is also the hypocritical tendency of the criminal justice system to bolster the privileged and penalize the disadvantaged.

Regardless of a person’s place in society, our criminal justice system is focused almost entirely on punishment and removal of people within society who have been convicted of crimes. This doesn’t fix anything. It either maintains or worsens the causes that encourage people to commit crimes. Additionally, our criminal justice system does very little to promote actual justice in the forms of restorative justice. Generally, people who have committed crimes are not provided avenues that offer meaningful opportunities for reparation, or counseling to recognize and alleviate the social, economic, or physical issues that caused people to commit crimes in the first place. No one is born bad, or wants to be evil, except for perhaps psychopaths. And it’s clear that Ben/Kylo is not a psychopath, despite of and evidenced by the crimes he has committed.

The Problem with Shunning Reylo or shunning criminals

Those who are Anti-Reylo are generally concerned about abuse, imbalances of power, and toxic behavior and relationships, which they associate with Kylo. I get it. None of those things should ever be tolerated, much less promoted. All people, including Antis, can be assumed to condemn at least most criminal behavior, like Kylo’s. However, the hitch is when people are not willing to tolerate and accept individuals who commit crimes into their communities or relationships ever again—like permitting Kylo to repent, atone, and have a romantic relationship with Rey.

Here’s my issue, many people, for the most part, are sufficiently intolerant to be willing to forgive a person who has committed certain crimes. Clearly, some crimes are beyond redemption. In the spectrum of the severity of crimes, what role does a line in the sand have in story telling? Where does society draw that line? Typically, once crossed the criminal cannot be redeemed. In this way of thinking, reformed behavior, with or without atonement or restitution, would be not be sufficient for welcoming a person who has committed certain crimes back into a community. Like Kylo. Now, it’s not that there shouldn’t be a line. But sometimes we draw that line sooner than we should, and we’re not helping anyone (ourselves included) when we do if forgiveness is never an option.

Just Kylo’s association with the First Order, who as an organization murdered multiple world populations, is past the line for a lot of people. For some, it might be his order to kill the villagers at the beginning of The Force Awakens. Or kidnapping Rey and pushing into her mind during the interrogation scene. Or calling her ‘nothing’ on the Supremacy. Whichever.

I’m not going further into that because for my argument I don’t consider him to have crossed the line, and most Reylos don’t either. Here’s why, and why it matters.

First, Star Wars is mythology. It’s about a god Force and space wizards with laser swords. It teaches values and morals through fantasy and fictional dramatization. It is meant to serve as symbolic guidelines, not hard rules for interpersonal relationships in daily life.

Second, someone argues that Kylo Ren/Ben Solo has irrevocably crossed that line, there is very little to learn or gain from his attributes, his experiences, or his sacrifices. There should always be something to learn. Some *may* be willing to forgive Ben. That forgiveness would have qualifications for the redemption such as certain acts of restorative justice or a sacrifice. But empathy here is limited, if not lacking. And to function as a healthy society, we need lots of empathy.

Third, while Kylo’s representation in the trilogy films is less dimensional that in the extended comics and novelizations, one can not argue that he was abused, neglected, and manipulated into the circumstances of his portrayal. He also was never given an opportunity to truly explain his justification for his actions or the conditions that led to his choices.

Overall, I’m not interested in where that unredeemable line is for people who support his death, or what redemption might entail. It’s likely they would never be willing to support his reintegration into society/the light side or consider him an appropriate love interest for Rey. Thus, what matters about him only matters in how it reflects on the heroes to whom he is an enemy. That would make him a black hole. But he is an anti-hero, and an amazing opportunity for self-reflective growth. We all make mistakes; he is just an extreme example from whose mistakes we can learn from.

Why Rey’s forgiveness is a necessary component of functional criminal justice

I am interested in the value of forgiveness, and the role mythology has in teaching that value. I’m fascinated by Rey’s willingness to forgive Ben Solo, especially since he turns and supports her once he knows she would forgive and welcome him if he renounced the characteristics that make him a villain.

Society is never going to improve if we lock up our criminals and throw away the key. Or execute them.

Now, I’m not expertly qualified to summarize the fields of criminal psychology or criminology in relation to Kylo Ren. However, I do hope to take a stab at why his criminal behavior is relevant in a tale of forgiveness.

Crime is cyclical. There will always be more people committing more crimes, and people committing crimes over and over. Also, most people who commit crimes, if released, will not be persuaded by punishment alone to stop doing whatever they’re doing that is criminal. This is because, for the most part, people with a history of delinquency have already experienced enough suffering in some form to create the impression that criminal acts will help them avoid the suffering they fear. The most commonly imposed societal threats of repercussions to their behavior, such as imprisonment, would be less severe to them than the punishment though suffering they’re attempting to avoid.

Kylo was abandoned by his family and betrayed, almost murdered, by the Jedi. The supposed crime of associating with Snoke/the First Order initially provided him shelter from those who wronged him. Then, a means of recuperating the power he needed to survive. However, he continued to be abused, manipulated, and neglected. Thus, his crimes continued though which he sought escape of fear and suffering through the pursuit of power in order to provide the needs he was lacking.

The motivations that cause one to commit a crime are generally recognized as related to the absence of any of Maslow’s hierarchy of needs: physiological, safety, love/belonging, esteem, and self-actualization. Maslow, A.H. (1943). "A theory of human motivation". Psychological Review.

Maslow’s Pyramid

Kylo suffered from an absence of up to four of those five levels of the pyramid.

Now, society will never improve if we believe all criminals are evil and will always be evil unless we scare them into being good. People who commit criminal acts typically act through fear due to lack of a need. Threatening people into behaving well is not going to take their initial fear away; threats don’t provide missing needs. However, it may foster in delinquents a sense of desperate hopelessness, which would only cyclically perpetuate the conditions cultivating their criminality.

For most of the Star Wars Sequel Trilogy, no one criticizing Kylo’s esteemed role in the First Order is going to convince him to abandon the people who have welcomed, protected, and admired him in order to return to the ‘murderers, traitors, and thieves [Rey] calls friends.’ Not until Rey offers him a place by her side and an opportunity to make things right.

Trust, counseling, and pathways that allow people to meaningfully reenter society into a safe place through proof of intention by reparation, are the conditions through which criminals most effectively break out of the cycle.

We should be providing people who have committed a criminal act with:

1) the security of a route to acquiring their missing needs; 2) the confidence and recovery to be gained through restorative justice; and 3) a safe place to re-enter society. If we want delinquents to go from inclined to commit a crime, to not, then society must give people with criminal pasts a means to reform. To redemption.

That requires forgiveness.

Rey offered these things to Ben. She wasn’t willing to take him as he was in The Last Jedi as Kylo Ren. But she was willing to help him meet the needs he was missing: safety, love and belonging, esteem, and self-actualization. And if he turned, which provided him a pathway to meeting those needs when the dark side and First Order would not (despite his hopes), then she would take his hand. Ben’s hand.

Rey’s forgiveness of Kylo would provide a necessary step in the path to him becoming a better person. To reform. To become a hero that the galaxy desperately needed.

In the Rise of Skywalker, perhaps Rey didn’t need him to defeat the Emperor. She might have done it on her own. But she likely wouldn’t have survived if she did. And then the Jedi, the light side, peacekeepers who attempt to maintain balance in the world where the dark doesn’t over take the light, would have disappeared.

Ben’s turn, his choice to change, is what all people who have committed crimes should be permitted. But Rey’s forgiveness, and empathy before that, is a necessary part of Ben’s redemption. Why change criminal behavior, if it is somehow necessary to survive meaningfully, for nothing? Because it’s the right thing to do? That’s not how we work, fundamentally. We’re not angels.

It’s time to say it:

To err is human, to forgive, divine. -Alexander Pope

Rey’s compassion and empathy for Kylo, and her subsequent forgiveness, to me, is the most important thing to come out of Star Wars. Her willingness to respect and admire a person for who they are, despite a dichotomy, despite a criminal history, is a lesson we urgently need today.

Rey learned this herself, which is perhaps the best story telling choice in TRoS. After she stabbed then healed Ben on Ker Bir, she never again chose to engage in attack. She only saved what she loved. She never again used her lightsaber for assault, only deflection. With her potential for mercy, she convinced Kylo to turn. With only self-defense, she defeated the true threat to the Galaxy, the Emperor. The psychopath.

Retaliatory violence would have only made her become part of the cycle of evil. As our criminal justice system does.

Rey and Kylo teach us empathy. They teach us to be better.

Ancestral archetypes embodied through Reylo, and how they’re wasted

If Ben had lived to atone fully, apart from helping Rey free the galaxy of the true source of evil in fascist totalitarianism, Palpatine, he would have lived to cherish and reward Rey for her empathy through their relationship. The ‘dyad in the Force’ that connects Rey and Ben is related to the long-standing concept of dyads representing two parts of one soul, or soulmates that come together to protect humanity.

Dyads have been seen throughout the history of Western philosophy and literature and have played a role in archetypes as discussed by well-recognized voices including Carl Jung, Joseph Campbell, and Plato. These archetypes, dyads included, have been seen as ‘universal, archaic patterns and images that derive from the collective unconsciousness and are the physic counterpart of instinct.’ They serve to inform and instruct, to help us digest our psychologies and nurture our societies. We’ve seen this dyad in many forms, including that described by Carl Jung as the anima and the animus, and reflected around the world in various cultures and spiritualities including Adam and Eve, Yin and Yang, etc. Essentially, a dyad represents balance. Through Ben and Rey’s archetypal dyad, we can learn so much on why to reform our criminal justice system and mindset. And this is not a new thing.

Behold, Plato’s Androgyne.

"The man was originally the child of the Sun, and the man-woman of the Moon, which is made up of sun and earth, and they were all round and moved round and round like their parents. Terrible was their might and strength, and the thoughts of their hearts were great, and they dared to scale the heavens, and they made an attack on the Gods.”

Connecting this to Star Wars, as perhaps (we could only hope the writers considered, or through the pervasiveness of Jungian’s theories of archetypes we can assume was inadvertently manifested) we see representations as both Rey and the light side (or also the Sith due to her parentage being of the darkness/the Moon), and Kylo, as the dark side (but also of the Rebellion/Resistance due to his parentage). Either way, there’s so many ways to relate this. Regardless, Rey’s and Kylo’s ancestral battles are embodied through the balancing of the light and dark sides of the Force. "The Gods took council and Zeus discovered a way to humble their pride and improve their manners. They would continue to exist, but he cut them in two like a sorb-apple which is halved for pickling.”

Assuming the Gods and Zeus are expressed in the Force, here is where Rey and Kylo are separated from their families and tread their separate ways into the light and dark respectively. The same can be said for the Jedi and the Sith. "After the division, the two parts of man (the Androgyne), each desiring his other half, came together and throwing their arms around one another, entwined in mutual embraces, longing to grow into one; they were on the point of dying from hunger and self-neglect because they did not like to do anything apart; and when one of the halves died and the other survived, the survivor sought another mate, man or woman, as we call them--being the sections of entire men or women--and clung to that. “

Now, because it’s clear that Kylo and Rey are obvs meant to be together, I’m going to connect the Androgyne to the Sith and the Jedi. "They were being destroyed when Zeus, in pity of them, invented a new plan. He turned the parts of generation round to the front, for this had not always been their position, and they sowed the seed no longer as hitherto like grasshoppers, in the ground, but in one another; and after the transposition the male generated in the female in order that by mutual embraces of man and woman they might breed and the race might continue; or if man came to man they might be satisfied, and rest, and go their ways to the business of life: so ancient is the desire of one another which is implanted within us, reuniting our original nature, making one of two, and healing the state of man.

Here the Force is Zeus, and the “seed [that is the] male generated in the female” is the birth of Rey. And through ‘the mutual embraces of man and woman’ Rey and Kylo, turned Ben, they ‘breed and the race might continue…reuniting our original nature, making one of two, and healing the state of man.”

Plato. "The Symposium". Benjamin Jowet, trans., Great Books of the Western World

Thus, the value of Reylo.

Through recognition of: 1) the unintended flaws in our humanity need-based motivations for crime; 2) the cyclical nature of crime within our psychology and society; 3) the requirement for forgiveness, support, and acceptance to stop that cycle; 4) and the requirement for man and woman to come together to create new life;

we find that the pairing of our Heroine and our Anti-hero, and the forgiveness and compassion of Rey, serves to restore the balance and heal the wounds in our story.

However, the filmmaking choice to kill Ben, even if in self-sacrifice, is characteristic of society’s unwillingness to tolerate a criminal’s reintegration into society. Despite this, even I started out after the film thinking, “they couldn’t let Ben live. Not for Rey to reach her full potential as a Jedi. He’d drag her down.” Would that necessarily be the case? No. End of discussion.

Thus, Rey’s forgiveness and compassion are devalued and defeated with Ben’s death. There is no hope for those who have been neglected, manipulated, and abused into committing crimes, and our Heroine is left without her soulmate amidst a society that cannot relate to her. With our need for ostracism and retribution, despite the inherent suffering of our repentant villains, we only subtract from the light in society, not add to it. And we’re back where we started.

So. In conclusion, Rey and Ben’s story cannot stop here. Looking at you, DLF. Fix it.

#reylo #Reylo meta #Star Wars meta #bendemption #bring back ben solo #tros ending

125 notes · View notes

ruewrites · 4 years

Text

We’re Blooming Together Chapter 6: Sweet Dreams

AO3

Ships: Solomon/Asmo, Diavolo/Lucifer (implied)

Word Count: 4010

Warnings: Drinking Mention

Chapter 1-Chapter 2-Chapter 3-Chapter 4-Chapter 5-Chapter 6-Chapter 7-Chapter 8-Chapter 9-Chapter 10-Chapter 11-Chapter 12

Asmo was exhausted when his alarm went off. It wasn’t the normal morning grogginess. He probably would have been mildly tired no matter what this morning. Mammon hadn’t gotten them back from their stakeout until near one in the morning. Honestly he was surprised Lucifer hadn’t been up in the living room and ready to reprimand them. They were all adults sure, but Lucifer never seemed to move past the idea that they were all still six years old.

Actually… Lucifer wasn’t anywhere to be seen. Asmo had just come down from his routine and into the dining room like he always did, but there was no Lucifer… Beel and Belphie were in their normal spots, but the coffee pot was left completely unattended. “Did Lucifer leave already?” he asked, turning towards the twins. The fact that Lucifer wasn’t there threw him off a bit. It just… wasn’t like him.

Beel shook his head, “Not that I’m aware of, we haven’t seen him.” Asmo nodded and turned back around to get his breakfast together and pour himself a little extra coffee. Normally he would wait until he got onto campus, but he was going to need a little extra boost today.

“Asmo?” Beel asked as he put his bagel in the toaster. “I’m sorry we read your letter. The more I thought about it… The more I realized how much we upset you. We really shouldn’t have done it.”

Oh sweet Beelzebub. Always his darling younger brother.

Asmo sighed and leaned against the counter. “Well, there’s nothing we can do about it now… But thank you Beel,” he said. At least one of his brothers still kind of respected both his privacy and his personal life. Of course it wasn’t okay that it happened, but how could he stay mad at Beel? Especially when he had the sweetest puppy dog face he’d ever seen. He was just so innocent.

He’d let Beel and Satan meet Secret first. It would be an excellent way to steal his nerves for when he had to introduce them to Lucifer. After all, Lucifer’s approval was the one that he really needed.

“Do they make you happy?”

Asmo stopped for a moment and stared at the wall in front of him. “Well of course, I love getting letters from them, but even then, even if they do, it doesn’t matter unless they get Lucifer’s stamp of approval,” he sighed, picking up his bagel from the toaster as it popped up.

Beel was silent for a while, turning to look at a snoring Belphie who was slumped against his shoulder. It was almost as if he was contemplating waking up his twin to confer with him before speaking again. Then he turned back to Asmo, “I don’t think Lucifer would have a problem.”

He had to stop himself from laughing. “Really? You don’t think so? Are we talking about the same Lucifer?” he asked, “The same Lucifer has a little talk with anyone that gets brought into this house? You know, the one where some people come out looking like they've met Death? The same Lucifer who compares everything to ‘a case he had one time’ to explain why it would end bad and why we should just forget about it?” Honestly Asmo could go on. Lucifer was strict and overprotective. He’s always been. Should he have had to raise them? No. But they were all adults now, and he didn’t have to be so…. Lucifer all the time. Of course he adored his big brother, he always had, but sometimes even he thought he could be a little ridiculous (especially when it came to him wanting to have fun). He’d broken some of his rules before and come out completely fine. He’d snuck out of the house and nothing bad happened.

“Well, you said they make you happy, and Lucifer just wants what’s best,” Beel reasoned, “So… he shouldn’t have a problem. If you’re happy and safe, that’s all that matters.” He was always so optimistic, Asmo honestly wished he wasn’t worried about what Lucifer would say. He wanted to believe he'd be happy for him, but he could also see the worst in Asmo’s Secret… It made a knot form in the pit of his stomach.

“Maybe…” he sighed. Honestly it would be so nice and easy to believe that Lucifer wouldn’t be difficult about it, but he wasn’t that delusional.

“It’s almost like you’ve never met Lucifer,” Belphie murmured, eyes opening only slightly.

“I mean, he could-”

“Do you really think so?”

There was a silence between the twins for a moment. Asmo felt like there was a conversation going on between them that he couldn’t hear. Sometimes it was creepy. He wasn’t sure if he’d really ever understand it.

Finally Beel broke the silence, “Yeah, I do.”

Asmo wished he had that certainty…

******

He felt Solomon nudge him after Demonology. He wasn’t normally one to fall asleep in class. He hadn’t even realized that he had dozed off. Had the professor seen him? He hoped not. Honestly he hoped that (for once) no one noticed him. It was embarrassing him. “Are you alright?” he asked, “Usually you do your nails when you’re bored, not fall asleep.”

He looked genuinely concerned, and if made Asmo forget his worries for just a moment and smile.

Asmo stretched out over his desk before standing up, still trying to get his wits about himself. “My brothers ,” he yawned, “They were so sold on this stakeout thing… I didn’t get home till late last night. Or I guess early this morning if you want to get technical.” What he wouldn’t give for a nap. If only he had the confidence to curl up in one of the common rooms and stay there like Belphie did. He was actually close to giving in and just finding a spot where no one could see him. Why did he have to be so self conscious about everything he did?

“So you need coffee.”

Oh Solomon knew him so well. “Can it be a double shot today? Just to make sure I’m awake,” he asked, bumping into Solomon’s side as they exited the classroom. Other students bustled around them, some sprinting to other classes and others laughing and chatting with friends. It really could be any of them… Anyone one of his fellow classmates could be sending him the letters, anyone of them could be Secret, anyone of them could have captured his heart. Of course Asmo had his preferences, but the thought alone-

The chilly fall air snapped Asmo back to his senses and sent a shudder through him. How far were they into the semester again? Where had the semester gone? Would Secret continue to pursue him after this if he never found them?

Time was so fickle. One minute it was drudging by barely making an effort to move, and in the next instant a day passed by within a single second.

Asmo was never aware of time passing by when he was with Solomon. In a sense, every moment with him was magical.

“What’s up?” Solomon asked.

“Just… Just a lot on my mind is all… I just need my coffee.”

The campus cafe had a rather mellow atmosphere. People were chatting, working on projects, or just enjoying some alone time. Light filtered in from the large windows on the walls and espresso filled his senses. Plants also hung from hooks on the ceiling. All in all it was a nice place. He and Solomon were sitting in one of the booths, bloomed flowers hanging next to them and had dropped a few soft, bright petals onto their table. Asmo enjoyed picking them up and carefully playing with them between his fingers. They still felt crisp and smooth, not yet wilted or withered. They were pretty too. He should really get some more flowers for his room. After a few sips of coffee, Asmo found himself able to form some more coherent thoughts. He still wanted a nap, but at least his head no longer felt like static.

“We were all crammed in Mammon’s car. Levi and Mammon didn’t even have a plan . We just sat there staring at nothing! I have no clue how Belphie was sleeping in the back. We were all crammed together! It was awful, just awful,” he huffed, setting his coffee down, “Like, I can kind of get it, but why can’t they just let me handle this in my own way? I’m an adult, they don’t need to be in my business.”

Solomon’s smile was telling. Of course he didn’t think the night was as horrible as Asmodeus was saying. “Sounds like a nice time out with your family if you ask me,” he said.

“You would think so. It’s a wonder we even got past Lucifer.”

Asmo swore it was all because the universe had lined up perfectly just to spite him.

But how could he be mad at Solomon? Solomon who had such a wonderful smile. The sunlight created a lustrous glow around him, and who’s eyes he could absolutely become lost in. Solomon who was so smart, and considerate, and cunning, and-

…..

Maybe taking a break from the dating scene had been a mistake. Sure his last relationship had been an absolute dumpster fire, and sure he had Secret’s letters… But this time alone was starting to awaken feelings inside him that he’d prefer to stay down. He’d only get hurt… He knew that Solomon didn’t think of him that way. Yet his thoughts always drifted to the what ifs. What if Solomon actually liked him? What if Solomon wanted to touch him like he did in his dreams? What if Solomon was Secret?

He really needed more self restraint. He needed his old crush to stop already.

“Oh! I almost forgot to tell you about my letter,” Asmo chirped, then he let out a dreamy sigh, “It was absolutely divine . I didn’t think it was possible for one person to say so many wonderful things to me in a letter.”

No one had taken the time to write him one before…

“Oh? So you liked it?”

“Is that even a question?” he asked. Of course he loved it! It was so sweet, and wonderful. “It was so kind… You know people usually focus on my looks, and I mean they should . I am drop dead gorgeous after all.”

Solomon snorted at the dramatics, as Asmo struck a pose and flipped his hair back ever so slightly (and it landed perfectly ), but let him continue on about his letter.

“But, they also focus on other parts of me, you know, the nonphysical things…” he stopped for a moment. How did he express how it made him feel? “It’s… It’s just so- It really… so… so-”

Solomon’s smirk disappeared, and his eyebrows furrowed together. Asmo couldn’t understand why until he found himself sniffling and his vision becoming blurry. Dammit he wasn’t about to let his makeup smear. Solomon passed him a napkin and Asmo carefully dabbed at the underneath of his eyes.

“So-?”

“ So sweet .”

Was it simple wording? Yes. Did it come anywhere close to describing what he was feeling or Secret’s wonderful way with words? Absolutely not. But it was the only thing Asmo could think of. The only words his mind would allow him to use to explain Secret’s love.

And in no way was it enough.

Was there even a word to describe how he truly felt?

Asmo was embarrassed about how he was tearing up in public. It was just so… so wonderful. Secret was so wonderful. Just thinking about that last letter unearthed so many emotions within him. It was silly. He’d been in relationships before. He’d had nice things said to him before.

Why was this so different?

Well, he knew why, but he was afraid to admit it.

It was time to change the subject. He couldn’t spend the rest of his day with blotchy, red tinted eyes. “Maybe you could take some handwriting lessons from them when we find them when we find them,” he chuckled, still dabbing at his eyes, “You could finally make that chicken scratch you call notes into something legible.”

“I think my handwriting is legible.”

“So it’s legible to other people.”

“Are you saying you can’t read my notes?”

“Not unless I’m sitting next to you so you can read them to me,” Asmo snorted, and Solomon’s smile returned to his face. Although Asmo couldn’t get the odd weight out of his chest. It felt like someone took a rock and dropped it inside of him, weighing him down despite his want to float above it all.

Solomon grabbed his things and started to move from his seat, “Well, maybe I can write a book to help you read it better. You could nap at the apartment while I work on it if you’d like.”

“Oh how gentlemanly of you,” Asmo laughed. That same bell like laugh that Secret adored, “Mmm, but a quiet place to have an uninterrupted nap is incredibly tempting.”

As Solomon helped him out of the booth, Asmo’s phone went off.

…

Odd.

“Hello?”

“No sign of suspicious activity. Over.”

“ Levi ?” His brothers rarely called him when he was still on campus. Furthermore, it was usually to either tell the twins something, to ask him to pick something up on his way home, or to inform him of last minute family plans. They were never weird like this.

“You didn’t say over. Over.”

“Levi what are you talking about? Where are you?”

“Omg Asmo just say over. Over.”

Asmo let out an annoyed sigh and rolled his eyes in Solomon’s direction. This was ridiculous. “ Fine. What do you want?”

Silence.

Levi’s pout was palpable through the speaker

Asmo groaned. “Over.”

This was dumb, but Levi now sounded pleased.

“We’re continuing our stakeout like we said we would. Mammon had me and the twins to scout out your campus today. I’m rotating out with him and Satan. Over.”

“You can’t be serious. At my school ?”

“You forgot to say over,” Solomon mused, leaning into Asmo’s phone. The warmth of his breath caressed Asmo’s skin. He suppressed the shudder that desperately wanted to run through him and shot Solomon a look. All Solomon did was laugh in response.

“Beel tells me that there’s no one by the snack bar,” Asmo heard, Levi sigh, “And I think Belphie fell asleep on his phone. Unless this keysmashing is a new form of code. Over.”

“You really don’t need to do this…. Over.”

“Oh but we do! Just think about all of the implications this has! Remember that manga I was telling you about? It has the greatest ending once they find out who it is and I can only imagine-”

“ Perfect . Great . Listen, I’m sure you have some work to get back to and Solomon and I are busy and have plans so goodbye Levi! Love you! See you later! At home. Not on my campus .”

Click .

Asmo needed that nap.

*****

Solomon’s bed was comfortable. Not that Asmo’s wasn’t, but a bed in general had never felt more heavenly (and Asmo had been in a lot of them). It smelt like him, and it was oddly comforting. Like a candle that had just been snuffed out, or like a distant fire. It was wrapped all around him and lulled Asmo into a sense of security. Everything was safe and secure and alright. He was alright. He’d woken up to more of Luke’s treats and hot chocolate and a warm greeting from Simeon once he stepped out of Solomon’s room, and Solomon working on his latest project on the couch. The sun fell on him in the most perfect of ways. Asmo couldn’t help but stare. He wondered only for a moment if Simeon noticed him, but that thought didn’t last long before Solomon invited him to join him for a bit. He asked him about his nap, if he felt better now, if he’d like him to walk him home once more.

It felt wonderful.

It was perfect.

It was nothing short of peaceful.

This was what absolute bliss felt like, and it kept relaying in his mind long after he got home.

What he wouldn’t give to have this be his day to day life.

Especially after he found the next letter.

Perhaps it was over optimistic of him to believe that Solomon wrote it, but he had been with Solomon all day and he hadn’t noticed anyone else. The thought of Solomon made his heart flutter as he read over it. He felt so incredibly stupid giggling and wiping away stray tears as he read and reread the words over and over and over again. This was what Secret did to him… Or… Well...What Solomon did to him he supposed. He made him feel so wonderful, like he could float on air. No one had ever made him feel quite like this. Something was blooming within Asmo. He wasn’t sure what it was quite yet, but he loved it.

A Crush? Love? Adoration?

It didn’t matter. What mattered was that it was Asmo’s, and that he never wanted it to end, and he never wanted it to stop making him feel so wonderful.

If I could rewrite the past for you and give you the life you deserved

I would

If I had any say in how things went

I would make sure you had the most pleasant dreams when you slept at night

I would rip every star from the night sky and weave you a crown if I were able

I would go to the gates of Hell itself and back

And face off against the devil himself.

I would do it all for you

Because everything about you is wonderful in my eyes

I want to give you the best,

To take care of you,

And give you everything I have

Until there is nothing left to give.

Because you deserve every good thing this world has to give

I adore you.

I love you.

I want to be closer to you.

I’ll never leave you.

For as long as my heart beats

It belongs to you

And no one else.

You are my everything

My eternity.

An existence without you is not one at all.

You haunt my dreams and my thoughts

And I wouldn’t have it any other way.

You deserve so much in this life,

And in any other.

I will give you everything I have until there’s nothing left.

My Darling, Think of Me,

Your Secret

It made him melt, just like the pink, heart-shaped candies in his mouth. Maybe Solomon had improved his penmanship after all.

The words plagued his thoughts long after he put the letter down, towing with the idea of texting Solomon in reference to the letter. Should he send something playful? Something flirty? Of course he wanted to be creative. Solomon had put so much into his little gifts and letters. The living room TV played quietly in the living room as he sat on the couch. For once the room was quiet and absent of anyone else other than himself and Cerberus who was laying on the floor contently. Every now and again Asmo would read down to scratch his ears or pet his soft fur. It was an odd feeling, but after being harassed by his brothers, it was welcomed. What made it even sweeter was the mood going to Solomon’s had put him in.

However, the silence also brought his attention closer to the creaking door opening and closing, and Cerberus’ head perked up. Lucifer came in rubbing his temples and for a moment the two brothers made eye contact. Lucifer looked completely thrown off and his clothes from yesterday were slung over one arm. The clothes he was currently wearing were definitely not his. They were too big, too loose, too comfortable . It definitely was not a Lucifer look. It was an odd sight, and it took Asmo a while to process. Then it hit Asmo and his jaw dropped. He’d always joked and pressed about it, but really?

“Asmodeus,” Lucifer warned, eyes boring into Asmo’s very soul.

“No, you didn’t .”

“Asmodeus, do not.”

“Did you really-?”

“ Asmodeus .”

“You spent the night!” the last bit came out as a squeal and Lucifer rubbed his temples.

Asmo couldn’t believe it.Had he been right? Did his brother and Diavolo have a thing going on? He always thought it was obvious but-

“Someone drank a little too much when we went out and I couldn’t leave him,” Lucifer huffed, “So I made sure he was alright.”

“I drink a little too much sometimes and I’m able to come home and be by myself alright. Hypothetically.”

The only reason Asmo added that ‘hypothetically’ was because of the look Lucifer shot him. Of course, his darling younger brother would absolutely never go out and get trashed only to wander back to his room (or to Solomon’s) and crash. He was always fine though, so it wasn’t that big of a deal. Asmo could take care of himself.

“Come on, you can tell me! I love hearing all about romance, you know that,” Asmo begged. Was he being a hypocrite on multiple levels? Absolutely. Did he care? Nope.

Lucifer sighed and shook his head, “I like to keep my private life private Asmodeus. I do not speak on my relationship with Diavolo because I do not want to. That is that.”

“You could bring him over more…”

The two stared at each other once more. Both were withholding information that neither of them were willing to discuss.

“Don’t start spreading my personal matters to other people. I allow you privacy with your relationships, I only ask the same of you.”

Asmo huffed and fell back onto the couch. Yeah, Lucifer didn’t want to hear the juicy details of his relationships (which were always Asmo’s favorite part about hearing of other people’s relationships) only when things went wrong. Which… Asmo wasn’t completely mad at him for. He didn’t snoop around like some of his other brothers, and he had gotten Asmo out of a few rough patches with other partners. Sure, he could be a little overbearing at times and parental to a fault, but at the end of the day he cared. He didn’t want to see them hurt.

But Asmo could also take care of himself. Even if something bad happened. He could take care of himself.

After a moment, he nodded reluctantly and slumped down a bit, “Fine.” He watched Lucifer circle over to pat Cerberus’ head before heading off to his room, Cerberus in tow. “But can you tell me a little bit? Later. On your own terms?”

He still wanted to know… Lucifer always seemed happy with Diavolo….

Lucifer stopped and for the third time that night, a silence settled between them. Had Asmo gone too far? He was just about to slink away to his room and forget about his question when Lucifer turned his head to look at him. “Perhaps… We’ll see. Goodnight Asmodeus. Sweet dreams.”

And then he was gone.

Sweet dreams indeed .

That night, Asmo found himself surrounded by Solomon’s smokey aroma in his dreams. It was comforting and wonderful. He could help but think about how Diavolo and Lucifer had most likely been curled up together, and Solomon did the same to him in his dream. He held him closer than any partner had ever held him before. He allowed Solomon to take Secret’s place. To let those honey-laced words pour our in Solomon’s smooth, even voice. It was perfect. It was all beyond perfect. This was what Asmo wanted. Fuck his self restraint. He’d let his heart run wild. After all, it had to be Solomon. It just had to be . He couldn’t understand how it couldn’t be him. Besides, Solomon’s presence was welcomed, and a wonderful one to fill his dreams.

15 notes · View notes

leescoresbies · 5 years

Note

my friend, please rank alex's outfits

ANON IT’S LIKE I ASKED FOR THIS. alex owns a great collection of jackets & little boots & he wears them with the strangest combination of shirts that i’ve ever seen & i think about it constantly. which is why i spent twenty minutes making this list instead of getting ready for work. so, enjoy. these are entirely objective and without scientific rigor, mostly because i have bad taste & tyler blackburn would look good wearing a poncho which makes this all much harder.

here are 10 alex manes outfits of note that deserve to be commented on, you’re welcome:

1. inaccurate pilot episode uniform

listen the united states military can go fuck itself with a rusty pike and that’s important to say HOWEVER this is a top-tier alex look and it’s worth admiring. maybe it’s the expression or the definitely not regulation facial hair. someone let alex grow some facial hair next season. 8/10, for the propagandism and also the fact they forgot or didn’t realize he’s supposed to be a captain. congrats on your speedy promotion alex!

2. reunion sad lumberjack getup

i know people like this outfit but i’m going to come out and say that i am firmly negative about it. great scene, bad outfit. this is like alex’s straight-person uniform, hair included. the only redeeming detail is the color, considering we know rosa always told liz to wear red as armor and it’s plausible alex might be following her advice here too. 3/10 for the sad nostalgia only. also michael’s getup in this scene is a fave. not related but worth mentioning.

3. wearing a sweatshirt to your ex-something’s dramatic love confession

listen - nothing really to say here. i’m not thinking about what alex is wearing in this scene. neither is michael. are you? the only benefit of this outfit is that it is, apparently, very easy to take off in a real hurry. 5/10.

+ a bonus

arm. that’s all i got. not strictly an outfit but who’s gonna fine me. you? 10000/10

4. drive-through break-up outfit

i’m insane about alex’s thought processes here. for some reason his 5-step seducing-michael-guerin plan includes donning this pink paisley (????!??!) button-up with pearl buttons (!!!????!?!?) and hoping for the best. make sure he can’t miss you because you’re wearing pink paisley, extend beer like an olive branch, hop up onto his tailgate like you belong there - profit. maybe he just really hates the shirt and is hoping it’ll get sacrificed when michael tears all the buttons off it later. the jacket is cute though. 7/10 for the sheer gumption involved. want to go for a ride, indeed.

5. everything in ‘smells like teen spirit’

i could spend this whole post talking about everything teenaged alex wears but then we’ll be here for a month so i’ll just pick a few to highlight. it had its ups and downs, but yknow - for a while i thought wearing a necklace made of paper clips was cool so i can’t throw stones.

whatever this is: -100000/10 oh honey no

prom outfit: 10/10 for the sheer iconic-ness. its silver. he gets in a fistfight in it. it singlehandedly kick-starts michael’s bisexual awakening and for that we salute the suit

alex:

michael: oh my god are you okay also i’m gonna jerk off to this later.

guitar gift giving getup: 8/10 actually my favorite thing teen alex wears. the boots, the black, the long sleeves, the HAIR, the pining. makes me want to throw caution to the winds and make out with that. shoutout to michael guerin but i’m different.

i was gonna screencap what alex wears at the museum but the thought of watching the end of this episode made me want to tear a limb off of my body so i passed that by but he’s cute as hell and i’m sad. thanks. moving on.

6. the “my old best friend is breaking into my house?” look

i love this outfit. granted i’m an outdoorsy bisexual woman with no taste but i’d wear this myself right now. alex probably wasn’t expecting to run into anybody here which means he’s putting on his rei button-downs and being gay and making coffee and going on nature walks to do deep-breathing exercises on all this property he inexplicably inhabits now in his free time. it’s very iconic of him and he looks great. forearms. 9/10.

7. mimi’s day out picnic jacket

mimi: we aren’t meant to touch things from another world.

alex “known alien fucker” manes: don’t know what you mean let’s just talk about how good my hair looks today.

he looks soft & artfully tousled to hang out with his fam. i love it. not necessarily what i’d choose to wear to a picnic but more power to ya pal. 8/10.

8. THE OUTFIT I PICKED FOR HITTIN MY DAD IN THE FACE AND ZIP TYING HIM TO A CHAIR

35 million/10 you’re doing amazing sweetie

9. caulfield outfit

this is among my favorite things alex wears. the jacket? the boots? the little backpack? he’s like a sexy gay boyscout. he’s gonna change a tire and build a campfire and dismantle a shady government conspiracy and smirk at you all in one day and you’re going to like it. he’s prepared for anything. he was not probably prepared to blow up a building of imprisoned senior citizens or to discover his brother is working in an extralegal military prison or to realize he’s prepared to die alongside michael but - hey. you can’t win them all. 10/10 a great outfit to meet your boyfriend’s mom in.

10. season finale

HE’S ABOUT TO GET HIS HEART BROKEN BUT HEY HE LOOKS SPECTACULAR EAT YOUR DAMN HEART OUT MICHAEL GUERIN. 15/10, a great thing to be wearing when you discover your dad’s in a medically induced coma. i hate this show.

clearly i left MANY THINGS OUT including everything he’s wearing when he gets all I LOVED YOU in michael’s face but i couldn’t make myself watch that scene without drinking rocket fuel and blasting into the stratosphere so - this will have to do. you’re welcome.

#Anonymous #anon #asks #alex manes #memories are films about ghosts #i'm bleeding i'm not just making conversation #now i am going to go lie down

165 notes · View notes

wordsnstuff · 5 years

Text

20 Mistakes To Avoid in YA Fiction/Romance

* This is a re-upload due to the original being flagged a few months ago for having a gif of two teenagers...*GASP*... dancing. What, tumblr? What is “adult” about that? The post has been in appeal for 4 months, and I have a feeling it won’t leave, so I decided to finally repost it.

YA Fiction is an incredibly popular genre of literature, and most people have picked one up and devoured it in less than a day, but there is a trend in the genre where in certain instances, people forfeit quality for a cheesy dramatic plot. A lot of these stories are just regurgitated cliches with vaguely interesting characters and just enough drama, fluff, and mildly (or extremely) sexual content to keep the reader paying attention. (No shade to the authors, because obviously, any author who writes and publishes a book works hard, no matter the end product.)

There are a lot of aspects of YA Fiction that repeatedly rear their ugly heads and annoy readers or flat out scream dangerous messages to the young people that indulge in them. I thought I’d put the spotlight on a few in the hopes that it will help clean up the genre’s reputation as new and more awakened authors contribute content to it.

Below you will read about some common mistakes that YA Fiction/Romance writers make that either ruin the story, promote dangerous messages, or unrealistically portray teenagers.

Forgetting The Supporting Characters

The supporting characters are an important part of any story, even if the main plot revolves around two people. Supporting characters provide subplots, information to the reader, and more opportunities for your audience to connect and relate to your story. It’s always good to give your supporting characters love and attention when creating and writing them. Sometimes they end up carrying the story.

A mistake that a lot of authors make is that they give the reader a couple defining characteristics, a name, a relationship to the main character, and then just make that character pop into the reader’s view whenever the main plot needs them to. No backstory. No life of their own. Just support to the plot, and that’s a huge waste of potential. You don’t want your readers to put down your book and either forget the supporting characters existed at all, or believe that they were extra pieces of a puzzle.

Using Slang Badly

Writers should not feel the need to include current slang in order to make their story more relatable or popular amongst their targeted demographic. Slang is constantly changing, evolving, and most importantly, dying. Not to say that you should only write in traditional terms or put “thy” and “thee” everywhere, but using standard English and avoiding the trendy but temporary slang words is key.

If you must use slang, try to use the bare minimum and only in fitting circumstances. If your character is the type to say “OMG her dat boi memes are on fleek” then, by all means, go right ahead, but you probably cringed when you read that. That would have been totally normal 2 years ago, but every bit of that sentence has died over time, and no matter how much you think a slang word will stick, don’t risk it.

Sympathy and Envy Mongering

Two emotions that YA Fiction and Romance always try to invoke in their readers are sympathy and envy. The author either wants the reader to feel bad for one or many of the characters, or they want them to be jealous of the awesome (and usually unrealistic) lives the characters have. Don’t be one of these. It’s tired and boring and not original in the slightest.

Are sympathy and empathy both totally okay emotions?

Yes.

Are they all you need to write a good story?

Nope. Not at all.

The reader needs and wants to feel more than jealous of and sad for the characters in the story. The best stories are the ones that trigger a complex whirlwind of emotion. Sympathy and envy are the easy way out, and you get out of those emotions what you put into them.

Unrealistically Portraying Teenagers & Teenage Life

Teenagers look up to and compare themselves and their lives to the characters and lives of the characters in your story. Keeping in mind that your audience is young and impressionable is essential for authors of the genre.

Love At First Sight

Love-at-first-sight does not happen. Infatuation, maybe, but love is more complicated than that. Writing a plot based on “love at first sight” can leave a bad taste in your readers’ mouths from the start, and that is something you should avoid at all costs. On top of that, love-at-first-sight is a very easy-way-out move and if you’re dedicated to your characters and your story, there’s a good to fair chance that you can come up with a more satisfying build up.

Unrealistic Romantic Situations

If you’ve ever opened a YA Romance, chances are you’ve read a scene in which the protagonist and the love interest end up in a stunningly beautiful place and the love interest sweeps the protagonist off their feet prior to riding into the sunset. This, unfortunately, does not happen very often, especially in teenage relationships. The most romance you’re going to get (usually) is the love interest offering to pay for the protagonist’s bag of skittles with the leftover money from their paycheck they earned at McDonald’s.

Just because teenagers don’t really go to great lengths to rent an entire ice-skating rink in the middle of the night so they and their crush can skate to Ellie Goulding music doesn’t mean there can’t be cute and memorable moments. Great doesn’t always equal grand and that’s important to remember. A lot of the time, teenagers appreciate fantasizing about things that are actually possible.

Happy Endings

Not all stories have to end happily, and you’ve definitely been told this before, but nobody ever takes into account how stories about teenagers have so much potential when it comes to endings. Teenagers read books about teenagers and unfortunately, this means that a lot of them will take what you’re writing about and try to change their own lives to match. Be honest in your depiction about what actually happens when you leave high school.

The majority of the time, high school sweethearts won’t stay together. Long distance won’t work, they’ll find someone else, the spark will die out, their personalities will undergo drastic changes, and their goals and plans for the future will turn out differently than they expected. “And they lived happily ever after” is criticized harshly for a reason, especially in YA and YA Romance. Most stories don’t end happily, but there is more than one story in a person’s life and giving a person their happy ending as they graduate high school is a great injustice, to your character and your readers.

Avoiding The Dark Parts Of Teenage Life

Teenagers, despite what a lot of the media claims, go through some really serious and stressful and damaging things. Teenagers suffer from mental illness and deal with the intense pressure of the education system and hold their heads high in the face of stigma over every little detail about them. They suffer from eating disorders and body dysmorphia and self-harm tendencies, and that doesn’t even bring into account the bullying and family issues and the stress of constantly learning and feeling things for the very first time with little to no guidance or assurance or resources to ask for help. It is hard being a teenager. Do not forget that, and don’t leave the actual teenagers reading your story feeling underrepresented and/or abnormal because they aren’t as stress-free as the characters they look up to.

Exaggerating How Teenagers Interact With Each Other

A lot of teenage interactions are short, awkward, and uneventful. Teenagers aren’t super eloquent and socially apt, but YA Fiction seems to believe they are. It’s quite rare that a teenager will just walk up to someone they like, say “wanna go to dinner on Saturday?” and all will be fine and dandy. It’s quite rare that a teenager will saunter up to someone who talked about them behind their back, say something super clever and damaging to their enemy’s ego, and saunter off like the king/queen of the world. Those interactions look great in our heads, but they usually contain a few stuttered words and “um”s and blushing. Confidence is usually a trait that people develop later in life, so try not to push it if you’re trying to be realistic.

Maturity of Teenagers

Teenagers are underdeveloped human beings with minimal experience in most areas of life. They do not have it all figured out. A lot of YA books revolve around characters that are extremely intelligent, disciplined and ambitious at a level of maturity a 25-year-old be on. This is not accurate. Making characters “awkward” or “childish” does not have anything to do with how mature they seem to readers. There is a distinct difference between an awkward girl with childlike innocence and a girl who makes mistakes, does not have her life figured out, and is not yet comfortable with casual social interaction. The latter things I mentioned are pretty universal when it comes to teenagers.

Unfitting Aspirations

There are more than two paths in life. It seems that in YA you’re either going to graduate, get married, pop out a couple kids and live the rest of your life in the suburbs, or you’re going to leave home, go to college, travel for 20 years and settle in some random country in Europe writing poetry until the end of your days. There is no in between, which sucks. There are a lot of interesting things you can do in life, not to say that either of the two life paths I mentioned are uninteresting. You could take a gap year and travel the world, go to college, move back home for a couple years then maybe get a job that has you traveling and exploring new things for the rest of your life. You could meet the love of your life in college and have some kids but put them in online school so you could travel with them. You could live your whole life in an awesome cabin in the forest casting spells and adopting wild squirrels. There are so many ways life can be and restricting it to opposite extremes takes the imagination out of the future.

Not All Teenagers Think Their Relationships Will Last Forever

This one is pretty self explanatory, so long story short, not every relationship a teenager enters into is with the end goal of staying together forever, or even more than a few months. Most teenage relationships are pretty short and not very meaningful, and portraying every single couple in your stories as “we’ve been going strong for 2 years and plan on getting married right after graduation” is inaccurate and will probably cause your readers some disappointment in the future.

Relationships Aren’t A Teenager’s Only Concern

Most teenagers are more concerned about the F they got on a History test than they are about who they’re going to stare at next period. Everyone has more than just their crush to worry about. Some teenagers have to worry about where they’re going to get their next meal or how they’re going to get a ride home from school or even how they can apologize to a friend they’ve hurt. It’s not all about relationships for teenagers, in fact, relationships are a pretty small part of teenage life. If all your character has to think about is the hottie they sit next to in Biology, perhaps you should work a little more on character development.

Unnatural Appearances

Most teenagers are not model-level attractive. All teenagers have break-outs and leave the house late with greasy hair or with their shirt on inside out. No teenager shows up at school every day looking absolutely flawless, as if they’re about to walk down the runway. Please keep that in mind, because portraying teenagers accurately, especially when it comes to physical aspects such as weight, acne, etc. is super important. In YA and YA Romance, you must keep in mind that the teenagers you are trying to appeal to should not feel like a piece of trash because they aren’t as perfect as your characters. Yes, YA Fiction is Fiction, but just because you know that it’s unrealistic doesn’t mean your readers do. Readers of YA Fiction compare themselves to the characters in your books whether you like it or not. It is not hard to realistically portray physical appearances of teenagers.

Avoiding Dangerous Messages

A common problem found in YA Fiction is the lacing of dangerous messages found in the smaller details. You may miss them the first couple times you read a story, but if you go looking for them, you will find them, and perhaps you will find the source of a lot of mistakes you’ve made. YA has a bad habit of endorsing mindsets that lead to bad decisions. Some of them, however, can be avoided in your own writing.

The Need To Change The “Flawed” One

Nobody in this world is perfect. Expecting the person you supposedly love to be flawless all the time is not realistic. People make mistakes. People are not always happy and bubbly and confident about themselves. People do not always act the same one day as they did the day before. Human beings are flawed and should be portrayed as such, especially in the stage of their life which is the most confusing and scary. Teenagers are underdeveloped human beings, and for some reason, teenager girls in YA Romance expect teenage boys to be charming and loving and never ever make a mistake, which is ridiculous. Creating love interests that appear flawless and can make no mistakes is detrimental to your audience. It raises your readers’ expectations to an unattainable level which causes them disappointment and might cause their future partners unrepairable damage to their self-esteem because they’ll think that in order to find a partner, they cannot be flawed and cannot make mistakes.

Glorification Of Illegal Activity

It’s not “cool” or “edgy” to pump yourself full of deadly and mind-altering substances you know absolutely nothing about. It doesn’t make you “badass” and it isn’t a personality trait unless that trait is stupid. Whatever your position is on drugs or alcohol or whatever, there is no excuse for putting the idea in the heads of young readers that doing things that are illegal and addictive and that might even get you killed is ok. Not only because most of your readers are younger than 21, but because it will always be dangerous to take drugs, commit crimes, and drink. Your choices are your choices. Don’t impose your habits and excuses on kids who don’t know any better.

Slut Shaming

News flash: it’s 2017, people. Nobody cares who you’re kissing or dating or having sex with. People are finally getting used to the idea that maybe, just maybe, it’s not the end of the world if you do whatever you want, as long as you’re not hurting yourself or anyone else. This recurring theme of “I hate this person because they do what they want with their body” is getting old and annoying. Believe what you will regarding religion and morals and what is right or wrong or whatever you want to believe in, but the second you start turning your story into a commentary on the decisions and beliefs of other people, you’re in the wrong. There are other, more creative reasons to make your characters hate each other than their sexual activity.

Forgetting The First Times

One of the most exciting parts of being a teenager is that everything you’re experiencing, you’re experiencing for the first time. Everything is confusing and exciting and 10x more painful or memorable or enjoyable, and that’s neglected all the time in YA. I don’t mean the common trope of the first kiss or the losing of virginity. I mean love and infatuation and loss and heartbreak; it’s all happening to them for the first time in their lives, and these events make up their memories that they will carry with them forever. Teenage years are incredibly heavy times for people. It is, after all, the years in which they learn the most and the fastest and where the majority of their brain development takes place. These moments that you’re writing, the first kiss, the first time having sex, the first time your character loses someone they love, they’re all going to determine how your character will develop in the future. Treat them that way. Teach young readers that it’s normal and perfectly okay to be scared and inexperienced and lost. That’s the bitter-sweet part of youth and it’s beautiful.

Bad Boys And Boring Girls

Bad Boys are, in reality, bad news. The real “bad boys” in this world are slimy, manipulative jerks who trick girls (usually more than one at a time) into thinking they have feelings for them, using them for things like sex or money, and then either end up controlling their entire lives, introducing drugs and problems, or breaking their hearts. It’s sad, but it’s reality. Yes, there’s always a cause for this behavior, and sometimes these bad boys grow out of it, but that’s not always the case. Portraying these bad boys as “changeable” is not only dangerous for the female readers but also the men in their future. If you make girls think that they can change whomever they’re with to be the perfect prince charming, they will never be satisfied with someone who is flawed (spoiler alert: everyone is flawed) and they may destroy the self-esteem of whoever they’re with by making them think they need to change to be lovable.

Boring Girls are, sort of, connected to bad boys in this sense. They show up in every story, which makes sense financially because authors who make more relatable main characters sell more books. It’s just demographics. But at the same time, this stretch for a wider audience can end up influencing girls’ expectations of themselves and their love lives. If you make every protagonist completely boring, compliant, and devoid of strong, defining traits, girls will take that as advice. They will learn that all a girl has to do to make people fall in love with them is sit quietly and be pretty, which is horrible, in case you hadn’t noticed. Teach girls to look up to strong characters with rich personalities. Nowadays, that counts as an original idea.

Generalization

Portraying every aspect of teenage life and teenagers themselves as if you opened a book full of cliches, closed your eyes and pointed at something is not ok. High schools and families and personalities are different wherever you go, and making blind generalizations about aspects of teenage life can not only change how your reader interprets their own lives, but how adult readers assume teenage life is when they’re not around. It is important to not reinforce the assumption that there is always a popular clique and mean jocks and awkward nerds and dead-beat stoners because these stereotypes are a way for people to justify their snap-judgements, and not only does that say a lot about you as an author, but that will breed a whole new generation of judgmental, close-minded people.

Glorification Of Unhealthy Relationship Behaviors

I’m gonna say this once: It is not “hot” to have the love interest constantly putting restrictions on their supposed loved one. It’s not okay to borderline stalk someone and use “I love you” as an excuse, even if the person reciprocates your feelings. It is unhealthy to ignore someone when they say “no, no, not now” or “no, stop, not here” when you’re in the middle of initiating sex or even just kissing. It is disgusting when romance, especially YA Romance, which has mostly young, impressionable readers taking in your messages, promotes these behaviors like they’re something to strive for. Like it or not, your writing is going to alter the way they imagine a “perfect” relationship. If you aren’t willing to take that responsibility seriously, you should not be writing YA, and especially not YA Romance.

Support Wordsnstuff!

FIND MORE ON WORDSNSTUFFBLOG.COM

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon.

Request Resources, Tips, Playlists, or Prompt Lists

Instagram // Twitter //Facebook //#wordsnstuff

FAQ //monthly writing challenges // Masterlist

MY CURRENT WORK IN PROGRESS (Check it out, it’s pretty cool. At least I think it is.)

Check out my YouTube Channel!

#writing #writeblr #writespo #writing resources #writing tips #writing advice #writer #writing reference #writing inspiration #writing motivation #writer's block #creative writing #wordsnstuff #authorblr #character development #world building

1K notes · View notes