#So like if we interpret it as above we can make it work at least

[capybaraonabicycle]

Doctor: Huh, is that who I am now?

Donna: It was never that far from the surface, mate.

Doctor: frowns Yes, it was! You know I used to be a woman. And that made people... assume all sorts of stuff. And - and pretending to be Graham's wife for five minutes was bad enough but - Byron? That was torture. Does the man ever stop talking?

Donna: Takes one to know one

Doctor: Oi! I just mean, there were all these men people assumed I would be into and I - and I just - I just wanted -

Donna: I know, darling.

Doctor: softly I just wanted Yaz.

Donna: I know. - There was one man, though, remember?

Doctor: No, there wasn't! I don't fancy the Master!

Donna: ...

Doctor: Okay, fine. But the Master isn't a man. He's like me! Flexible - uh - timelord gender and stuff.

Donna: Sure.

Doctor: So, anyway, I have always been primarily into wom-

Donna: What about Jack Harkness?

Doctor: - Jack doesn't count, everyone fancies Jack.

Donna: ...fair enough.

[maniculum]

Medieval Scorpions Effortpost

So yesterday I reblogged this post featuring an 11th-century depiction of the Apocalypse Locusts from Revelations, noting the following incongruity as another medieval scorpion issue:

The artist, as you can see, has interpreted "tails like scorpions" as meaning "glue cheerful-looking snakes to their butts".

Anyway, it occurred to me that the medieval scorpion thing might not be as widely known as I think it is, and that Tumblr would probably enjoy knowing about it if it isn't known already. So, finding myself unable to focus on the research I'm supposed to be doing, I decided to write about this instead. I'll just go ahead and put a cut here.

As we can see in the image above, at least one artist out there thought a "scorpion" was a type of snake. Which makes it difficult to draw "tails like scorpions", because a snake's tail is not that distinctive or menacing (maybe rattlesnakes, but they don't have those outside the Americas). So they interpreted "tails like scorpions" as "the tail looks like a whole snake complete with head".

Let me tell you. This is not a problem unique to this illustration.

See, people throughout medieval Europe were aware of scorpions. As just alluded to, they are mentioned in the Bible, and if the people producing manuscripts in medieval Europe knew one thing, it was Stuff In Bible. They're also in the Zodiac, which medieval Europe had inherited through classical sources. However, let's take a look at this map:

That's Wikipedia's map of the native range of the Scorpiones order, i.e., all scorpion species. You may notice something -- the range just stops at a certain northern latitude. Pretty much all of northern Europe is scorpion-free. If you lived in the north half of Europe, odds were good you had never seen a scorpion in your life. But if you were literate or educated at all, or you knew they were a thing, because you'd almost certainly run across them being mentioned in texts from farther south. And those texts wouldn't bother to explain what a scorpion was, of course -- everyone knows scorpions, right? When was the last time you stopped to explain What Is Spiders?

So medieval writers and artists in northern Europe were kind of stuck. There was all this scorpion imagery and metaphor in the texts they liked to work from, but they didn't really know what a scorpion was. Writers could kind of work around it (there's a lot of "oh, it's a venomous creature, moving on"), but sometimes they felt the need to break it down better. For this, of course, they'd have to refer to a bestiary -- but due to Bestiary Telephone and the persistent need of bestiary authors to turn animals into allegories, one of the only visual details you got on scorpions was that they... had a beautiful face, which they used to distract people in order to sting them.

And look. I'm not here to yuck anyone's yum, but I would say that a scorpion's face has significant aesthetic appeal only for a fairly small segment of the population. I'm sure you could get an entomologist to rhapsodize about it a bit, but your average person on the street will not be entranced by the face of a scorpion. So this did not help the medieval Europeans in figuring out how to depict scorpions. There was also some semantic confusion -- see, in some languages (such as Old and Middle English), "worm" could be a general term for very small animals of any kind. But it also could mean "serpent".* So there were some, like our artist at the top of the post, who were pretty sure a scorpion was a snake. This was probably helped along by the fact that "venomous" was one of the only things everyone knew about them, and hey, snakes are venomous. Also, Pliny the Elder had floated the idea that there were scorpions in Africa that could fly, and at least one author (13th-century monk Bartholomaeus Anglicus) therefore suggested that they had feathers. I don't see that last one coming up much, I just share it because it's funny to me.

*English eventually resolved this by borrowing the Latin vermin for very small animals, using the specialized spelling wyrm for big impressive mythical-type serpents, and sticking with the more specific snake for normal serpents.

Some authors, like the anonymous author of the Ancrene Wisse, therefore suggested that a scorpion was a snake with a woman's face and a stinging tail. (Everyone seemed to be on the same page with regards to the fact that the sting was in the tail, which is in fact probably the most recognizable aspect of scorpions, so good job there.) However, while authors could avoid this problem, visual artists could not. And if you were illustrating a bestiary or a calendar, including a scorpion was not optional. So they had to take a shot at what this thing looked like.

And so, after this way-too-long explanation, the thing you're probably here for: inaccurate medieval drawings of scorpions. (There are of course accurate medieval drawings of scorpions, from artists who lived in the southern part of Europe and/or visited places where scorpions lived; I'm just not showing you those.) And if you find yourself wondering, "how sure are you that that's meant to be a scorpion?" -- all of these are either from bestiaries or from calendars that include zodiac illustrations.

11th-century England, MS Arundel 60. (Be honest, without the rest of this post, if I had asked you to guess what animal this was supposed to be, would you have ever guessed “scorpion”?)

12th-century Germany, "Psalter of Henry the Lion". (Looks a bit undercooked. Kind of fetal.)

12th-century France, Peter Lombard's Sententiae. (Very colorful, itsy bitsy claws, what is happening with that tail?)

12th-century England, "The Shaftesbury Psalter". (So a scorpion is some sort of wyvern with a face like a duck, correct?)

13th-century France, Thomas de Cantimpré's Liber de natura rerum. (I’d give them credit for the silhouette not being that far off, but there’s a certain bestiary style where all the animals kind of look like that. Also note how few of these have claws.)

13th-century England, "The Bodley Bestiary". (Mischievous flying squirrel impales local man’s hand, local man fails to notice.)

13th-century England, Harley MS 3244. (A scorpion is definitely either a mouse or a fish. Either way it has six legs.)

13th-century England, Harley MS 3244. (Wait, no, it’s a baby theropod, and it has two legs. (Yes, this is the same manuscript, that’s not an error, this artist did four scorpions and no two are the same.))

13th-century England, Harley MS 3244. (Actually it’s a lizard with tiny ears and it has four legs.)

13th-century England, Harley MS 3244. (Now that we’re at the big fancy illustration, I think I’ve got it — it’s like that last one, but two legs, longer ears, and a less goofy face. Also I’ve decided it’s not pink anymore, I think that was the main problem.)

13th-century England, MS Kk.4.25. (A scorpion is a flat crocodile with a bear’s head.)

13th-century England, "The Huth Psalter". (Wyvern but baby! Does not seem to be enjoying biting its own tail.)

13th-century England, MS Royal 1 D X. (This triangular-headed gentlecreature gets the award for “closest guess at correct limb configuration”. If two of those were claws, I might actually believe this artist had seen a scorpion before, or at least a picture of one.)

13th-century England, "The Westminster Psalter". (A scorpion is the offspring of a wyvern and a fawn.)

13th-century England, "The Rutland Psalter". (Too many legs! Pull back! Pull back!)

13th or 14th-century France, Bestiaire d'amour rimé. (This is very similar to the fawn-wyvern, but putting it in an actual Scene makes it even more obvious that you’re just guessing.)

14th-century Netherlands, Jacob van Maerlant's Der Naturen Bloeme. (More top-down six-legged guys that look too furry to be arthropods.)

14th-century Germany, MS Additional 22413. (That is clearly a turtle.)

14th-century France, Matfres Eymengau de Beziers's Breviari d'amor. (Who came up with that head shape and what was their deal?)

15th-century England, "Bestiary of Ann Walsh". (Screw it, a scorpion is a big lizard that glares at you for trying to make me draw things I don’t know about.)

I've spent way too much time on this now. End of post, thank you to anyone who got all the way down here.

[hatsukeii]

ring pop! / bsf!ushijima wakatoshi x reader

genre(s): heavy on the crack and fluff, dumb and dumber, ushiwaka is dense but loveable! childhood bsf to lovers! yay! sunshine! rainbows! candy!

warning(s): nothing, implied fem reader for fluency's sake, but please interpret this as you'd like!! i myself am non-binary, so at the very least you know the person who's writing has you in mind!! i still tried my best to keep everything gender neutral to the best of my ability!!

wc: 1490

tldr; “boyfriend? but i thought we were already dating?”

“Wakatoshi, can I have your second button?”

Petals of blooming sakura flowers replace the grey pavement beneath your shoes with a mosaic of dusty pink as you stand beneath Shiratorizawa’s famous confession tree. It’s a ritual that has been done for many graduations before your own, students would act nonchalant as they drag their romantic prospects beneath this very tree, all to ask for their second shirt button. This year, it’s your turn, your hands clenched behind your back as you rock forward, backward, forward, backward.

“What do you mean? My second button?”

“Yeah, your second button.”

Wakatoshi’s nose twitches in confusion and under the blanket of pollen from the flowers above. What’s so special about his second button, that you’ve dragged him under the Shiratorizawa tree for? His hand shoots up, picking at the thread sewn between each hole in his second uniform button. It doesn’t budge as he picks and pulls, until finally, he rips it off with force, handing it to you between pinched fingers.

“Here.” He reaches for one of your hands, linked with the other in anxiety and anticipation, and pushes your fingers apart, before dropping the button into your palm unceremoniously. You stare blankly at the small round in your hand, then at Wakatoshi’s deadpan expression.

“Toshi, that’s…that’s not how it works.”

He tilts his head in confusion, eyebrows furrowing as if trying to search your head for clues. The petals shuffle beneath your feet as you mindlessly grind your shoe into the ground, not sure what to make of this situation.

“I’m not sure what you mean. I gave you the second button, like you asked. Did I do something wrong?”

“Wakatoshi, I’m asking you to be my boyfriend.”

Boyfriend? Do you hear yourself? What nonsense, what has he been to you for the past six years, if not that?

“Boyfriend? But I thought we were already dating?”

You mind empties its contents as your jaw goes slack, a dumbfounded hum escaping your windpipe. You’re not too sure- no, you have not a single idea when that idea planted itself into his head. You’ve been subtle enough, right? And careful too! No love letters, or secret gifts, or bento boxes, just day to day, regular best friend interactions between the two of you. What could have possibly gone wrong?

“Dating? Where did you get that from??”

Wakatoshi frowns, hands moving to his pockets. A spring breeze whizzes by, filling the stale air between himself and you. That’s not very nice of you. Wakatoshi knows close to nothing about relationships, but he does know one thing: You probably should remember how you got together in the first place.

“You…forgot?” After all these years of tailing behind you at grocery stores, and weekly dinners at your house, and running to your place at a text’s notice, only to end up watching dramas all night and crying with you, and you forgot that you were dating? His voice quivers, a rush of betrayal in the gleam of his eyes stabbing at your chest as he grimaces at your confused expression, then back at the second button he just ripped off his chest that sits in your hand.

“I think I would remember if we‘re dating…but we aren’t.”

“How could you forget? I still have the ring pop from that day!”

What?

“Wakatoshi, the ring pop? From sixth grade?” At the mention of the ring pop, the fuzziness of an afternoon six years ago is wiped clean. You can almost taste the disgustingly artificial grape flavour that tingled and fizzed on your tongue, before sending you into a sugar high for hours, feel the cheap plastic ring that hung a size too big from your ring finger. You’re fairly certain that the company had discontinued that line of ring pops by now, the two pack too costly of a production for the cheap price they sold for in convenience stores.

“Yeah! I asked you to be my girlfriend with the second pop, and you said yes! You even wore the ring on your ring finger!”

His hands leave his pockets now, pointing accusingly at your ring finger that lacks a humorously large plastic ring. You’re not sure whether to be shocked or to laugh hysterically, not when Wakatoshi’s accusations of your…infidelity? are rooted in the sanctity and candour of a discontinued ring pop, until it all hits you at once. All the nights that he would drop off bags of groceries at your doorstep, your mother gleaming at his persistent service, and the afternoons of watching his volleyball trainings, his eyes glancing at you for approval at every legal point he makes, all the little times that led up to your eventual confession weren’t “best friend interactions.”

They were the actions of a boyfriend. A boyfriend, who (rightfully so) thought he was dating his girlfriend.

“Toshi…did it never occur to you that we’ve done absolutely NOTHING in all these years of ‘dating’? I mean, wouldn’t you have wanted to, I dunno, hold my hand? Or like, kiss me?”

Wakatoshi jolts backwards by an inch, hand travelling towards his jaw as he rubs it introspectively, trying to fan off the heat that is crawling from his chest to his neck. You stifle a giggle, before clearing your throat guiltily. No, you shouldn’t laugh at him. He’s trying his best to process the past six years of unrequited ‘dating’, how could you interrupt him? Do you have no heart, or shame?

“W-well, my dad’s always taught me not to do anything with anyone, partner or not, unless they asked for it first… and you never asked to. So, I never did.” He finally responds, as confidently as his stuttering voice could seem. “Besides, I assumed you weren’t the type of person to be into super-romantic dating, so I just never questioned it.”

You shake your head, smiling at the ground as you take a step towards him. Your hand grips his uniform button by your side, afraid that it might get lost in the petals if you drop it. Wakatoshi’s head darts from left to right, as if piecing together red herrings on a cork board, pinning down every interaction from sixth grade to now with thumbtacks as the strings tangle and twist.

“What about our drama nights? Was that also just being best friends?”

“Yes, Wakatoshi. That is what best friends do.”

“The grocery runs?”

“You offered to do them, and I assumed it was because you were always training late and wanted to help a friend out on the way home.”

“And the weekly dinners at your place?”

“We’re neighbours!”

You watch him groan, his face shoved into his now clammy palms. This is information overload, and Wakatoshi’s processor is melting down in front of your very eyes. He shakes his head frantically, his hair becoming disheveled. His hands run through his green locks, and land on his hips as his feet tap at the petal-covered ground.

“So, we have not been dating for six years, but you want to start dating from today onwards?”

"That is exactly what I'm asking."

Finally. He’s finally got it. The button weighs heavy in your hand, and you duck beneath his face to look him in the eye. He glances away, visibly repulsed by his embarrassment. He should've caught the signs...well, earlier. It somehow has never occured to him that a ring pop proposal might not be the most legitimate way to one's heart, and it certainly has never occured to him that it might have come off as an ingenuine attempt at securing a relationship.

"I meant it when I gave you the ring pop though."

Your face morphs into an effortless smile, the towering boy looking more timid than he ever has before. You haven't changed one bit since the day he's 'proposed' to you, from the smile lines that adorn your face, to the little pout of your lips when you grin. And as you look at him, eyes shimmering under the shade of the infamous Shiratorizawa confession tree, Wakatoshi is twleve years old again, missing a canine tooth on the top right side of his toothbed. He's pinching a long discontinued ring pop between both thumbs and index fingers, getting down on one bandaged knee earnestly to pop the big question.

"Will you be my girlfriend?"

And suddenly, you're twelve years old, standing right there, in front of him, tiny hands covering your mouth as you gasp and tell him yes, a million times over and more. Wakatoshi is 5'2 here, a whole foot shorter than his now eighteen year old self, slotting a ring pop that's two sizes too big on your ring finger, the candy diamond shimmering in the sunlight on the walk home. Except now, the ring pop has transformed into the second button of his soon to be forgotten Shiratorizawa shirt, residing in your clenched fist.

"I know. I know you did."

His eyes refocus as he snaps out of his thoughts, and he wonders if you still have the plastic ring from the ring pop, the one that means to him doing groceries for your household before his own, and showing up at your door to watch dramas all night in your bed, and helping your parents with the cooking before your weekly dinners. His eyes soften, the probing frown long gone from his face as he returns your smile with his own, cheeks pink and teeth threatening to show through his suppressed grin.

"Does this mean I get to kiss you now?"

"Yes, Toshi. Yes it does."

His hands spare no time to cup your face, pulling it up to his own as his fingers draw lines across your cheekbones. Wakatoshi's brain bursts in sparks of gold and red, and he genuinely ponders how he has lived until now without ever doing this once. He pulls away, unsure what else to do after, before sneezing in your face.

"Sorry, pollen, gross."

"Let's get out of here then, quick."

You grab his hand in your own, another sensation he isn't sure how he's lived without until now, and pull him away from the tree as you run to the school exit. He jogs behind you, and you turn around, your fingers interlocked with each other's.

"By the way, happy sixth anniversary, Toshi!"

author's note:

@catsoupki here's your long overdue ushiwaka prompt baby i hope you like you like ;P i had so much fun writing this omg i cracked myself AND my sister up like twenty times running her through what my plan was LMAOO

i too need ushiwaka btw i actually love him SO MUCH it's not funny anymore I NEED HIM SBSBSBSBSB the only other fic i have of him is genuinely some of the worst situations i've put any haikyuu character in recently so i have to treat him to a good one here ofc

anyways tags!!

@starlysama @chuuya-brainrot @fiannee @bailey-reeds

ok love u guys see u next fic bye bye

[beybuniki]

hiiii first off i love ur art so much i always look forward to seeing it on my tl or on here!!!! secondly i think ur dabihawks is soo hot and they make a lot of sense from an aesthetic pov for me but they don't compel me much outside of that so if i can ask, what's your interpretation of why u ship them? or like narratively what compels you to like them as a ship?

this is so long i'm so embarrasssed, but i tried to gather my thoughts a bit :)

first things first: a lot of fans say that horikoshi wasted dabihawks' potential but tbh i've appreciated that horikoshi has kept most of it between the lines for us to figure out, i think that mode fits reflects their dynamic (and the endeavor - dabi - hawks triangle) well.

Also I know you asked what I find appealing about the ship, not all of these interpretations are about romance/shipping; some are just about their general dynamic. as I keep saying, the yaoi is only secondary to their overall weirdness, that’s more appealing to me tbh.

the obvious canon dynamic: Dabi and Hawks are (filial) foils: they represent 2 opposing outcomes of what happens when endeavor/enji (we have to differenciate) basically shapes your life. they're two sides of the same coin that symbolizes endeavor's 2 sides: enji, that father who fails vs. endeavor, the hero who succeeds. I don't think I need to elaborate on this, but yeah it's pretty overt in the manga that they’re filial foils, the fact that they’re the same ages makes it even more obvious like they’re equal opposites and I love that sm.

my ship interpretation of their overall dynamic: dabi and Hawks can get under each other’s skin in a way that no one can; there is so much irritation but also uncomfortable intimacy, because how come this guy who barely knows me knows where it hurts the most??

I think dabi is easily irritated by hawks because – as mentioned above – hawks is the complete opposite of dabi, I just know hawks’ charming (& sleazy) hero persona would piss him offff, but that’s only surface level annoyance, once dabi starts digging, connects the dots, and realizes that hawks is weirdly attached to his colleague aka dabi’s dad? And that his dad basically saved hawks from his abusive dad?? and that endeavor set off hawks’s career as the youngest hero to enter to top 3??? That hawks basically has everything that was promised to dabi??? CUTE THE CAMERAS!!!!! the irony is NOT lost on dabi!!!!!!!!!!!! One thing I love about dabi is his resentment towards those who make him painfully aware of his failures in life, I think resentment, jealousy, grief for what could have been are so interesting to explore, especially for a 23yo character like you rlly lose your mind at that age.

But as easily as hawks irritates dabi, dabi can get on hawks’ nerves and hit him where it hurts like no one else, precisely because they’re inextricably tied to each other through endeavor. So dabi is ver intimate with hawks’ flaws & issues and likes to probe and poke……. I made a whole post about this, but I think the todorokis’ closure would’ve been less disappointing if dabihawks got to face each other one last time; this time with everyone present. Dabi could have reminded hawks that  -- while he’s the one withering away in an oxygen chamber & hawks climbed up the career ladder and gets to work with endeavor – hawks is caged in a far more constricting way; he didn’t learn shit from twice’s death and that’s gonna haunt him, dabi would also say out loud what hawks is ignoring, namely that endeavor hasn’t chosen hawks once over his son (much to be said here let’s not digress oaughh). So hawks can have fun running after his father forever and secretly yearning paternal attention & validation. Dabi might be on the verge of death, but he got to reflect, let go, and change at least; Hawks’ character is SO stuck & and I think dabi should remind him of that <3 hawks should have nightmares sometimes <3 this is yaoi to me <3

This one isn’t about romance, but dabihawks are also so interesting to me because I think  their relationship is kind of similar to dabi’s relationship with shoto: imo, hawks parallels dabi in a way that is analogous to the parallelism between dabi and shoto. As I said before, hawks and shoto both represent a life that was supposed to be dabi’s, but another parallel I see is that hawks and dabi are so similar and had the potential to connect (both as normal kids but also as damaged adults), but life is unfair and they never and on the other.

There’s a real tragedy in dabi’s isolation (endeavor forcibly isolating his children from each other is repeatedly mentioned), and I think that this can be extended to hawks as well, which is why there’s a LOT of fan work of them befriending each other as children 😊 but I think that in a more radical approach to the story, dabihawks could’ve also connected as damaged adults but let’s not get into that.

Tl;dr: they’re parallel lines that cannot reach each other or cross paths but there are enough hints to make you feel like they could find each other in a kinder universe…………… KILL ME!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Ok now my yaoi interpretation of that: I think the dynamic that I’ve described in the point above lends itself really well to a vast array of outcomes they’re such a dynamic duo. I love the cute aus that are just about dbhx falling in love, but I also LOVE the doomed yaoi, there’s something beautiful about dabihawks doing their thing despite all the odds and the pride and the repulsion (let’s not get into that,,,,,,,,,,,). I love when their intimacy is permeated by an anticipation of betrayal like the quirks stay ON during sex, the breakup text is DRAFTED in their notes app, the IP address is always READY to get leaked, they have each other’s moms on SPEED dial to snitch on the other………………………… they’re not meant to be but they WILL fuck nasty ( and have surprisingly intimate moments) yup

attachment styles /yaoiimplied: I think dabi is an avoidant and hawks an anxiously attached partner. Which means that dabi is hyper independent and scared of emotional intimacy to the point of self-sabotage (he WILL create problems out of thin air and lash out at hawks when their weird situationship starts getting too comfortable). Which means that hawks is terrified of rejection (his parents left him & his clings so much to endeavor & he forces himself into the Todoroki family) and fears that he could lose whatever he and dabi have so he clings, which is so so scary to dabi. I see a lot of headcanons about dabi being possessive but I don’t agree at all; I think the second dabi feels like hawks might fall for sb else (they do cheat on each other I thin), he’s just gonna give lmaooo, dabi is NOT a fighter!!!!!!!!!!! His obsession is exclusive to his beef with his father!! He will NOT beg and fight for hawks’ love!!! Idk I like how their trauma gave them very different attachment patterns <3

names as another layer of intimacy (cute): this is in the manga so I don’t feel the need to elaborate on this, but there’s sth SO intimate about dabi and hawks both letting go of their birth names and those being such a big mystery for such a long time, both to the readership & characters. The fact that dabi finds out hawks’ name and CALLS him by his name during a fight ugh I love the juxtaposition of intimacy and violence. They probably use their 1st names during nice moments also keigo and touya are really cute names but I digress…..

names as another layer of intimacy (bad): while the paragraph above present this as rather cute and intimate, I think there’s also violence and a hierarchy at play when you use somebody’s deadname (I think we can call it that idk). Not only is there the juxtaposition of violence and intimacy when dabi uses hawks’ name, I think there’s also sth. deeply disrespectful about hawks using dabi’s given name like WHO are you to call him toya!!!!!!!!!!!! And the answer to that is that hawks uses it because endeavor uses it, which is so insane but whatever let’s not go there………….

also hotwings is such a good ship name sorry i was sold on that alone..............

sorry this whole page is yaoi to me, this fight is sexual in general well whatever let's move ON!!!!

Abjection: the aforementioned mutual irritation with each other that results from their uncomfortable & unwanted proximity feels so abject to meeeeeeeee

idk they have perfect yaoi equilibrium to me

the color symbolism :)

[the-irreverend]

The Inferno Theory: The Chara Theory to End All Chara Theories

Here we are! Nine years of Undertale. And seeing how Chara is heavily associated with the number 9 (AND THAT TOBY FOX FINALLY TALKED ABOUT THEM), I can't think of a better way to celebrate the occasion than by dedicating this 5000-word-long theory about them? Y'all remember when people used to make long-ass theories about Chara? Yeah, they're coming back with a vengeance! To say I have a colossal hyperfixation is a massive understatement. No character in all of fiction has had a bigger impact on my life than this little rose-cheeked, cocoa-addicted freak. I’ve been a Chara fan for as long as I’ve been an Undertale fan, and you can bet that my understanding of them has changed a lot since. And now I have the pleasure of sharing said understandings with y’all!

Once upon a time, there was an aroace autistic who, like most of y’all, had a very unhealthy obsession with Undertale. And unlike most of you, he thought the Genocide Route was really fun. Most fans talk about how unhappy they felt killing everyone, but for me, I felt like a polar bear at a baby harp seal convention. I got a disturbing level of happiness out of turning everyone to dust. Hell, the only unhappiness I felt was when I couldn’t turn Monster Kid to dust.

Oh well, at least I got a good consolation prize!

I was one sadistic son of a gun, and so I was even more delighted to find out I had a secret admirer/partner-in-crime and that they joined in on the fun because I was such a goshdarn inspiration to them. Not wishing to disappoint my self-appointed partner, I erased the world without a second thought, eagerly awaiting what we might get to do together.

So you can guess I was pretty taken aback when, instead of a warm welcome, they started lecturing me about how I couldn’t accept the world’s destruction and that I was the one fully responsible for it (even though they were eager to take credit for it earlier). I didn’t think much of it at first. Initially, I just thought that they were just irritated that I was undoing what we had worked so hard to accomplish.

But as this game taught me time after time, you should never trust your first impressions. Those first impressions would crumble to dust when they said this.

To say I was completely baffled is an understatement. Why the hell would this prepubescent genocidal maniac be so obsessed over whether or not I think I’m above consequences? So obsessed to the point they would tell me to go to hell if I told them no? It was at that moment I realized there was something more to this character than meets the eye. But for a long time, I couldn’t seem to figure out what that something was. And it didn’t seem like anyone could figure that out either.

I’m very much a veteran of the fan wars that have emerged surrounding Chara. In fact, one might even say I am a deserter of sorts, as I am a former member of the Chara Defence Squad, Offense Squad, and Neutralist Squad. But I’m not gonna be a stuck-up and say everyone’s a canon-ignoring idiot except for me and that I’m the only one who knows what Toby Fox intended Chara to be. Even though I ended up with a very different take than yours (and will certainly argue why it’s the best), I owe you all your discussions a huge debt, and I wouldn’t be here if I hadn’t gotten invested in your interpretations, to begin with. Not to mention that, contrary to what some may argue, you’ve made some valid points to complement them.

And while the debate that resulted from Chara’s ambiguous morality has led to a lot of controversy and even toxicity, it has also been a source of some FANTASTIC CONTENT. Like seriously, would we have gotten those badass renditions of Stronger Than You if no one thought Chara was an awful person? Would we have gotten Man on the Internet’s beautiful rendition of Star if no one thought Chara was a good person (turned awful)?

It would be utter hypocrisy for me to ask of you to approach me and my arguments (or anyone who accepts them) with understanding and good faith only to then not do the same to anyone who doesn’t agree with me. In this theory, I will definitely argue why some points made about Chara are flawed; points that you might hold yourself. But that doesn’t automatically mean that you (or your takes) are intellectually or morally inferior to mine. And besides, I’m not Toby Fox.

So with that said, why did I eventually came to disagree with pretty much everyone about Chara? Because, one way or another, I couldn’t find a take that clicked with me personally as I felt there were various inconsistencies and issues holding them back. I looked at YouTube videos, subreddits, Tumblr essays, Twitter threads, and even forums on the Steam Community. But I couldn’t really find what I thought were satisfactory answers to the questions I had about Chara’s motivations, role in the game, and relationship with the player.

And then, one day, I found those answers. It all happened when I asked myself: “What if Chara didn’t turn against me… because they were always against me from the start?!”

I don’t mean that Chara only saw you as a means to an end. I mean that YOU were the end. What if Chara didn’t use you so they could screw over the monsters but they used the monsters so they could screw over YOU.

You probably think I’m insane, don’t you? And you’re right! I AM INSANE! AND SO IS THIS WHOLE DAMN THEORY!!! But somehow, someway, it just works!! And I’ll show you why and how!!!

What you are about to read is the culmination of six years of reading and critiquing Chara takes and theories of every kind and quality, whether it be Judgement Boy’s Who is the Real Villain of Undertale to Wandydoodles’ Oblivion Theory. Six years of examining the arguments and counterarguments of Chara defenders, offenders, and neutralists alike. Six years of looking in every corner of the UTDR fandom. From the tranquil lands of Quora. To the dark recesses of Reddit. To the intellectual wastelands of Twitter. To the fiery hellsite of Tumblr. So, without further ado, get ready for some of the most pure, unadulterated, high-octane, universe-collapsing neurodivergence you’ve ever seen in your life!!!!!

Part 1: The demonic heritage of the "demon who comes when people call its name".

Have you ever had one of those moments where you’ve asked yourself, “What the actual hell is this guy talking about?” I bet you’re having that moment right now. Everything about their character post-death, including their motives, their methods, and their relationship with you, is perfectly reflected in one of their most famous (or rather infamous) lines:

When most people hear the word demon, the first thing that comes to mind is a being made of pure evil whose only purpose in life is to destroy all things good in the world. Right?

Well, yes, but actually, no. It’s a little more complicated than that. To argue that Chara is a demon because they’re simply “an evil little twerp that enjoys being evil” doesn’t do them or their role in Undertale justice (although that hasn’t stopped people from trying to argue that). To understand why calling themselves a demon is EXTREMELY important, we need to dive into the wonderful (and totally not controversial) world of religious beliefs!

In ancient and modern religions, demons are a little more complex than just ethereal jackasses with a vendetta against virtue and righteousness. Though they vary from faith to faith, most demons have a specific set of qualities and tropes that make them integral to whatever faith they’re in. You also see these demonic qualities in fiction that’s derived or inspired by religions, and since Undertale’s lore and worldbuilding have a heavy emphasis on the spiritual and divine, you can see them in Chara. Since Undertale is a game of “Western” origin, you can definitely see they share qualities that are all too familiar with devils of “Western” religions. In classic devil fashion, they target those with weak integrities or suspect morals; they tempt you with the promise of fulfilling your desires at your and everyone else’s expense; they’re able to control your body as you grow their power through your sins, and hell, they even do the thing where they make a deal for your soul. Also...

But though it's evident that Chara encourages you to do “evil,” THEY THEMSELVES are not responsible for it. Yes, Chara encouraged you to kill, but YOU are the one who acted on those encouragements. In fact, YOU are the one who encouraged THEM to help you out! They walked down the dark path with you, but you didn’t really give them anywhere else they could walk. You had all the power and every chance to turn back and no reason to keep walking. And yet you persisted.

But that does beg the question, why did you walk it at all? What could possibly inspire you to give all of these characters happiness, satisfaction, and peace and then rip it all away? Because you decided that giving everyone the most satisfying ending was not satisfying enough for you. Because there was more that you could experience for yourself, even if it meant making everyone else experience something absolutely horrific. It wasn’t enough for you to fill the glass only halfway. You needed to fill it to the brim. You wanted to reach the absolute. Even if doing the Genocide Run was a bad experience for you, you CANNOT deny it was a fulfilling one. And Chara knows it, too. It ain’t exactly a coincidence that fulfillment and fullness are recurring motifs in Chara’s character.

Like all demons, Chara is able to tempt the wicked and sinful by targeting our greatest weaknesses and deficiencies. It’s no different from how Succubi and Incubi target those who succumb to the sin of lust. That’s why you won’t go after my aroace ass anytime soon. But I digress.

But Chara doesn't just tempt us by exploiting our need to fill the glass to the brim but also because of how they exploit the satisfaction we get from watching it fill up, that is to say, the satisfaction that comes from trying to achieve fulfillment.

We humans are addicted to progression as much as we are to completion, and in an RPG like Undertale, the satisfaction of progression comes in the form of NUMBERS. Not just the numbers that flash on the screen when you battle enemies but also the ones that go up when you finish said enemies off, whether it be your hit points, experience points, and so on. And Undertale isn’t any ordinary RPG; it’s one where its RPG elements are interwoven into the fabric of the game’s universe. Because of that, Chara is able to use these elements in their world to influence those outside of it.

But Chara does not just influence us through the numbers that increase but also the ones that decrease. That’s why the first thing they do when we reach Snowdin is give us a tally. 

It’s not just there to measure progress. It’s also there to incentivize us to keep progressing. It gives us a small dose of satisfaction that’s enough to distract us from the mundanity and misery of the murder run, like a loading bar on a loading screen. And just like with loading screens, the farther it progresses, the harder it gets to turn away. Why would you want all the lives you’ve taken and the stats you’ve gained to amount to nothing? Why would you want to hit reset and go through those brutal fights with Sans and Undyne again? You can’t empty out the glass, not when you’re that much closer to filling it to the brim. Speaking of Sans and Undyne, it’s quite interesting that even though they barely know you, they know exactly why you won’t take your foot off the pedal, so to speak.

But that’s not the only thing driving you, isn’t it? Chara knows that there was something else that was spurning you along. Something more powerful and more dangerous than your addiction to progression and completion: PRIDE. 

Perhaps the real reason you kept giving in to sin until it was far too late was because you didn’t think it would be too late. You didn’t hold back because you thought you would be able to go back. You thought you could just absolve your sins with the press of a button like you did in countless worlds before. You thought you could dive in, touch the bottom, and come back out of the water. But what were you getting into? How deep would you have gone? And would you have gone in if you knew you couldn’t possibly return? You know you wouldn’t. And Chara knows it, too. That brings us back to the dialogue I showed you at the beginning of this theory. The one said changed everything I knew about this character, and I firmly believe that this is the MOST important line of dialogue in the entire franchise.

PART 2: THE PART WHERE I (PRETEND TO) DESTROY 9 YEARS OF ESTABLISHED FANON!

When I say that that little blurb about being above consequences is ABSOLUTELY ESSENTIAL, I do not say that lightly. It isn’t just important to Chara's character, but the game of Undertale as a whole! Anyone who’s serious about Chara’s character should never take this for granted because Chara sure as hell does not.

It’s not just our refusal to accept the world’s destruction that’s a huge-ass deal to Chara; it’s the arrogance and complacency that accompanies it, rooted in the position and privileges we have as the player. It matters to them so much that they’re willing to completely forgo bartering for our soul (which they say they want) if we don’t admit that we have that belief!

And yet, despite Chara taking this subject so seriously, the people who are analyzing their character ironically don’t. Generally speaking, most people simply brush this line off as nothing more than something they do to help them on their quest to achieve their goals. So, with that said, let’s talk about what those supposed goals actually are.

In all my years of reading and assessing countless Chara theories and interpretations, I’ve discovered that everyone actually agrees on what Chara's goals are. They just can’t agree on why they want them. Said goals are A) reach the absolute, B) max out their numbers/power, C) erase the world, and/or D) eradicate all monsters. But what if it’s actually the other way around? What if those things were the means to an end rather than the ends themselves?

What if the true goal of the “demon who comes when people call its name” was just like that of the demons of old: not to be your partner in crime, but to torment and punish you for your crimes? To make you face CONSEQUENCES!

I’m not making this argument simply because it makes Chara look more badass (though I think it totally does, lol). I firmly believe that Undertale’s post-Genocide content is written so that Chara’s character can only make sense if that was Chara’s goal from start to finish. Because if Chara’s endgame was any of those four I mentioned earlier, their character kinda falls apart because they're awfully inconsistent about fulfilling them. And those inconsistencies are evident in the Second Geno Ending.

Discrepancy 1) They say they will “appear time and time again” to help us “eradicate the enemy and become strong,” and yet they call us perverted for eradicating everyone time and time again.

You can argue that they didn’t want us to recreate the world in the first place and just move on to another world, but if so, why let us come back at all? And if it’s to get our soul, why do they keep around this world after we have it? This leads us to...

Discrepancy 2) They tell us to ERASE the world and move on to the next, and yet they allow us to restore it without a hitch after we give them our SOUL, seeing how there’s no black void when we start the game again.

If Chara was powerless to stop us from coming back, this wouldn’t be such a big deal. But they CLEARLY DEMONSTRATE that they’re able to stop the player from restoring the world, as seen in the first post-genocide ending. And yet they don’t use this power after the first time the world is erased (WHICH YOU WOULD THINK THEY WOULD WANT TO USE SINCE THEY WANT TO ERASE THE WORLD AND MOVE ON TO ANOTHER)! Seeing how the world is back again without us doing anything makes the restoration of the world like something that Chara CHOSE ON THEIR OWN VOLITION. And what makes this all the more damning is...

Discrepancy 3) They tell us they’re down bad for increasing our ATK, DEF, EXP, and LV to the max and erasing the world and everyone in it, and yet they TELL US TO DEVIATE FROM THE ONLY ROUTE THAT ACCOMPLISHES THAT (which, as stated before, they call us perverse for doing it again).

So, let me get something straight. You tell us you want to ”eradicate the enemy” and “ erase this pointless world,” and yet not only are you allowing us to undo all of that, you want us to do something INSTEAD OF THAT??? It’s funny how you lecture us about how we cannot accept the world’s destruction BECAUSE, APPARENTLY, YOU WON’T EITHER!!!!! Also, before I forget...

Discrepancy 4)

WHAT KIND OF MISANTHROPE DEDICATES THEIR WHOLE LIFE TO WIPING OUT HUMANITY, GETS GIFT-WRAPPED A CHANCE TO DO THAT, AND THEN JUST PASSES IT UP?!?!?!

On behalf of misanthropes everywhere, I am DEEPLY disappointed in you!

So it doesn’t matter if you believe Chara is always evil, good, or detached from morality entirely. Because Chara has the same goal across all versions, they all succumb to the same inconsistencies!

Funny how most people see them as this embodiment of the addictive nature of levelling up and consuming everything in a piece of media and all that jazz WHEN THEY SEEM TO CASUALLY GIVE UP ON IT!!!!!!

And if you argue they want a Soulless Pacifist Run when they suggest “another path,” then ask yourself, what does that give them that a Genocide Run doesn’t? Keep in mind, aside from a scribbled-out photograph, we don’t see how many monsters or humans they killed besides the main characters or how much power and stats they gained from it. And it’s not like we see them erase the world afterward since only the genocide run has that infamous wall of red 9s. Not to mention, the genocide run is the most secure way of accomplishing their goals since they have the backing of the player. Not only that, but it’s also the safest and most efficient way to erase everyone and increase stats to the fullest, and we all know how Chara feels about efficiency.

So Chara has no reason to pick the Soulless pacifist ending over the Genocide Run if they want to achieve their end of increasing numbers and consuming the world… unless those things were a means to an end rather than ends themselves.

Indeed it is coming together! That’s the other reason their statement, “You think you’re above consequences,” is so damn important! They’re not telling us why we sinned, but it reveals they intend to make us suffer for those sins, and how.

That’s why Chara is seemingly so inconsistent about erasing the world. Because it was never about the world. It was all about YOU.

[SIDE NOTE: I’m sure many of you will point out that if Chara wanted us to get a Soulless ending in this world, then why would they encourage us to “move on to the next?” I don’t think this is too big an issue for two reasons. First, this line is meant to emphasize that, like all demons, Chara is inescapable and that no matter what world you go to (within their own universe), Chara will always follow you now that you’ve unleashed them. Second, because their goal concerns us and not the world they’re a part of, their character avoids the aforementioned inconsistencies that hamper the other Chara theories much more severely, in my opinion.]

Part 3: Contrapasso

Now I’m sure some of y’all might think that Chara doesn’t need to yearn for our torment to achieve the impact of the Soulless ending and that just because Chara is a demon doesn’t automatically mean they need to screw us over. You are right in that not everyone who makes a Faustian Bargain needs to have malicious intentions toward the people they’re taking advantage of (Kuybey from Madoka Magica is a great example of that). But Chara does need it! Not only does it make their character more narratively cohesive, but also makes their character more thematically impactful. And it’s more in tune with their demonic nature for them to want to torment us.

Because demons represent something more terrifying than evil itself. They represent the terrible price of embracing it, a price that all evildoers fear more than anything, and that all demons want seek to inflict upon us. Like most demons, Chara isn’t encouraging us to sin to fill the emptiness in our soul (or even their own). They did it to perpetuate that torturously empty and unfulfilled state for all eternity, a state which even themselves now endure.

Now, you’ve probably noticed that I’ve talked a lot about the themes of fulfillment and emptiness, and it’s for a good reason since those themes are heavily featured in Undertale. I mean, how could it not? Because concepts of demons, hell, and sins (which are explicitly mentioned in the game) are deeply intertwined with the concept of emptiness. The theologian Thomas Aquinas once defined evil as not a presence but as an absence (of that which is good). Darkness is the absence of light; war is the absence of peace; bigotry is the absence of tolerance; pride is the absence of humility, etc. You see this reflected in not just Christian theology but also fiction as a whole, as a lot of villains are motivated by a desire to obtain something that they believe can’t be without. Whether it be wealth, status, recognition, power, the death of an individual, or even just sadistic pleasure.

Since demons are beings that are inseparable from evil itself, the life of a demon is forever cursed by unceasing and unbearable emptiness. Hell, the word damnation originated from the Latin word damnum, which literally means loss! They’re not exactly partying in hell while your immortal soul is being slow-roasted for eternity. They’re burning in that lake of fire and brimstone along with you! They can’t end their damnation, not because they don’t want to but because they simply can’t. They’re fated to be bereft of the satisfaction or fulfillment found in Heaven or Earth, a fate that is worse than death in every sense of the word, especially since they can’t experience death anymore. Because of that, a demon embodies what is perhaps the most terrifying form of evil of all: not one rooted in a desire to rid the emptiness and unfulfillment within themselves, but a desire to inflict them upon others. Because as a wise philosopher once said:

We see this horrific state of mutually assured suffering everywhere across fiction. From goofy, lighthearted tokusatsu's...

...to nightmarish sci-fi dystopias...

...to a little indie game made 9 years ago.

Oh yeah. Don’t think I was gonna talk about emptiness without mentioning everyone’s favourite homicidal fauna-turned-flora, especially not with lines like this.

Take one to know one! And it can’t be a coincidence that the game emphasizes the theme of emptiness when giving the spotlight to the three characters that have committed the most “evil”: Flowey/Asriel, Chara, and YOU.

Quite the unholy trinity going on here, eh? It truly is fascinating how the emptiness led us to work with each other to exterminate all monsters. And it’s also interesting how the unique kind of emptiness we have eventually led us to work against each other. Whether it be Flowey wishing to preserve his sentimentality for his long-gone sibling, us players wanting to maintain our (perverted) sentimentality for the world of Undertale, or Chara weaponizing these sentimentalities to exact their misanthropic hatred.

Remember how I said that Chara was a lousy misanthrope because they keep letting us bring back the humans they wanted annihilated when they were alive? That does make them a lousy misanthrope… unless their misanthropy found a higher priority target: YOU!!!!! Chara’s desire to torment us didn’t come out of thin air. The same hatred that drove them to wipe out the humans of their world years ago is the same hatred that’s driving them to get at the humans of our world, even if it means destroying those who once embraced them. And now, that hatred is more potent and destructive than ever before, so much so that it’s no wonder Toriel was able to feel it when she endured that fatal blow after the Geno Run began.

Do you think witnessing what soullessness did to sweet little Asriel wasn’t already terrifying and tragic enough? Just try to imagine what it could‘ve done to a vengeful, traumatized, chocolate-addicted problem child so consumed by hatred that they poisoned themselves just for a chance to wipe out their own kind. All of that hatred of humanity is still alive and well, and now it has no humanity to hold it back. 

And what could be a more fitting target for a MISANTHROPE that calls themselves a DEMON… than a HUMAN that wants to play GOD?

After all, the only thing demons love more than tormenting mortals is warring with Gods.

Why else do you think that Chara winks right at you if we make Frisk stay with Toriel? Because that’s who the Soulless Ending was meant for. It’s when they’re finally able to unleash all that animosity and hatred that’s been lurking behind that smile ever since we killed everyone in the Ruins. It’s the moment that they’ve been patiently waiting for because they knew that’s when it would hit you the hardest.

And what makes the Soulless Pacifist Ending very special compared to other “bad endings” isn’t simply because they destroy those we pretend to care about (may I remind you that you did do the genocide run, after all). But they destroy something much more valuable to us as the players: OUR OMNIPOTENCE. Chara doesn’t destroy people for the sake of destroying them. But because in doing so they destroy our arrogant belief that nothing could possibly challenge the invisibility and invulnerability we players take for granted.

It's all too human that those with the most power are the least willing to lose it (or even take responsibility for it). And in a world where we should have absolute power, we thought there would be no consequences for abusing it. So what could be a more fitting and frightful punishment than having to actually face them? Missing out on the best ending in a video game is one thing. But to forever lose the power to achieve it ever again?! Now that’s terrifying!

Throughout myth, legend, and religion, sinners are often punished in a way befitting of the sin they’ve committed. In Greek Mythology, Tantalus was damned for trying to feed the Gods the flesh of his murdered son with eternal hunger and thirst despite being within arm’s reach of water and food. In Dante’s Inferno, those who succumb to wrath are forever doomed to fight each other in a river of mud. And since Undertale is no stranger to concepts such as hell, sins, and demons, you can damn well be sure that there’s going to be damnation fitting for the sins that drove you to complete the genocide run.

You completed the Genocide Run because you believed ending their lives would be fulfilling. Now, you can no longer get any fulfillment out of saving their lives.

I mean, where else can you get your precious fulfillment? Those paltry neutral endings? They only offer a fraction of what the pacifist ending offered. And the genocide ending has been drained of its satisfaction like the pacifist! Would you do all that tedious grinding and brutal boss fights just to hear your so-called “partner” lecture you again on perverted sentimentality and say you should choose another path, even though there’s nothing that they could offer? Of course not. In the end, you’re just like poor Tantalus agonizing in the pits of Tartarus, feeling the water vanish from his hands just before it touches his lips.

The ultimate triumph of Chara isn’t making you suffer a total defeat, but perhaps something much worse to you as a gamer: a pyrrhic victory. It’s like having a Twinkie that's been drained of the creamy center. Everything is still there except the thing you treasure most. You’re damned to play a challenge forever deprived of any and all fulfillment you once got from it, a satisfying journey that will always be doomed to reach a dissatisfying destination.

In the end, Chara leaves you with the world exactly as they described it the first time they met you face-to-face: POINTLESS.

You can have the world exactly as it was before (and the people within it). But in the end, Chara will always have the last laugh.

Figuratively and literally.

Welcome to hell!

Part 4: Why Consequences Matter

Woooooo!!! Man, that was quite the read, wasn’t it? And yeah, I wasn't kidding when I said this is going to be autistic as all hell! I don’t doubt you have a lot of thoughts in your mind, and then you’re gonna share them by the time you’re finished reading this post. Some of you might think this is the Chara theory to end Chara theories. Some of you believe that this is the worst thing that has happened to this fandom since Sebastian Wolff. Some of y’all, I’m whitewashing them because I argue they’re driven by a desire to punish the wicked by any means necessary. Some will think I’m demonizing them because I say that they’re, well, a demon. 

[SIDE NOTE: Just so I don’t miscommunicate what I believe about Chara’s morality, here are some key points to take away from this theory. A) Chara sought to make you pay for the evil you committed. In fact, the idea that the Soulless Ending is Chara punishing our sins has been around for a while, especially by those who think Chara was “corrupted. B) However, in this theory, Chara's actions are all done with the intent of accomplishing that goal. This means that Chara was aware of what they were doing, they wanted to do it, and that THEY KNEW IT WAS EVIL. C) But you still have to remember that Chara is also A LITERAL CHILD. And D) They’re a child who endured a great deal of hardship (and possibly trauma), which made them so embittered and vengeful. Also, E) Remember that they’re also soulless, just like Asriel when he was Flowey.]

But I think most of you were gonna look at this interpretation of Chara and feel the same thing that I have about most of yours: a take that’s not without issues, but not without a fair bit of interesting points.

But regardless of what you think of this theory overall, there’s one thing I won’t leave up for debate: I deeply treasure Chara’s character. Not just because I think they’re fun, cool, or interesting but also because I firmly believe they’re invaluable Undertale. And yet, at the same time, I think they’re severely undervalued by the fandom. And who can blame them?

The characters of Undertale speak very little of Chara, and Chara speaks for themselves even less. But just like Johan Liebert from the anime Monster, even though they’re not seen too often, they still manage to exert a massive presence and impact within Undertale’s narrative. And that presence is made all the more impactful because they perfectly represent the themes of the narrative: and that theme is CONSEQUENCES, or more accurately, the CONSEQUENCES OF VIOLENCE.

From the violence that drove Chara to climb Mt Ebott to the violence their brother Asriel inflicted in hopes of being with them forever. From something as grand as a war between two civilizations to something as small as dismembering a snowman. Everywhere you look, you will see that violence (and its repercussions) haunts the story and characters of Undertale. But what makes Undertale stand out from other media that tackles this subject is that it’s not just an integral part of its narrative but also its metanarrative. The most ingenious way it does this is by giving meaning to the actions/mechanics that we take for granted, specifically monster encounters.

Our Lord and Saviour Toby Fox said it best:

Because the monsters of Undetale are treated as something more than just enemies to be killed, there are going to be consequences for choosing to kill them away. Some argue that it goes too far in how it admonishes you for killing even a single monster, even to the point of being preachy (I’m looking at you, ScottFalco, but that’s a response for another day).

That argument is deeply flawed because it fails to account for the fact that without these ramifications, the game’s themes would be rendered null and void. The last thing that a game with a narrative centred around the consequences of violence can afford to do is afford you the luxury of avoiding them. And that principle especially applies if you dare to choose nothing BUT violence. //////If you were to bring them all back as if nothing happened, then your decision to commit genocide would be completely meaningless, which would totally disservice Undertale themes regarding violence. There needs to be consequences. LASTING CONSEQUENCES. Undertale can’t drive home its messages and them without lasting consequences. Undertale can’t deliver those consequences without Chara in the driver’s seat. And Chara’s character can only be at their most narratively cohesive and thematically impactful if seeking to make us suffer consequences was their intended destination.

Regardless of whatever detail about Chara you’re discussing or what side of the discussion you’re on, one thing is very clear: they’re absolutely essential to Undertale in the same way that Mephistopheles is essential to Faust, the Cenobites are essential to Hellraiser, and Kuybey is essential to Madoka Magica. And they’re the only ones with the means, motives, and deep-seated misanthropy to hold this whole damn game together.

Sans is right. We deserve to be burning in hell for what we did to those poor monsters. And I can't think of anyone more qualified to have us humans “burning in hell” than a self-proclaimed demon with a seething hatred of humanity.

And how fitting is it that the skeleton who judges our sins is followed by a human child who punishes us for them?

BUT HEY, THAT'S JUST A THEORY!

A CHARA THEORY!

THANKS FOR READING!

[twelvemonkeyswere]

Brienne and Femininity (and Masculinity)

I’ve been musing how one of the most important topics in Brienne's storyline is femininity, and even though her story isn't finished, we can fairly see what some of her major themes are around this—particularly, how performing or failing at performing femininity affects her both internally and externally.

Often I see people pointing out that, in spite of all of Brienne’s traditionally masculine ways—her clothes, her skill set, her body shape, to name a few—she does not fully reject femininity. That she likes little cute animals and fairy tales and wears dresses, and is shy and blushes frequently. This is an important point because, very often, fantasy settings made the assumption that a woman can only be taken seriously if she goes beyond “her womanhood” and acts and thinks “like a man,” as opposed to other girls who are too busy mending or wanting romance. Brienne challenges those tendencies that GRRM saw in his contemporaries. Things have changed a lot since (hello The Locked Tomb, for example), but you can still see where he is working from, and how many of the aspects of Brienne's story still resonate with more modern audiences because, well, sexism hasn't stopped existing. It's also important because the larger asoiaf and got fandoms often refuse to see this side of her, reducing her to a walking sword or a cardboard cut out of a pushover.

Now, my main issue here is that I feel several interpretations of Brienne have now gone on the other direction, and focus so much on Brienne PERFORMING traditional femininity—wearing luxurious dresses, using make up, accepting lavishing gifts, or wondering if she can be desired, for example—that we've gone sometimes on the opposite direction. I feel like many times we’re afraid or do not know how to approach characterizing her as someone who rejects aspects of femininity without making her into another “not like other girls” stereotype.

My two cents on the matter is that if we focus too much in what Brienne can't but "wants" to perform, we forget that she is, in fact, gladly rejecting some common impositions of femininity in her society.

Beginning with swordplay at a young age, for example, she was very glad to ditch a more traditional education in order to learn how to fight the way we know men are taught in asoiaf/got. She is also explicitly more comfortable in men's clothes. We all like the scene where Jaime makes an effort to give her a dress and she appreciates it, but we don't even find out what happened to the dress, because, presumably, the dress itself is not THAT important, at least not as much as the fact Jaime gave her gifts as a form of appreciation. Dresses have been used in Brienne's past to mock her (the event with the bear being the most recent one), and the important part is that Jaime is the only one who has given her one without that ulterior motive. The point of the scene is that where everyone undermines and underestimates her, he is acting the opposite way. We’re seeing how the relationship between them has evolved and that he is doing his best to mend what has happened and what he has done. She is given a dress and a sword as symbols that someone else in the story is beginning to appreciate her for all she is.

Beyond that, we even get details on the old shield Brienne got at Harrenhal, but not a word about the dress. Brienne explicitly doesn't really like being in dresses, she prefers mail and breeches, and feels more at ease in them than anything else. This is not her hating dresses because she is above them. I can’t remember well but as far as we know it’s just her preference: I don’t recall her saying she hates dresses, just that she prefers trousers. She must have been wearing dresses her whole life! It’s not likely she is unused to them. But we do know the act of being given a dress is important in Brienne’s story. The problem is not that they can’t make dresses for her, the problem is that everyone who forces her to wear a dress wants to signal how lacking she is as a woman, trying to fit her in a box too small for her real shape and then mocking her because she doesn’t meet their standard. The problem is they want to make her uncomfortable and they want to humiliate her, because she dares to exist in a way that doesn’t conform to patriarchal ideals. And the problem is that she likes to wear trousers and mail. She likes to wear masculine clothes, and they want her to be very aware of how much they disapprove.

And we also hear a great deal about marrying and having children out of duty. There's a certain loss she feels there because she believes that, at that point, all those missed opportunities will never present themselves again. All her life, she grew up with a dichotomy that dictated that the chance of having a family or children was through duty or none at all, because she is her father’s heir and—they kept telling her—nobody would want an ugly, masculine, temperamental girl as a wife. They could only want her for the money she brought. The point of the story is that, once again, failing the standards of femininity has forced her into a mentality where she thinks she can’t be loved because nobody would like who and what she is. But even then, even with that thorn in her mind, she still feels relieved she didn't have to perform these particular duties. The only thing she’s sad about is that she thinks she's missed any chance at having a family at all and will never know what that might be like. She doesn’t actively want babies or even to be married. She is still young, and at least to me, she seems to view these things in hypothetical rather than explicit goals or wants. She thinks that, at 20, there is no opportunity for her to experience these things because of how her society works. It’s the lack of choice that she mourns, down the line. But she rejects that particularly role that femininity imposes on her now. She didn’t want it, and she is happy it didn’t go through. She literally fought an old man to prove how much she didn’t want those impositions.

All this is interesting to me because Brienne also sort of thinks of herself as her father's son as well as her father's daughter. It almost slips her mouth once or twice. She is aware, I think, that many times the differences between a son and a daughter boil down not really to gender but to the sort of duty they perform. And she wants to do the sorts of things sons do, too. Men regularly learned to fight and wore the clothes she liked best and used hard-earned skills in a way she wanted to use them. There are layers to this (we’ll get to that in a bit) but she is, I think, very aware of her masculinity, and, if left to her own devices, she seems comfortable in it. The problem is she is NOT left to her own devices.

Most of Brienne's self doubt comes from outside forces. As a woman, they underestimate her. As a woman, they think she is stupid. As a gender non-conforming woman, every jape uttered goes directly to her womanhood. As a woman, if she looks the way she does and dresses the way she does and fights the way she does, when she expresses any vulnerable emotion, any shred of “femininity,” she is mocked for it. She likes dancing and beautiful things and pretty boys but a woman as masculine as she is is not the sort of person who gets to express those preferences without judgment from those around her.

The point is Brienne’s world wants her miserable either way: being unable to be a woman the way they demand of her, because she is too much “like a man” for it, or being unable to be a man, because she is too much a woman for that. The point is she can’t win regardless of what she does. Because that’s how sexism works.

But Brienne’s story is, I think, one about choices. The thing is that the world makes it harder for her, but she shouldn't have to be one thing or the other. She shouldn’t have to be defined by one or the other. If she wants to fight in the mud and smell roses and wear chain-mail and talk to charming men, she should be able to choose all of those things. I think it’s easy to focus too much in what aspects of femininity Brienne likes or dislikes instead of looking at what the story is proposing, which is to look at what Brienne,as a person, likes or dislikes. What she wants. Her parallel story to Jaime is about how the world will always try to put folks in boxes, especially those who, for some reason or another, do not easily fit in those boxes. The question is not “what feminine/masculine parts of Brienne is she happy performing” but rather “what does Brienne want, and why does she feel like she cannot get it and doesn't dare ask.”

This is also what drives her to servitude. There’s a phrase out there that says that if you don’t think you can be liked, you try to become useful, so at least there’s a reason to keep you around. It’s heartbreaking to see how Brienne’s vision of herself has been so skewed by the emotional abuse, parental neglect, and bullying she’s experienced since a young age. She doesn’t think anyone will grow close to her, so at least she can be close to people by serving them. She wants to put her skills to use, she wants to find a place where she fits, where she can be more herself, but she isn’t sure what that looks like or how to find it. She’s still searching, and learning many things on the way.

And Brienne is still very young. We can see her confidence growing and her worldview challenged and she is beginning to see the realities of herself and of the world around her through various trials by fire. Misogyny makes her feel incomplete, but we know the things she trusts about herself while simultaneously seeing the way she constantly doubts others. How she can't never express all of herself without constant judgment or mockery.

I feel like yes, the fact Brienne doesn't reject all traditional femininity is really important to her themes, but by extension, it's as important that shedoes reject some of those traditional expressions of femininity. What she is truly rejecting is imposition, not femininity. What she truly needs to embrace is freedom, not masculinity. She's making her own vows, breaking her own promises, going through her own mistakes. She is learning the hard way. Agency in a world of limited choices is one of Brienne's main themes too. There are moral issues that go deep within her story as well as examinations of the effects of war and the struggle to find authenticity and connection in a community that refuses to acknowledge yours, a community drenched in pretense and lost in performance.

And I think it’s easy to get too caught up in her wanting to be a girlfriend or a mother or wearing a dress that we bypass the whole conversation around why that matters at all. I feel like Brienne's success isn't going to come from her fully embracing all her feminine traits or fully accepting all her masculine traits but from being able, down the line, to be exactly who she is.

[bekolxeram]

We may or may not get a trailer in less than a day, so before that, I want to get something disk horse-y out of the way.

The number one criticism against Tommy I've seen is that he is dismissive of Buck's feelings and interests, citing the bachelor party as evidence. One of the most popular posts in the anti-Tommy tag even goes as far as imagining Buck's parents taking a liking to Tommy, because he would agree with them that Buck should tone down his excitable nature.

We've already gone through this part at least 10 times. Yes, Tommy didn't dress up for the 80s theme party, but neither did anyone except Hen (dressed for the wrong decade) and Eddie (dressed as the wrong character). Tommy at least had the excuse of being on standby and accepting the party invitation last minute. Look at Buck's big old smile telling Tommy "glad you could make it" then waddling towards him with opened arms like a penguin. He probably didn't know whether Tommy would come until he actually showed up.

I don't see how Tommy is supposedly dismissive in the rest of the scene either.

Yes, Tommy made a joke instead of falling to his knees and begging for forgiveness. He wasn't even wrong. He was alive in the 80s, he knew how people actually used to dress better than Buck and Eddie. As I mentioned above, the others didn't even try to explain their decision to not dress up. Ravi straight up started eating the food the moment he went through the door without even asking.

Tommy haters might interpret the Wedding Singer line as him looking down on Buck and Eddie's costumes? I think he was genuinely confused. Crockett and Tubbs' outfits don't really stand out that much to begin with, Buck and Eddie's jackets were also too fitted. The 80s were all about oversized clothing. Our Crockett² here just made it more puzzling. Maddie couldn't tell they were supposed to be Crockett and Tubbs either, when they showed up to the wedding venue.

If you only listen to the naysayers, you may think Tommy's reply would be something like "I don't care", "You guys are too extra", or "You don't look like Miami Vice". But his actual reply was:

After knowing Buck and Eddie were supposed to be Crockett and Tubbs, Tommy asked which one was Crockett. Not only did he not dismiss any of their excitement, he actively showed interests in Buck's enthusiasm. Look at Buck and Eddie's death stares when they realized they both dressed up as Crockett, they obviously hate each other. See? I can do it too.

I just don't understand why not wearing a costume and making a joke about Henleys in the 80s somehow cancel out the effort he made to keep his promise and show up both times despite having to work. I don't understand either why Tommy has been painted as this uncaring villain while other characters in the same scene do not get the same treatment.

You know what? There was indeed someone in this scene who kind of rained on Buck's parade, basically telling him off for being too excited:

IMO, she was right and Buck needed to hear it.

[signanothername]

Sorry if this sounds out of nonwhere but what are your opinions on canon ink? Maybe fanon ink too perhaps

Canon Ink is my absolute beloved, he’s super complex and I just fucking adore how morally grey he is!

I have mixed feelings about fanon ink?? I feel like (just like Killer) it really depends on the fanon interpretation, there are interpretations in fanon that i like, others I’m neutral about (not my cup of tea but still can indulge in them), and a few I hate with a passion

I especially hate interpetations that have him as a “bad guy” cause of his grey morality or the fact he’s soulless, or when they “fix” him by giving him a soul

Like the problem isn’t the fact he’s soulless, it’s literally just Ink’s personality, he’s a hypocrite that sees everyone as characters in a story yet sees himself above it, that’s why he doesn’t care when people die inside AUs but cares about the AUs themselves, cause creators/creation is literally what keeps him alive, and yes, he’s selfish for it, but he also deems himself the guardian of these AUs… see how conflicting his morality is with his actions?? That’s why Ink is such a good character <33333

But people somehow blame it on the fact he’s soulless?? It’s like how did you even connect his personality with his soulless ribcage dhhdhdhh

Like yeah I get it, souls in monsters are the culmination of their being and whatnot, but a soul doesn’t determine morality, and a monster with a soul can do bad things and a soulless monster can do good things

Morality is complex and is beyond black and white boxes but the fandom just can’t handle grey morality and it shows with how Ink (and especially Ink) is mostly interpreted hcchhchcch, like unfortunately a lot of the fandom feels the need to put Ink in one very tight very binary box with a big label on it that determines which “side” he’s on, when in actuality, Ink can’t be put in either black or white boxes and putting any sort of label onto him is missing the point of his character in my humble opinion (like, if you wanna put him under a label so bad at least use the right one that was used for him in canon and say that he’s neutral dhhdhdhd)

Then we have the other side of the fandom that makes Ink into an absolute bitch, don’t get me started on how a part of the fandom take his soullessness as an excuse to make his behaviors even worse than that of Nightmare’s zhhxhxhdhxh

Like yes, Ink can be blunt and mocking, he can be distant and detached, etc, but he’s also helpful and kind, he even usually avoids conflicts, he literally tries talking to people before fighting them in canon

Ink is a very flawed character and to me, that’s what makes him an Interesting and phenomenal, cause in a way, I feel like Ink is a very realistic depiction of people and how they work

Anyway, Canon Ink for the fucking win <333333

[autumnmobile12]

Endeavor: Physical Strength vs Emotional Strength

Or The Total Mess that is the Todoroki House.

*Note:  The following is not a defense of Endeavor nor is it excusing his actions.  It is a deep-dive analysis into the complexities and nuances of his behavior and how it affected his life and everyone else in that family based on observations I’ve made throughout the series. There are also comparisons with other objectively violent characters from other series.

Trigger Warning for domestic and child abuse.

...

We're gonna start out by looking at what happened to his character over the available time frame. Endeavor did not start out as a violent person to his family. We can see that in the flashbacks of the family's early days.

Starting here, note that he’s not cold toward Rei in this scene.  The way they’re walking around out here in the garden gives the impression that negotiations between him and Rei’s family are going well so far, but they’re out walking and talking in private just to make sure this arrangement is going to work and making sure further negotiation isn’t going to be a waste of everyone’s time.  I say this because if he was dead set on ice powers for this Quirk marriage, Rei probably wasn’t the only option.

It's also important to remember Rei did choose this. She chose for her family rather than herself, but it wasn't her parents' end all be all decision. (And maybe there was familial pressure on her side, but it's not explicitly stated in canon so exactly how much free will Rei actually had is up for interpretation.)

However what I think shows here is they weren’t really talking all that much. Specifically, he is not ‘talking down to her.’  He is not treating her with any particular disrespect or putting her down as inferior.   He doesn’t have the arrogance he later exhibits. This also isn’t him being aloof and ignoring her either.  Look at his face, specifically his eyes.  That is the same blank, deer in the headlights, “I have one brain cell dinging around in my head that is struggling to find a way to interact with people,” stare he shares with Shouto.

He has no idea what to say to her. 

So finally, Rei turns off to the side to admire the garden, and he asks, “Do you like the flowers?”  It’s a small thing, but it does show that in some capacity, he did show some interest in Rei and making her happy.  He’s just stupidly awkward about it at this point. (Even if his ultimate goal was…well, we’ll get into that.)

But this trait of never knowing what to say is a massive defining part of Endeavor’s character that has manifested in a myriad of disastrous ways throughout his entire arc.

Now I don’t think there’s enough shown about Endeavor and Rei’s relationship that we can conclusively say they ever loved each other at any point, but I do think they were, at the very least, cordial in the beginning.  They got along, they loved their children, and that in their minds was good enough for them. If you look at the scenes that are Touya and Fuyumi's early childhood, the family seems content. There's no sign of the abuse we see later.

The other big indicator that Endeavor was not originally a violent person to his family is the two very different ways he approaches training with Touya and Shouto. His motive for training them hasn't changed, but compared to the warmth and pride extended toward Touya we see in the above picture, Shouto’s experience with training in the second screenshot is harrowing and traumatic.

So why the difference?

A big reason is it has to do with age.  When Rei defends Shouto, telling her husband that, “He’s only five!” and Endeavor is still pushing their son to achieve the standards of an older child, yes, this does show his impatience. However, the other unspoken sentiment here is he himself is not getting any younger.  When Touya was born, Endeavor was twenty-two and had his whole life, career, and all his hopes with it ahead of him.  His kid has a greater Quirk than his, his legacy is secure, nothing to worry about.  But then they learn about the genetic issue with Touya’s Quirk.  He can’t use his fire safely, he’ll never be able to use it safely, and he will never be a hero in the way Endeavor can.

Touya:  Failure

Fuyumi:  Failure

Natsuo:  Failure

Shouto was probably viewed as his last chance.  Endeavor was getting older and running out of time.  If Shouto didn’t work out, then this legacy was dead in the water. At least, I hope Shouto was the last chance, otherwise he might've tried getting another kid out of Rei, divorced Rei and married someone else for the same reason, or attempted securing his successor through a grandchild.

Which is some freaky medieval way of thinking.

Anyone else getting Henry VIII vibes here?

Remember what I said about him never knowing what to say? The most obvious example of this is his complete and total inability to control the situation with Touya.

The tragedy of both Touya and Fuyumi's characters is they are the only two kids in the house who remember the happier childhood, and they both cling to that in their own way. It's why Fuyumi is so determined to 'fix things.' She's trying to regain the family they lost. For Natsuo and Shouto, things have always been bad in the house, hence why Natsuo bailed as soon as he could.

Then we have Touya. His flashbacks start with him at a toddler age. It is very common and normal for a child that young to prefer one parent over the other, but usually it's the parent they're most familiar with: The one that stays home with and takes care of them. Remember, to a toddler, everything is new and potentially scary, and that can also include a parent that is not always present: The parent that's working. In the Todoroki house, Endeavor has his career as a hero, so we have the indication that Rei was the parent who stayed home. In that situation, the probability of Rei being the 'familiar parent' was more likely, so for Touya to prefer his father over his mother shows just how close he was to Endeavor. Or because Fuyumi was the new baby and needed more attention, he could have gravitated away from Rei and gone to his father instead. He didn't see his father's ambitions for him. He didn't see that he was a successor as opposed to a son.

What he, through a child's innocence, saw and understood was that his father loved him and wanted to spend time with him.

Cue the genetic disparity of his Quirk: Where Endeavor failed as a parent was him never talking to Touya about what had happened. He didn't sit down with him and explain it wasn't safe for him to use his Quirk.

The My Hero world has a social problem of Quirks defining one's worth. It's not just the PLF's philosophy. Having no Quirk is viewed with pity and having a Quirk that can't be used could be viewed as a disability by this society, regardless of the fact it's completely possible to live a healthy life without having a Quirk. So Touya's 'issue' required compassion and understanding, especially from a parent. What Endeavor needed to say and what Touya needed to hear was, "This is a path that is blocked to you, it isn't your fault this happened, and I will love you regardless."

Instead, he just dropped him completely. (Given his character, I doubt he's even the one who broke the news to him.) In Touya's eyes, he didn't have the adult nuance to understand why he was being ignored; he just had the child innocence of, "I don't want to hang out with Mom and Fuyumi, I want to be with Dad. Why is he ignoring me? Why won't he train me anymore?"

What Touya learned from this is he only has value in his father's eyes as a hero. So he began training himself to be a hero because he was desperate to get that love and affection back. When Endeavor discovers the fact he's been training and burning himself, Touya never apologizes for disobeying him. He just repeatedly says variations of, "I can do this, then maybe you'll finally be proud of me."

Fuck, dude, just tell the poor kid you're already proud of him. That's all he needed to hear.

And Rei does call Touya out on this. She asks him, "Do you want to be a hero because you want to be a hero or are you doing this because it's what your father wants?"

In order words: "Are you doing this because you think it will make your father love you?"

And we come full circle to the 'death' of Touya where he realized, "I was never a son. I was a product."

...

Endeavor never addresses the problem going on under his roof. He handed the problem off to Rei. He didn't know what to say, he didn't know (and still doesn't) how to be a parent, and instead of confronting that lapse in his character, he instead made a coward's retreat back into the safe and familiar territory of being a hero.

This was the catalyst for his violence to his family.

Being a hero means fighting villains.

Fighting villains is often solving problems with violence.

Because he never knows what to say, he didn't know how to properly navigate a complex emotional situation, so he resorted to the only method he knew that worked:

Beat it into submission.

And since we have the previously mentioned signs they were once a happy, normal family, I have a feeling the violence began very suddenly and without warning.

...

To back this up, I'm gonna give a little personal insight here. I used to work in an orthopedic clinic and a lot of injuries that came through were hand injuries due to someone punching a wall out of anger/frustration.  You may think this is fine since they didn’t hit another person and only hurt themselves, but the issue with taking your aggression out on even an inanimate object is you are unwittingly training your brain to associate anger with violence and make it all the more likely for you to lash out violently against another person.

Throughout his career, Endeavor has conditioned himself into this same mindset of repeatedly forging and reinforcing the physical connection of violence with the mental/emotional connection of anger.

Look at this scene from Arcane.

If you haven't seen this series yet, 1.) Get on that. You're missing out. (Don't worry, there's not too many spoilers below.) and 2.) This is Vi and this screenshot is from a scene where she, in a moment of anger and grief, strikes her little sister hard enough in the face to knock her to the ground.

Look at the horror in her eyes when she realizes what she’s done.

Now before and after this moment, we see Vi undoubtedly loves her sister and would die for her. (Season 2 pending...) The first thing she does when they're reunited is hug her and tell her how sorry she is. But Vi has also been a fighter all her life. The sisters grew up in the rough part of town, they had to fight to survive, and they've experienced a violent atmosphere from a young age. We also see that when Vi gets frustrated or angry, she punches/slaps inanimate objects, so she too subconsciously associated violence with intense emotions, and in a moment of blind rage/grief, she failed to dissociate and she hurt her sister.

It wasn't a conscious decision, but it happened nonetheless.

What follows is she walks away from Powder. She doesn't go far, she just puts some distance between herself and her sister to calm down and process what's happened and hopefully find a way to move forward. Only, for unrelated reasons that don't pertain to this topic, she is apprehended by authorities and spends the next 6-7 years in prison, obsessing over her regrets and finding her way back to Powder.

She is never going to forgive herself for this.

I bring this scene up because as far as fiction is concerned, we as the audience do often excuse a character losing their temper and hitting a loved one once. What Vi did was not okay, but because it only happened that one time, nobody is labeling Vi as 'abusive.'

...

So consider the first time Endeavor hit Rei. We don't see it in canon, but with all the indicators of a relatively happy home, I believe that first act of violence was the culmination of these factors:

Endeavor's ongoing inferiority complex with All Might and the frustration in his inability to surpass him, and then projecting that frustration onto his family.

The career of solving problems with violence.

The subconscious association of anger with violence resulting from that career.

I'm also going to throw out the possibility of multiple head injuries incurred from his career playing a role. Traumatic brain injuries can and often do lead to behavioral changes where an individual has trouble managing emotional responses, experiences anxiety, has a shorter temper, etc.

Obviously, none of the above should be treated as excuses (not even the TBI possibility because there's therapy options for that), but they are potential contributors to the pivotal moment of frustration and impatience where Endeavor, like Vi, failed to dissociate and did something he couldn't take back.

Striking Rei is his tea kettle incident. Think back to the awkward moron who didn't have a clue what to say to her when they first met. That young man never thought he would do something like this. That first moment when he hit Rei, I really don't think it was a conscious decision and it may have taken him off guard as much as it did Rei. Like Vi, he probably acted out of blind anger and may have been just as horrified by what he'd done, and I can imagine Endeavor walking away from that to calm down and process that he crossed a line he thought he would never cross.

Unlike Vi, who was going to return to Powder after calming down so she could apologize, beg forgiveness, and move forward, Endeavor is an emotional coward who never knows what to say or how to confront a complex emotional hurtle. So he did the same thing he did with Touya: He retreated from the problem and pretended it didn't exist, and because it was never addressed and he was never held accountable, it only got worse. The lid was off and there was no getting it back on.

I'm not saying there was a definite chance he could have come back from that (that ball was in Rei's court as much as it was Powder's) but Endeavor had a choice:

He could have addressed what he'd done and made amends by submitting to whatever consequence Rei set down for him.

Or he could have rationalized his own twisted justifications for what he did.

He chose wrong.

For another comparison of the violence aspect, I’m also going to bring up Shizuo Heiwajima from Durarara!!, a character who I think flies off the handle far more frequently than Endeavor does.

If you haven't seen Durarara!!, same as above with Arcane.

The nuance of Shizuo is the intense rage he experiences, the violence that follows, and his own inner turmoil. He associates violence with anger, but these are traits that he fully recognizes as detrimental to himself and his personal relationships with other people. He has a temper, he gets violent, he lashes out with abnormal strength and has seriously injured many people.

But the people he's attacked are usually people who provoked him, whether it's thugs who opted to harass him on the street or he heard that a friend was in trouble and rushed off to help them. Not that violence is the answer, but they were people who arguably deserved a beating. More importantly, though, is the way Shizuo treats his relationships with caution. He's a loner by choice. He does want to connect with other people, but he keeps his distance because he legitimately fears harming someone he cares about. Because of his caution and self-awareness, he is a complicated and likable character that I think anyone with a short temper who has said or done things they regret can relate to.

If he didn’t have that level of control on himself and was violent with everyone regardless of who they were to him, he would be despised by the fandom as much as Endeavor is.

This is how Durarara!! can get away with presenting a violent character in a comedic fashion. Shizuo, despite his temper, is an absurdly strong guy, a little bit of an idiot, and fiercely loyal to his friends. All three of those are endearing qualities.

And in the right framing, Endeavor's violence is also presented as comedic.

This scene is funny, but grabbing Hawks like that and lifting him off the ground is technically assault and it is intimidation. Replace Hawks with Rei and this scene changes drastically from funny to very unsettling. Replace him with Touya and it's a fight.

...

Where Endeavor really differentiates from Vi and Shizuo is marked by two important factors:

Shizuo, for all his claims at being unable to control his anger, has it very much under control around the people he cares about. He really only lets loose against a perceived threat.

Vi mostly has that same control even though she lost it for a moment, but she was also separated from her sister in an indirect punishment for her actions.

Endeavor does not have Shizuo's restraint nor did he face any immediate consequences like Vi.

Which brings us to Rei.

I have mixed feelings when it comes to Rei, and the absolute harshest opinion I have of her is that she is pathetic and she failed her children. And I know that's a very black and white, cold-hearted view, but hear me out because it's a lot more complicated than that.

Endeavor is ultimately responsible for his own actions, but Rei also had the option to deal with the problem when it started. When he started hitting her, she could and should and have taken the kids and run as fast as she was able and not looked back. No amount of financial security, family appearance, or whatever justification one finds in this scenario is worth it. She should not have tolerated that abuse against herself and she definitely should not have subjected her children to that. While there's nothing conclusive to say Endeavor was physically harming any of the kids aside from Shouto, not fighting for her autonomy/safety was inadvertently teaching all four of them this is how men treat their wives, women are supposed to tolerate this treatment, and a marriage like this is 'normal.'

And in the end, she straight up abandoned her children. We see from Shouto's point of view right before she attacked him with the tea kettle. She's talking to her mother on the phone, saying she 'can't take it anymore' and she just wants to 'run away from this life.' Well...considering she goes on to spend the next ten years in a psych ward and left her children to her abusive husband...she did get what she wanted. Ten years and she really didn't put any more effort in trying to get back to them? She knew Endeavor was hurting her youngest. Going home and protecting her babies should have been her priority. For a long time, I legitimately thought she was in Fujiya because she was considered unsafe to rejoin society whether she was a danger to herself or to others. When she shows up in Endeavor's hospital room, I stared at the screen and thought, "The fuck? She could discharge herself at any point?"

All right, now that I've gone over my hard-line point of view, let me dial back the judgment and consider what else is going on here:

Rei is a refrigerated character.

She has very little characterization beyond her abuse and being the victimized mother in Shouto's story, so we don't know all that much about her. In all fairness, her oldest son suddenly dying while she was hospitalized certainly would have contributed to her downward spiral and account for her prolonged hospitalization.

She tolerated her abuse longer than she should have, but it is possible:

She learned that from her own parents. Tolerating abuse is often a byproduct of generational trauma. Maybe her father treated her mother the same way and she grew up thinking this was normal.

Maybe the first time Endeavor hit her, she rationalized it into a point of acceptance where she told herself that everything was fine and that it was only the 'one time' and it wouldn't happen again, a sentiment she kept repeating every time it happened.

Maybe she was raised to believe ‘the man of the house is always right,’ and that is a mindset that is hard to break if instilled from childhood.

Her parents certainly didn’t seem all that supportive with what was going on, but we also don’t know how much she told them. We don't even know if that one phone call she had with her mom was the first time she reached out for help after years of pretending everything was fine or if this was was something she was repeatedly updating her parents about and those parents chose to be aloof to it.

Maybe she really did grow up in a loving home and just didn't know what to do when confronted with the violent relationship she found herself in.

Maybe she was gaslit into believing it wasn't abuse.

Maybe she really did report the abuse and the godforsaken, root-of-all-evil Safety Commission told her, "Your husband's a hero. Stay quiet and don't ruin that public image." Basically told her to suck it up. That is also a possibility, and one I think could be the most likely, but the series doesn't really go into just how corrupt the Commission was, so we're in headcanon territory.

Maybe she did try to take the kids and run but failed to get away. (Unlikely since it’s never mentioned in canon.)

Not everyone is fortunate enough to have an upbringing that instills the belief, 'if your partner hurts you, they are dead to you' and not everyone has the good fortune of a reliable support network that can help them recognize a bad situation and get them out of it.

Given how well-known Endeavor is to the public, maybe Rei was afraid no one would believe her about the abuse. "A hero would never do such a thing. She's making it up for attention. Her family was poor, so she must be a gold-digger trying to screw over her hero husband in the divorce proceedings."

There is also the important fact that Japan has a social stigma against divorce. Persevering for the sake of family stability and maintaining an ideal appearance is a deeply ingrained cultural norm, which does introduce a troubling power imbalance between a husband who works and a housewife who doesn't have her own independent income. We also have to remember that Rei and her family were financially dependent on Endeavor, so she may have feared the monetary fallout at the prospect of leaving him. Also, with the popularity of the hero ranking system, the No. 2 Hero's wife divorcing him would have been very public and potentially humiliating for all involved.

And we can’t ignore the fact that Endeavor systematically broke her down into a shell of a person who couldn't see a way out of her situation and was tormented to the point she had a psychotic episode and attacked Shouto, the very child she tried to protect. And this too could have contributed to her prolonged hospitalization if this was the final straw and she viewed herself as a failure of a mother.

Maybe it was a combination of two or several of the above factors.

At the end of the day, abuse is a multi-faceted beast, and just as the abuse comes in many forms, the victim can have any number of reasons for staying in their situation.

So even though I have my harsh opinion of Rei and I think she should have done more to protect her children, I do 100% sympathize with her. She is a victim and she in no way deserved what she went through.

But while her inaction wasn't the cause of the crisis in her family, it was definitely a contributor to how badly it got out of hand because whatever the reason Rei didn't expose Endeavor or try to take the children and leave him, that lack of accountability opened up the opportunity for him to rationalize his own twisted justifications for his actions.  “It’s fine. She deserved it because ______. She was 'acting out.' She was overreacting. She doesn't know what she's talking about.”  Whatever he needed to tell himself to believe he didn’t do anything wrong even though he knew he wasn’t fooling himself or anyone.

She didn't stand up to him. Their children couldn't stand up to him.

So he continued the physical abuse unchecked.

...

Moving on into the redemption arc.

After the Kamino Incident, Endeavor finally, finally, finally got that vaunted No 1. Hero spot he'd been chasing for two decades. But he didn't earn it the way he wanted to by proving he's the best of the best. All Might retired, so he won by default.

And then he finds it's just one spot further up on a ranking system that means absolutely nothing in the grand scheme of things. So he looks back at what's really important and he sees the charred skeleton frame of a house he burned down.

One institutionalized wife

One dead son

One daughter who clings to the memories of a happier home

One estranged son

One son who only has a use for him as a teacher and not a parent and will probably drop him the second he no longer needs him

In spite of everything, I do genuinely think the man deserves some credit for at least being willing to make an attempt at reconciliation. Not a lot since he dug that hole himself, but let's face it, a lot of lesser people would have looked at that mess and thought, "Fuck it, no going back now," and continued business as usual. So the question becomes:

Is Endeavor trying to redeem himself out of a need to make himself feel better about everything he's done or is he truly doing it for the benefit of the people he's hurt?

I tentatively think/hope could be a mix of both--I believe there is a part of him that cares about his children--but it definitely skews more toward making himself feel better because there's never a moment before the redemption arc begins where he's isolated, thinking back on everything, and just has the appropriate, "What have I done?" revelation. If his remorse was genuinely all about his family, we would have had that 'crying in the hospital scene' a whole lot sooner.

I think if Horikoshi wanted to portray Endeavor's redemption as genuine remorse for what he did to his family, I think he would have put more of a focus on Endeavor actually seeing the impact of what he'd done and feeling the inner turmoil and regret. Not just Natsuo's anger but also seeing firsthand Shouto's isolation and complete lack of social skills as a result of his training or having a conversation with Fuyumi where she admits she never wants to marry or have children because she doesn't 'want to risk ending up like Mom.' Seeing the effects of his behavior, realizing it's his fault.

So no. While there may be a part of Endeavor that loves his children (or he tells himself that he does), his wanting to atone is inspired mainly by his self-worth. He realized the ends did not justify the means and he tries to fix it.

But either way, how does he go about it?

The biggest change he makes toward earning forgiveness is to his hero career, which tracks with his character. That's familiar territory, so it's easier for him to navigate. He takes a significantly gentler method of teaching/mentorship with Shouto and he tries a kinder approach with his fans. That's progress, but it's still avoidance of the main issue that is the rift he caused with the other members of the family.

His relationship with Fuyumi doesn't have much friction. Fuyumi clings to their family's happier memories. With Touya gone, she was the only child who could remember a childhood without fighting parents, abuse, and suffering siblings. In a twisted way, this is something she and Touya have in common. So it makes sense that she would be the one who's the most receptive to Endeavor's attempts to be a better father. She sees this change as their best chance at being a normal family again. Like Touya, she wanted her father back.

Natsuo is different. He was 3-4 years old when the toxicity in their household really began to spike and when the violence started. Incidentally, this is also when memory cells in the brain start to fully develop and form concrete memories. Compared to his older siblings, the abuse is all he knows and that is why he's the child who left and went low-contact. The only thing Natsuo's really done wrong is start family drama when there's company over for dinner. I mean, c'mon. That's just rude. Don't do that in front of guests.

While Endeavor makes attempts to better his training methods/fan interaction, what he doesn't do is call a family meeting to discuss things, not that this would have resolved anything by a long shot, but it would have established a baseline of where everyone in the family was at and whether or not forgiveness was even on the table at all. It is an extremely arrogant thought for Endeavor to think forgiveness for something of this magnitude is possible, and if he wanted to seek forgiveness (or to atone, whatever the hell that means) for the lifelong mistreatment of family, he should have been more prepared for the most abject, humble groveling to the people he wronged that he could manage.

He should have admitted to his mistakes and faults, laid out everything he'd done wrong, apologize for that as best he could, then express he wanted to repair their relationship and be a family again while also acknowledging that he understands if that is not possible. Lay down that groundwork, maybe be open to family therapy so that a professional third party can act as a mediator and provide impartial guidance, figure out where the boundaries are, acknowledge he can't give them back their ruined childhoods but he can *insert anything Fuyumi, Natsuo, and Shouto ask as recompense, even if it's just leaving their lives forever*, and listen for once to what his family is saying.

Instead, he tries to have normal conversations with his children as if nothing bad ever happened. He offers to come watch Shouto's remedial training like that's a totally ordinary thing for him to do. He tells Natsuo during the family dinner that he would like to try his cooking some time. That is a good olive branch! There is nothing wrong with saying that, but without that prior baseline conversation, it comes off as contrived and that's how Natsuo interpreted it. He sends flowers to Rei, also a good signal to send, but he should have done the the uncomfortable thing and contacted her through her physician to see if she's open to meeting with him for a conversation or sending her a letter she could choose to open at any time (or send back unopened.) That would have established that same baseline and helped move forward towards the atonement he wanted.

But he does the same thing he always does: He pretends the real issue just doesn't exist and he tries to control the situation to suit him.

Why?

Say it with me: He never knows what to say! He can't navigate complex emotions!

He doesn't try to find out if his family is even willing to forgive him, frankly because he's an emotional coward who doesn't want to hear the answer.

However, we cannot say he has no character development at all.

There is one thing worth noting around this point in the plot that I think is important to recognize. If Endeavor ever had any character development that was in favor of his redemption, it was when Natsuo was kidnapped and nearly killed, and it's not because he ran and hugged him in the street.

In this scene, he admits to Natsuo that his actions might as well have killed Touya.

This is a small thing, but it also huge because you have to consider that up until this time, Endeavor has been gaslighting himself into believing it was Touya's fault for getting himself killed or Rei's fault for not doing as she was told and watching him. He could even have been irrationally blaming All Might for just being a barrier to his goals. Any warped excuse and justification he could think of to escape the blame.

It's not a lot, but he did finally give voice to the guilt that he is the reason he failed and his child died. He finally acknowledged that the blame lies squarely with him and no one else, and acknowledging he drove Touya to his own death means way more than just talking about his intentions to atone.

He took accountability here, at least within the family.

That is one point he's earned. We as the audience can begrudgingly concede that one.

But this progress is again stalled when Endeavor makes the decision that it would be best for his family if he distances himself from them. He chooses to build another house for them where they can all live together with their mother and away from his shadow.

The initial reaction I had to this decision was, "Okay, your solution is kicking them out of the only home they've ever known?" But then I considered that having those kids leave a house where they lived through a traumatic and stressful childhood was a good call. Natsuo already bailed, after all. And then there's Fuyumi... Yeah, you know what, maybe a conversation would have been appropriate here. Instead of finding out what they want, he goes and decides it for them like he always does.

Touya has a genetic disparity that prevents him from using his Quirk safely? Endeavor decides he shouldn't be a hero, disregarding any possibility of finding a potential workaround.

Shouto finally uses his fire at the Sports Festival? Endeavor has his whole speech that pretty much shows he has Shouto's entire life planned out after graduation.

He wants to do what's best for his family? He decides what's best for them.

And we're back to the big dumbass never knowing what to say and still running away from the main issue by making assumptions and decisions without actually considering the thoughts/opinions of the people around him and controlling the situation to his benefit.

He may have his intention to do better, but he has no idea what he's doing. He doesn't know how to relinquish his authority role.

And then we have Touya with his, "Bitch, you thought!" grenade. Or is it a nuke?

It's important to note is that failure to articulate emotion in a healthy way is a trait that is shared by all of the Todoroki family members.

Endeavor - the emotional coward who resorts to violence when confronted with an uncomfortable situation

Rei - the passive mother

Fuyumi - the peacekeeper and people-pleaser

Shouto - the child who was systematically deprogramed into an angry husk imitating his father that he has only recently started to recover from

Touya and Natsuo are the only two who actually have some pushback against the bullshit in their family. Touya's a whole kettle of insane fish who's warped psyche deserves a character analysis of its own, but the point is, even as a kid, he doesn't creep around his father or try to make peace with him. Natsuo also has no problem calling out Endeavor for everything that went wrong in his childhood, plus he moved out and went to college as soon as he could.

Touya - the unstable sociopath who shares his father's tendency to violently lash out while stuck with the mental fragility of his mother

Natsuo - the traumatized avoidant

Neither of them have a functional way of dealing with their issues. (In fact, Touya is so unhinged about it that the door has peaced out and is halfway down the street.)

Endeavor wanted to atone for what he did...by burying and not actually taking any real accountability until the unavoidable moment Touya is screaming down to him, "Is it because you became No. 1 that you finally paid attention to your family?"

Touya has a warped view of the world brought on by years of trauma, but he hit the nail on the head.

Endeavor's main motivation for atonement is for the self-satisfaction.

So we have the symbolism of Endeavor, who has always used his physical strength to solve his problems by beating them into submission and used his intimidating height to glare down at everyone beneath him, and then we have Touya standing on top of a mountain, shouting down. Endeavor's in a position where he's looking up at his dead child, who is arguably the broken bough, elephant in the room, core unavoidable reason a full atonement was never going to be possible, bringing about a twenty-year overdue reckoning.

And he once again doesn't know what to say.

As the story ends, this is where we leave him: Crippled, looking up at his dying child, and confronted by one of the lives he ruined. By choice, he's going to sit here and face what he did. These talks are not going to be pleasant. I doubt Touya is so burned out and exhausted that he doesn’t have the heart to spit out more of the lifetime of vitriol he’s built up.

I know a lot of fans were disappointed Horikoshi didn’t kill Endeavor off in the end, but I personally prefer to look at it this way:

Some characters deserve death.

But some deserve to live in despair.

...

To revisit Arcane, I think this quote neatly sums up Endeavor.

[cursedtransby]

Don and her Identities

So there's a lot of theories and whatnot rolling around about what the reveal means, what it means for Don's character, and what it can mean for the future. But I'd like to take a lens back and see how it changes something fundamental to Don, because every sinner has identities, but none of them are as...drastically affected by what their Canto reveals as Don.

Spoilers under Cut

From here on out I'm referring to "Don Quixote?" as Bloodon for short. Also read @thelordofhats post about Murder on the W Express as I think they have a lot of good thoughts about Bloodon and the event in general.

Bloodon is present in the mirror worlds. We know that from Don having Rocinante in every one of them, including more armored groups like Hammer Und Nagel and T Corp. Wouldn't make sense for her to keep them otherwise. However Bloodon doesn't seem to change a lot about how we view the identities, but I'd like to posit that she makes a world of a difference in understanding Don's position in the world and why she is where she is in mirror worlds. Because there's something VERY specific that seems to clash ALL OTHER MIRROR WORLD DONS from LIMBUS DON. Rule following. In almost every other identity, Don is seen following the rules of some wing or finger or even the head itself as a general fixer. The most notable thing to point to is she isn't a part of the group most against rules, the TLA, unlike fellow problem children Ishy and Heath. We never see a "Kurokumo Hong Lu" situation where she's called out for bending or breaking the rules of those she works under. This is all despite her constantly doing it under Limbus Company (at least until Vergilius tells her to back off) Why is this? I believe it has to do with Bloodon's priorities when it comes to the Don we know and love.

First and foremost, keep her alive.

We've yet to see a sinner's backstory specifically call out Dante like this. Almost as if Dante was part of the contract for Don Quixote. It wouldn't make sense for her to say they were promised. Why Dante was part of the contract is important is up to interpretation. It's possible there's something more, that Bloodon is more aware of the stars like Demian, she wants Don to completely override her, or she is simply scared of death. Either way, she needs to live for long enough to see some change for herself and Don. Thus, she needs both of them alive, hence her primary goal being that.

Secondly, she wants happiness. Lust isn't her base ego's affinity for now reason. It's likely a core part of both Don and Bloodon. If Bloodon is miserable, then it's likely she wants to help herself out of that pit somehow. Likely by making her other self happy in ANY way.

We can see this manifest throughout the mirror worlds and how Bloodon is trying across them. In each world, Don has something she can say she is happy about. Let's go over a few key ones and the way the two rules interact.

W Don! Everyone's favorite depressed and OP don. Bloodon likely setup Don's role in W Corp because of her love of the Warp Trains and the company itself. It seems like a slam dunk. Secure meal everyday, safety being a employee of a wing, and Don is happy! But when Don learns the truth, she becomes far less happy about her position. However, leaving her job is extraordinarily dangerous, if not lethal outright. To leave her Wing means death for a mere fraction of a chance of finding more happiness. Aside from her second uptie chat, she is also quite happy in all of her voicelines, and we don't really get to see how she evolves and adapts to the reality of her otherwise comfy job. It's a bit rough, but Bloodon has to keep her alive, and being a W employee is a pretty safe gig (up until something goes wrong :)

The above mentality also applies well with T Corp and Shi. While Shi is a bit less safe, she's still a director of a numbered Fixer association. She's still fairly comfy, and most of her angst comes from her subordinates suffering and having to take the lives of random individuals (something she also suffers with in T Corp).

As for ones where everything aligns, we have plenty of examples of that. Middle, Lantern, and N Corp Don all are examples of Don being perfectly happy regardless of the morality or duties her job entails, as long as it's presented to her fantasies well. However, all of them still have her following some kind of rules, whether it be the Middle's or the Corps. It's very possible a Don without a leash in the form of Bloodon informing things could very easily fuck it up, and even if Don gets her dream job as a Cing director, she still can't save everyone she wants.

All of these identities illustrate the point that Don can't have it all. Risking her life for civilians means putting her neck on the line, and it's something Bloodon in the mirror worlds isn't setting up for her.

However, it's something Limbus Company can help her with. She can achieve her dreams of being a genuine hero in Limbus Company, because Limbus Company has solved many a problem for many a person. They've saved countless lives from the Time Ripper, helped resolve the distortion that is Papa Bongy, and slain the Pallid Whale. She can be the hero she dreams of...as long as she has enough power.

Consistently, Don has been shown that she can't make it in time or have enough power to save those she wants. We see it most prominently in her desire to save Pilot's crew, where the very laws of the ocean dictate that she did not make it in time. We also see it far more clearly the 'lacking' power in the Warp express.

She so badly WANTS to fix things. She's willing to sacrifice a thousand times over to make sure villains die and the innocent survive. But in this instance, and many others, she can't.

But someone else did. Bloodon was able to salvage the situation Don couldn't. And that's what I think Canto VII will be about.

The fact that, in order for Don to be consistently happy, she needs help to fight the fights she doesn't have a hope of winning. The fact that, in order for Don to build her future, Bloodon has to face the fears that her powers are a part of them both. Afterall, who ate that Warp employee hiding in the secret compartment?

[cosmic-light-fics]

The Girlfriend Montage

I can't shake this moment from my mind and some interpretations of moments like this in this season have gotten me mad, so here's what I've got to say about the girlfriend montage. Carmy telling Richie he's gotta call his girlfriend, then we get splices of scenes containing Carmy making food for Claire, Claire working in the hospital, and for reasons that are highly debated by some but seem completely obvious to others including myself there are scenes of Sydney interjected into the couple's montage.

I have my thoughts as to why Sydney is in the montage but that's not the point I want to linger on, not now at least.

I am going to focus on this part in particular: the one where Sydney is undressing and we see the Three of Swords tattoo.

To me, nothing is unintentional in this show. Nothing is inconsequential. And this small, two second shot of Sydney proves that in more ways than I can think of.

What I can't shake is how freaking similar it is to a scene we will later see in ep. 9. The sex scene with Carmy and Claire. It's an intimate moment. The room is cast in blue hues. It's all close up shots, quick cuts, and we can barely make out who is who and what is where. The moment is completely intimate and sensual in all the ways a romantic sex scene typically is conveyed.

And it matches the picture above nearly identically.

The choice to show the audience Sydney's tattoo bathed in this blue light that they will later use for Carmy and Claire's sex scene, the choice to capture this extreme close up, the choice to include the strap of her bra and a tattoo with an image that symbolizes heartbreak and betrayal, the choice to put one of the most intimate and vulnerable shots of Sydney in this montage meant for a couple is.... pretty indicative of the romantic undertones hidden in Carmy and Sydney's connection. The first time I saw it, I was blown away by how intimate of a shot that was of Sydney. We've never seen her like that - undressing, her skin that is always covered exposed, seeing for the first time that she has a tattoo. Just like we never saw Carmy like that in his sex scene with Claire, him being so intimately exposed.

I don't know how else to interpret it. Because all of what's stated above is not coincidence. The creators of this show didn't coincidentally put scenes of Sydney into the couple's montage and they definitely didn't mirror the imagery from the picture above to the sex scene in ep. 9 on accident. Just like how they didn't coincidentally have Carmy think of Sydney to calm him down during his panic attack.

[torchstelechos]

sometimes i think about the scene where Siffrin has a momentary breakdown over the Universe watching and clapping and not doing anything to help, to lead, and i wonder about an interpretation where the Universe is helping, is leading, is telling them what to do. where the Universe is favoring one of the two people from the Country like the King calls out. its us, the Player, the ones that 'create' their universe in a sense by installing and playing the game and leading Siffrin around through it

i wonder if it'd make it better or worse for him in that moment if they could look through that glass window to the stars above and see a glimpse of how helpless we, the Universe, were in that moment too, trying to guide him and failing just as much as everyone else

do you get me. does this make any sense.

Okay Bell, you do not fucking get how much this means to me. I have been on the theory of “the universe is actually the players” since I started wandering about this fandom. I do think ALL the players are part of the universe, but are not the universe as a whole. Like, one player is one star and yes, they are part of the overall universe, but there are more stars to see in the same universe so they aren't the universe specifically. My reasoning for this is actually part of how I see Loop’s wish, and thus I get to discuss how I think wishcraft works alongside Loop’s wish and how it affected the timeline. >:3c 

First, I will be using a general assumption of 1.) The looping only affected Vaugarde like The King’s “curse” 2.) There is only one Timeline and 3.) The theory Path of Least resistance (will be explained in conjunction with wishcraft).

As I have mentioned in a previous post I do think that Siffrin’s wish piggybacked off the King’s wish and used it as a blueprint for how far the Timecraft went, which meant that it only turned back the time of Vaugarde. The King says, when asked about wishcraft: 

He says that the country is skipping, stopping, rewinding, restarting, and how that must look from the outside. Which! I would like to point out that the king is NOT a reliable source of information because the King will lie to get you to lower your guard, however! It’s corroborated by the change god, even if they don't implicitly state it, during the Who’s on the Phone event they say: 

“Dormont, repeating! Dormont, Unchanging! Stagnating!” + “In this bubble, where everything stays the exact same…” The Change god also acknowledges that the extent of Timecraft is smaller than the whole world and specifies Dormont, which is the last place affected by the Time Curse (and thus the last place to change in all of Vaugarde). I would take this to mean that the whole world is still going on while Vaugarde is, well, glitching like a DVD with scratches. 

Next, which I think a lot of people tend to skip over, is that there is only one timeline! This is confirmed by Insertdisc5 (Adrienne), on Tumblr on their ISAT spoiler Q&A: 

Which has such interesting implications, but it does help explain something that I want to connect with the third assumption!

Now! The path of least resistance theory! Craft is an energy based magic, which uses the users energy unless powered by an outside force (however it appears to still take energy to direct the craft). This means that it has rules and if I had to guess, is very similar to electricity. Electricity doesn’t actually only go down one path when we apply this theory, instead it has an inverse in output depending on the resistance of the path. So if one path has less resistance then it will have more energy go down that path with more output, if the other has more resistance than that path will have less output/energy. We can apply this to wishcraft and how it affected the outcome of the two wishes that directly went against each other, the Kings and Siffrin’s wishes. Since Siffrin had a lot of energy behind his wish and the king less, Siffrin’s wish went above the King’s own in regards to who ended up with their wish “granted.” (the output was greater due to the fact it was less resistant to the whole of Vaugarde’s wish + Loop’s wish)

So, with all this written out, how do we the Players come into this? :3c well… We are a self contained paradox wish! Siffrin’s initial wish was to (insert one of the initial options) and “You want to stay with them!” which is the wish that caused the Timecraft ability for Timelooping (if I wanted to be pedantic I would actually say Siffrin can Travel time and isn't looping but that's a whole ass other post). This wish DID NOT bring us to the loops nor did it give Siffrin a guide, it was just a wish made to stay with people already in this timeline/universe. This made it impossible for outside help as it was VERY specific to only this universe, “stay with them.” But when Siffrin gave up, they made a secondary wish, 

(Loop: For someone… Anyone, to help me!!!)

This wish let us, The Players, directly able to interact with ISAT and SAAP. As they reached out into the universe and called for help, the Universe answered by letting outside help interact with timeline by guiding the new Siffrin. We are only able to help out by Loop making this wish! But, now, how does that make us a self contained paradox wish? Well… Thats because in order for the wish to happen, we needed to help Loop make the wish in the first place! By playing the SAAP, we helped Loop get to a position in which they made the wish which allowed us to help them which allowed them to make the wish etc etc. 

Thus we the players are now able to continue helping out when the timeline goes forward into ISAT, alongside Loop who’s wish allowed for a second try (a Start again if you will). 

The reason I also added the other information is because I think its important to remember that craft takes energy, and what Loop says about their wish is that they “destroyed” themself rather than “destroy the world” which… I think it means that Loop basically blew up like the Big Bang rather than become a Black Hole like Siffrin did. This “restarted” the timeline as a whole rather than just Vaugarde as we can see differences in Loop’s timeline and Siffrin’s, and if they’re the same timeline why are there such big differences? Well, yeah,,, Loop remade the entirety of the timeline rather than just Vaugarde… Oops! Big Bang, yaknow? Its still a singular Timeline, it’s just that it restarted the timeline’s progress pretty far back as a whole rather than specific segments. Also, Loop doesnt appear to help until after the initial ISAT wish, so we can just assume that the Universe plucked them from their wish making directly into this timeline section. 

As for why I added the whole Path of Least Resistance Theory for wishcraft… that’s cause Siffrin having Loop’s wish actually helped guide Vaugarde’s wishes into an easier path which allowed them beat the King easier <3. Without Loop’s wish, it would have been impossible for Siffrin to actually progress and get out of the loops alive. Lol. ANYWAY, this is all to say, I do think the Universe is a separate entity to the Players BUT by virtue of how the Players interact with Siffrin I would say we are part of the universe via proxy measures. :3c

This really got away from me,,, hope this is all good and understandable I had to use a google doc to write this all out,,,,

[sugar-grigri]

Noticed that in Part 2 there's notable chapters named after sounds... and the Ear Devil is the important one in these recent chapters. It's like shutting out the world by erasing them and everyone else trying to say "no, you have to listen and be present with us"

I think that if we interpret everything a little more meta, the disappearance of the ears and hearing, or the perception of noise, is a pretty clear warning to the reader, it's even quite mocking. 

You can see that people forget the principle of a telephone without questioning the potential usefulness of the object they had in their hands. Moving on from the meta, it's a vital piece of information about Chainsaw Man's power. It's a cascading oversight. If you forget the Second World War, then you'll forget the Nazis, and maybe even fascism in general. 

But above all, I think there are huge concepts in Chainsaw Man that we don't question, or even forget. It's not our general understanding of the work that's being criticised, it's the fact that, once again, we're not paying attention to the whole of a chapter that's being presented to us. The noise, the background, the muted reactions, the breakdown, the title, these are all pieces of information, and it's they that inform us, so it's our senses as readers. The more Fujimoto seems to support something, the more you have to question him. It's not insignificant that this criticism is made through Pochita, who is also Fujimoto's mascot.

Pochita could eat ears and we'd end up not questioning them, just like all those people, we're no better. It's the same thing with Fujimoto, he does a lot of things in the background, in innuendo, but we don't perceive anything. 

I think the chapter where there's an awful lot going on in the background without paying attention in part 2 is, for example, chapter 156. Did you pay attention to any of that ?

But......?

More ? Have you been trying to help Denji again ? And Denji didn't break the rules, the deal had been broken by Barem who went after his family.

No, you didn't, Denji fainted on his own, you didn't give him that injection, or at least it didn't make him fall asleep. It's probably the other way round.

How could Denji and Pochita have felt his legs being cut off? Because they could hear. And how could they hear ? That was the main question we had to ask ourselves, given the title of the chapter.

Yet people concluded that Yoshida was still a piece of shit, a dog subservient to the public hunters. So a mole does exist, given the leak of information about the PS plans. And how did Asa and Fami find out about Denji's ultra-secret position?

You can see the phone. But you don't question its purpose. What's the phone for? And what is the point of all these contradictions?

Understand the implications of everything and don't forget anything, Chainsaw Man is a constant surprise. We've missed something. Part 2 is nothing more than Fujimoto discussing his work with his fans. Denji's existential crises? Artistic crises about the essence of the work, which is Chainsaw Man. Hear the noise all the way through.

This last panel comes from chapter 133, which is really the chapter that questions the work the most, featuring Yoshida and Denji in particular. Why am I throwing this chapter away? Because chapter 173 told me to ?......

Did you see the number three?

All these chapters deal with Denji's dream.

"Be present with us". Pay attention to everything so you don't miss the train.

[ronearoundblindly]

E for Steve? More specifically hideout Steve???? 🥺🥺

For this ask game and for this touch-starved!Steve series.

MINORS DNI. Hooooooo, Nessie, this got me all bothered.

E - Extra Info

Mini-rant time:

I've come across a couple of comments describing Nomad in this story as "subby," which I have to say, I consider wildly untrue.

He's hyper-sensitive, that's for sure, and he's inexperienced, yes. Being starved for touch doesn't automatically make you submissive, though. In my opinion, that only makes Steve more responsive during intimacy and sex.

We know--or we should know--that real doms are getting pleasure and satisfaction from the pleasure of their partner while exercising the most control over the 'scene' between the two (or more) partners.

That and Hideout!Steve are the same picture to me. At least, I'm not saying he's a dom-Dom, like a practicing and negotiated dominant, but he ain't being submissive, folks, as far as I'm concerned. He's learning, he's exploring, and he's coming into his own. That's all.

Mini-rant over! (No one is wrong in their interpretation of him, by the way. I just wanted to explain the headspace I am writing him from.)

He likes skin-to-skin contact. He doesn't care if things get messy. He has no issue with bodily fluids or functions. If you tell him to do something or want to try something, he's game.

He loves to pamper you with soothing back and foot rubs, but he doesn't fetishize any part of that except your pleased (or aroused) facial expressions (and soft noises of contentment).

What else...

The breath play. Oh boy! Probably not as scandalous as you think it might be, but he smothers his sounds in the pillows and tries to be super quiet long enough that Steve is somewhat reliant on limited oxygen before he comes. Of course, he never articulates that, so you found out very slowly and almost by accident.

Since he's so sensitive already, there isn't enough time to distinguish that anything specific might work him up to climax more/faster, but as he gains endurance, he starts to bury his face in your skin (chest, shoulder, or cunt) and remain cut off from air until his end.

Once, when he's holding you up, no support of a wall or anything behind you, and really going at it, your legs wrapped around his waist and your arms behind his neck, you're both so sweaty that you slip.

What happens is your one hand catches the back of his neck and the other just latches onto his throat because he is frantically thrusting up into you with his grip spreading your ass. Normally, he'd have one hand to stabilize your back, but instead, he groans something fierce, and all you can do is hold on.

That, my friends, is when you hear Steve Rogers growl 'fuck' loudly for the first time. You'd've apologized if he didn't kiss you so sloppily and sooooo greedily afterward. Let's just say that was a good hint that he might enjoy just a little choking...

🫠🫡

Hmm, and I suppose I should mention that the gif above was chosen because eventually when Steve can be more open with you, we find out he does have a bit of a thing for wearing the uniform during sex. Not all the time, but that holds a special meaning because for just a moment, his work-life and his private-life aren't partitioned away from each other.

Kinda. He's still a fugitive.

Thank you for asking!

[Main Masterlist; Dirty Asks Masterlist; Ko-Fi]

[riririnnnn]

The sole inspiration of this theory is this post by @someprettyname.

You know, one of the topics Kaneshiro-san hasn't talked about in the Manga yet is academic pressure on a student, and this topic perfectly suits Shidou out of all the characters in Blue Lock. He is like the perfect candidate to showcase a burnout student who had to put up with all the pressure their parents placed on them, and I have three reasons to believe in this theory:

-> Monologue

All his monologues during the U-20 match has one common theme, "Leaving a proof of yourself for the world to remember you." And one common belief in a household with great academic pressure is that you are made to believe from a very young age that if you can't achieve something in your life, then you are completely worthless. These kind of parents think that being happy with one's life isn't enough, you need to and got to be something or do something big in your life.

One more thing that slipped through ALL of our eyes is that Shidou is actually a pretty smart person:

Shidou was so quickly able to correctly judge Kunigami and Reo, and I think that's a pretty good testament for one's intelligence.

Of course, I do not believe that a grade can fully show a student's capabilities, but I do also believe that you need to have, at least, some kind of intelligence to score good grades. And considering all of this, I can place a safe bet that Shidou was some kind of scholar student and being a smart kid in an Asian household means having to carry lots of academic expectations!

-> Behaviour

You don't even need to fully know about Shidou to understand that he is far away from a student who is considered ideal and that's the point I'm trying to make! He isn't an ideal student because he is tired of being one for so long!

Okay, to understand my point better, imagine this:

You are being forced to be at the top of your class, to be a good, well-mannered, well-behaved student. It's like a constant invisible rope of expectation tied around your neck that never goes away and it's eating you up inside, so what would you do?

Most likely: rebel.

And that's what Shidou is doing! He is aggressive, violent and foul-mouthed—everything that can NOT be found in a trait list of an ideal student. Also, dyeing your hair in bright colours has been a pretty common thing any student does in order to 'rebel'.

You getting me? Please say yes.

-> Favourite song

His choice of music was the first thing that made me believe that Shidou is just being a rebel student. Hide, as stated by Wikipedia, was (or maybe is) considered as the icon for Japanese youth to rebel against the 'conformist' society of Japan. And Pink Spider song goes deeper than it appears—this and this beautifully explains about the above mentioned song.

Here are some few excerpts of the articles:

This song's meaning in Shidou's case can be interpreted in various ways, and I would love if you guys come up with your own interpretations.

For me, it's like Shidou felt trapped in whatever way he was living. He was made to feel that if he followed every rules, got good grades, behaved like an ideal student, then everything will be fine and will work in his way and that his elders really know the best for him and that he is just naïve. This type of living ended up suffocating him even more—he wanted to truly live—he bottled everything up and one day, he just snapped and that was when the Shidou Ryusei we know was born.

One more small and very personal reason for me to believe that he was a scholar student with too much academic pressure is that one of his favourite subjects is Art.

Speaking from personal experience, I've noticed that people who were forced to study and do well academically usually end up falling in love with making art.

I don't know how to explain it well, sorry.

That's it, I guess.

What do you guys think?

[robinsegghead]

Danny's Daycare Part 12

[Master List]

Cookies, books, wallet, keys. Cookies, books, wallet, keys. Cookies, books- what was he forgetting? He felt like he was forgetting something important. It was an aggravating feeling considering there definitely wasn’t something else he was supposed to be bringing. Hell- the cookies were an above and beyond kind of thing- even if they didn’t feel like it.

Was there any such thing as above and beyond for the man who’d killed his murderer? Not just killed, nonchalantly- accidentally killed the clown. It was such an anti-climatic death there was no way the Joker wasn’t rolling over in his grave. Cookies were the least Jason could do to thank Danny.

Of course, Hood was also bringing him and his ... kids- food multiple times a week and checking in on Miguel and Santiago when they stayed in their own apartment. He’d made sure to drop by every night after Miguel’s kidnapping and on the third night (the night after learning about Danny’s death which- what the fuck?) after the incident, the boys had gone back to their own place. He’d stopped on their fire escape just to make sure they were fine and had ended up staying and talking with Miguel for a while.

The kid was great; he didn’t have any fear of the Red Hood- most street kids in Crime Alley didn’t- and they’d had a nice long chat. He hadn’t met Santiago yet so he wasn’t sure what to expect, but if he was anything like his brother, Jason was sure they’d get along great.

Still, he felt…. Underdressed? It was a strange sentiment but something was off, something was missing. Irritated by the anxious feeling clawing inside his stomach, Jason pushed away the thoughts and focused instead on something else- anything else.

Arriving at the apartment building he’d been to many times at this point (usually when Danny was at work), Jason parked his bike and headed up. He knew exactly where he was going but it was strange to go there from inside the building instead of through the windows and fire escapes. He knocked on the door he knew was Danny’s, and waited.

There was a loud noise inside (some kind of arguing?) before the door was flung open by a woman who looked exactly like Danny. 

“Dani!” Danny shouted and- okay- that was a weird sentence.

“So you’re Jason?” The girl- Dani..?- said accusatorily.

Jason didn’t know how to respond and instead offered up the cookies. “Yes..?” Okay seriously Todd, when did you start acting like such a coward? Clearing his throat, he tried again. “Yeah, I’m Jason, and you are?”

“I’m Dani- Danny’s younger sister and-”

“You’re both named Danny?”

Danny dug his fingers into his eyes. “Dani, can you please let him in?”

“Oh. Yeah.” She stepped aside and Jason stepped into the familiarly barren apartment. It wasn’t that Danny had no decorations, just… very few. A few pictures of his friends, a plant with a note next to it saying ‘do NOT kill this one Danny!’, and some random Nasa and space themed memorabilia. Actually most of that seemed new.

“Miguel! Santi! Jason’s here!” Danny called into the apartment. “They’re around here somewhere… You want anything to drink?” He took the cookies from Jason with a head dip and the feeling of Grateful-Nice-Happy washed over him which Jason did not know how to interpret.

Jason brushed it off. “Tea?”

Danny nodded and left to make the tea while Dani got comfortable at the coffee table in the living room. He chose to join her, placing the books he’d brought onto the table. “So Dani, your parents crazy or do they just really like the name Danny?”

She looked at him sharply as he started but softened by the end as if he’d almost offended her. “Ah- no, well yes- he’s Daniel, I’m Danielle, but neither of us like our full names-”

“That’s because the people who call us by our full names are all trying to kill us!” Danny shouted jokingly. Dani nodded sagely- wait- he was joking right?

“So we thought it’d be funny to both go by Danny. I’m Dani-with-an-i and he’s Danny-with-a-y.” She finished, going back to whatever she had been working on before, sticking out her tongue and squinting while writing something down.

“The venn diagram of people who call us by our full names and people who are trying to kill us is a circle, Dani.” Danny said pointedly, caming back into the room with a tray and placing it on the opposite end of the coffee table. That was a joke, right? (Knowing what he knew as Hood, he didn’t actually believe it was.) “Right, I’ve brought cream, sugar, and I didn’t know what tea you liked so I just made black but I have others if you don’t like it.”

“Black tea’s good.” Jason confirmed, adding a bit of sugar and milk to his cup and stirring.

“Sorry we’re late!” The front door opened. Jason thought they were in the apartment? “Someone didn’t wanna come.” 

Looking up, Jason watched as Miguel grumpily kicked off his shoes, dropped his jacket on the nearest chair, and headed to the kitchen, not even offering the living room so much as a hello. Another boy- who looked so much like Miguel but younger and with brighter eyes- hopped into the room and smiled at Danny. 

“No worries, Santi, this is Jason. He’s going to be tutoring you guys in English. Jason, this is Santiago.” Danny gestured between the two.

The boy examined Jason closely, clearly sizing him up, before untensing his shoulders and moving into the living space. “Hi.” He offered somewhat shyly.

Well that was fair, Jason would have been much ruder when he was Santiago’s age. “Hey kid, how’s it going?”

“Better before now.” Miguel grumbled, dragging himself into the room and settling into the armchair furthest from Jason.

Yikes, what crawled up his ass and died?

Looking towards the ceiling, exasperated, Danny sat on the couch- a central location between everyone else and Miguel. Okay. Well. That was probably his cue to start talking. Shit- what had he gotten himself into? He didn’t know how to teach! Even if he’d helped his siblings (not that any of them would admit to that- himself included) and been good at English in high school that didn’t mean he’d be a good teacher!

“Well, before we get into it, I wanted to see what you boys were comfortable doing. I’ve got these,” He rifled through the books he’d brought and pulled out two papers. “They’re writing prompts. After reading the excerpt at the top you write a standard essay and I’ll look over them afterwards to get a better idea of what you guys need help with. Sound good?”

Santiago eyed him warily but nodded slowly. Miguel gave him a blank stare until Danny sighed quietly, then the older boys face cringed slightly before blanking again.

Jason decided to ignore it and hand the boys their papers. “Take all the time you need but remember, I’m just trying to get a feel for where you’re at, it in no way has to be perfect.”

The boys worked for a while, each having moments of frustration. At one point Santiago stood up and went to the kitchen where he- Jason thought- paced for a few minutes before he came back, calmer, and finished the paper. Miguel kept squinting at the page, rereading lines, growing more and more upset until he finally gave back the paper and speed walked out of the apartment.

Sharing a look with Danny, Jason wondered if that was normal. Was he squinting because he didn’t understand the wording? Or maybe he had poor eyesight? Jason continued to contemplate what it could have been about while Danny followed after the older boy.

“Don’t worry about him.” Santiago said quietly, not looking up from the other school work he’d been doing while waiting for Miguel to finish his essay. “He gets overwhelmed. Thinks ‘e’s stupid er somethin’.”

Ah. Well. Jason understood that sentiment. He’d loved school, as a kid who’d never had the opportunity to go and didn’t think he ever would, going to school (especially college) had been Jason’s dream. That didn’t mean he thought he was smart enough for it. Alfred (and even Bruce) had been privy to some very embarrassing meltdowns about how stupid Jason thought he was.

(Was, past tense, because Jason certainly didn’t think that now. Even if Timbers constantly figured things out that Jason couldn’t possibly hope to figure out on his own. Even if Damian had a larger vocabulary and better grades than he’d had at the same age. Even if Duke had just graduated as valedictorian with honors while maintaining his daylight vigilante lifestyle. Even if every single member of his family was ten times smarter than he was- he was still smart. Yeah. No childhood insecurities had carried into adulthood here- no sir.)

“Well, I’m sure that’s not true. He just thinks that cause he’s from the streets. I thought I was stupid too when I lived on the streets.” Jason said nonchalantly, feeling Dani’s eyes on him. “So Santiago, I brought a couple of books- you can choose which one we start with and find something you might enjoy, how’s that sound?”

Miguel never came back. Danny did, with a poorly hidden frustration masked behind optimism. At least it didn’t seem like Santiago was able to pick up on Danny’s jitteriness or frustration. After the essay and picking a book to read (He’d chosen The Giver) Jason had given him a workbook and instructed him on how to correct the sentences in the module. Some were missing commas, some were missing capitalization, and so on and so forth.

Dani had long since abandoned what she’d been working on so Jason took a look. What? He was curious. She was getting her GED- something he’d considered on and off for years- and he just wanted to know what went into it. So he was curious, sue him.

Someone cleared their throat causing Jason to jump and look around quickly. Danny was jerking his head towards the kitchen and with a glance at Santiago, who’d apparently fallen asleep with his head on the table. Stealthily, Jason followed the man into the kitchen and checked the time on his way. Huh, he’d been here for almost two hours at this point- longer than he’d thought.

“Sorry about all that.” Danny spoke, quietly. “You want anything to eat? Drink? You’ve been here a while.”

Jason shrugged, feigning indifference. “I wouldn’t say no to some more tea.”

Danny nodded, putting the kettle on the stove and getting everything ready. “Your money’s on the table.” He gestured again with his head and Jason tried to ignore the way his hair fell over his eyes every time. “Miguel might take some time before he really participates in your lessons, I appreciate your patience.” 

Leaning against the counter, Jason shrugged. “Not a big deal, really. Reminds me of myself when I was his age- actually, he’s a lot less angry than I was at seventeen.” A lot less murdery too.

“Yeah… Me too.”

Whipping his head around, Jason caught Danny staring into one of the mugs he’d just put a tea bag into. His stare was thoughtful, considering, until he snapped out of it and looked up to meet Jason’s eyes and- oh god. He was staring. He couldn’t help it. He’d never seen blue eyes so dark before. Almost all of his siblings had blue eyes, but they were just… blue. Danny’s eyes were dark blue, reflecting the kitchen lights and sparkling like the night sky and they were perfectly framed by his long dark eyelashes and-

“Jason?”

Forcefully pulling himself out of whatever the fuck kind of trance he’d just voluntarily gone into, Jason tried to focus. “Sorry, what were you saying?”

Danny tilted his head. “I… wasn’t.”

“Oh.”

Their attention was pulled away from each other as the kettle started to whistle quietly. Danny turned it off quickly and Jason remembered the boy asleep in the other room. A mug of tea, with a little cream and sugar, was quickly pushed into Jason’s hands and he took it gratefully.

“Well, thank you for tonight. Hopefully next time goes a bit better.” Danny leaned against the opposite counter and lightly blew the steam from the top of his mug.

Jason nodded. “Well maybe whatever put Miguel in a bad mood today won’t affect him next time.”

Letting out a small chuckle, Danny shook his head. “I doubt it. I think it’s mostly me making him do school stuff. He… thinks he’s stupid. He’s not, but he’s not really good at school stuff and he doesn’t have the patience. Again, reminds me of myself in that aspect.”

Thinking for a moment, Jason cut in. “I think you should get him tested for dyslexia.”

Danny froze momentarily before looking up to meet Jason’s eyes again. “Why do you say that?”

“He was squinting at the page. Maybe he just needs glasses, but I noticed a lot of spelling errors when I glanced at his work earlier. It would explain his frustration with school stuff. Santiago has some interesting tics too and seemed…” He got angry at his next thought. “Scared every time I noticed him fidgeting or making noise.”

The man closed his eyes. “Yeah… I… noticed that too.” Jason noted the way the man’s voice cracked. “They don’t like to talk about their parents, from what I’ve gathered their dad was quite abusive.”

Jason and Danny shared a knowing look, each saying they understood. It wasn’t something he’d wanted to see in Danny’s eyes, but the longer Jason looked into them the more he got the idea that Danny’d been through more than he let on with his optimistic ‘I’m helping people for the sake of helping people cause that’s the right thing to do’ attitude.

“Well, things will only get better the longer they’re with someone who takes care of and loves them. Certainly helped me.” He added the last bit quietly. Danny hummed in acknowledgement, but not agreement. The realization that they were the same- that they’d had abusive dads (that they’d died), that they’d been angry teens, it had made Jason wonder if (hope) Danny had had a Bruce.

But his hum had been acknowledgement not understanding and not everyone was as lucky as he’d been. Sure, he and Bruce didn’t see eye to eye a lot of the time, they’d had their fights, he’d said bad things about Bruce (some of which he believed), but he’d had Bruce. Danny clearly hadn’t had anyone to help him out of his shitty home. Someone who believed in him and pushed him to be the best version of himself he could while also taking care of his emotional needs. 

Danny’d been trapped.

“I’m sorry.” Jason said before he could stop himself.

“Hm?” Danny looked up from wherever he’d been staring a moment before. “For what?”

Letting out a puff of air, Jason frowned. “I didn’t mean to… bring up any… bad memories.”

The man’s eyes softened and god how were his eyes so beautiful and deep? “Don’t worry about it.” He waved his hand casually. “It’s all in the past. Besides, I’ve got bigger worries now.”

“I guess you do.” Jason agreed. “But if you- uh, ever want to talk… I’m willing to listen.”

The look Danny gave him made him feel small. Not in a bad way- more like… he felt appreciated and he wasn’t exactly used to that. Like he’d done something worthy of Danny’s gratitude. “I’ll keep you in mind if I ever need to talk, Jason.”

Emboldened by the surge of positive emotions (a rarity for Jason), he smirked. “You can keep me in mind for more than that, doll.”

“Oh, we’re back to this, huh?” But Danny’s voice was only filled with mirth. “What else should I keep you in mind for then, Darling?”

Unwilling to back down this time- he was prepared for Danny’s flirting this time around- Jason looked the man up and down suggestively. “I can think of a few things, but I think I’d better take you to dinner first.”

“Is that right? Just dinner? Or were you thinking about dessert too?” Danny glanced between Jason's eyes and his lips, licking his own.

Fuuuuck this man was going to kill him.

Jason leaned forward. “I’m always thinkin’ about dessert, doll.”

Opening his mouth to respond, Danny’s smirk dropped quickly and Jason wondered if he’d said something wrong. Gearing up to apologize for crossing a line, he was interrupted as Miguel turned the corner and eyed the two of them warily. Studying Danny fleetingly, Jason wondered how he’d known the boy was coming in- even Jason hadn’t heard the door open or his footsteps. Though that might have been more due to the pounding of his heartbeat being the only thing he could hear.

“Miguel.” Danny greeted happily. “You want some tea?”

The boy looked between the two men before scoffing, turning on his heel, and leaving the exact way he’d just come in.

Pinching the bridge of his nose, Danny seemed to be calming himself. “Sorry about that.” He started, still visibly calming down. 

“No worries, really. Teenagers gonna be teenagers, right?” Jason shrugged.

“Yeah I just didn’t think I’d have to deal with it at the ripe age of twenty-two- er… three, I guess..”

Jason tilted his head. 

“It always takes me a while to get used to saying a new age. Anyways, I should probably get Santiago to a bed and see what’s going on with Miguel today.” Danny scooped an envelope up from the table and offered it to Jason. “This is what I owe you, I hope tonight hasn’t completely deterred you from tutoring the boys.”

Taking the (ridiculously thick) envelope from Danny, Jason pocketed it. “Nah, it takes a lot more than that to scare me off. I’ll get out of your hair so you can take care of your- uh take care of the kids.”

Danny, who definitely didn’t miss Jason’s slip-up if his doubtful look was anything to go by, led him to the door and waited for Jason to slip his shoes on before opening the door. “I’ll see you Wednesday.” He saluted casually before walking away- why the fuck did he salute?!- and heard the door close behind him.

Taking a moment to relax (why had he been so tense?), Jason let out a deep breath. 

“Yeah, must be exhausted.” Jason whipped around to see Miguel crouching outside his apartment, twirling a pencil. The remark was sarcastic and followed up with an eye roll but Jason couldn’t help being a little happy the kid had willingly spoken to him.

Turning to face the kid fully, Jason tried to push out an aura of calm. “Not really. Why would you think that?”

Miguel rolled his eyes and stood up. “Don’t play stupid.”

“I’m not playin’, kid.” Jason shrugged.

“I’m sure teachin’ a idiot for two hours and then fallin’ all over Danny is exhaustin’.” Miguel spat. “So, you must be exhausted.”

Oh. Okay. So that’s what this was about. “It’s not nice to call your brother an idiot.” 

Affronted, Miguel sputtered. “What- I didn’- I would never- I meant me ya dumbass!” He hissed, seemingly aware that his brother was asleep in the other apartment and Danny had really good hearing which- wait was that another meta thing?

“You weren’t with us for two hours.” Jason shrugged. “Besides, neither of you are idiots.”

“Oh please- I was failin’ school ‘fore I dropped out, no way I’m gettin’ back in no matter how hard Danny tries.” Despite the venom it was said with, Jason could tell there was more sadness than anything else. He knew that feeling.

“Listen, Miguel-”

“Don’ act like we’re friends!” Miguel whisper-shouted across the hall, opening his apartment door. “An’ leave Danny alone- he ain’t interested in someone like you- he already has someone ‘e likes!”

And then he slammed the door, negating all his work to keep quiet, and likely alerting Danny to the argument and waking Santiago if he hadn’t been awake already. Jason hightailed it out of there not wanting to be caught still standing outside Danny’s apartment.

The ride back to his apartment felt longer than it was as he replayed the conversation he’d had with Danny through the lens of ‘him already having someone he likes’. It sure seemed like they’d been on the same page earlier. Jason hadn’t been too cryptic, right? Everyone knew what ‘dessert’ implied while flirting, right? He’d been the one to bring it up!

By the time Jason got back to his place it was almost nine which meant he’d need to start patrol soon so he definitely didn’t have time to be overthinking every expression and word that’d passed between the two of them. (He still did.)

“Jay! You made cookies and didn’t save me any?!” A familiarly obnoxious voice greeted him when he opened the door. 

Groaning inwardly, Jason scowled. “What are you doing here, Dickface?”

“Can’t a big brother visit his baby brother?”

Technically, Dick was in his Nightwing suit, so he probably shouldn’t be connecting them so obviously. But Jason had never given a flying fuck about B’s rules. “Not your baby brother.” Jason muttered, kicking off his boots and placing the stack of books he’d brought to Danny’s (Minus the Giver) onto the kitchen counter. “What do you want?”

Dick frowned. “You’re usually out by now, wanted to see what was up and then I found you made cookies and didn’t save me any!” 

There was no evidence that Jason had made cookies (he cleaned up as he went, thank you very much) but there was a lingering smell and when it came to sweets, Dick could always sniff out anything. “They were for a friend.”

His brother gasped. Great, now he’d done it. “A friend? You have a friend, Jaybird? Who is it? Why’d you make them cookies? Are they more than a friend?”

“Shut up, Big bird.” Jason grumbled, collapsing back onto his couch and closing his eyes.

The gasp his brother let out this time was louder than the last. “They are more than a friend! Little wing! Were you on a date?”

As if. Too bad Danny ‘already likes someone else’. Shaking away his self pity party, Jason reminded himself of Danny’s flirting. The things he said weren’t something you just said to anyone- right? Of course, they hadn’t known each other that long- sure, Red Hood had known Danny for almost two months, but Jason had just met the guy a couple weeks ago. Maybe Danny was just a flirt?

“Jayyy!” Dick whined. “Tell me about your friend!”

Burying his face into the crook of his elbow, Jason tried to ignore the man’s incessant whining. Until he couldn’t. It was just-so annoying. “Dick! Shut up!” Despite being thoroughly annoyed, Jason noted the distinct lack of green in his vision- something that definitely should have turned up by now. “He’s just a friend, the cookies were a thank-you, now get out of my apartment!”

Pushing the man towards his window, Jason begged whatever gods were listening that none of the other bats were listening at the moment. 

“Okayyyyy,” Dick whined. “But next time I come over you need to tell me all about your boy friend that’s not your boyfriend.”

“Get out!” Jason shoved him.

Falling onto the fire escape his brother grunted but finally took the hint, leaping off the landing and grappling away. Finally, some peace. He deserved a moment of peace and quiet, he’d had a long day- hell a long week. He’d wanted to visit Danny as Hood again, get some more answers, but every night had been filled with B&E’s, robberies, muggings, his own drug bust he’d been working on for a while, and a case Cass had asked him to help on.

He’d stopped by to see Miguel only once in the last week and hadn’t gotten the chance to stop by Danny’s before getting pulled away again. It had been a long and frustrating week. Tonight had been especially frustrating in its own unique way.

Gearing up, he pleaded with the same gods from earlier for one quiet night. Just one, just so he could ask Danny what the fuck he meant by- well everything he’d said.

He did not, in fact, get his wish.

Prev. Next