#Posting to get this out of my drafts

[hermitw]

(anime-only friendly post)

I'll have to reread JJK0 to rly have a stance on this but

At this point I feel like Geto did nothing wrong, even if the worm curse was not drugging him like banana fish (explained here).

Geto was misunderstood. He didn't declare that he was planning to kill all non-sorcerers. Gojo said that. Geto called him ignorant for it and walked away for not being listened to. To have a world of sorcerers could take a gradual path by teaching, by finding those like Nanako and Mimiko (one of the guys in their family was in a similar position, I forget his name rn). Geto traveled far for a family of sorcerers and to remove cursed spirits.

I think his parents weren't killed for being non-sorcerers, but for being a part of that cycle of violence toward them. Geto might have given them a second chance, taking the twins to his parents house, when they got violent. We don't know exactly what went down with them.

Gojo continues to have negative rizz (this analysis contains manga spoilers. Tldr, Gojo misunderstands another lover, potentially) so it feels like a pattern to me.

We've often pointed out that Sukuna's love language would be violence, that using his stronger techniques is a sign of respect toward his opponent.

But I'm realizing now, Gojo is the same way - it shows that a partner can keep up with them. We know that Geto and Gojo used to get into fights at school (and Geto even used his curse manipulation technique without notifying the staff first, like he usually would because of the unregistered cursed energy). Geto said fuck the rules, I'm on your level (by your side).

BUT AT THE KFC, Geto didn't pull out a curse. He didn't fight (for) Gojo - not even when he pulled out the hollow purple hand. Geto just told him to choose his own path, there would be meaning in that. That he's no longer by his side. Geto said there would be a point to killing him, but I think it was to follow the order of his execution, to feed into the oppressive system on jujutsu sorcerers. Geto decided to be the one who diverges from the rules of jujutsu society, to decide that some non-sorcerers have so much power that they are as dangerous as curse users, even if they have no cursed techniques.

Geto had come to terms with the separation - they'd been sent on missions alone too often, and he felt left behind by Gojo's growth (along with how different he was since the fight with Toji - they didn't grow closer from that traumatic event, but became distant from there).

I would love to see someone who's fluent in Japanese break down their conversation - to me it reads like Geto is telling Gojo, I have a family now. I have to look after them. And if my parents were just like the group that killed Riko, or the village that beat up and locked kids in a cage for having abilities... Then it's irresponsible of me to let the cycle of hate continue there, just because they are my parents.

Anyway, Geto killed people. He targeted those in power, those with money, those who exploit the weak for their own greed, those who scapegoat innocent children and criminalize sorcerers for the curses' atracks (when the curses are only born from the non-sorcerers in the first place).

First, the village with Nanako and Mimiko.

Then his own parents (which I'm going to assume were the same way, I have my own headcanon that he left his family early for a monastery and then went to jujutsu high but I'm not rly sure what's up).

And the cult - he specifically calls to the stage and kills the man who hired Toji to kill Riko. And had Shiu gather to that meeting the members in positions of power and money.

There's also the deal with Geto calling non-sorcerers monkeys, which carries a gross and racist feeling (at least through a western lense, I've seen so many jokes about him being racist and planning a genocide, but I don't think that's really accurate). We can say that it was sleep learning from Toji. I think it stuck with him for a very simple reason.

Yuki Tsukumo gave Geto an existential crisis by telling him that curses only exist because of non-sorcerers (except for when a sorcerer dies and becomes the curse). Geto knows what curses taste like. Think about going to the zoo - you can smell the monkey area already, can't you? It's very distinct and memorable. It stays with you. The curses that Geto swallows are like that, but even worse. I posted here about the smell lingering in his sinuses and that's why he uses sanitizing spray after seeing Mrs. Sa(i)to and her daughter.

So just like monkeys live and poop and are associated with the stench, non-sorcerers get emotional and leak cursed energy. Others might see and hear curses, and occasionally they might smell (sorry Eiso I know you're insecure about having a musty back but I can't think of another example, maybe this doesn't happen with cursed spirits), but Geto is alone in knowing the taste and making this connection.

Edit to add: "monkey mind" is a term that refers to struggling with meditation, and I am now convinced that's what Geto is so upset about. A monkey is simply someone who does not control their cursed energy, and contributes to the formation of curses. Since Maki doesn't rly have CE, nor a visible heavenly pact like Toji, Geto is assuming that her cursed energy leaks out just like a non-sorcerer's would.

Anyway, Geto still clearly believes that the strong should protect the weak, whether they're sorcerers or not, that's what he spends his life doing.

And when he died saying that he still hates those monkeys - hate is different than genocide. He's been basically eating their vomit for the majority of his life. Not to mention the curses that killed his friends.

Ultimately, though, we don't get to see anyone Kenjaku uses as a vessel live their own life except for Geto. And I don't believe that the worm would have been necessary for most victims - but Geto and his best friend were 2 of the strongest sorcerers. Whoever Kenjaku was living as at the time had to be calculating and careful.

I don't know when Toji got the worm, but I think that Kenjaku needed to use it on Toji himself, and not only as a mediator to pass it onto Geto.

Idk much about Toji's life, but it seems like he was healing with his wife, and maybe he was still taking out curse users (though I want to use that term lightly bc ultimately it's the higher ups who decide who is a sorcerer vs a curse user), but I'm not sure he would have gone after Gojo or Geto or the star plasma vessel without the sudden grief or the worm.

Kenjaku likely was the founder of the time vessel association (which makes me laugh when Toji says thank you founder and shiu is like, ugh he is not the founder dumbass), which is from the Nara era. At the least we know that he was trying to destabilize Tengen. He needed someone to kill Riko. He needed Toji to lose his sense of reality, responsibility. (kenjaku was probably either in that group or sending them messages that they believed were like a sign from god)

So i feel more confident now in believing that Kenjaku did cause Megumi's mother's death. It seemed to happen by the time of Gojo and Geto's first year in jujutsu high.

In the end, love wasn't the greatest curse of all. It was the failure to understand Geto -

And Geto decided that he didn't need anyone to understand. He was giving up on Gojo, and on the rules.

It seems like Yuki Tsukumo and Geto kept in touch, judging by the end of the Shibuya incident. I wouldn't be surprised if one of their goals was to teach more people to become sorcerers or at least control their cursed energy, even if they can't see spirits.

Even if Geto were now curse user witn a death sentence, he still used his technique to absorb curses, a way to remove them from non-sorcerer victims without the stress or violence of exorcism (he didn't have to keep swallowing curses, instead of manipulating the ones he already had. But most people don't have resistance to curses, so he prioritized making things easier for the weak).

I imagine that some of these people got hyped about it, asking to learn, and were able to join a class that might focus on breathing techniques, visualization, etc (even if they could just control emotions better, that would help}. Larue's ability would make him a good teacher, and we really don't know what role he would have played otherwise.

[hinamie]

trick or treat!

[ninja-knox-ur-sox-off]

Chronic Sonic pt 10

Longest part yet good grief. This was a part i had planned since the first post i made though so that makes sense.

1. Sonic dropped his cuffs on purpose if that wasn’t clear. He views it as better to hurt more and feel like himself than hurt less and not recognize himself in his reflection. (This is bad because if the inhibitors are not only helping with the pain but are also there to prevent his condition from worsening. Without them, his body starts to take the hit again.)

2, Tails knows that Sonic dropped his cuffs on purpose but won’t outright call him out on it. He is, however, upset with him because now Shadow is having to sacrifice himself just to keep him alive and Tails can’t be mad at Shadow because he’s literally just doing what’s necessary to keep Sonic from destroying himself. So it’s scolding for Sonic.

3. Usually Shadow and Sonic would do battle over this but Sonic has just done battle before the start of this comic and his inhibitor cuffs are off which means he is about as physically weak as he can get. So if you’re wondering why Shadow was able to just slap his inhibitors on Sonic without any trouble that’s why.

4. Sonic gets his first taste of watching someone else actively partake in self-destructive behaviour and not listen to him when he tries to talk them out of it. This does snap him out of some of the mental mess he’s in, and he will stop trying to actively damage himself. For now. Old habits die hard though.

[riddlerosehearts]

isabeau's confession at the end of ISAT is constantly living rent-free in my head it's so fucking good. right now i'm obsessed with the way he responds to siffrin saying "i love you too" because just. imagine you're siffrin and for so long now you've believed that you were horrible disgusting manipulative unloved and unworthy of love and yet. your best friend is telling you he loves you. and you feel that you love him too (in what way? the same way that he loves you? you're not quite sure yet, but stars, you feel like your heart is going to burst out of your chest, he means so much to you) so you tell him so.

and he responds by telling you he already knew that because he has eyes.

you're siffrin and you are kind passionate protective and so loved and full of love for your friends, your family, and yet you hate yourself so, so deeply that you don't see any of that but isabeau does. according to him it's written all over your face, apparently--the face you're always trying so hard to hide with your hat, which as the universe would have it, you don't have anymore!! and he sees you and he loves you and he knows you love him back, even after you said and did such horrible, cruel things to him and the rest of your family that you know they didn't deserve, after you almost broke the world trying to keep them by your side, somehow isa understands you and still loves every single part of you. and you love him, you love him, you love him because how could you not?

especially since he also got so excited when you told him you loved him that he shouted "CRAB YEAH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!" in your face.

[nuclearanomaly]

Spite Loves...

[antennatoheaven]

trying to sell the murderbot diaries to other robot fans is an uphill battle. yes, i also prefer it when my robots don't have human looking faces. i understand why you might not be happy with its appearance, but guess who's also not happy with having a human face

[verflares]

would you like to live deliciously?

[wernerherzogs]

some of my fave buddie fics for anon in no particular order! please mind all the ratings, tags, and warnings of these works while browsing:

plot-focused:

about the present series by Amiril

The day of the shooting, Eddie got stuck in a time loop. But that was three months ago. He's completely fine now.

boys, when my baby found me by nondz (pinkjook)

Three months later, things are mostly back to normal.

And then there's an accident.

the city is a jungle and i’m a beast by putanauhere (TRUST ME.)

“There are no wolves in Southern California,” Buck states, another bit of trivia. He just doesn’t know it’s a lie.

The Things All Come and Gone by moodlighting

“I didn’t—it’s not that I couldn’t be alone,” Buck explained, pausing to find the right words. “I just. Wanted to be here.”

I Broke What You Gave Me, But You Kept Giving More by rcdwings

Evan Buckley wakes up without eight years of his memories with some guy named Eddie Diaz on his bedside. Which could mean nothing.

lonely little love dog by littleghost

When the 118 is closed for reconstruction after an earthquake, Buck is a floater for different stations around the city. He tries not to let it get to him. Much.

kerosene by mandolare

He doesn’t— need more of Eddie. This is enough. This is plenty. This is more than anyone else has of him; he can deal with the marrow-deep want that’s begun to choke him every once in a while.

all my little words by youbetsya

Eddie: Did you just send me an email??

Buck: yeah lol

Eddie: Why…

I dont think you’ve ever emailed me actual words before. Just stuff to print when your printer is broken

Buck: did you read it?

Eddie: Not yet

Too busy trying to figure out why the fuck you’re emailing me

Buck: just read it dude 🙄

instructions on not giving up by Wildehack (tyleet)

Eddie gave up in July.

Live and (Don't) Let Die by xylodemon

The guy gets straight to the point, asking, "What do you need?" in a dull, bored voice.

"My best friend is going to die. I want that to… not happen."

"No small feat, bringing back the dead. And it comes at a cost."

It's Eddie. Buck says, "Yes," without a second thought.

good pretender by likeshipsonthesea

“Okay, but what are the rules?”

Ravi stares. “The rules for…?”

“Casual sex.”

Ravi continues to stare. It is 5:39 in the morning.

i can tell just what you want (you don't want to be alone) by Talls

In which Eddie keeps secrets and Buck is incredibly normal and rational and even brave about his reaction to this.

here’s my hand, there’s the itch by signetsealed

"I wasn’t kidding when I said I could talk about Chris all night,” Eddie says. His voice is quiet and close in Buck’s ear. “But that’s not why I called.”

been lost for a while by trysetmeonfire

Eddie's wife has been dead for two weeks. There's a firefighter in bed five. These are not necessarily related facts, but Eddie will have a hard time separating them out, later.

Downward Facing Doggy Style by Survivah

Eddie and Buck pick up a new hobby while Chris is in Texas.

slaughterhouse by kithmet

Eddie announces he’s leaving. Buck, naturally, begins a slow descent to madness.

Choosing Joy 'Verse series by ithilien22

In which Eddie mends fences with Chris, starts something new with Buck, and navigates the complex emotions he has around his parents.

 the sweetest apparition by hyruling

Eddie moves to Texas. Buck keeps accidentally telling people Eddie's dead. It goes about as well as you'd expect.

pluperfect by unreckless

Buck is always good for a ride to the airport. He’s good at lots of things, like being a good friend and goodbyes.

beating the horse by doitgently

Eddie is moving to Texas. Buck finally figures out what he wants.

Burn a bridge, learn how to swim series by WatermelonShots (AvocadosUnderTheEaves)

In which there is some unexpected making out, some pining, one third of an existential crisis and a lot of unhelpful advice. Not necessarily in that order.

you drew stars around my scars by ladieslunching

Someone at the 118 doesn't know how to leave Buck's clipboard alone. Buck would be a lot more upset about it if it didn't bag him the love of his life.

Hot Ghost Problems by ebjameston

The ghost would prefer to go by Buck, if Eddie wouldn’t mind.

ripples all the way down by iriswests

This is the tumultuous road to finding out what Buck truly wants, paved by pebbles.

throw a bone, i’m finally home by fleetinghearts

“Oh, Buck,” Eddie says softly, torn between unbearable fondness and an ache that threatens to crack his breastbone.

when everything's on fire by beartowns

Eddie and Chris move in with Buck after a fire. Buck breaks up with his boyfriend, buys a house with Eddie, and realizes he's in love. In precisely that order.

ice cream before dinner by cloudydaisies

The problem is—well.

Actually, backtrack for a sec. There were a few problems.

Eddie’s got a whole lot of them, lately, and maybe that was The Problem.

Something in the Air (Is Giving Me Bad Ideas) by paramountie

After Christopher comes back from Texas, Eddie makes an important decision: he is not going to blow up his life anymore.

crossed the muddy line by Anonymous

Eddie Diaz is from El Paso, Texas; a fact which accounts for both more and less than he ever expected it to.

the tortured poets department by colonoscopys

The first time Buck touched him, Eddie blew an ambulance up.

still by brewrosemilk

For the first time, Buck longs for a bullet wound to treat. Dirt to dig at. A door to break through. Something. There’s nothing.

somewhere to stand and stay by teaspoon

“What are you doing right now?” Eddie asks. He sounds distracted; Buck can tell immediately that he’s driving.

authentication by v_greyson (greyson)

"Yeah, Eddie picks the guys so I don't make stupid decisions," Buck says, flicking through menus to pick a new racetrack.

The combination of Hen munching peanuts and looking back and forth between them makes Eddie feel like he's a zoo exhibit. Best Friends, captured in the wild, still feral, exhibiting behaviors heretofore unknown to science.

"Well, good luck with - all that," Hen says pointedly to Eddie. She is definitely not talking about the video game.

keeping score by arcanaphora

After getting dumped, Buck is left with two tickets to a weeklong cruise. Eddie steps in to support a friend in need, but complications arise when his friend becomes his fake husband. All's fair in love, war, and trivia.

if i said you could never touch me by marviless*

Eddie pulls back from him with a half-confused, half-concerned furrow in between his eyebrows. “Buck?”

Buck sags against the wall. “Sorry,” he says, wiping the back of his forearm against his forehead in a mixture of frustration and newfound exhaustion. “Sorry.”

Counting Pulses by tinyydancerr*

Eddie Diaz’s life is going great. He’s in therapy, he’s got a great girlfriend, a great kid, his friend is getting married to the woman of his dreams, and his best friend just came out to him.

Now his best friend is dating their new friend.

Things are going great. He promises.

porn-heavy (only a few of these are straight up pwp though):

Feel You Forever by semperama

“Is this…” Eddie meets his eyes again. “Is this new?”

a mess of my creation by Anonymous

They’re in the fucking bunk room. There’s someone snoring in the bed over by the bathroom, a good twenty feet and two beds away, and Buck doesn’t know if it’s Hen or Chimney or Bobby, but they’re in here, they’re asleep, and this is awful, this is so fucking unprofessional and if they get caught they are going straight to HR.

blood in the highs and count the stars by seachanged

“Go on,” Eddie says, nosing into the soft spot under Buck’s jaw.

Buck laughs, a little hysterically. ”You’re not serious.”

look straight ahead if you like it slow by hattalove

“This gets you going, huh?” Eddie grins, propping himself up on his elbows so he can move higher on the bed, reach the pretty pink bow of Buck’s mouth. “Devotion? You being it for me?” He stretches up toward Buck’s ear, whispers: “Monogamy?”

hang me up on your bedroom wall by eddiegettingshot

“You’re going to be a great father someday,” Eddie says eventually, because he’s worse than he used to be and Buck’s reverent eyes make him feel—they just make him feel.

“Eddie, I—”

“You are,” he repeats, firm. “Don’t you think I’d know better than anyone?

buck and eddie's red hot infidelity summer series by cranberrymoons

He’s not thinking about it. He’s not. He’s definitely not.

the moon like a spotlight by dykeries

Three months after Eddie moves to El Paso, Buck comes to visit.

this ecstasy, this forgetfulness of living by glorious_spoon

"You guess," Eddie repeats under his breath, but he sounds amused. He sets the boxes down and kicks the door shut behind him to wind through the chaos of Buck's half packed away kitchen. "You're insane."

love's not a game by thatbuddie (talktothesky)

“So that goal, huh?”

Buck groans, his hands clawing at the sheets beneath him as his toes curl up, the fire that’s been building up inside him for what feels like hours sizzling and uncontrollable in its path through Buck’s body.

i might kiss you on the back of your neck (because it’s christmas time) by sibylsleaves

Five Times Captain Diaz and Recruit Lieutenant Diaz fail to sleep together and one time they do.

would you offer your throat to the wolf with the red roses? by brattybuckley

Evan Buckley is currently on cloud nine. 

Well–

Honey on the Vine by sirencalls

Buck wakes up to an Eddie with stubble for the first time in months and refuses to let a good opportunity to go waste.

lock me down tonight by lecornergirl

Buck tells everyone Eddie talks him into it, but when it comes to Eddie, he’s never needed much convincing.

Mind Blowing Mess by EtoileGarden

"I’d like to have a threesome. I think.” 

“You think?” 

“Yeah,” Taylor eyed him for a moment, and then leaned a little further over the table, her chin in her hand. “Have you ever had one before?”

songs and poems and promises by lesbianrobin

“It’s crazy how different sex is with men,” Buck says, and everyone around him groans.

rodeo queen by okanus

“What’s the saying again? Save a horse…hm, y’know, I don't quite remember the rest of it.” Eddie can’t help the smile curving up the corner of his mouth.

“You’re an asshole,” Buck says, scowling. The tips of his ears are pink.

yes god don't speak by detectivemeer

“You’re staring.”

“What.” Eddie says. “No I’m not.” 

[6okuto-moved]

taps my mic. osamu who's just opened onigiri miya, who's so, so proud of himself but scared shitless all the same when teammates and family call to check in on him, whose smile wobbles not from anxiety but excitement when a customer shyly walks in.

and you, who he quickly learns the name of because you visit on the first day, and keep coming the days after—the first regular he hopes, and you promise, of plenty more.

he asks you for your opinions on the menu so far, the stools he's still not sure about, the volume of the television playing above, if the takeout box, filled with experimental flavours, he gave you for free a couple days ago had any winners. you answer happily, and even if it's a shrug or hand gesture meaning "so-so," osamu appreciates it all, deadset on turning your so-so's to something unquestionably good.

you're his secret to keep for a while, a good luck charm (for the whole staff, he specifies when you tease him about it) when you walk in. so when atsumu and his team visit for the first time since the grand opening, and one of the employees happily exclaims your name as the doorbell chimes, he shoots his twin a look. "wow, big shot, y'got regulars already?"

but atsumu's teasing lasts only a moment before his expression morphs into one of confusion, and then another—one a twin sends his twin when he realizes he's been kept in the dark about something, someone, that brings a sickeningly happy smile to the other's face. osamu isn't even looking at him when he answers—"yeah, one."

[who-always-pays-their-taxes]

Bruce is NOT Stephanie’s dad but she does hate him in a way that only a daughter can hate her father.

[saisaixchan]

Yamato

There’s a lot of discussion on Yamato’s gender. And the one take I see particularly often when it’s brought up, is about how Kaido 'forced' Yamato to be a man.

So, I wanted to explore this train of thought. And explain why this just isn't true.

First, let's explore every time Yamato has been referred to by feminine pronouns/gender.

Within the canon of the text, these are the only times Yamato has been called female, daughter, or princess.

(Chapter 984, pg. 17)

The first time is right after Yamato is properly introduced to the audience, and is following a panel where Luffy questions his gender.

(Chapter 984, pg. 17)

Here, Yamato explicitly says that he chose to be a man, like Oden was.

So it appears that the introduction Oda box was more to indicate Yamato’s birth sex, to confirm to the audience that yes, he was born a woman. But Yamato himself is confirming that while he was born female, he is choosing to identify himself as a man, due to how Oden inspired him.

After this moment, Luffy affirms Yamato’s gender by calling him by the nickname “Yama-o”, which is what he calls Law and Kid by as well.

(the rest under the cut. this is an EXTREMELY long post)

(Ch. 988, pg. 11)

(Ch. 1027, pg. 4)

(Ch. 1027, pg. 6)

(Ch. 1052, pg. 13)

[link to original post by @/kaizokuou-ni-naru​] (Ch.986, pg. 13)

The next few times, he’s called “Ogre Princess” as a child, by Kaido’s men. This confirms that at this point in time, Yamato was still known as a girl by Kaido and his underlings.

(Ch. 1024, pg. 8)

(Ch. 1025, pg. 6-7)

From this, we can assume that Kaido acknowledged that at this point, he had a daughter. No one was forcing Yamato to be male.

(Ch. 999, pg. 4)

The final moment he’s referred to by “daughter” is by Ace’s crewmate, who doesn’t know who Yamato is just yet. They’re enemies, and are in the middle of battle.

Here, Yamato looks mad at being called “daughter.” He’s growling by the suffix, and he doesn’t respond verbally to being called “Kaido’s daughter,” all he does is give an angry glare and an ellipses.

Second, lets explore the first time in Yamato’s timeline he’s referred to as a male.

(Ch. 1024, pg. 11) 

As far as the timeline goes, this is the first time Yamato is referred to by male pronouns by anyone in the story. And it’s by himself, in his own head, after Kaido has punished him.

“I am Oden, but also... the Son of Kaido.”

This is the first clue we have that Yamato views “Oden” and “Son of Kaido” as two separate identities. Oden is not the Son of Kaido. Yamato is.

(Ch. 1025, pg. 6)

It’s hard to tell the timeline here, but it appears that this is after Yamato escapes the cave, due to how dirty and scraped he is, and how he’s being snuck food by people.

So this would indicate that Yamato has already decided that he’s male, a son to Kaido. But this person helping is calling Yamato “Ogre Princess,” so it appears that this is not common knowledge yet.

But from what we can gather here, no one forced Yamato to be male. He saw Oden’s last stand, admired him, and decided that he would be a man just like Oden, as well as emulate him.

Yamato is still male regardless of his admiration of Oden, and by the time we enter the story currently, everyone acknowledges Yamato as Kaido’s son.

(Ch. 979, pg. 14)

(Ch. 983, pg. 17)

(Ch. 985, pg. 19)

(Ch. 1025, pg. 5)

(Ch. 1051, pg. 5)

(Ch. 1054, pg. 7)

(Ch. 1054, pg. 7)

No one acknowledges Yamato as “Oden” except for the samurai in the cave, and Kaido, when he’s mocking Yamato.

(Ch. 124, pg. 13)

(Ch. 124, pg. 9)

(Ch. 1024, pg. 10)

(Ch. 1014, pg. 4)

(Ch. 124, pg. 7)

Yamato is only referred to by feminine pronouns in the past.

In the story, Kaido, his men, Luffy, and every other character calls Yamato by he/him. Not because they’re feeding his desire to be Oden, or believe him to be Oden- but because that’s what Yamato wants to be called by- male pronouns.

Kaido hates Yamato for wanting to be like Oden. He despises it, to the point that he’s going to kill his own child over this. He never truly acknowledges Yamato as Oden.

And while Yamato’s desire to be a man was inspired by Oden’s manliness, Kaido still acknowledges Yamato as male, and specifically, his son. Both Yamato and Kaido acknowledge this, and no one once corrects them on it.

(Ch. 979, pg. 15)

(Ch. 980, pg. 10)

(Ch. 982, pg. 12)

(Ch. 983, pg. 16)

(Ch. 983, pg. 16)

In the present, he’s never called by “Ogre Princess.” He’s called “Young Master” (specifically a male gendered term in Japanese) and “he/him” by everyone around him, and Yamato never corrects them.

Which leads me to my third point.

Third, Yamato longs for freedom to express who he is. He has never done anything Kaido has tried to make him do.

(Ch. 985, pg. 9)

(Ch. 1016, pg. 15)

(Ch. 985, pg. 6)

(Ch. 1019, pg. 18) 

(Ch. 1024, pg. 16)

(Ch. 1025, pg. 5)

(Ch. 1025, pg. 7)

Yamato’s greatest desire is to live free.

Over and over, he has refused to follow Kaido’s orders. He refuses to live his life by Kaido’s word, and grew up in hiding, scraping by, starving and cold and running for his life constantly, watching anyone who helped him die for that crime.

Yamato has spent his entire life in chains thanks to Kaido, and wants nothing to do with his father’s influence.

Kaido has tried to force his decisions onto Yamato (literally with those shackles), but Yamato refused and refused and refused. He won’t do anything Kaido wants him to do, because he’s going to live the way HE wants to live.

(Chapter 984, pg. 17)

Yamato is a man because he chose to be a man. No one forced him to be one, and no one could force him to be something he doesn’t want to be.

The whole point of Yamato’s character is that he wants to live freely, and wants people to respect his decisions and choices.

He chose to be a man.

It’s probably the only decision in his life that Kaido has ever honored and respected.

Foruth, Kaido grew up knowing Big Mom.

He saw how powerful Big Mom was at a young age. She’s insanely strong, and he absolutely respects that. It’s because of her that he has his devil fruit, and it’s implied she was something of a big sister figure or mentor to him on Rock’s ship. And we know there were other powerful women on Rock’s ship as well.

When Big Mom shows up at Wano, Kaido never treats her as anything less than his equal.

His crew has women in high positions of power on it, from Black Maria, Ulti, to the SMILE users and others.

Kaido doesn’t view women as inherently weaker. His crew is a mix of genders, because he doesn’t care about gender. He only cares about strength and power. 

Yamato is not a man because Kaido thought having a son would be better or something along those lines. Kaido has never shown an interest in anything regarding gender separation or distinguishing them. Because that’s not what’s important to him.

He only cares about power.

His daughter decided to become his son? Fine, alright. It doesn’t matter to him. Yamato is still worthless to him either way.

Finally, the bath scene.

(Ch. 1052, pg. 13)

(Ch. 1052, pg. 13) 

(Ch. 1052, pg. 14)

We have Okiku in the women’s bath.

And Yamato in the men’s.

Okiku is explicitly a trans woman. She was born a man, and chose to become a woman instead- a female samurai. She seemed anxious asking to join the other women in the baths. And when she’s in there, she shows nothing but happiness and joy, finally in the bathroom that fits her gender identity. And the other women have no problem with her being in there, because they accept her as a woman.

Because she is a woman.

She doesn’t have to bathe with the men anymore, and she’s just so happy about that.

And Hiyori knows she’s a trans woman, having grown up with Okiku. And Hiyori shows nothing but acceptance and happiness to have her friend back and with her again.There is no disgust, no disagreements on what Okiku’s gender is here.

Everyone accepts Okiku as the woman she is and that is that.

And in contrast, we have Yamato in the men’s baths.

Yamato says earlier that there is no mixed bathing in the castle. He is enforcing that himself, refusing to bathe with Nami when she asks, and he chooses to bathe with the men. This is not something Kaido is forcing Yamato to do. He’s completely free to choose things for himself now. And he chooses to bathe witht he men, because that is Yamato’s preferred gender.

The only characters who react to this are Momonosuke, Sanji, and Brook, all characters who react to big bouncing tiddies, which Yamato undeniably has.

No one else reacts. Cat Viper, Jinbei, Chopper, Zoro, and Luffy all treat him like any other man.

These two panels are intentionally parallels of each other. Okiku, a trans woman that the story acknowledges as a trans woman, in the women’s baths. And Yamato, a trans man who’s gender identity was accepted by everyone in the cast, from Luffy to Kaido, in the men’s baths.

Concept Art

We have concept sketches by Oda, showing his thought process in creating Yamato.

Now, I want to be clear that none of these concept sketches are canon, but I want to explore a few of them, because some of their ideas bleed into canon Yamato in interesting ways.

It’s clear that Oda wanted to play with gender regarding Yamato’s character, which, as we can see, made it into the final character concept (re: this entire post).

Some of these sketches show Yamato resenting the idea of being considered a man when she’s a woman, some seem to imply that she’s ashamed or disappointed to be a woman (”But I’m a girl, not a guy like him...” “Doesn’t want anyone to know she’s a girl”), and others show Yamato disregarding their birth gender (“Who cares if I’m a girl?!”).

What I find most interesting is that, regardless of which view concept Yamato has on their gender, they’re very specific about which gender they HAVE.

Almost all of the concept Yamato’s identify or view themselves as women, even the ones that seem to lament their gender. One of them corrects a guard who calls her Young Master, an explicitly male gendered term as discussed above.

Canon Yamato is called Young Master by all of Kaido’s crew, and does not correct them on his gender.

This is the biggest difference between the concept and final version of Yamato. Concept Yamato all view themselves as female, while the final version views himself as male. This view on his own identity was a very specific choice Oda made for the character.

What I’m saying is, the takeaway I get from these sketches is that, if Canon Yamato viewed himself as a woman, given his force of character and stern opinion on his identity, he would IMMEDIATELY correct those around him who call him by male pronouns or identifying terms.

But he doesn’t. He calls himself the Son of Kaido, and the one time someone questions his gender identity (Luffy, “You said son, right?!”), Yamato reaffirms that yes, he’s a man.

In conclusion:

Yamato is a trans man.

No one ever forced him to do anything. He ran, hid, and scraped by, longing for the chance to be free and express himself in the way he chooses. And he chose to be a man. Of every decision Yamato has ever made, this was the only one that Kaido respected, since Yamato’s gender has nothing to do with his usefulness (or lack thereof) to Kaido, and it doesn’t directly oppose the things Kaido has tried to force onto Yamato.

And his gender identity as a man is separate from being Oden. While Yamato calls himself Kozuki Oden, several times he says he doesn’t feel like he’s truly earned the title/role of Kozuki Oden.

But he calls himself a man. And so does Luffy, Kaido, Kaido’s men, and everyone else. Yamato doesn’t correct them, and only reaffirms his chosen gender. He is Kaido’s son by choice. A choice inspired by Oden’s manliness, but a choice separate from that identity.

[laser-tripwires]

what is your read on the scene in the pilot where eliot and nate are playing pool? do you think eliot was being genuinely empathetic or just making small talk? was eliot genuinely hurt by nate?

neither, and both. he wasn't making small talk, he wasn't genuinely hurt, but it's more complicated than that. that scene exists for a wide number of reasons, and very few of those reasons actually have anything to do with eliot. nate is the protagonist, and that scene is arguably the most important character exposition we get on him in the entirety of the nigerian job - BUT there's still a lot you can read about eliot and the team dynamics as a whole, as well as foreshadowing for the wider show.

the scene actually opens not with the pool game, but with hardison pulling nate over to tell him he got dubenich's financials. i call this out because - in the original pilot script? this got cut off from the pool scene by a dubenich interlude which didn't make it into the final show.

now, that's probably information management - much, much easier to focus on nate and eliot's convo if we're not thinking about what dubenich is doing, and the exposition from the dubenich mini-scene wasn't very important. but there's another reason, too -

nate smiles and claps a hand on hardison's shoulder before heading back over to the pool game. it's a fatherly moment! a lot of the nigerian job is dedicated to setting up nate's relationships with the trio (the fact that parker gets mentorship instead of fatherliness in this ep is kinda long goodbye job foreshadowing, even if likely unintentional), and this reiterates that he's gonna be a father to hardison. it's placement just before this conversation with eliot is also telling us that this relationship with the team is going to be the thing that heals nate, which eliot all but says aloud a minute or so later (i'll get there).

right, so the next beat of the scene is eliot offering nate a beer and nate refusing. which is... interesting, given as nate was practically drinking himself to death at the beginning of this episode and will spend the rest of the season doing just that. he clearly has an issue with alcohol and that's clearly being set up to be a large part of his arc. so refusing a drink is significant, and we cut from a wide shot (featuring some truly adorable parker lockpicking, parker picks locks like other people knit) into eliot and nate's game because like eliot, we're curious about this.

nate takes his pool shot - eliot looks to nate, to the beer bottle, and back to nate. he's not paying attention to the pool game because eliot is very smart and has just picked up on the thing i pointed out to all of you a second ago - that refusal of the beer is weird and significant. nate's doing better - which eliot says.

nate almost looks up at eliot but takes his shot instead, and eliot continues. nate mutters a "yeah," without looking at eliot. which eliot again notices, and points out that it bothers nate.

eliot's turned around and sat on the pool table now. his focus isn't on the game anymore, it's on nate. it's really hard to critique this scene from eliot's perspective because the whole point of the scene is to get us as the audience inside nate's head, and eliot's needling is the vehicle through which we do that - he's asking the questions and making the assumptions that we as the audience are doing here. nate's a prickly bastard.

nate does, however, admit that it bothers him. with another of those despondant yeahs. he moves away from the pool and towards eliot, but still isn't looking eliot in the eye. "I mean, this isn't supposed to feel-"

"Good?"

camera change on eliot's line there so we get a better look at eliot's face, and nate's finally looking at him. "good" is likely not the descriptor that nate would have stammered out if his sentence had been allowed to continue, but eliot's a blunt person and more importantly eliot's not wrong. he then smiles, which catches nate off-guard, and after a beat eliot continues.

"It's not hard to figure out. Dubenich screwed ya. He cheated by stealing from that other company and your good guy brain sees him as the bad guy. Your conscience is clear."

midway through that speech, we cut to nate's reaction so we're watching him instead of eliot. he's stony. everything eliot's saying is correct, and most of it is explaining subtext that the audience should already have picked up on. but, y'know. nate is a prickly bastard.

(side note on the script again - the change from "ripped you off" to "screwed ya" is a great example of the kind of edits that get made on the fly after you cast actors with certain affects. not relevant here but i think it's cool - WISH we had the scripts for the rest of the show, because the amount to which this one is useful for analysis and insight cannot be overstated.)

now's when it gets interesting. without a change in facial expression, nate asks eliot if he wants to take his shot - he's not quite interrupting, but he's also clearly trying to cut the conversation short. there's two possible meanings to that line - one, nate's meaning, of shut the fuck up and keep playing. two, the subtextual meaning and what eliot takes it as, which is; get to the point.

eliot takes another swig of beer, nods, and we cut to a close up of him as he pauses and reconsiders the tack of the conversation. i very very much read this as eliot trying to figure nate out here - he had a hypothesis about the state of things, and nate's response let him know he was on the right tack. it's worth remembering that (despite what people tend to percieve him as) eliot is an extremely emotionally intelligent character, and that's being established here as well as everything else.

so he starts out another speech, looking nate in the eye - it's the most intimate moment of the conversation so far, and that's important. "Listen, I'm sorry about your kid."

to me, it's abundantly clear that eliot could have kept talking from there, made whatever point he was about to. but he leaves the space open for nate to respond. small talk is the wrong word for this, and eliot's not exactly feeling out an emotional connection; but he is clearly and deliberately giving nate the opportunity to open up and respond, both out of genuine empathy and (as we already saw) a desire to unpick a little more of what makes nate tick. that's part of eliot's job, after all. he is being a nice person here.

and nate... well, nate's expression doesn't change. the sensible and expected thing to do here would be to say, y'know, thanks, and then move on with the game. but, as i've already said, nathan ford is a prickly bastard. worth pulling up the script again here:

because yeah, he shuts down. we're two thirds of the way through the pilot episode and once again this is serving as exposition for the viewer - nate is in a lot of emotional pain, and he doesn't exactly do touchy-feely feelings. he'd much rather hide at the bottom of a bottle than sort out his issues. anger, and grief, and anger.

now, eliot says that "everybody knows." he half whispers that line, which i think is a really great touch - it's a lot more tender in tone than the response could have been, and i don't think nate picks up on that. my reservations on them as people aside, christian kane and timothy hutton's acting throughout this scene is superb. it's hard to explain, but eliot's affect changes for the next line - "Guy like you goes off the street, a lot of people notice." he's still almost whispering, but he's trying to tug the conversation a little bit towards levity. the emphasis on "a lot" is almost jokey - people smarter than me have pointed out that eliot in early season one has a soft sarcastic vibe that isn't present for a lot of the rest of the show. it's a continuation of what we saw earlier in the episode in the hospital scene.

but once that's said, he halts, and we see his eyes soften a little - he stops quite meeting nate in the eye.

it's a soft little moment of comprehension. eliot has lost a lot of people close to him, and has witnessed the deaths of many innocent children. he absolutely does know what nate is feeling. arguably, bereavement destroyed eliot's life infinitely more than it did nate's. so we get a genuine flash of empathy here. he's thought about this, after hearing of it, maybe before even taking the job for dubenich. "And it was a bad story, too."

we cut back to nate for a second there. he's lost - trapped in a hospital in los angeles rather than a penthouse in chicago. as a first time viewer, though, we don't quite know what he's thinking.

so eliot asks. "How'd they justify that, huh? The insurance company, just... not paying for his treatment?"

and the thing is, coming from someone who's watched seven seasons of eliot being unfailingly protective of every child and vulnerable party who's crossed his path... i genuinely think eliot meant that. yeah, not as an actual question, but as comiseration and sympathy for what he can tell is an awful situation.

but this is nate's show. and we're in nate's head. so we follow nate, across three years of anger and pain and into that hospital room. we see for the first time where nate's standing here, the depths of that sorrow in the moments before it manifested.

worth noting that it's not the full scene - nate running in to grab sam's body was filmed with the pilot but cut back to be saved for the finale, which was a damn good choice. but even what we see here is enough to fully ground us in nate's backstory - we've been watching him dance around in chaos for most of an episode, clearly greiving his son, and now we see the cause of all that hurt. once again, this exchange makes much more sense from the perspective of the writers trying to establish and expand on crucial emotional beats.

when we flash back to nate and eliot, the camera angle has changed. noteable, because we were on a solid back-and-forth talking shot for a minute or so there, and this fully segments the scene instead of plopping us back where we just were.

we've just experienced first-hand the spiral that nate's thoughts have gone down. he answers eliot, still lost in thought - "They claimed it was experimental."

from eliot's perspective, that's a response to his question and an accepting of his empathy. from our perspective, it's an anguished statement of pondering, the re-rotation of a thought that's been trapped in nate's head for three fucking years. they claimed. he is, as we will see in the david episodes, so, so, so angry.

eliot smirks, then drinks. we cut back to his face and the original camera angles. his is where the pilot rewrite between scripting and shooting is the most obvious - in the original script, nate picks up the beer, and that's what prompts eliot's next line.

in the filmed episode, we stick instead on nate's face and let eliot continue. the emotional beat is identical, but it places a greater emphasis on nate's pain and eliot's powers of perception. it's an unimportant script edit, but an interesting one.

what happens next... "Should have kept one of those Monets you found, hm? You fence that -" and it's only at this point nate actually interjects.

i don't think eliot here is deliberately being insensitive nor do i think he's directly trying to just raise nate's spirits. you gotta remember that we as the viewers in nate's head for this scene, not eliot's, and from eliot's perspective the tone has just gotten less gut-wrenching, not more - but eliot's also, as i previously noted, an extremely emotionally intelligent person. it's why i've gone through the whole scene instead of jumping directly to this bit you asked me about, because i really do think the full context is needed to understand.

so, nate interrupts. "Eliot, you and I are not friends."

this is again where context is so important. it's not that he cares about what eliot's actually saying (though i could write a very different essay about how that line of eliot's is lampshading a pretty obvious plothole) but that he's just had to forcibly pull himself back to the present day and he thinks eliot's being annoying and would like him to shut up now, please. not all that different from him asking eliot to take his shot earlier, really, though i think eliot picks up on the curtness.

nate raises his eyebrows. it's a nice attempted reversal of power dynamics - yes he has just interrupted and been rude, but he also immediately attempts to swing the conversation's psycoanalysis onto eliot and why are you talking to me about this i don't know you. of course, we as the viewer can tell nate's in deflective mode, but we'd expect eliot to take it at face value -

which. he doesn't. we get this super interesting little "oh... right." face, and i think it's less eliot realising he's struck a nerve (though it also is that) as it is eliot properly clicking in to what nate's thinking here. i stress again that eliot really is a tremendously emotionally intelligent character, definitely moreso than nate is, and that's reflected in this scene. both of them bounce off one another here a little bit differently to how you'd expect them to just looking at archetypes, and it's this kind of thing that makes the leverage pilot so good.

because eliot picks up on the messaging nate's putting down, the prickly i'm-not-having-an-emotional-conversation-with-a-criminal-i-just-met facade, but he also kinda sees right through it. "...Right. 'Cause you have so many of them."

and it's again this softly sarcastic vibe that's pretty unique to early season one eliot, but it really works here in reestablishing that A) eliot's more observant than nate is giving him credit for, B) he's not going to let nate get away with being tacitly kind of a dick, C) he's really not easily rattled and D) eliot is as much of a chaos gremlin as the rest of the team. this is not the affect of a man actually hurt by what nate said.

all in all, good stuff. but now for the reason i dug the script out to begin with - the ending. it's a well-known piece of trivia that they shot the pilot without a defined ending for the next nate/sophie beat only for aldis to improv the world's best "oooooooh," but what's really fun is if you know that this is because the nate/sophie beat here was actually a late addition. in the script, eliot and nate's conversation finishes like this:

and end scene. eliot still gets the final word, so as to speak, but nate gets a lot more quiet reflection and a much more overt point that nate and eliot are at least peers if not friends right now. but here, instead, sophie presumably starts walking towards nate off-camera and eliot steps back - "Incoming."

and then we're on to nate and sophie, and the scene continues with a new focus as nate is left reeling.

but i really, really like the ending we get because it's that same establishment of peership, of eliot calling out nate's crap, but also of the fact that the power dynamics here aren't as they'd first seem. nate's greiving too much. eliot understands but isn't gonna let it get to him or impact the team. this... is all crucial as far as character establishment is concerned.

this answer got long. i think that this scene is just so, so important for establishing both nate and eliot's characters - and i think people miss an infinite amount of nuance when they take the surface-level reading that eliot said something which annoyed nate and nate was mean. that's very much not what happened, but it also kinda is, and it's what makes this so fun to pick apart. eliot and nate have a fascinating relationship, and it's one that's all too often overlooked. here's john rogers's take on it:

and... yeah!!! you can see all that really clearly in this scene. they respect one another, but that doesn't mean they have to like one another, at least not yet. it's good stuff.

[confessedlyfannish]

Writing Prompt #12

Bruce is reading the paper when the pour of Tim's coffee goes abruptly quiet. It would be hard to pinpoint why this is disturbing if it wasn't for the way the soft, tinny sound the vent system in the manor makes cuts out for the first time since being updated in the 90s. The pour, Bruce realizes, has not slowed to a trickle before stopping. It has simply stopped. And there is no overeager clack of a the mug against the marble counter or the uncouth first slurp (nor muttered apology at Alfred's scolding look) immediately following the end of the pour.

Bruce fights the instinct to use all of his senses to investigate, and instead keeps his eyes on the byline of the article detailing the latest set of microearthquakes to hit the midwest in the last week. Microearthquakes aren't an unusual occurrence and aren't noticeable by human standards, which is why this article is regulated to page seven, but from several hundred a day worldwide to several hundred a day solely in the East North Central States, seismologists are baffled.

Bruce had been considering sending Superman to investigate under the guise of a Daily Planet article requested by Bruce Wayne (Wayne Industries does have an offshoot factory in the area) when everything had stopped twenty seconds ago. That is what he assumes has happened (having not moved a muscle to confirm) in the amount of time he assumes has passed. His million dollar Rolex does not quite audibly tick but in the absolute silence it should be heard, which confirms the silence to be exactly that—absolute.

While Bruce can hold his breath with the best of the Olympian swimmers, he has never accounted for a need to remain without blinking without being able to move one's eyes. Rotating the eyeballs will maintain lubrication such that one could go without blinking for up to ten minutes. But staring at the byline fixedly, he estimates another twenty seconds before tears start to form.

These are the thoughts Bruce distracts himself with, because he doesn't dare consider how Tim and Alfred haven't made a (living) sound in the past forty-five seconds. About Damian, packing his bag upstairs for school after a morning walk with Titus that was "just pushing it, Master Damian".

There is a knife to his right, if memory serves (it does). In the next five seconds—

"Your wards and guardian are fine, Mr. Wayne," the deepest voice Bruce has ever heard intones. For a dizzying moment, it is hard to pinpoint the location of the voice, for it comes from everywhere—like the chiming of a clocktower whilst inside the tower, so overpowering he is cocooned in its volume.

But it is not spoken loudly, just calmly, and when he puts the paper down, folds it, and looks to his right, a blue man sits in Dick's chair.

He wears a three piece suit made entirely of hues of violet, tie included. He has a black brooch in the shape of a cogwheel pinned to his chest pocket, a simple chain clipped to his lapel. Black leather gloves delicately thumb Bruce's watch (no longer on his wrist, somewhere between second 45 and 46 it has stopped being on his wrist), admiring it.

"You'll forgive me," the man says with surety. "Clocks are rather my thing, and this is an impressive piece." He turns it over and reveals the 'M. Brando' roughly scratched into the silver back. He frowns.

"What a shame," he says, placing it face side up on the table.

"Most would consider that the watch's most valuable characteristic." Bruce says, voice steady, hands neatly folded before him. Two inches from the knife. To his left, there is an open doorway to the kitchen. If he turns his head, he might be able to get a glance of Tim or Alfred.

He doesn't look away from the man.

"It is the arrogance of man," the man says, raising red eyes (sclera and all) to Bruce, "to think they can make their mark on time."

"...Is that supposed to be considered so literally?" Bruce asks, with a light smile he does not mean.

The man smiles lightly back, eyes crinkling at the corners. He looks to be in his mid thirties, clean-shaven. His skin is a dull blue, his hair a shock of white, and a jagged scar runs through one eye and curving down the side of his cheek, an even darker, rawer shade of blue-purple.

The man turns the watch back over and taps at the engraving. "Let me ask you this," he says. "When we deface a work of art, does it become part of the art? Does it add to its intrinsic meaning?"

Bruce forces his shoulders to shrug. "It's arbitrary," he says. "A teenager inscribes his name on the wall of an Ancient Egyptian temple and his parents are forced to publicly apologize. But runic inscriptions are found on the Hagia Sophia that equate to an errant Viking guard having inscribed 'Halfdan was here' and we consider it an artifact of a time in which the Byzantine Empire had established an alliance with the Norse and converted vikings to Christianity."

"The vikings were as errant as the teenager," the man says, "in my experience." He leans back in his chair. "I suppose you could say the difference is time. When time passes, we start to think of things as artistic, or historical. We find the beauty in even the rubble, or at least we find necessity in the destruction..."

He offers Bruce the watch. After a moment, Bruce takes it.

"The problem, Mr. Wayne, is that time does not pass for me. I see it all as it was, as it is, as it ever will be, at all times. There is no refuge from the horror or comfort in that one day..." he closes his hand, the leather squeaking. And then his face smooths out, the brief severity gone. He regards Bruce calmly.

"You can look left, Mr. Wayne."

Bruce looks left. Framed by the doorway, Tim looks like a photograph caught in time. A stream of coffee escapes the spout of the stainless steel pot he prefers over the Breville in the name of expediency, frozen as it makes its way to the thermos proclaiming BITCH I MIGHTWING. Tim regards his task with a face of mindless concentration, mouth slack, lashes in dark relief against his pale skin as he looks down at the mug. Behind him, Bruce can see Alfred's hand outstretched towards the refrigerator handle, equally and terrifyingly still.

"My name is Clockwork," the man says. "I have other names, ones you undoubtedly know, but this one will be bestowed upon me from the mouth of a child I cherish, and so I favor it above all else. I am the Keeper of Time."

"What do you want from me?" Bruce asks, shedding Wayne for Batman in the time it takes to meet Clockwork's eyes. The man acknowledges the change with a greeting nod.

"In a few days time, you will send Superman to the Midwest to investigate the unusual seismic activity. By then, it will be too late, the activity will be gone. They will have already muzzled him."

"Him."

"There is a boy with the power to rule the realm I come from. Your government has been watching him. The day he turned 18, they took him from his family and hid him away. I want you to retrieve him. I want you to do it today."

"Why me?"

"His parents do not have the resources you do, both as Batman and Bruce Wayne. You will dismantle the organization that is keen on keeping him imprisoned, and you will offer him a scholarship to the local University. You and yours will keep him safe within Gotham until he is able to take his place as my King."

This is a lot of information to take in, even for Bruce. The idea that there could be a boy powerful enough to rule over this (god, his mind whispers) entity and that somehow, he has slipped under all of their radars is as frustrating as it is overwhelming. But although Clockwork has seemed willing to converse, he doesn't know how many more questions he will get.

"You have the power to stop time," he decides on, "why don't you rescue him? Would he not be better suited with you and your people?"

"Within every monarchy, there is a court," Clockwork. "Mine will be unhappy with the choice I have made," he looks at Bruce's watch, head cocked. "In different worlds, they call you the Dark Knight. This will be your chance to serve before a True King."

Bruce bristles. "I bow to no one."

"You'll all serve him, one day," Clockwork says, patiently. "He is the ruler of realms where all souls go, new and old. When you finally take refuge, he will be your sanctuary." He frowns. "But your government rejects the idea of gods. All they know is he is other. Not human. Not meta. A weapon."

"A weapon you want me to bring to my city."

"I believe you call one of your weapons 'Clark', do you not?" Clockwork asks idly. "But you misunderstand me. They seek to weaponize him. He is not restrained for your safety, but for their gain."

"And if I don't take him?" Bruce asks, because a) Clockwork has implied he will be at the very least impeded, at worst destroyed over this, and b) he never did quite learn not to poke the bear. "You won't be around if I decide he's better off with the government."

"You will," Clockwork says, with the same certainty he's wielded this entire conversation. "Not because he is a child, though he is, nor because you are good, though you are, nor even because it is better power be close at hand than afar.

"I have told you my court will be unhappy with me. In truth, there are others who also defend the King. Together we will destroy the access to our world not long after this conversation. The court will be unable to touch him, but neither will we as we face the repercussions for our actions. I am telling you this, because in a timeline where I do not, you think I will be there to protect him. And so when he is in danger, even subconsciously, you choose to save him last, or not at all. And that is the wrong choice.

"So cement it in your head, Bruce Wayne," the man says, "You will go to him because I tell you to. And you will keep him safe until he is ready to return to us. He will find no safety net in me. So you will make the right choice, no matter the cost."

"Or, when our worlds connect again, and they will," his voice now echoes in triplicate with the voices of the many, the young, the old, Tim, Bruce's mother, Barry Allen, Bruce's own voice, "I will not be the only one who comes for you."

"Now," he says, producing a Wayne Industries branded BIC pen. "I will tell you the location the boy is being kept, and then I would like my medallion back, please. In that order."

Bruce glances down and sees a golden talisman, attached to a black ribbon that is draped haphazardly around the neck of his bathrobe, so light (too light, he still should have—) he has not felt its weight until this moment.

Bruce flips the paper over, takes the pen, and jots down the coordinates the being rattles off over the face of a senator. By his calculation, they do correspond with a location in the midwest.

"You will find him on B6. Take a left down the hallway and he will be in the third room down, the one with a reinforced steel door. Take Mr. Kent and Mr. Grayson with you, and when you leave take the staircase at the end of the hallway, not the elevator."

The man gets up, dusts off his impeccably clean pants, and offers him a hand to shake.

"We will not meet again for some time, Mr. Wayne."

Bruce looks at the creature, stands, and shakes his hand. It feels like nothing. The Keeper of Time sighs, although nothing has been said.

"Ask your question, Mr. Wayne."

"I have more than one."

"You do," Clockwork says. "But I have heard them all, and so they are one. Please ask, or I will not be inclined to answer it."

"What does this boy mean for the future, that you are willing to sacrifice yourself for him?"

There is a pause.

"So that is the one," Clockwork says, after a time. "Yes. I see. I should resolve this, I suppose."

"Resolve what?"

"It is not his future I mean to protect," the man says. "It is his present."

"You want to keep him safe now..." Bruce says, but he's not sure what the being is trying to say.

"I am not inclined," Clockwork repeats, stops. His expression turns solemn, red eyes widening. In their reflection, Bruce can see something. A rush of movement too quick to make heads or tails of, like playing fast forward on a videotape. "Superman reports no signs of unusual seismic activity. With nothing further to look into, you let it go in favor of other investigative pursuits. You do not find him, as you are not meant to. He stays there. His family, his friends, they cannot find him. His captors tell him they have moved on. He does not believe them, until he does. He stays there. He stays there until he is strong enough to save himself."

Clockwork speaks stiffly, rattling off the chain of events as if reading a Justice League debrief. "He is King. He will always be King. He is strong, and good, and compassionate, and he is great for my people because yours have betrayed his trust beyond repair. He throws himself into being the best to ever Be, because there is nothing Left for him otherwise. We love him. We love him. We love him. My King. Forevermore."

The red film in his eyes stall out, and Bruce is forced to look away from how bright the image is, barely making out a silhouette before they dull back to their regular red.

"I am not inclined," Clockwork says slowly, "To this future."

"Because of what it means in the present," Bruce finishes for him. "They're not just imprisoning him, are they."

"They will have already muzzled him."

Clockworks is right in front of him faster than he can process, fist gripping the medallion at his neck so tight he now feels the ribbon digging into his skin.

"Unlike you, Mr. Wayne," and for the first time, the god is angry, and the image of it will haunt Bruce for the rest of his life, "I do not believe in building a better future on the back of a broken child."

"Find him," the deity orders, and yanks the necklace so hard the ribbon rips—

Clack!

"sluuuuurp!"

"Master Timothy, honestly!"

"Sorry Alfred!"

[chaoticke-rambles]

I’m interested in how both Charles and Edwin treat the whole idea of being “detectives.”  Obviously, they are detectives.  They have formed a detective agency, they run cases, it’s their whole thing; it’s how they spend their afterlives.  But it’s more than just that.

They both take the detective work very seriously.  Edwin comes off, generally, as more serious than Charles about it, with his little asides about being a “proper” detective and the methodical ways he likes to do things, but Charles is clearly into it, too.  And sometimes it feels so clearly like they’re playing at the idea of being detectives that it’s almost like a game or a roleplay for them.  They want to be (and are) detectives, but they are two teenage boys who have styled themselves after the idea of being detectives.  Then there are moments where this “performance” of detective work begins to break down.

For Edwin, this happens earlier in the season.  In the first episode, he admits that the detective work matters because he needs it, emotionally, to matter.  His and Charles’s cases didn’t get solved, no one cared.  He needs someone to care.  That’s his investment in being a detective; its more than just a game for him.  When the Cat King casts his truth spell, this is only built upon.  He says he does the detective work, too, because he wants to stay out of hell.  For a while, though, I was trying to find Charles’s investment.  Yeah, his case was also written off when he died, but didn’t seem as upset about that as Edwin.  On the first watchthrough, I wondered if Charles’s investment in the detective work was simply because Edwin was invested.

Then there’s episode 4, when Charles beats the Night Nurse, and part of the speech he yells at her is about being a detective.  I think that’s when it started to click for me that there was something deeper going on with him, too, about the detective work specifically.  Charles is upset he died, he never came to terms with it.  I wonder if part of the reason he’s so invested in being a detective is because it gives him a sense of purpose and impact that he misses from being alive.  He could never stop the things he wanted to stop, never protect the people he wanted to protect, but at least he has this, with Edwin.  At least they are detectives, and Charles can feel needed, feel like his life didn’t end so early for no reason at all.  

I think a lot about the concept of ghosts having unfinished business and how that might apply to both Charles and Edwin, and I think that the detective agency, despite how it sometimes comes off as playacting, is deeply tied to both of their psyches.  Edwin needs the detective agency to feel like there was a point to everything that happened to him.  That maybe no one cared he disappeared, and maybe he ended up in hell, but it wasn’t for nothing.  They can try to keep it from happening to anyone again.  And Charles?  Well, he needs the detective agency because there was no point to what happened to him.  He shouldn’t have died, and he’s not ready to move on to an afterlife.  He needs to feel like he’s needed, like there’s something he can do.  If it hadn’t been a detective agency these two formed, it would have been something else because they had too many deep-rooted issues that have been sublimated into the agency itself.

[hoshiina]

— a guy asks for your number ft. hoshina, narumi, reno

warnings: mentions dick and profanities in hoshina's

[beets]

baby, bi bi bi