tectinic

[chancheols]

All this nonsense with Taylor Swift has violently reminded that people will really bend themselves over backwards to infantalise and victimise white women. Reminds me of Megan Fox and MGK and how people were acting like she was being held hostage in that relationship....as if she isn't an adult with agency....

[letters-to-lgbt-kids]

My dear lgbt+ kids, 

Can children consent? 

According to my notifications, someone was very interested in hearing my opinion on that - leaving that question under a lot of my posts, regardless of whether they mentioned consent or had any possible connection to that question whatsoever. 

Is it possible that someone, for some personal reason, just really wants to discuss the topic “children and consent” with me (and is perhaps being a bit clumsy about it but has good intentions)? 

Yeah, I guess so, but: some other commentators pointed out that these questions seemed random and unrelated to my content, and were met with “So you think children can consent?”… and if you weren’t suspicious before, you should definitely be at this point.

Sadly, there are some people who will ask loaded questions to lgbt+ creators in hopes of getting an answer that they can twist into something nefarious. “Can Children consent?” is a loaded question because even a completely innocent and harmless answer could be misconstrued as “proof” that lgbt+ people are pedophiles who are trying to groom kids… if you look for proof, and are willing to twist or purposefully misunderstanding someone’s words, you’ll find proof. 

Take this post for example, I didn’t even answer the question. The reason for that is that, well, I just explained how my answer would be misconstrued anyway. Plus, the answer is actually super obvious and nothing you can have one opinion or the other about (Obviously kids can’t consent to sex, they’re not mentally and emotionally developed enough to give informed consent to sexual acts) - and if you really really want to, you could interpret even that in bad faith. “He’s dodging the question!” or “He’s instantly jumping to sex! Maybe the question was just about a hug” or “Okay but why would you defend yourself if you were innocent” or… I don’t even know. It’s tiring to think about all the ways people can paint you as evil to justify their hatred of you. 

And that’s also the point of me even talking about this in the first place: not just a „don’t fall for the bait” but a “it’s okay to be tired”. Having to be on the lookout for bait is tiring. Having to consider possible bad intentions is tiring. Knowing that falling for bait could end in you get harassed or doxxed or threatened… yeah, that is tiring. 

Having to worry about your safety is tiring. I wish I could end this on a more positive note - but sometimes the most comforting thing we can do without lying is to admit that some things suck. 

With all my love, 

Your Tumblr Dad 

[noctuadora]

About the Japanese relationship charts circulating around RE Twitter…

I've been seeing these images used to spark discussion... and arguments. Shipping wars aside, I was more intrigued by this Japanese term used to describe Leon and Ada’s relationship.

I want to explain these words in more detail, so this post will be about that + answering questions that some might ask. I'm also including Leon and Claire's chart as well.

Note: I am currently studying Japanese. I made this post partly because I like to understand advanced terms that are unique to a specific language. Despite this, my explanation is not immune to errors.

Leon and Claire’s relationship chart in Resident Evil: Infinite Darkness (2021).

Explaining this first because this is fairly easy to understand.

信頼関係 (しんらいかんけい・shinraikankei) - A relationship of mutual trust.

Kanji breakdown:

信頼 > reliance, trust, faith, confidence // 関係 > relationship

It should come as no surprise to anyone that Leon and Claire trust and rely on each other.

Q. ‘Is the term exclusively used for them only?’

No. 信頼関係 was also used to describe Leon's relationship with President Graham (and Jason or Patrick).

Leon and Ada’s relationship chart in Resident Evil: 6 (2012).

This is the term that others can't seem to grasp well (I mean they kinda do, but they also misinterpret it weirdly). In the English version, their relationship is described as ‘fatal ties’, but I don't care about that - I'm focusing on the Japanese version.

腐れ縁 (くされえん・kusareen) - an undesirable but inseparable relationship.

Kanji breakdown:

腐れ > to rot // 縁 > relations

The highlight of this word is the kanji 腐る, which is a negative verb used to describe something rotting/decaying.

The "inseparable relationship" part may be interpreted as romantic to some; as some shippers say, 'they are fated' (more on that later). But first, we need to understand what 腐れ縁 means in more context. Here are some excerpts I've taken from multiple sources.

離れようとしても離れられない関係 - A relationship that you know you should let go of, but can't. (This is consistent with OG RE4 Leon's line of 'she's a part of me I can't let go'.)

Note: 離れ (はなれ・hanare) mostly means 'to let go (of something/someone)' and 'to separate/to give up/to part ways'.

離れよう、縁を切ろうとしても断ち切れない好ましくない関係 - An unfavorable relationship that you can't cut off no matter how much you try to.

Note: 好ましい (このましい・konomashii) means desirable. 好ましくない (このましくない・konomashikunai) is the negative conjugation of it. 好ましくない関係 - undesirable relationship.

Just from this alone, you can see that their dynamic is difficult to understand. And that's what 腐れ縁 is.

Q. ‘Is the word 'rotten relationship' an accurate translation of the term?’

Google Translate translates this word LITERALLY. I think there is no true English equivalent of 腐れ縁, but yeah, 'fatal ties' is the term closest to it.

Q. ‘Can Leon and Ada be described as 'fated'?’

The answer is yes... and no. Here is another excerpt I find to be interesting:

「運命の相手」 を思わせるようなニュアンス ですが、 実際には好ましくない関係に使われることが 多い言葉です。- The term 腐れ縁 does have a nuance that is reminiscent of "destined/fated partner (or in other words, 'the one')", but in reality, it is often used to refer to undesirable relationships.

Q. ‘So... Is their relationship that bad?'

The answer to this question will depend on your own interpretation of Leon and Ada's dynamic - and that's why people are quite divided when it comes to them. It is said that 腐れ縁 can be positive... in the sense that if you experienced it before, you can now have a better judgment of people (lol). But in some cases, a long-lasting rotting relationship (like theirs) could mean that they at least have some level of mutual trust only they understand. It can work... but even the article I've read wasn't so clear on how it can work, so.

If you made it this far, I hope you found this interesting. :)

[a-dragons-journal]

Not the previous anon, but your answer made me wonder what exactly defines something being alterhuman. I know it means an experience/identity that’s alternative to humanity, but I find that definition vague and uncommitted. Like, what does alternative to humanity mean exactly and who gets to define it? If it’s an experience that the vast majority of humanity doesn’t have, then that would definitely include archetropes and hearthomes, but it would also include stuff like being a master bassoon player because that’s something most people aren’t as well. I’m not asking this in bad faith, I’m just confused where the line is drawn, what is considered alterhuman, and what isn’t, and why, because it all seems kinda arbitrary.

This post, the final "coining post" (put in quotes because it was kind of a process of refining more than a single post, but this was the final definition essay) for AlterHuman Personal Identity/AHPI, which would rapidly turn into just alterhumanity, may be helpful to you.

As I said in my last post (which was sent before you sent this in, in your defense), it is ultimately subjective and up to interpretation a bit. There's a reason that there's debate on, say, whether plurality should be included in alterhumanity "by default". It is kind of arbitrary, because that's how a label as broad as alterhuman works. That being said, I would say that, to use your example, being a master bassoon player doesn't make you alterhuman because while that experience is rare, it's not one society considers outside the range of "normal human experience."

But there's also, admittedly, a cultural aspect to it. A lot of mainstream society considers being neurodivergent outside the range of "normalcy" - but few people will argue that neurodivergency in general should be considered alterhuman by default (although personally, if an individual feels their neurodivergency makes the word alterhuman fit them right, I feel that's up to them to decide). And yet, plurality, arguably just one form of neurodivergency, is often considered alterhuman by default, in large part because of cultural ties between the plural community and other alterhuman communities - plurality often comes with speciesqueer experiences, fictionfolk experiences, and other experiences that are shared with or similar to other alterhuman identities, and perhaps as a result of that, the communities have a history of interacting a lot. Similarly, a term that arose out of alterhuman spaces is a lot more likely to be considered alterhuman than one that arose elsewhere - because the fact that alterhumans felt that it needed to be created says that they probably feel it's divergent enough from "normal human experience" to "count" as alterhuman, and because its historic and cultural ties to the alterhuman community probably make it inherently connected to the idea of alterhumanity, if that makes any sense.

It is subjective and it is messy, and I know that's not as satisfying an answer as you'd probably like, but like I said, it's the nature of an ultra-broad umbrella term designed with inclusiveness as a high priority. It's not a clean line so much as a gradient - there's a wide swathe of gray area transitioning slowly from "definitely alterhuman* (ex. therianthropy)" -> "alterhuman by default, but relatively easy to see how someone might not consider it to be (ex. plurality)" -> "not necessarily alterhuman by default, but easily considered as such (ex. furry lifestyler)" -> "not alterhuman by default, a few may consider it to be (ex. furry)" -> "definitely not alterhuman (ex. bassoon player)".

*"definitely alterhuman" as in, by definition; individuals may of course choose to not use the term for themself. ex. therianthropy firmly fits under the alterhuman umbrella by definition, though not all therianthropes like or use that word.

Or at least that's my thoughts on it. Y'all's thoughts, @ the general alterhuman public?

[felicjana050896]

Hell's Great Dad Song: Charlastor's Analysis (Part 1)

Let's analyze Alastor's truth and lies. In the song Hell's Great Dad we can see when Alastor is honest and when he is lying, just by looking at whether he is "himself" or a "chameleon".

Here Alastor is telling the truth, he was there from the very beginning, just like Angel, Husker and Niffty, they were the first people in the hotel (not counting Vaggie of course).

Here, too, Alastor tells the truth, he may not believe in the idea of ​​redemption itself, but he believes in Charlie because he is aware of her power, her potential, which he himself mentions in a conversation with Rosie in episode 7, Alastor is the one who truly believes in her.

Here we have a moment of lie, but I honestly don't know whether to interpret it literally, because as we know from Viv, Charlie and Alastor have the same sense of humor (her post on Twitter), so if Alastor told her this type of joke, she would definitely laugh, it means so either they are not joking with each other (at least for now), or it has some metaphorical meaning that I have no idea about, unfortunately I am not a native English speaker, so I may simply not know something, in which case I would be grateful for additional knowledge :)

Here he tells the truth again, which Charlie herself confirms, whether we see it or not, Alastor probably manages the hotel in some way, considering that he "hired" Husker and Niffty there and helped with advertising and changed the name of the hotel, he is from management side.

Here it is still true, Alastor says that he is her guy, "your day to day" again a confirmation that he is faithful to her and will be by her side.

Here in this sentence we have a mixture, first Alastor tells the truth, then the lie.

"Your chum"- this is true, Alastor really considers himself her guy, her friend, regardless of his intentions in using her power, he doesn't want to destroy or hurt her (I've seen posts suggesting this), yes, he does take advantage of her, but he also wants to do it by manipulating her, gaining her trust, getting closer to her and becoming her close person, he wants to be someone who will be with her day after day, will be her confidant and closest person, so that he can use from her power, her potential, which she herself will give him, of her own will. Alastor is not stupid, he is aware that Charlie is much more powerful than him, not to mention Lucifer, and if he did something bad to her, Lucifer would not have no mercy for him, he knows it, so he doesn't and never will have the intention to hurt Charlie, because that would be the stupidest thing he would do (and probably the last thing too before Lucifer would crush him), he aims to become her closest person , so that she, of her own free will, will listen to him and rely on him, and he will then become the most important demon in hell (adding, of course, his release from the pact he made).

Then we have a lie: "your steadfast hotelier", why is it a lie...(?), because, as I wrote above, Alastor believes in Charlie, in her power, but he does not believe in the form of redemption and in the idea of ​​​​a hotel (btw I cannot I can't wait until he finds out about Sir Pent's redemption, I bet that this could be my favorite Alastor's face in s2 when he finds out :D ), so even though he is her manager, her producer, ATTENTION... even though that I wrote above referring to the hotel and his role in it, then... it doesn't have to be about the hotel and it's probably not about it at all... ,,Your executive producer", "Your", not ,,hotel executive producer", but ,,Your"..., Your power, Your potential, Alastor is still about Charlie in this song, not about the hotel, he is not a hotelier and does not want to be one, that's why: ,,your steadfast hotelier" is a lie because it refers to the hotel, while ,,your executive producer" is not because it actually refers to Charlie, not the hotel.

Let's face it... he didn't fix any clog :D , and in fact, this again refers to the fact that it's not about the hotel, he doesn't repair any clog, because he doesn't take the hotel seriously and doesn't care about it, he only cares about Charlie.

You can also see the change in Niffty, in the first two pictures Niffty has normal colors (apart from the lighting which also shines on Charlie, but it's just the lighting), while in 3 and 4 her hair turns pinkish and you can say "but it's water flows down her", except that we see that the stripes that form on her hair are in the 3rd and 4th picture, while they are not in the 1st and 2nd, plus they do not change their position, they do not drip, they are constant, which shows that Niffty is on Alastor's side, is loyal to him and will help him, also when it comes to winning Charlie.

And there are huge lies here... Alastor and Charlie have no bond (at least for now)...

...and certainly not a father-daughter bond, that's one big lie.

By the way, we can see how Charlie's facial expressions change. Earlier (while singing about bonding) Charlie was smiling, happy, her eyes were fully open, her eyebrows were raised. However, when the above line about his daughter comes, Charlie, although still smiling, slowly begins to frown, and at the final words, when Alastor says "I had", Charlie frowns completely, it doesn't look like he has a happy expression on his face or the one who says "how sweet", that is, the facial expression expressing consternation, as if Charlie was internally saying "What the hell are you talking about?", sorry, but again I will mention that I have seen a lot of people who, even when pointed out to them that Viv herself said that Alastor doesn't see Charlie as a daughter, they changed the argument to "but Charlie sees him as a father", NO(!), Charlie doesn't see him that way at all, which we see in this scene, she already has one father , who, even though he was absent, still loves her incredibly, Charlie doesn't need any second father and, as you can see, she is completely disgusted with this idea.

Here is the moment when after these words Alastor looks at Lucifer and makes sure that he was pissed off :D

There are still lies here, although we still see Charlie's furrowed eyebrows in first picture, but when Alastor strokes her, despite the text, we no longer see disgust, but more satisfaction.

Here's part 2:

[nightcolorz]

I stumbled on your blog and i love it sm!!

Its so weird, because i am a huge Marius fan, and you put many reasons why he is my absolute favorite character as things why he SUCKS! Its so cool to me, to read something so accurate and then have someone put out a completely different opinion on it! (i do not think he is Good, none of them are. But i think he is cool, his better qualities resonate with me the most of all the characters, i love lore, and i love reading about him the most)

There are few things, that i do not understand and it bothers me endlessly! I just can't figure out where some readings come from, very sinserely (because i want to respect other readings and interpretations), maybe you could help me understand?

First: that Marius dislikes being challenged and tries to "keep Armand to himself"(generalizing) - as i read it, Marius prefers people who challenge him, can stand up to him. All of his paramours are like that - Pandora, Bianca, Armand, Lestat, Daniel..even Botticelli actively defy him, in a way other characters don't and Marius himself is vocal on that being something he admires about them. He does not know how to deal with that, oh no, but he loves it - the fire he himself does not possess. He also actively helps Armand learn about his culture and family, ready to be left behind when they visit Kievan Rus. He also never shows any type of concern about Armands "daytime" personal connections. As i remember, he encourages it decpite objections, actually.. My personal reading is that most drama and abuse between Marius and Armand is about Marius refusing the codependency Armand desperatly wants. (and them being oppisitely unhealthy about that)

Second: there is a notion, that Marius would not want Armand to grow up? And i do not understand where it comes from at all... Marius actively states (and thinks) that his own wish is to see Armand grown into a Man and he refuses time and time again to turn him before then (or to turn him at all) , until Armand is on the deaths door. (i also saw a thing about shaving, but all of them are shaved before the turning as an old ritual, canonically, i believe, only Santino is unshaved so. I might be wrong tho lol. One of canon reasons (again, if my memories are not faulty) - facial and body hair might go in and out of style, so clean shave helps them blend in better)

I you would spare some time to let me understand where those come from i would be forever grateful, because i sometimes think i am blind (and i might be! Thats why i ask. I am a bit scared that i might be percieved in bad faith, but if i have a blindspot i will not see it myself, so getting outside help is the only way haha)

I hope you have a great day! Thnx for the very least reading my ask!

(this is going to be slightly shorter then I initially wanted it to be bcus I wrote a whole essay and tumblr DELETED IT, so I’m so sorry ur going to get a condescend version of my thoughts 😰 I hope they still make sense, anyways)

Thank u sm anon ur so nice omg 🥹❤️ it makes me so happy that u like my blog!!! Don’t worry at all about coming off as bad faith u only come off as respectful and curious to me. I’m going to answer ur questions the best I can! 🙏

I think that the reason a lot of my Marius posts seem to contradict parts of canon is bcus Marius is a very self contradictory character. His wants are often in conflict with each other, and in his relationship with Armand he is always warring between conflicting desires.

First: I definitely agree that Marius seeks out people who challenge him and does rlly enjoy it (to an extent lol). but the way I perceive it, marius likes to be challenged *to an extent*. He doesn’t want a partner who will be weak and docile with him, he wants a partner he’ll need to fight into being docile and he wants to loose that fight<3.He prefers someone with some fire in them, clearly, based on his choice of lovers lol. And I think this is bcus Marius likes the chase, like any vampire. He likes the thrill of being with someone who makes him hurt for it a little bit, he likes fighting and arguing and struggling to stifle a spark he knows is too bright to put out. But also, like most ppl lol, Marius likes to be challenged only so much as he isn’t challenged to the point of having to change himself. He doesn’t want to change his perspective, whenever a partner of his gets him to rethink how he thinks or acts he tends to get rlly mad. He wants to be challenged as long as it’s fun, if he’s uncomfortable or feeling like he might actually adopt a new perspective or change as a person he puts a stop to it. At the end of the day he needs that teacher and student or master and subordinate dynamic to stay in tact. He likes to be challenged but he doesn’t like to be weakened or caught off guard in anyway that makes him question his authority or his strength.

When it comes to Marius helping Armand rediscover his culture, yas! This actually is a good transition bcus this is also a good example of what I’m talking about when it comes to the being challenged thing. Marius is happy and eager to help Armand heal from the demons of his past by rediscovering the family and culture hes forgotten, so long as Armand is obedient and answering to his call at the end of the day. Marius is happy to be left on the sidelines, up until armand starts disregarding his authority and moving away from him on his own path. After coming home from Kiev Armand realizes that he doesn’t gain anything from learning from Marius and he would rather learn on his own by discovering himself and processing what this new culture means to him. And Marius let’s him have this, until he realizes that he’s loosing his control over Amadeo and he is not going to come back to him without a push, and he beats the absolute shit out of him 😭 again, challenged to an extent.

Second: when marius first buys Armand he explains in blood and gold that part of why he chose Armand was bcus he wanted a vampire companion in Bianca, but he felt too guilty to turn Bianca bcus she was a bright young woman with a future ahead of her, so he chose Armand to be his future vampire companion instead bcus Armand was broken enough to not have a chance of a future anyway (therefore turning him is guilt free). Then, marius learns very quickly that Armand could easily have a future just as bright as Bianca, once he’s under his care he starts to prosper, and he realizes that turning him into a vampire would be equally as cruel as turning Bianca. So his motive changes, and he decides that his desire to turn Armand is wrong and he should instead give him the chance to live a full human life just like any of the other boys. Marius wants this bcus he knows that it’s the right thing to do, to give up the person he loves for their own good. But it’s also, deep down, not what he wants at all, bcus it agonizes him to think of a future where he doesn’t have Amadeo. So this creates this self contradictory mess, where Marius is aiming both at the same time to turn Armand into a vampire and also to let him live a human life. He starts doing contradictory things, like feeding Armand his blood and exposing him to vampirism + getting him hooked on it, and then sending him out to “experience humanity” bcus that’s what Marius wants for him.

It caused Armand to be driven absolutely insane, bcus he’s being communicated two different things about what Marius wants for his future. I think Marius’s conflicting desire causes part of Armand’s desperate begging for him to turn him. Armand is so fed up with this mind melding conflict he just wants Marius to rip the band aid off and do it 😭 cuz they both know it’s what they both want. And Marius knows that this is the terrible abusive option, and he can’t get Armand to see this bcus Armand is too far deep in his love brain.

So my answer is, Marius wants Armand to grow up bcus he knows that’s what’s best for him, but he continues to hold out on the possibility of vampirism and refuses to cut ties with Armand bcus he rlly does want to turn him against his better judgement, which in my opinion reads as a desire to keep him young, under his control, in that limbo stage where he doesn’t need to make a decision. Partly bcus if Armand is young and compliant and his body isn’t changing the clock isn’t ticking and Marius doesn’t have to confront that his choices r either loose Amadeo or ruin him.

when it comes to the “shaving Armand was part of a vampire ritual” personally I don’t remember that? It’s not that I don’t believe u, that could totally be accurate and it definitely sounds like smth that would be canon, but I’m struggling to remember if I read that and forgot. I’ve always perceived the Marius shaves Armand cuz he wants to preserve his youth thing as accurate bcus it’s interesting and makes sense for the characters and I don’t remember anything that contradicts it lol, I also don’t remember any other character being shaved pre turning as a ritual besides Armand so I didn’t consider if it was a vampire thing. but u could be right and if so oops I’m sorry for spreading misinfo 😭 but either way that’s still gonna be my headcanon and my interpretation is much the same lol

I hope u have a great day anon and find this interesting ❤️ thank u for the ask!

[familyabolisher]

hey, I was reading your posts on the use of 'reading comprehension' and found them really enlightening. I'm wondering, are there similar undercurrents to how people use lack of reading comprehension to describe the tendency for people to read and interpret in bad faith online, or are they different things grouped together under the same label?

hm yeah i would say there are some similar undercurrents happening. i think glibly mocking [a lack of] reading comprehension in response to a bad-faith/hostile/animous/etc engagement (like eg. the trend of replying with 'reading comprehension questions' that aim to glibly point out logical flaws in the initial response and present it as obviously ridiculous and overblown) is falling back on that same discursive construction -- that a lack of 'reading comprehension' is embarrassing, that reading something poorly or wrongly is something you should be sure never to do in public, and whoever can score the most Reading Comprehension Points in the argument wins the discourse.

i also just find it, like, unfunny and boring. even in genuinely bad-faith interpretations of a post, it has an air of smugness to it that i find really off-putting -- it's a very, like, you sir have won the internet for today-type tone. and there are multiple cases where i've seen this Ha Ha No Reading Comprehension thing deployed to suggest that someone reading between the lines of a claim made in a post to point out eg. particular biases, particular suggestions of bigotry, that the post doesn't explicitly name but are certainly discursively present is obviously being dense or hysterical; it's an easy win in a discourse where to name something as eg. subtly racist, transphobic, misogynistic, etc., is already presumed to be hysterical overreaction by people who know better than to outright name it as such but are still predisposed to view it in that light when given the opportunity to do so covertly.

(eg: op says X; a responder points out that X implies Y and is emerging from a discourse of Z; op laughs at them by claiming that they only said X and if you're seeing Y or Z then you clearly have no reading comprehension because X without Y or Z is obvious to op's often already biased audience and the conversation is shut down.)

it's got a real like, deployment of Facts And Logic feel to it; i don't think it does a good job in actually engaging with the responder and understanding where their interpretation is coming from, which can ofc be chalked up to the fact that that's literally not what it's supposed to do -- it's supposed to get a fun dunk in and make the initial responder look silly. i more than understand frustration at people reading your posts in bad faith and i can't fairly be mad at people for lashing out about it -- i've done it before! -- but, like. i think we should just try and steer clear of discursive constructions which reify the stigmatisation of poor reading comprehension (or mediation of tone on the internet, which is also at play here).

[tonydaddingham]

the thing that is actually making me giddy with the possible angst is that i really think that we are about to see the most monumental shift in not only how we saw these characters but also how they previously saw each other.

the fact that we literally now have confirmation that a) they knew each other before the fall, b) aziraphale has had heart eyes since before time began, and c) crowley... possibly not so much, completely changes the context on not just the eden scene but also all the historic scenes that followed.

aziraphale knew crowley as an angel, and knew even then when crowley was meant to be 'perfect' that crowley was maybe a bit different, always asking questions and toeing the line. maybe out of a bit of bastardy himself, or out of begrudging awe of his ability but also his audacity, or just plain attraction, aziraphale immediate takes to him. but this has meant that aziraphale has placed crowley, perhaps unconsciously, upon a pedestal. and the pedestal that aziraphale puts crowley on from that moment may have wobbled throughout their history together, but it's stayed relatively intact.

this worries me, that aziraphale may not have quite let go of the fact that crowley just isn't that person any more, maybe never was to begin with, and continues in some measure to idolise him. my interpretation of this is that yes, crowley can be a bit of a dick (because, well, obviously) and aziraphale knows this, has done since the beginning, but aziraphale continues to hold crowley to an overall moral ideal that is so firmly ensconced in aziraphale's first perception of him as an angel that crowley will never be able to live up to it. not because he isn't a nice person, or because he can't live up to it, but maybe... he just simply doesn't want to.

but the issue is that throughout the ages (including the job minisode which ive had corrected for me, so Crowley Anger is now simply simmering), crowley's actions have only reinforced to aziraphale that despite being technically a demon, he has a huge heart and is not a horrible person. bit of a bastard, but not cruel. all of this just feeds and feeds into this image of crowley that aziraphale has built of him, and when crowley has his flashes of, in fact, not being honourable or kind, this threatens to upset the pedestal altogether.

these wobbly moments - when he thinks crowley is going to kill the children, when crowley snaps at him in rome, when crowley first proposes the arrangement, the prospect that he came up with the french revolt, the holy water request, the bandstand, "how can someone as clever as you be so stupid?"... moments where just for a second, in a small or huge measure, aziraphale's faith in crowley... flickers.

and of course aziraphale has been here before, right? he's had his faith, his devotion, his loyalty tested to the absolute limit of angelic endurance. so when his faith in heaven (never lost it in god) was obliterated, well - it had to cling to something. something that wouldnt mean that aziraphale has to lose the concept of faith altogether. so we're back to the old standby of idolatry, that aziraphale's heavenly faith is replaced by his faith in crowley, this angel that despite never originally giving aziraphale the time of day, aziraphale cannot see - for all of crowley's faults and bastardy and the frustration he poses - crowley as anything less than something to be worshipped.

this is exactly why i think that one of the main points of s2 is going to be a rift between them both. obviously i haven't talked about crowley's perspective of this and maybe i will in another post, but i do think that crowley is going to do something, a bad thing for the right reasons, but aziraphale isn't going to see it like that. that crowley will do something awful to protect aziraphale, but all aziraphale will be able to see is the betrayal or the cruelty or the despair, he can't see wood for the trees, and just lose that last vestige of faith he had altogether.

i feel like once all the disillusion and disenchantment has been swept away, and they're both laid bare at each other's feet... that they may not quite like what they find. from aziraphale's perspective, that whatever crowley does in s2 might be crossing aziraphale's line in the sand, and now aziraphale is starting to see crowley as someone that is truly grey, fluctuating between doing things that are Good, and things that are Good for Crowley.

and it's not as if aziraphale was blind to this before, but instead now... he kind of finally sees who crowley is? who he has been all along? the film has lifted from his eyes. realises that love and worship are not the same thing. what he loves, who he loves, doesn't equate to worshipping it/them, idolising them. there's a very big difference that echoes down to the very core tenet of who aziraphale is and his experiences with having and losing faith, but love having remained.

so stripped of the pedestal, crowley is now just simply... crowley. a person, not an angel, not a demon. and there is the distinct possibility that aziraphale might be completely blindsided by what he finds.

[twstjam]

THIS POST CONTAINS SPOILERS FOR TWST BOOK 7 CHAPTER 5

Lilia's love for Meleanor and Revan: Romantic, Platonic, or Familial?

Short answer: ALL of them. ANY of them. A secret third thing. Take your pick!!

Long answer because even though some people have explained it already I haven't felt like anyone has NOT come off as aggressive towards shippers so I thought I could help get the message across?:

So there's been some dispute in the fandom about Lilia romantically loving Meleanor and Revan because Meleanor said that Lilia loves her and Revan, but the actual kanji used by her is a lot less simple than just "love" as explained by @/ventique18 in this post. (which I suggest that you read first before this one so that you understand the true and full picture if you haven't!!)

(here's a few screenshots to sum up what she said though for the sake of this post)

That clears it up, but there's more to this conversation I'd like to point out. As a Briar Throuple shipper I'm making this post to explain or at least shed some light on:

Why people read Meleanor's words as romantic and why they ship Lilia, Meleanor, and Revan

Now, I'm not saying that Lilia having romantic feelings for his friends is the one and only correct view (if you do think that, did you even read the rest of this post?). I'm saying that people viewing it as romantic have a very valid reason and it's not just people shipping because they like to ship when they see the word "love". People shipping Lilia, Meleanor, and Revan are not automatically disregarding any familial and platonic interpretations of their relationship. (or at least not all of them are and I am asking you to not assume.)

Translators are free to mention it if this translation I found is incorrect BUT STILL—

Okay so, if you'll notice, in the conversation between Meleanor and Lilia, after saying that Lilia loves her, she specifically brings up the time he proposed to her 200 years ago. Right after that, she says that Lilia and Revan, her husband, spent more time together than a married couple.

There are a lot of valid arguments that are against these things being proof of Lilia having romantic attraction, like: Lilia and Meleanor were just kids playing house, Lilia and Revan spending a lot of time together is normal because they're besties, and also Lilia himself says that he was just a stupid kid which can imply that it was just an old crush and he doesn't feel the same anymore.

But look at the big picture!! Look at the words Meleanor specifically used!! The kanji used for "love" is indeed for pure, platonic, and familial love, but immediately after saying it Meleanor mentions things specific to romantic love: Proposal. Marriage.

She could have easily used a different example of Lilia's love for him. She could have easily compared Lilia's time spent with Revan with literally anything else, but she didn't!!! She mentioned a marriage proposal from when they were kids. Even if it might not be valid anymore she still mentioned it out of anything else!! And she compared Lilia and Revan to a married couple!!

The words used in this conversation, like the kanji for "love" and the specific romantically-associated words, both point to Lilia's love being either romantic or platonic/familial. The kanji says specifically pure love, but Meleanor's argument and comparison has romantic tone. It's either. It's both. Anything you want it to be. A secret third thing.

That concludes my ramble folks <3 Shippers are not disregarding platonic and familial love, please don't just assume they are. Not to mention, most of the people doing it are DIASOMNIA FANS. THE platonic/familial love enjoyers of the fandom!! Why have I seen people have such bad faith in them? Just because someone says one thing doesn't mean they don't also enjoy another thing!!

Still though, translators helping to explain the wording correctly is still very much appreciated, but it doesn't disregard romantic views nonetheless nor does shipping disregard platonic and familial ones.

Although, I do understand why some people are a bit frustrated seeing as romance IS more prevalent in media and is often wrongly seen as "higher" than other forms of love, which is a valid frustration, but it still frustrated me a bit how I've seen some people be so quick to be aggressive to shippers.

[puckpocketed]

caps fan here!

as follower of pld (the few, the proud, the courageous!), i was wondering if you had any thoughts about how he might fit in with our team, assuming he's going to be 1C with Ovi on the left and one of Wilson or Mangiapane on the right, and basically taking the former Kuznetsov/Backstrom spot on the halfwall on PP1. my thinking is that he can easily return to being a 60 point player just by the increase in ice time alone this coming season, and maybe even flirt with 70 if he has a triggerman like big O on his wing.

as someone who knows a hell of a lot more about PLD than i do, is that just wishful thinking because i'm a caps fan? what do you think?

The PLD Post, Part 2: mask-OFF

Hii!! (we are SO brave and SO correct). i am so sorry this took ages to answer, i was trying to decide how serious to be. I will admit, I was hesitant about going mask-off and hitting up the microstats and revealing that i do seriously think he can be better than he was bc that shit is kinda lame ESPECIALLY when defending a clear failhorse. but at this point any rep i have as someone with good opinions must be gone considering how many media scapegoats i've attached myself to (i got a fucking. c.gauthier ask the other day aslkjdkljas) so. mask is coming off. we've hit somewhere between well-considered manifesto and vibe check so . um. enjoy!!

I remain optimistic going from everything I've heard and from what you're saying here! But, big big asterisk. He absolutely needs to take ownership of his lack of engagement. when he speaks in media availability I believe him when he says he wants to change. The will to change is there, idk if it’s possible that any player would be satisfied with their performance being the way his was. There’s a lot that needs to be unpacked about his lack of production, the Character Issues, and what his role might look like going forward. You and any other Caps fan who reads this will have to tell me if the fit is right. Hockey talk below the cut lol!!

So before I start I have to say I know dick all about the Caps except:

You're dragging that old man (Ovechkin) to Gretzky's lawn (record) to set it on fire (break it before he retires)

Everyone is pining away for your very very injured 1C who is also Ovechkin's boybestfriend/perfect set-up guy/work wife

There's. intricate pre-game rituals?

So I'm not sure I can speak to how he will fit with your (our? i AM picking the Caps up fr given every acquisition/draft pick they've made) team with any depth or specificity. also i don't think i'd call myself a PLD expert. like. i just got here !! I haven't been following him since he was drafted or anything!! I have, however, consumed TOO MANY Kings games this past season and I can give you a broad look at what actually happened with them and why I think it didn't work out. I will not be making any overtures about being unbiased. My biases WILL slip through because I think Dubois is a sweetheart and I find the mental exercise of defending him fun <3 I’ll give you stats and observations and I will build a story that runs counter to what the prevailing media narratives say. While I stand by my opinions, they're also just one of many available interpretations of what happened.

character concerns

Everyone will be bringing it up at the first speed bump of the season, the first bad game he has. Please be prepared to have a crisis of faith and also be deeply disappointed in him. god knows I am, like, all the time <3 But... I always want to dig deeper when it comes to dominant narratives, because in following multiple teams I’ve become acutely aware of just how miserably Bad media can be at reporting on teams that aren’t their own.

I hear “Locker room cancer” accusations bandied about and I’ve yet to see anyone produce a primary source for this — podcasters, journalists, even people on nhl broadcasts will throw these words around so casually, assuming they’re correct because everyone knows the story. Some confounding factors in the character narratives arise when you scratch the surface. People who've worked with him speak well enough of him. Todd McLellan called him “misunderstood”, and had nothing bad to say about his character.

Matt Roy, who also just got picked up by the Caps, has recently said he’s a great teammate. MORE proof if you want to hear it directly, Roy went on Dropping The Gloves and had this to say about Dubois (transcript by me):

[on what actually happened] Honestly, I don’t know. I mean if you asked him he would say he had a down year. But it’s nothing like — I feel like the media paints this picture of him, and to me it couldn’t be further from the truth, you know. He’s a great teammate, he’s a great locker room guy, he gets along with everybody. So, in terms of all that I don’t know where the media is getting all this stuff. If I hated the guy I probably wouldn’t have come to Washington. He’s one of my friends on the team and I really think he’s going to have a bounce back year. I think he’s really going to be good for the team.

Matt Roy signed with the Caps of his own free will as an RD, a contested free agent in a sparse market, knowing Dubois was already here. He could’ve gone to plenty of different places. Why the hell would Roy sign here long-term, clearly wanting to play and win, if Dubois was as disliked as some pundits would have us believe??? Credible reports (and not just speculation) point to PLD’s other teammates liking him!! 

And here’s some propaganda; I direct you to this extremely sweet video where he gets asked about assisting on Akil Thomas' first NHL goal (and a bunch of other first NHL goals). He is so, so genuinely happy for Akil, who battled through injuries that set back his development for years. Just LOOK at his smile!! He can’t hold it back. (Others have said this but it looks like a little v. Like :> !!!! HELLO !!)

How does all of this happen when, supposedly, he’s a low-character asshole and a “locker room cancer”? It doesn’t line up for me.

On the other hand, I have seen Dubois cruise. He really can’t seem to bounce back from a poor start, and if you were just looking from the outside in, the scoresheet this year reflects this. The critique is fair; I’ve turned this over in my head enough times. there are less physically gifted, less skilled players, who are working so hard to stay in this league, and Dubois’ poor showing does feel somewhat like, idk, something I’d be mad about usually.

Here comes the “but”. Call this next bit the narrative section, because I’m showing my ass here: I think Dubois gets a lot of scrutiny because of his infamous Shift, which went a specific kind of viral, under the exact right conditions, and it has just. defined his career. And okay… I am not denying that the shift happened, but plenty of guys in this league have taken shifts off. come on. the season is long and they're only human. I’m not excusing it either! It was bad and he deserved his benching. Ideally, he one day becomes a player who always puts effort in. Working hard is one of my favourite traits in any player, and usually this would be enough for me to dismiss him as not worth being invested in.

and yet…. the reactions to his floundering performance feel so much like they’re about expectations as seen through the lens of The Shift. They’re calibrated differently because he went 3rd overall, and he's got this big body, the speed, the skill — it's the fact that he's got the tools and seemingly squanders them. All of this is amplified by the contract he's sitting on and his run of short-term stays on teams. Does he get this much scrutiny if he went in the 2nd or 3rd round? Does he catch this much heat for his low energy performance if that one shift clip hadn’t done all that damage? We’ll never know obviously but . I do wonder.

Final word on the character stuff is that we don’t know what truly went on in those locker rooms and i don't want to give more air time to baseless speculation. What we can examine is the hockey. The hockey tells the truth <3

the 23-24 la kings

Assuming the plan is to give PLD a look at 1/2C while he’s on the Caps, I think he’s a complementary type of player. The way he is right now, I don't think he can drive his own line or pull people up. He works with the calibre of lineys he's got and will produce the expected outcome. That sounds so obvious, but what I’m saying is I don’t think he’s capable of miracles like the best playmakers in the league, he's not about to make your guys look 15 years younger. In this vein, I look at his many first NHL goal assists as a symptom of what kind of linemates he was being paired with all season, and how unstable the situation was. His drop in point production IS more complicated than "he's just a piece of shit". From this article, the best summary I've seen of the Situation PLD was in:

LA acquired a player who had been a top-six center (and at times, winger) his entire career playing with established NHL talent. Yet after investing multiple assets to acquire Dubois and sign him to a significant contract, the team decided to put him in a third-line role where his most common linemate was a first-year NHL player who wasn’t expected to be on the roster in Alex Laferriere. Those two had a revolving door of wingers throughout the season. Moreover, Dubois’ most common on-ice teammates after Laferriere at 5-on-5 this season were Matt Roy and Andreas Englund. Gee, I wonder why he didn’t produce?

Context about Roy and Englund: Roy is a quiet but capable d-man who is defensively geared with a bit of offensive upside (j'adore. does things the right way and is very responsible and good. will throw hits but doesn't chase them or headhunt. I think playing away from the Kings’ more passive system will unlock more of his offensive potential. Matt Roy you will be SO good for the Caps I truly believe mwah mwah); and Englund is a leg weight/goon who, going by every single stat I can pull out, makes his d-partners Worse (with affection <3). Point here is neither of them being on the ice was particularly conducive to a lot of scoring chances.

As I said in my previous post, I think Dubois absolutely needs finishers. At some point there was hype around his shot but I didn't see much of that at all on lak? Eye test says: he was unwilling to shoot, and when he did shoot it felt like there was low/no commitment, no power behind it. Comments on his shooting called him “too deferential” at different turns. That’s just an insulting way to say a guy likes to pass and I truly think it circles back to the expectations thing. Would there be anything wrong with him not being much of a shooter this past season if he was another player? (Can't we just say he passed a lot this season without bringing value judgement into it? leave my failhorse ALONE!!!! like must a man score goals ,can't he be very very sweet and happy for the rookies he assisted ? wailing about it forever.)

More fun stats from that same article:

#1 on lak for passes that led to high-danger scoring chances, and scoring chances in general <- again, not a miracle worker. did not have finishers who could capitalise on these chances. its so fucked up what they did to my failwife

one of the best on lak in actually carrying the puck into the o-zone. (another reason i quite liked watching him!! transition forwards my BELOVED) everything I've ever observed about him off the cuff holds true here: he draws penalties this way, because he's fast and when he's locked in he is pretty good for controlled zone entries <3

Dubois had a career high in even-strength assists per 60, this is all in spite of his weird linemate situation and his reduced TOI and the power play mess (more on this later). he might have been deferring, but I truly think the lack of stability + good finishers, and ice time held him back from being more productive.

jim hiller

Building off that last point: even worse on the stability front, which I did allude to in the initial PLD Post, was what happened when Jim Hiller took over. You must understand one of the first clues that we were working with a different animal of a head coach is he was NOT afraid to line shuffle, and shortly after he found short-term success with that, they started running 11 forwards and 7 defensemen (you can see where it started precisely if you scroll back in lak lb because you'll find ME yelling about it LMAO). This shortened forward bench resulted in mid-game line shuffling, as in it was uncertain as to who they would be playing with from shift to shift. Hiller is on record saying he thinks it was beneficial, per this article:

It’s all about getting his deep forward corps engaged in the game. That’s sometimes difficult if you’re running four full lines and there are penalty kill or power play opportunities that alter the flow of the lines. Especially for the group of forwards who don’t kill penalties – think Kevin Fiala, Viktor Arvidsson, Quinton Byfield, Pierre-Luc Dubois – it’s an opportunity to get them extra shifts and engage in the game. “Some of our other players who don’t penalty kill, you know they can lose the flow of the game, so they enjoy it more I know,” Hiller said of having 11 forwards in action. “We’ve talked about it a lot. We really just think for our team, the way it is right now, that gives us an advantage getting those players more ice time.”

(and ok sorry to go off about my gripes with how the kings are run but .They were doing this into playoffs. This article was written during playoffs. god. CARL GRUNDSTROM, WHO HAS NEVER NOT PLAYED HARD, PLAYED 25 SECONDS IN GAME 2. all this while they were trying to get people 'engaged'. Idk. Maybe it did work for some players. I wasn’t behind that bench. But sitting one of your most energetic and committed forwards during a series in which you’re trying to come back from being down several games was a CHOICE!!!! also like what if you didn't double-shift QB. what then. And we all know how that series ended. lak coaching/management i am beating you with a pillowcase stuffed with bricks . <3)

Much was made of the Hiller takeover. I liked it at the time. In his first couple of media availabilities post-TM, Hiller emphasised bringing back "fun" to the game for many of the players who were slumping — and a reportedly tense locker room during the big skid that lost McLellan his job. It was all very Ted Lasso of him. Hiller also introduced a new way to rate Dubois for his performance every night, separate from the scoresheet. I made jokes about PLD's very special star-chart, everyone who knew about it was making jokes about it. This merit system was tailored towards communicating with Dubois what he did and didn't do well, and while no one ever went into depth about it we do know a few things:

It measured things outside of +/-, goals and assists, and was likely a score out of 5 per metric.

One of the metrics was about hits/physicality, another one was likely ‘compete’ levels.

He alluded to being measured on penalties drawn?? Or something??

Anyway it sort of … worked?? The change in Dubois was pretty immediate, the moment he was given some clear direction to work in. He played some of his BEST games of the year in the wake of this change. He got involved physically, he was not losing steam, he was drawing tons of penalties because he’s huge and fast and has good hands and IF he puts his mind to it he can truly be a transition monster.

CUE THE LINE SHUFFLING… imo, much of the progress made seemed to be lost, and the rest is history.

NOT saying Dubois is free of fault here. Needing that extra motivation to get physically involved is kinda wild, and I understand why for some people it’s a bridge too far. EYE am here for the laffs though and it's really funny that the communication came in the form of super special individualised performance evaluations/a glorified sticker chart. This is why he’s my temperamental desert flower. Wilting violet. Soggy kitten. <3 and for the record I truly don’t think I’d care if he put up 40 points per szn for the rest of his career. I don’t care because he’s a sweetie and the Bit i do when defending him is too funny. I don’t think I’d care if everyone was right about him — I just don’t actually think they are.

the power play problem

So okay, as per part 1 (my last email <3) we know Dubois thrives net front. It’s where he scored a bunch of his goals on the Jets. Every stat and the eye test supports this. So how come Lak had him stationed on the half wall doing jackshit, if he was on the power play at all?? I will admit I drove myself half crazy studying power play structures and watching LA Kings games back before coming up with a garbled, half-formed idea about how LA runs their PP. I was going to attempt to explain it here — had to do with Kevin Fiala and Dubois being lefties and how that's just an awkward passing sitch — but it turns out more than one person has had this thought and MAN I love being validated by actual hockey people. I fully thought i was making shit up in my head for a good week or two, and was seriously considering scrapping this portion . but it’s SO important for contextualising the production drop, so here goes !!

As early as September 2023 there was a story published about PLD’s role on PP1 — a place where he certainly should’ve belonged as a top-6 guy with plenty of ppg’s under his belt. From this article, which explains the issue very very neatly, and much more eloquently than I could ever hope to:

The addition of Pierre-Luc Dubois was a big one this summer; at first glance, he should be a great addition to the power play. But when digging deeper, the Kings might struggle to fit him onto the top unit. Dubois played mostly as the net front player for the Winnipeg Jets last season, the role Gabriel Vilardi often played for the Kings last season. So, it’s an easy one-to-one switch in that spot, right? Not necessarily. Dubois has all the talents to be an effective net-front player. He has the size and strength to battle in front, with the skill to effectively pop down low and create chances. However, his handedness is a big problem for this role. The Kings run their power play primarily on the left side with Kevin Fiala — Anze Kopitar when Fiala is hurt — which necessitates a right shot down low. When a right shot player pops out on the left side, there’s an easy passing angle for the half-wall player and more options for the player down low. Quick passing is key for a successful power and a left-shot can’t move the puck quick enough down low. They would have to either move too far into the corner or take the extra second to step out from and open up their body to create an effective passing angle. Time that would slow the power play down too much and allow the opposition penalty kill to get back into position. There’s also minimal shot threat from a lefty down low. We saw both Vilardi and Viktor Arvidsson frequently take the pass down low and quickly turn it into a shooting opportunity, something a left shot wouldn’t be able to do.

It then goes on to suggest 2 solutions that aren’t appealing at all:

Flip the power play entirely to accommodate Dubois net front. Not great as they dont have the players for that, and if they tried it they’d be hamstringing Adrian Kempe’s one-timer.

PLD on the bumper position. This one’s hard to swallow because that displaces Kopitar to PP2, there’s his position as captain and the optics of moving him off his spot.

In this article it is once again suggested that LA MUST flip their power play and figure out how to get PLD net front. In this article they point out how useless he was playing on the wall down the stretch, and how the only reason he seemed to be able to produce something was because he’d taken Kopitar’s spot in his absence. This article calls to attention Dubois’ worlds performance, where team Canada utilised him net front.

Big picture, the Fit

Do we see the problem here yet? It’s not the flat narrative I was sold by the national media, random assholes on twitter, and podcasters who don’t actually watch Kings matches!!!! Do we see how weird and messy and complicated it is, beyond “hey he’s just a sack of shit who isn’t trying hard enough”. Rob Blake himself has come out and admitted that they didn’t put Dubois in a position to succeed. And absolutely there was effort required on his end — a different player might have sucked it up and adapted to circumstances, a different player might never have needed that extra bit of communication, a straight up better player might have dragged his less skilled lineys up to a higher level. But the problem has always been two-fold: LA was trying to coach and manage a completely different player to the one they had in front of them and expecting good results; and Dubois was unable to keep competing with all he had in the face of that. I think both parties are at fault here. And I think, given the chance and the right circumstances, Dubois can hit 60 points again.

Okay, circling back to the big question of Fit. Will he be able to work with Ovechkin? Hard to think he could fail with one of hockey’s best goal scorers on his wing, if he does get a look at 1C. People who know the Caps better than I do, does this sound workable? Is Dubois going to be too difficult of a nut to crack for your coach? Your locker room?

And, of course, the power play issue. Maybe Dubois learns to be better on the half wall! Idk!! Maybe it was a matter of coaching and he thrives in Washington running your PP1 from there. For my money… I like him better playing net front or bumper. Do the Caps have the bodies to accommodate this? I did ask someone familiar with the Caps PP to explain it to me so I could try and figure this out but ouuuugh. My head is spinning. Someone smarter than me please jump in. I am TIRED . We don’t know what it will look like, what they’re planning to do with Dubois on the power play. You guys probably have a better idea about what’s possible than I do <3

Conclusion?

PLD is fast, big, a passing threat and a formidable net front presence when he’s given the opportunity and playing his A-game. As far as I can tell, his B-game is garbage </3 His poor performance is more complicated than people think and I’m pretty sure only the LA Kings beat reporters + the 12 kings fans on twitter know this. Most of them still dislike PLD anyway bc his low motor. I don’t blame them, I’m just more inclined to be forgiving because I love redemption arcs and I think he’s a good person. i would love to be wrong about his low-effort B-game LMAO but im trying to be realistic here. I want him to fit in and be embraced by the Caps so bad <3 Your coach sounds like he wants to help PLD succeed and is up for the challenge. The vibes from my friends who follow the Caps are always good, I’ve read through various tags and it sounds like a place that will take him in whether he likes it or not. I might be stupid but I believe in him !!! and I’ve laid out all the hockey bullshit for you to the best of my ability. Given all of this… do you think he’ll do well?

[eluxcastar]

As I opened my tumblr, just to check if there is new Arlecchino stuff to swallow... lo and behold, I saw your post with the Arlecchino simp tags. Shot me the moment I stepped into the door right there, hahaha! May I request an Arlecchino x reader, headcanon or anything you're comfortable coming up with. The reader is thousands of years old, who got disowned by the Tsaritsa because they declined their performance in greatness for someone else's benefit and saw no worth in her/them. Could be a sibling or a friend, the betrayal stung like a bee since she/they saw Tsaritsa as a mother figure or could literally be the mother (Got kunikuzushi'd in a way, minus the puppet part). So, here's the main part - How Arlecchino would handle that person, when they meet in hostile terms. An accidental encounter, had banters and fights and eventually found strange subtle solace from each other. Could be romantic, or just obsession on Arlecchino's part because we love deranged women pls step on me with your sharp heels - anyway, since Arlecchino is interpreted as someone who won't hesitant to betray the Fatui. On her own benefit, works with the reader to mess and interrupt Fatui operations. I won't include more or else you'd be dealing a whole thesis of it. Hahahah! Good day to you~!

One of Repetition

── ୨୧：arlecchino x reader

୨୧﹑synopsis :: in a strange decision nobody quite understood but could not contest, you were dismissed from your position by the tsaritsa herself but allowed to live. you wander for some time, lost and confused, and most notably unable to escape the fatui even when you are no longer associated with them, which means an unwanted letter and an even more unwanted visit from the knave.

୨୧﹑genre :: kinda angsty

୨୧﹑content :: fem reader, reader has a pyro vision, arlecchino has a cryo delusion, reader uses a bow, capitano is not human this time, he's just a plot device too, their previous relationship is implied but ambiguous, implied age difference, reader is most often called by the title brighella, writing this spiralled me into insanity, possibly bad writing, not proofread 

୨୧﹑words :: 13.6k

hehe, I know that Arlecchino simps flock to me once they learn my requests are open. I have no idea why. maybe they're just especially desperate for food, but they linger, and I have a little collection of anons.

don't worry about how much it'll take me, I honestly enjoy writing longer works. anyway, I received a request similar to this some time ago (was it you? I have encountered that before) but haven't gotten around to completing it, so I'll be partly combining the two

here's the other request:

it's gonna provide some stuff for me to follow, and I remember exactly when I got it, so I wanted to include it for the dear anon who sent it

why brighella you may ask well that's because brighella has been described before as essentially Arlecchino's smarter and more vindictive brother and they compliment each other well. I think Arlecchino may also work for Brighella in some versions?? either way it felt right even though they're not really based off of the character brighella, they do share a few traits with him but not fully it's just a fun little parallel

I really did not expect this to be so long that it literally lagged the writing program I was using to save it and I have been staring at this for so long I literally have no gauge on the quality anymore just that it's variable because it took me so long someone send help

Her words left you exasperated, literally at a loss for words, and you struggled to comprehend the reason for it. There was nothing you could think of, no instance that struck you as prominent. Yet, somehow as one of the Tsaritsa's children, you had become what any parent might refer to simply as a disappointment, their failure—the problem child who never quite ironed out their issues. You had always been faithful to her, hopelessly devoted to the archon and her will. News such as this came out of nowhere and struck you like a hammer to the chest.

Two of her most mighty children were near and dear to her, and now the other had turned against you as he remains loyal to her. The Jester, who you once held in high regard, has turned against you. It is a bitter pill to swallow, for you must now sever ties with the one man you believed was truly deserving of serving the Tsaritsa. Your mother— your world— turns against you with him, before him, leading the way for him. 

In vain, you draw your bow to strike an arrow between his eyes, prove your strength and power as above your position, above him, but it means nothing. Your strike is blocked, and the Tsarita's Damselette Columbina moves to detain you. You believe she would not be strong enough, but you don't itch to fight ten other Harbingers. You understand that even you have a limit, and fighting what are supposed to be the strongest people in the country is not a part of that. Your honour is on the line, an honour which would tarnish not only Brighella's name but also have a ripple effect on your soldiers, men and women who fought for you and did not deserve a punishment that would result from their actions.

"Think carefully, Brighella." Columbina's warning is not lost on you, "You could remain as a hero or fight, and I will lure the creature you brought from the abyss and gut him before your eyes."

You do not want that. That creature is not yet loyal to the Tsaritsa but to you, and she will convince him he can save you. He will fall into her trap and die.

You bite your lip, trying to think of a way to escape and capture him so that you can run off somewhere. He does not deserve to die, but you can't think of anything. Not when you know how thorough these people are. There is not a will, really. There is only a has. He has fallen into her trap and is at the mercy of the Damselette. "What if I am to obey?" You finally ask the question you did not want to, surrendering in a way, though the bite has not left your words.

"I'll leave him be." Her answer is swift. She expected that you would eventually give in and only needed to wait for it to happen.

You shake your head, dissatisfied with only that as your compensation. "Not enough."

The smile on her face does not waver, thin and deceitful as ever, eyes hidden and closed, unseen behind the band of lace. "Mm. I can't bargain anything else." 

"Have him take my place." You lay your condition out firmly. There is only one to meet, and not a hard one at that. It would be easy to sway him into it, using whatever they plan to do to you as motivation. His loyalty and affection for you would make him accept it.

She ponders the situation and proposal momentarily, powerless to make the executive decision but undoubtedly keen on the thought of it all. "He believes that you are about to fall in battle to a foe and that he is going to save you."

You grit your teeth, knowing that this is her trap. Lure him to a place. It was not what you had expected, but it is no less the Damselette's style of acting. There is always a damsel, but perhaps she recognised that she would not suffice this time. She needed a better damsel for him to save; for that to work, it needed to be you. 

She needs your name, reputation, your relationship with your subordinate, melding together with her lies to make for a tale of tragedy with him as the hero.

The thought of him rushing to his death under the guise of saving you spikes your blood cold, chilling you. You're aware of her cruelty and always have been, but to experience it is different than hearing about it from her perspective. You are experiencing it from the perspective of the victim. 

His death was another factor to hold over your head, your penance, the anchor to force your compliance. Your blood boils with anger, but you cannot fight. Despite your feelings of anger and frustration, you know that lashing out will only cause further harm and pain.

There is only one thing you can do. You know you must. It's simply that you don't want to. 

But...you must. 

You must for him, that poor creature you tried to give a home to and who would never be in such a position if not for you and your ambition. 

"Then I will fall, and you will use the honour I built into him to persuade him." 

It was an honour meant to humanise him in a way, a being only able to imitate humanity. He had a mentor and something to fight for. Now you're imploring that it be used against him to burden him, but he will do well in your position.

Columbina smiles, that thin mocking smile like she knows the secrets of this world and more. "Would he really believe that?"

The helmet. You should use the helmet to your advantage. Your subordinate's first exposure to humanity, being you, a woman in a metal helmet, seemed to last. He used to think that was what humans looked like, and he admitted as much to you as he had asked you to remove it. Your impression left an indelible mark on him that he treasures to this day. Even if he was to see you in the aftermath, he would not uncover the lie.

"He has never seen my face. He would not recognise me."

Columbina accepts that readily, and her eyes open, pools of black and white visible through the cracks in the lace over her eyes. You've seen them before, inky black sclera and inhuman patterns decorating the borders of her irises, but you can't help the unsettled feeling that makes a home for itself in the pit of your stomach. 

-

By the evening, you are stripped of your honours, titles and coat and dumped to the curb like a bag of rubbish somebody left out. There is no more fight, no more bargaining, no more arguing. Everyone has the things they want, for the most part, so you are all satisfied enough to remain amicable with each other. Without a fight, you allow the Jester to remove the fur-lined overcoat despite the cold that rushes over you once it is gone and discarded in a heap of fur and fabric on the floor with none of its previous value. 

After that comes the slow, deliberate removal of every trinket that denoted you as you. From your delusion, several gifts to your very insignia, the only thing left of you is a lone pyro vision and the clothes on your back. You've never been more thankful to not wear a standard-issue uniform lest you be made to undress and hand that over too.

That was it. Your everything.

With each piece of regalia taken, a part of yourself disappeared until you were left an empty husk of a person, your entire reason for being for hundreds of years snatched out from under you and spat on.

The Harbingers were supposed to be the children of the Tsaritsa, and this was your grand disowning. A show of power and influence over her closest children and, by extension, the ability to bring pain to her less-- to her followers. It was foolish of you to ever think you were special in her eyes for having been by her side since before the Archon War. What did it matter when she left you amongst the rest of them? The years you spent since you had hobbled into her life so tiny and cute were now reduced to a few personal belongings and a set of words that shattered your world to sharp and dangerous pieces that would only hurt you in your haste to reassemble them and string your life back together.

When you were young, your cuteness may have been your best asset: a small body with endearing quirks, the inability to walk long distances without tumbling. In this state, you required her for everything because you would only find danger in the harsh Snezhnayan winters. To even acquire your own food was unthinkable, so you were sheltered and provided with ample treats that you could nibble from the palm of her hand if that were what you wished. Anything to keep you happy and content.

Like a little trinket, she cradled you for as many years as it took you to grow, and once you were at an age you no longer needed to be cradled, she made you her loyal companion, or so you had believed. You thought her affection for you was unwavering. She was the only mother you had ever known; she is the only mother you will remember for all of eternity.

Although it may have been an exaggeration, watching the sun's gradual descent below the horizon, you could almost believe eternity would quickly prove to be a very real concept. You watch the sky darken in silence for a time. You roam aimlessly around the city, your presence still striking unease in the people from the threatening demeanour you learned to conduct yourself with as a Harbinger, even without your official attire. The only remnant of your former self is a helmet you consistently wore during every public appearance. 

You can't help your wandering mind. Did your imitation of the Tsaritsa's actions make you weak? Attempting to nurture someone in the same manner she nurtured you? You are not a god, only the former child of one. Maybe you cannot care for him and maintain your objectivity. It's possible that he has become your Achilles' heel, as you were forewarned when the Tsaritsa less than subtly suggested you eliminate him.

You cannot live like this.

No matter how many suns you watched set, you would never come to terms with it living like this. The world you once knew, which revolved around a singular governing entity and individual, has disappeared without a trace. Without a central axis to anchor it in place, your world spirals chaotically out of control, with each passing second feeling more frenzied than the last. Your head is too muddled, your brain too overwhelmed by your emotions to think objectively of the faults in your time as a Harbinger, years of your life spent that way, burying your thoughts beneath a heavy weight of despair.

You almost want to call them wasted, but that would be wrong. Without the Tsaritsa, you might've— no, would've died during the Archon War. Perhaps another god would take you in, but it is unlikely that they would have exhibited the same level of compassion and generosity as the Tsaritsa. They would not have coddled you into comfort the way she did. Then again, what if that had been your downfall? Did she ever genuinely want you to stay? Based on this...perhaps you took her kindness for granted and overstayed your welcome.

You had no right to make demands of her in your final moments as her child, acting like a spoiled brat throwing a temper tantrum. But can you be justified? Can the threat to your subordinate's life negate that? Surely a bit, but not entirely, not if her actions were in response to yours. 

Oh, even if you begged on your knees, she would not take you back now.

Why had you not done that before?

She must be disappointed that your attitude was born from her compassion, the epitome of her failures. You do not deserve to call her your mother. You took her generosity as a guarantee, thought yourself above her other children solely because you were her first, and believed you were her favourite for no reason besides your own arrogance.

You have failed the only being in Teyvat willing to show pity toward you.

-

The deepest heart of Snezhnayan forest welcomes you readily with open arms and the gnashing jaws of monsters starving for food. The forest seems to come alive with a vicious hunger for flesh. You have nothing but your vision and bow left to aid your defence. Your delusion is gone, and your subordinates are nowhere to be found to assist you. Despite this, marking your way with a trail of bodies is easy. It is just an inconvenience to have to always be on guard, but you are strangely used to it. 

The cold is numbing as the air hits your face, your fingers almost wholly without a sensation of touch and even a tingle in your toes.

You spent many missions that way, tensed and expecting violence at any moment, hardly allowing yourself to sleep, let alone relax. It feels like nothing has changed in that respect, but you know everything has. You cannot hear the large crackling bonfire or the pattering of footsteps in the snow as your subordinates come to join you, their laughter and chatter and their whispers to each other.

There is a stark silence that is deafening to your ears.

-

On the seventh night, you pass through a village on the outskirts of Snezhnaya, where you first catch wind of the news you had agreed on. The locals informed you that they had recently halted their work for half a day in your honour, believing that you had passed away. All of them are completely unaware that as they remark on the death of Brighella, they are speaking to the former Harbinger, who asks about the news under the guise of being a curious traveller. They also strongly advised you against venturing into the innermost heart of the nation. If anyone were to notice the helmet carefully secured around your waist, it might bring unwanted attention to your travels.

Though you were stripped of your insignia, you have your armour, which by some grace had been spared from confiscation. Though a seemingly trivial act of kindness, a sense of pride swelled within you as you gazed upon it. You are glad it is still yours. This armour had accompanied you through countless blood-soaked skirmishes, serving as a steadfast shield against all manner of danger. 

It is at that moment you decide to treat it as a trophy. Though there is no truth to it, you take responsibility for the Harbinger's slaying. Now, the armour which once protected you as a Harbinger will stand as a triumphant emblem of your hard-won victory over Brighella and the end of the Harbinger's tyrannical hold over the land. You know that you will keep it close, treasuring it always as a tangible reminder of the sacrifices you made to reach this pivotal moment. You slayed Brighella. You ended the Harbinger's tyranny.

If you didn't know better, you would think you were getting a little too far into it and starting to believe it yourself.

By the eleventh night, you find yourself situated in an inn, and the nights only carry on from there all the way up to the twenty-second night since your abrupt dismissal and, to the rest of the world, your supposed demise. Already, the whispers that once revolved around Brighella's defeat now shifted to speculations regarding her successor. The question was not necessarily who, but who could possibly? Her brutal reign as a Harbinger had instilled fear in the hearts of all who crossed her path and in the minds of the people, no one else could measure up to her sheer terror-inducing presence. Nobody knows what happened once they dared to fight Brighella until now. She was only the Fourth of the Tsaritsa's children, but she was the most combat-heavy, and no one wished to cross her, except for the rumoured contender for her throne, who was spoken of in hushed tones as nobody was eager to have their reverence for whoever was bold enough to reach the wrong ears.

Your achievements find their place amongst the rumours as people say that Brighella's killer stole her armour and wears it as her trophy.

Despite the slew of gossip that its patrons indulge in, you enjoy the quaintness of this bar made and run by travellers who use it like a pitstop to rest and recuperate. It is a home to them, along with adventurers and merchants who benefit from the atmosphere. The people are strangers, often reserved and eager to keep to themselves, but have immeasurable wealths of information that spill with a few drinks and a group of acquaintances who are, for only one night of pleasure and indulgence, their lifelong friends.

Among those friends buried in your own tankard of cheap ale, you laugh along with their jokes and entertain their questions like a test of your ability to lie and improvise in this tale you're making for yourself. If they have names, you don't know them. Brighella's death was a glorious battle but isolated to the hills where you were alone.

"Brighella was alone, and they were weakened by prior injury. I don't know what caused it." You mix a dash of the speculations in, downplaying your strength a tad as you're unwilling to expose too much of it. "I'm not one to miss an opportunity. When would it arise again?"

One of your new acquaintances scoffs, amused but no less aware of the dangers of doing such a thing. "And make an enemy of the Fatui?" He is a new graduate of the Sumeru Akademiya who's come to make his way through Snezhnaya for a job offer. Reminds you of someone else, minus the graduating.

"They will not miss her." You are quick to answer—too quick, arguably—as it draws a sliver of attention before dipping back under the radar as a product of your confidence. "Her 'head' makes too cute a decoration on my side to pass up stealing it."

"I wouldn't dare say such a thing. Fatuus comes here sometimes." They are the words of a Snezhnayan native raised to worship the Fatui, though he is somewhat disillusioned by their crimes and cruelty, as you've learned many are.

"Let them hear it!" Your laughter is boisterous and unabashed. "They'll see the armour anyway. They probably despise her like everyone else."

Another one of your new friends, a travelling merchant from Fontaine, interjects your ravings to add only a passing comment. It was as she had done all evening, her secrets locked up tight. "She did not make herself likeable."

"She was not meant to be likeable but a fearsome warrior." Again, the Snezhnayan man rebuttals the criticism against her as he had been doing all evening again.

"You don't have to get so far up her ass, Brighella's not gonna crawl out of her grave and thank you for it."

"You're so vulgar."

You plant your tankard firmly down on the table between the four of you, leaning over it to close the distance between you and the man. "I'm not meant to be likeable either."

Forget being only a little too into the role. You're revelling in the freedom of this new identity of yours.

Quick to disperse the tension, your graduate friend changes the topic without a hint of hesitance in his voice. "They left an underling people believe will take their place. It's a surprise to think Brighella had someone who followed them with such...devotion."

"It's strange, but not impossible." The merchant from Fontaine again, contributing nothing you weren't all already thinking.

"Could she have had a sentimental side?"

"Who cares if she had a sentimental side?"

"Upset the attention isn't on you anymore?"

Anger crosses your face, but you stifle it just as quickly as it appears. You wish their attention was off of you, really. The former you, maybe, but you nonetheless. You want to know about your subordinate. What happened to your second in command? You don't care to hear their speculation as to whether you were or were not particularly emotional with your underlings. You know the answers to all of those questions and more without their guessing games.

"Regardless of the reason, they say the underlying is much easier to swallow than she is, so maybe the position of Fourth Harbinger will change drastically if he takes it." 

"Would he really change its purpose if he was so loyal?"

"Unintentionally, perhaps."

God, these people are so dull. Just listening to them, you can tell they know nothing of the ways of the Fatui. Harbingers are not individual job positions with specific parameters. Each role is its own, and they are moulded by the person who assumes them like a character in a play, enchanting and unsettling in a horrific mix of theatrics and violence. It is what they stand for. One does not assume the role and become an actor with a script. They must improvise and act on a whim to the beat of the Tsaritsaʼs drum, their life no longer their own.

They are not whatever these ramblings and poor excuses for speculations make them out to be.

"Terribly misinformed, aren't they?" In your ear is the low voice of the Snezhnayan man holding in his laughter at the two as the scholar and the merchant go back and forth. 

You glance to your left, where he has leaned closer to you. "Repulsively," you respond curtly.

He has a faint glint of satisfaction in his eye as you seem to have confirmed something. "I thought you might've been from Snezhnaya." 

"So what if I am?"

"It was only an observation."

In the background, the main conversation continues, just as clumsy as it was before you had tuned it out in favour of drinking some more. "Does this mean he will also be named Brighella?"

Straightening back in his seat, the man swiftly interjected their back-and-forth responses to explain to them. "They receive a unique title upon their promotion, and nobody knows what it is until then." A simple enough concept to understand.

"In other words, anything but Brighella."

"It hasn't been long enough to know yet."

"It's strange. Nobody knows his name even now."

That would probably be because you never gave him one.

You considered it in the years you spent with him but couldn't find one you liked. His name was inhuman, not for your ears and not for your tongue, rendering it useless to you and every human who would hear it. The night you found him was spent crowded around a bonfire listing off every suggestion you and your subordinates could think of to no avail, as he only sat quietly by your side and said little about any of these choices, finding no familiarity in any of them. That's only natural, you suppose. 

You still haven't chosen a name for yourself that isn't Brighella, either. Your old one is well and truly forgotten, with the years eroding your memories. It had been centuries since you had been called anything else. Evidently, picking names is not your forte. 

"As far as I've heard, nobody knows what it is."

You find the mention of your subordinate has completely ruined your mood. You are grateful the creature is alive but worried the knowledge you're snooping around to find out when he will be promoted could land you in trouble. It's troubling enough to wonder if he has heard your tales through the grapevine about how you had supposedly 'killed' Brighella—his mistress and mentor—which he would not be happy about. Though you did not fear the creature before, now that you've personally trained him to understand human combat, you're not so sure you'd want to fight him. It would be a hassle. Unlike many, you do not fear the inhumanity of the Doctor or the stone wall that's called the Jester. Even the cunning Damselette struggles to do more than unsettle you, but you respect that creature's raw strength and understand that no matter what you do, it doesn't matter. You are confined to a human form, and he is not.

You lied when he said he wouldn't recognise you, however. You don't actually know if he would.

You don't know the extent to which his eyes can pick out the details in your appearance that aren't physical. Had he memorised your relative build? Your height? The way you carry yourself and your mannerisms? The thought unnerves you, but so does everything else about him.

"I'm turning in for the night." Without regard for the ongoing conversation, you declare your intentions and abruptly shut down whatever is being said at the time without much care for it. Whatever it is, it isn't important. Your unfinished drink is left behind as you make your way to your quarters.

In retrospect, you understand their eagerness to merely cover up the circumstances of your dismissal. For a Harbinger as feared as Brighella, it is easier to halt work for a mere half-day rather than attempt to contain the resulting fallout of admitting one of their own was inadequate while simultaneously preserving their tenuous hold on power.

-

Months pass before there is talk of the crowning of a new Harbinger, the people abuzz with the news and eager to know all they can, preferably before the aristocrats feel like sharing the night of the event. You considered attending the ceremony but ultimately decided against it. You may have the courage to do so, but you are certainly not stupid enough to wander into the waiting heart of the Fatui's clutches. You have waited patiently for this moment and can easily wait longer to hear the news.

No longer treating the inn like a home, you settled somewhere in the plains of another nation only a few weeks after you had first arrived there, sensing the barkeep was getting sick of you and the attention you were drawing to his otherwise obscure establishment. 

People settled there for a night, saw you were there, and word of mouth as they boasted of their encounters with you lured others who came to see you. While this influx of new customers certainly provided a boost to business, it also had the unintended consequence of driving away those who preferred to keep a low profile and valued its place as being for those 'in the know'. In other words, while you were great for a boom in business, you were bad for long-term business. 

The barkeep pushing the mora you tried to pay him to pay for another night was enough to send the message he wanted you gone, out by morning. The idea you were not to come back for quite some time was clear to you in the look he gave you.  

Liyue, on the other hand, is filled with mountains and teeming with visitors who have come to witness the highly anticipated Rite of Descension. Surprisingly, the influx of tourism only adds to the overall enjoyment of your experience. You would think that tourism would hinder your time there, but completely contrary it makes it better in a way. The locals are expecting an influx of outsiders to come to see the Geo Archon in person, and, as a result, they are not only willing to hire help for the time but also serve later at food stalls, and the place is livelier. 

People notice you less as you blend into a crowd of people who don't belong, and you slip under the radar.

You have no interest in the Rite of Descension nor the Geo Archon, and most of your time is spent outside the Harbour.

Wangshu Inn is still within Liyue but at a considerable distance from the Harbour, a mid-point between there and the border to Mondstadt. It is quieter, which is neither good nor bad, and home to some very understanding owners who ask so few questions it almost alarms you. Nonetheless, you crave respite from the chaos and theatrics you were revelling in as a reprieve from the stress you were under, wondering how you would live your life now. At one point, you relished being hailed as a hero by many, but it soon became overwhelming, and you found yourself trapped in the clutches of Brighella once again.

Whether by design or happenstance, your identity had begun to consume your life again, and if you wanted to have any hope of living outside of Brighella, then that had to stop. And so, you sought out a place to lay down your burdens and unwind, leading you to where you are now.

You arrive your old self, and despite clinging to it since your travels had begun, you remove every piece of your armour for what you intend to be a long time and leave it all neatly arranged for when you eventually return to it. You feel compelled to finally don the fresh outfit you acquired during your journey through Fontaine. Admittedly floor-length dresses and extravagance are not your style after years of being cooped up in a heavy suit of armour, but there's something alluring about trying out a new look, especially when it involves pants that don't weigh more than a third of your body weight. Besides, you always kind of liked them anyway, just...not yet. Now seems like a good time to dip your toes in.

You almost don't recognise yourself when you finally see yourself in the mirror. Perhaps you got too used to seeing a metal helmet staring back at you and a suit of armour for a body, but the fresh air against your skin and lighter clothes feels...good. 

For the first time in a while, you feel free.

The new outfit is making you giddy, too giddy for your taste. You don't recall having such an innate pep in your step, only one that felt deserved, but this different. While you typically associate a sense of satisfaction with having earned it through hard work or perseverance, this newfound exuberance seems to come from just existing in your new clothes. You are happy just because even if there is nothing to feel happy about. It's as if the simple act of wearing them has given you a boost, despite not having accomplished anything significant. It doesn't even seem like you made much progress toward becoming yourself when you lay it all out on paper. You bought clothes and wore them, that's it. 

Something about it feels so much like yourself. The freedom to stray from what you thought you were until now, something you hadn't dared to try before.

One thing you like about Wangshu Inn is how it serves even people who aren't staying there. The ground floor overlooking the water is designated as almost a kind of restaurant. People filter in and out to be served, stay for lunch, meet with friends, and take breaks from their missions. It is meant as a place for travelling merchants, but you find that is not all its patrons see in it.

You are not nearly as sociable as you were in the Snezhnayan bar you were at, but this seems more manageable anyway.

"If you've come looking for work, the Adventurer's Guild may have a place for you." A suggestion from a merchant who struck up an idle conversation with you for some reason sticks with you. You can't say why, but you imagine a product of boredom.

"They accept anyone?" Your surprise is evident in your tone, as you thought they might have tighter restrictions.

Just as in disbelief fact as you are, he shrugs, "As long as you've got enough power to back yourself, a friend of mine said they'll accept anyone."

That sounds far too good to be true, at least for your taste. "And it doesn't matter where you come from or where you go?"

"Adventurers are known to get restless in one place for too long."

"I see, and you can just go up a--"

"Excuse me, miss." You don't remember hearing that voice, but you recognise the attire when you turn your head just enough to be met with the sight of a cicin mage standing before you impatiently awaiting your attention. The top half of her face is concealed, as is customary, but there's no mistaking the unkind smile that tugs at the corners of her lips as you meet her gaze.

Has she come for retribution? 

Despite your fears of having to make a mess, the woman reveals a letter that is sealed with wax and extends it towards you, expecting you to receive it sooner rather than later as she waves it slightly as a form of incentive. "From the Damselette," she adds.

"What could the Damselette want with me?"

"Perhaps a warning." The words slip by, quiet but noticeable, immediately catching your attention. You raise an eyebrow at her. She's slowly unveiling her contempt at your presence; you're very aware of that fact. You are not familiar with her. It is unlikely that she ever worked under your command. However, it is possible that she might've held a certain level of regard, which has since turned to hostility as rumours of her arrogant killer run rampant. "I don't know. I'm not privy to those things."

Your eyes glance over her from head to toe in thought, scrutinising her for any indication of where her animosity came from. However, there is nothing that gives away her motives. You break your gaze away from her and glance down at the letter in your hand. "I suggest you get a better hold of your tongue. They don't like it when you're rude to their guests."

Her smile does not waver. "You are not a guest." She states that fact with glaringly false politeness.

"Everyone who recieves correspondence from a Harbinger is a guest."

You suppose you can't fault her disdain when all is said and done.

From somewhere tucked away in her clothing, she pulls what appears to be a knife from your peripheral vision and points it at you, but you look up to find it is only a blunt letter opener balanced in the palm of her hand, waiting to be picked up.

"I was ordered to stay until you had read the letter to deliver her your response."

Just as she believes you are a murderer, the letter addresses you as such. Your lies have reached her ears. Moreover, she is playing along with them.

You expected threats and unfair deals, but it is only an update on what is happening regarding your position, the reassurance that they have not violated the terms of the agreement made. A half-hearted apology and an excuse. Preparations set them back, supposedly.

While you imagine preparing not only a funeral but a ceremony to announce the next Harbinger does take time, it would not take this much time with how prepared they were to kill you off in the first place. It was a planned betrayal.

It just looks better if they don't appear so prepared.

For whatever reason, perhaps your consolation prize for enduring her shameless lies, she shares a secret with you. As you casually scan the letter with little care for its contents, your attention is immediately drawn to the heart of the matter. It's the very subject on everyone's minds and all that anyone speaks of. 

Il Capitano. His name is Il Capitano.

Personally, you would not have picked it, but that does not mean that you hate the name. Quite the opposite, in fact, as you have to admit that when you envision the name paired with his face, it suits him well. She ends the letter promising that she will 'take good care of him', though you know that your respective ideas of those words do not align or even coexist in the same universe. There is an unmistakable discrepancy between her intentions and your own, and you don't like it.

"Come back to us, Brighella. You can watch everything you wanted in person."

-

You won't go back. It's a trap.

Irritated, you find yourself back in the heart of the country where nobody lurks, haphazard in the way you fire your arrows at every creature that dares to disturb your sense of peace. It's hard to focus, and you don't bother trying. Liyue is not the same as Snezhnaya, with open plains broken up by rocky mountains. The creatures are mostly the same, and all die the same, hilichurls and geovishaps running rampant and shot down into piles of meat and rocks.

It doesn't matter how loudly you shout, as there's nobody around to hear it. You could scream, cry, and throw a tantrum all you want, and it won't matter. Even if you throw yourself at the ground and bang your head into the dirt, nobody will see it.

This is all pointless. You will never escape. It will never matter how far you roam or how fast you run.

Why did you think you could? Had your brain melted from your head?

There is no other side. There is no salvation. You are owned from the day you're brought in until the day you die, but why? Why did they want to bring you back to Snezhnaya? What was the point? You are out of the way now, hardly causing trouble for them. Despite this, everything seems to be running smoothly, even with the liberties you have taken in your new role. Was that it? The reason they wanted you to see?

It must be. There is no other reason to risk exposing the lie otherwise. Unless it was to tarnish the Fatui's reputation.

You refuse to believe it is something as innocent as wanting to see your request honoured. Nothing is innocent within the Fatui, not an action without hidden intentions or motives. Centuries of watching their misdeeds from the inside, which always go unpunished and unchallenged by anyone except the powerless commoners, have taught you that there is always an ulterior motive lurking behind their actions.

Not to mention it came from Columbina.

You must've spent three days out there before finally returning to Wangshu Inn, dirtied by the elements and craving something to eat, like a child's insatiable desire for sweets. The dead of night provides a cover for you to take a dip in the water beside the inn in an attempt to rinse the dirt and sweat off of you. It dawns on you that your new clothes would've been ruined if you hadn't had the foresight to change before venturing out again. In that moment, thoughts of the Fatui and the memories evoked by your armour flooded your mind, and you didn't want the same thing to happen to the clothes that had made you so happy from the moment you put them on.

It feels childish how you cling to these things.

A part of you just can't help it, torn between holding onto the memories that define who you believe yourself to be and starting anew with a clean slate. Neither can win. One is stuck on the past and what little you have of it, and the other wants to abandon all of that and start completely fresh.

The half-compromise you are trying desperately to make work by accepting that what's gone is gone while keeping your armour close to your heart is obviously not working. The thought of discarding it pains you too much to actually do it, plagued by the urge to melt it down to scrap metal while also being overwhelmed by the knowledge you will regret doing that as soon as you see the mess that would be left of it.

Your new clothes make you happy, so you need more new things to make you even happier, right? If new means you glean happiness, then more new is what will help you move past all of this deliberation in your head.

Clothes were a given, and...maybe a haircut? Yeah. You should try cutting your hair and decide on a name for yourself that isn't Brighella. Something you want, a name you like, that you can look at yourself and see that person reflected in a mirror. The person you think you are supposed to be when you look past the expectation that has been instilled in you.

That merchant you spoke to mentioned the Adventurer's Guild might have a place for you. What if you should be helping people instead of hurting them? What if you only did that to please the Tsaritsa?

In the background of your thoughts, you walk yourself back to your room at the Wangshu Inn and collapse onto your bed, thinking. Though you are exhausted, you cannot bring yourself to sleep for one reason or another. You make excuses for yourself just to ignore the glaring root of the problem you know is there but refuse to acknowledge. The problem isn't really how hot or cold the room is or the texture of your blankets and how much you dislike the humidity in the air. Something else entirely is keeping you from rest.

Your hair isn't the problem either, or your clothes. Even your lack of a proper name really doesn't bother you. They're only the illusion of change you're using to cover up how truly lost you have become now that you have to think for yourself.

How long have you been alive now? Centuries at least. You can't even live independently after that long? No. No, you can't.

You are so lonely, you are lost, you are confused. You need company, you need guidance, and you need purpose. How are you supposed to live? Where is the person who will tell you what to do every day? 

You have to make that choice yourself? You can't do that. You've never done that. 

The thought of even something so basic scaring you so severely brings you to a weakness you never realised you even possessed. Fear surges through the very depths of your being, an unfamiliar sensation that you find unsettling. You don't like it, but it's an impossible feeling to push down and ignore. Over the years, you had quietly collected your shortcomings into a neat little jar and pushed it aside, out of sight, away from your conscious thought, as if pretending you were invincible. 

What would you have done if you had gotten to Capitano? Make him decide?

He can't. He's not human. He doesn't know enough to decide. You've only made him just like you, a fearsome man until he's abandoned and vulnerable like you have become, and then he'll be pathetic and helpless too.

Nothing came out of any of your efforts, did it? It couldn't have possibly. Even with every attempt you made, it was always doomed to fail.

-

It turns out that the Adventurer's Guild was more than happy to take you in, in a way. They put you right to work. It helps to take your mind off of things if nothing else. It's mindless work, able to tune out everything in your brain and run on auto-pilot. You take to this life so well it scares you, completing your tasks with so little trouble you wonder how this isn't more popular, even if some are arguably unnecessary. If only you were good at proper cooking, you might get rich from the tens of requests for certain dishes. 

You're irresistibly drawn to the combat, right back to the heat of battle where you feel truly alive. In all you've had to question, your love for the thrill of fighting has never been up for debate. You're unsure whether it's the adrenaline or something else, but you don't care to know, either. You don't concern yourself with such questions. It's not important to you why, so long as you find comfort in it. It's the one thing you cannot be robbed of. 

A hard day's work is always rewarding.

"Make sure you be careful today." A fellow adventurer is quick to catch you before you can wander off for your next quest, smiling and unbothered despite his words. You've never met him, but he speaks as if you have.

Something about the bond of adventurers is so reminiscent of the Fatui.

You turn back to place your full attention on him rather than the grilled tiger fish you had acquired out of curiosity about the taste. "Why's that?" You're not too bothered, expecting him to tell you that it's dangerous out there, the Abyss Order existing and all.

"The Fatui are restless."

His words catch you off-guard, light in tone as they are. In outward appearances, he's mostly unbothered, while the hairs on the back of your neck stand on end.

You try to grasp your bearings just enough to speak. "They don't do that for fun." Something about it is just as shaky as you expected, unable to fully mask it, but you figure he'll blame it on nerves.

"Harbinger, apparently." He doesn't draw attention to your demeanour, so neither do you.

"Which one?"

"Dunno."

It's probably Columbina. Maybe you pissed her off when you shot the messenger. Yeah, she probably wouldn't appreciate that. When you did it in a fit of anger, you expected her to find it funny after coming to your senses.

"Hey. Something wrong?"

You startle as you realise he had been speaking that whole time, and you just weren't listening.

"Sorry?"

"I said it's weird that they'd be up and about so soon after the newest was officially promoted."

You deadpan a little, realising it wasn't something of actual value, just a misconception that the greatest powers that be in Snezhnaya aren't spiteful enough to hate each other just as much as they hate everyone else. "Not really. They're not particularly sentimental."

"They don't even care to go out drinking for their own?"

"They hardly know how to tolerate each other." You realise your slip of the tongue too late, seeming too familiar. That's a problem. He barely draws attention to it, only making a strange face.

"Well, whatever the reason, work doesn't stop for them."

In silence, you agree and continue your day as if you really believe that.

-

As you wrap up your work for the day, you feel a sense of pleasant exhaustion wash over you. It struck you as strange that nobody was out in the wild, even the usual fatuus you avoid. Something about it was uniquely eerie. It dawns on you why he came to the conclusion that the Fatui were 'restless'. They must have retreated into the city to prepare for the impending arrival of the Harbinger destined to disrupt the small peace you had found. The sudden influx of fatuus in Liyue would make it seem like they are increasing in numbers nationwide when in reality, they are just moving.

You're not going to let it bother you for now.

Somewhere in the back of your mind, you know you have promised yourself that repeatedly and have found it to be a lie, but you mean it this time. You're familiar enough with the workings of the Fatui to know that they don't like to leave sectors alone for too long, and Liyue had spent a fair time before your dismissal unchecked. 

Even at night, you remain unbothered when you wander Liyue for a time, looking for something to do and notice what he was talking about.

Many of them are fussing more than usual, meaning that chances are it's too late to inhibit the process of this Harbinger arriving. You could turn tail and run, scurry off to the other side of Teyvat and settle in Fontaine or even Natlan, but you like it here.

You sit in the heart of Liyue, listening to a speaker tell his stories. You know you shouldn't linger, but you tell yourself you can for just a little while longer. It reminds you of the past, filled with Liyue legends you remember hearing about as news at the time they took place. The fact these tales are now old enough to be suitable for a speaker's recitation as 'legends' is a grim reminder that maybe you're older than you realised. Your early life is now from the time of legends. You can push that feeling aside to focus on the nostalgia of hearing these stories.

Beside you, you hear the chair move but don't budge from looking to see who it is, assuming that all other chairs are taken or that it's an adventurer who got curious, possibly even the man you had spoken to earlier about all of the Fatui--

“Reminiscing, Brighella?”

You recognise both that voice and that name and go stiff, eyes finding her before your head can even turn in her direction.

In front of you—or rather, across from you—the Knave sits upon the other chair at your table as if she was always supposed to be there, seemingly at ease, but you know better than to assume her guard is down. Arlecchino has always had an icy composure, though she can be hot-headed at times and can lose her temper when provoked. It's not surprising that she was able to track you down, even without knowing what your face looks like.

She turns to you leisurely, unhurried. "I came to look for you since you missed the ceremony." It sounds like a greeting the way she speaks those words. You suppose it is one, really.

Ah, maybe you should've been worried after all.

You try to play off your emotions as if you're completely unfazed by her presence. It's the only way to maintain some semblance of control. "Did Columbina not like my gift?"

"Oh, she rather enjoyed it." Arlecchino maintains a similar composure, knowing approaching you in public means employing subtlety as much as it means she's less likely to be attacked. "She felt it was just the kind of gift you would give."

"I try my best not to disappoint." Your response is less enthusiastic than you might like, a hint of nervousness infesting your brain and refusing to budge.

Despite this, she doesn't notice, not outwardly. Really, that means nothing, as you are very aware of how good her poker face is. "Il Capitano hasn't stopped speaking about how much he'd like to kill you. You don't want to disappoint, do you?" When you were waiting for her to speak, those weren't the words you expected to hear, but somehow you're not fully surprised either.

"I see, so my lies reached even his ears." 

You thought as much.

"I think you'll be quite surprised when you see him." Her reply is so cocky that you almost scoff at her.

"Who said I would be seeing him?" You try to match the audacity she had to make such a remark.

She turns to you rather casually for the words she speaks, an odd tone you can't quite place, lacing her words half like mockery. "You miss him, don't you?"

It's that question that makes you snort and turn away as you realise that her negotiation and persuasion skills are abysmal for such a cunning and intelligent woman. "Not enough to become foolish enough to trust someone whose title denotes them as dishonest and untrustworthy." You always wondered about that, really. "A name like 'the Knave' really isn't subtle."

"Funny." She doesn't laugh or even smile. "I believe yours was something close to 'bother'."

You lean back in your chair, testing it slightly as you push the front legs off the floor as a means of entertaining yourself through this frankly dull conversation. "Then I suppose we're both living up to our names."

She remains silent for several seconds, pondering her next words. You can see her fingers rub against the wood of the chair as a distraction. 

"The others told me it was pointless to try to bring you back."

"They were right."

"You won't come back for any reason?"

"I know a trap when I see one."

"Of course."

Silence, again. You don't care to break it, either. You came to hear the stories, and you really would like to continue that rather than listening to her voice, but she's not making it easy.

"Is that all now?" Your voice shows your impatience more than you might like, but you realise it may work in your favour if she senses she's annoying you.

For the first time in a while, she smiles faintly to herself. "For now. Your answer is abundantly clear." She appears to concede, if only for a little while

You let the chair land back on all of its legs and lean your elbow on the table. 

"Are you going to get out of that chair?"

"No."

"And why is that?"

"It's comfortable."

The urge to roll your eyes brims in your mind, but you stop yourself. You don't want to give the Knave the satisfaction of knowing something she is already well aware of. Besides that, you don't want her to know that you really don't want her here in any capacity. Arlecchino's presence is never a good thing.

You let out a tentative breath as you consider your next words quite carefully. The wrong thing might have Arlecchino never leaving you, and the right one might drive her back to Snezhnaya if you're lucky. You shift your whole body to face her. "You just arrived from Snezhnaya, I take it. What do you want to eat?"

She eyes you suspiciously, scrutinising you for any sign of trying to fool her into consuming poison or making herself sick. "You're feeding me now?"

You pretend you don't notice her intensity. "Well, you're not leaving. It would look strange for me to order food for myself."

Again she smiles to herself, a light mockery that's cautious and testing, easing herself into accepting your offer. "I wasn't aware you cared so much."

"You could starve if you'd prefer." You turn away as you speak and don't look back, shifting yourself back in your seat to be front-facing.

There's a quietness between the two of you, both waiting for the answer to your proposal. You have an inkling Arlecchino will accept, but you don't know with her. She never seemed especially pleased by the times the Jester would convene you all over meals and such, ending up in fights and bickering. She never fought with you, however, so perhaps it's different. 

"Order whatever you like."

You find yourself looking intently at a list of the options on the menu. It's quite a lengthy list. "Mm..." Even though it's just a false invitation and you're doing it to be courteous, you can't say you aren't enjoying the thought of picking out a meal and sharing it with her. Despite your removal from the Fatui's affairs for some time, you'd be lying if you thought you weren't at least a little curious. "Jade Parcels...and maybe Jade Fruit Soup? But Dragon Beard Noodles sound good too..."

Becoming slightly irritated by your indecision, Arlecchino looks across the table to where you are sitting deep in thought. "Is it that complicated of a decision?"

You spare her only a glance before returning to looking for something she would enjoy. "I have to pick something you'll like, don't I?"

Soup is more challenging to share than noodles are.

With that, your decision is made, and you settle. Despite yourself, you are somewhat restless in thought. Arlecchino's lack of contribution is slightly frustrating, but it sounds like she'd be content with anything. You're not sure if your choice is the correct one, but you believe you picked something to the best of your abilities that is easy, even to a foreign tongue. As far as you know, Arlecchino is from Fontaine. You've never eaten like this with Arlecchino to know her tastes or dietary restrictions.

"Jade Parcels and Dragon Beard Noodles. Sound good?"

"It'll do."

"Good. I'll go order it, then."

Arlecchino must be surprised that you returned, as she doesn't seem too thrilled. She never really does, but there was a disappointed glint in her eye right up until you walked in front of her to get to your chair. 

It continues until you get the food, and Arlecchino finally stares at it with an overwhelming sense of dread, left with an intense feeling of apprehension regarding whether. You appear not to hesitate, though this arrangement isn't quite what she had expected. Arlecchino had thought you would order enough dishes that you wouldn't have to share, but you seemed to understand it in a way that meant you would be eating from the same bowl.

You notice her hesitation almost immediately, yet your vexation with her arrival makes you unwilling to acknowledge that you know the reason, a deliberate miscommunication on your part. "Mm. I didn't think this through." Your words seem to make her perk up as if you will free her from her awkwardness by asking for another bowl. "You probably aren't used to using chopsticks, are you? Not many dishes that need those back home."

She knows you're toying with her, that sweet smile from across the table hardly hiding your true intentions. Arlecchino waits, watching to see what you will do next, as she looks back at you with a scowl. 

Her eyes do not leave you as you wordlessly collect a Jade Parcel and present it to her like you are patronising her with this action. Your feigned kindness, this supposed benevolence of you offering to feed her like a child, no doubt hoping she'll back down and excuse herself completely. 

She won't let you do that and have the satisfaction of seeing her back down. She won't allow you to break her facade of acceptance.

Though you circle the food in front of her slowly, only a motion with your fingers trying to convince her or make her as uncomfortable as possible, Arlecchino continues to stare for several more moments. Eventually, she musters the courage to relinquish some of her pride.

Arlecchino leans in slightly, just enough to open her mouth and take a bite from the food you hold out for her. Despite the circumstances that led to this moment, she can't help but acknowledge your good taste. Arlecchino couldn't possibly eat another bite that way, though. Not being fed by the woman who is now her adversary just to avoid her 'winning' in the situation, but admitting she is willing to let you get under her skin is not an option either.

She must treat this situation differently, as if you are merely feeding her out of obligation to her rather than because you have your own motives.

It hardly stops her from enjoying her portion of the meal from the chopsticks you share with her. At some point, it finally occurs to her that you only hold one pair, leaving her set untouched despite feeding her. You had been feeding her with the same set you ate with the entire time, and while you were well aware of that, it hardly seemed to alarm you as much as it alarmed her.

Your biggest disappointment was being unable to get rid of her that whole time, watching her readily accept whatever you tried to use against her. Watching a Harbinger practically bow their head and obey you, however, fuels your consciousness. It's like eye candy to think back and realise you did that.

It's another one of your quiet defiances against the Tsaritsa. You wonder how far you can take it.

As you stand from your seat, you stretch your arms above your head until you hear a faint pop as all the tension in your back relaxes. "I don't imagine you'll be leaving anytime soon."

"No. I have plenty of business outside of you." It's not a lie. She's got a lot to do in Liyue even without your presence, but you're a priority. 

You lean back over your chair, a mischievous little look on your face. "Do tell."

"You know that I can't do that." She's not amused by the attempt, either.

You straighten back to your usual height and brush it off in moments. "Unfun. I thought your loyalty to the Tsaritsa could be won over easily." 

She scowls. "Not by you."

"I see. You have standards after all."

She chooses to ignore your comment. Up until now, you have had quick-fire conversations, sometimes interrupted by a silence that drags on. This is no exception.

"Capitano truly believes you are dead." Arlecchino realises when she has caught your attention, and that time is now. She notices how your head tilts towards her ever so slightly, and your head raises. "For a time, he grieved, but it didn't last long. He has become fixated on the idea of revenge ever since he heard that Brighella's killer was running around boasting about their achievements with the authentic armour to support their claims."

Suddenly it makes some small amount of sense in your mind why they would want you to come back exactly. Capitano won't stay put forever. If he's stuck on vengeance, he won't rest until he exacts it. You weren't thinking about how much your stories would piss him off at the time.

When you spend an extended period of time silent and seemingly disinclined to answer, Arlecchino continues. "I want to show you to him."

You have subjected him to human emotions he's not equipped to deal with. Rightfully, you feel horrible like more of your failures are being wrenched from your corner and dumped out into the open for all to see. It doesn't matter that you're in Liyue, where nobody knows the two of you. You don't want them to see either. 

"He wouldn't want to see me." You don't think she really wanted to hear those words when you finally speak. Her expression gives it away. "He should enjoy his position without my interference. I've ruined his life enough."

"You've given him power and status, he should be grateful for that--"

"No. He shouldn't." You don't even wait for her to finish. She hasn't even realised it yet. Not the way you've been forced to. That power is a detriment, not a blessing. Why should he want that? "I thought that way as well, but now I…I don't think my choice was the correct one."

Arlecchino was not expecting to evoke your vulnerability, shallow as it may be for now. "What choice?"

"To bring him back from the abyss." 

From a purely objective perspective, taking in Capitano was the cause of everything. Arlecchino presumably thinks of it in the way you don't want her to, that you regret taking him in because he ultimately ruined everything for you, causing your world to fall apart. You don't. You wish you hadn't dragged him down with you.

Now Capitano still dealing with the consequences of your choices. He was perfectly satisfied where he was and would've remained that way had he not been caught up in your plans. It was your arrogance that made you think Capitano would prefer to come with you. At no point in your first interaction had he indicated he was displeased in his circumstances, only hostile because humans were so close to him. It is an understandable thing, considering that humans were a foreign concept to him and potentially posed a threat.

"Because he overtook you?" 

There it is.

Despite her words, she appears to have dropped her irritated expression and the impatience in her words and actions. You are finally speaking, and she won't lose that opportunity to an avoidable break in her temper.

"No. No, nothing like that." You try to find the words to explain it, even knowing she likely wouldn't understand it in her current position. You doubt she could ever comprehend it with how she treats her loyalty. "It's more like… Off the record, though I was cherished for many years, even I eventually became disposable. I have left Capitano in the hands of the person who caused that, and now I have damned him to the same fate."

Arlecchino is silent in thought, mulling over your words with great care. The tone of the conversation shifted right under your noses, and with it, so did her demeanour. She became relaxed in a way, though you imagine no less guarded than she always is. "I fail to see how your performance declined. In fact, you are more necessary now than you have ever been."

"I see." In your head, that means she's on your side to a degree. "So you believe that my termination was a mistake?"

"A grave error at best." Her words only confirm the way you thought of it. "Even if you had declined in performance, the people have begun to question more than ever, which sabotages the political landscape of Snezhnaya for those who care about it, the same people who stood idly by while you were ousted. Those who oppose the Fatui are pushing the notion that we must be weaker than we appear, because if even Brighella could die, then what does that say for the rest of us."

Though you wish you could say that concept was inconceivable, the idea that those fighting for reform would seize upon your demise as a means to spur change. It's not shocking that everyone else has been called into question, either. Though it is easy to push the role of frontrunner onto the Director, his duty is mainly administrative, as is the case with many high-ranking positions. His wrath is quick and brutal, and sparse. Dottore is too busy with his disgusting hobbies, and Columbina must remain in the light as a figure they can cling to. That leaves the position of Fourth as the one who is publicly the most violent and ruthless, which used to fall to you.

"I see. Is that why they want me to come back?" You don't expect an honest answer as you ask that question, half anticipating another play at your heartstrings.

"No." 

Frustratingly, she doesn't elaborate.

"I'll only agree to return if Capitano is free to do as he wishes."

She scoffs, somewhat returning to her brash attitude. "Even if I could make that decision, we're well past the point where that's a possibility."

You know that she's correct in that.

Still, you can't stop the sight you let out. You knew the request was wonderful in theory but inconceivable in practice, but asking never hurt anyone. "Then what do you want from me? I take it that though I'm only a stagehand, my part in the theatre is not yet over."

"Is that how you see it?"

"Answer my question."

"Execution."

You pause at her answer.

"Execution?"

You're not even sure you heard her correctly. The execution of who? Brighella has already been put to death, and Capitano has barely warmed his seat among the Harbingers. Nobody left in this is worth killing, given the precarious nature of the Fatui's support in the aftermath of Brighella's murder. It was already unstable, and now things are just worse, with no better word to describe.

You doubt they made the decision lightly.

"Execution. Your execution for the murder of Brighella and crimes against the state."

Your nerves instantly spike again, and your guard is higher than ever. At any moment, you could need to draw your bow and fight her because even though you're unsure of how to treat this life, you're not ready to give it up. No foe has scared you before, and neither will the prospect of rebuilding from square one.

"I see, so you've come to extradite me."

"You read my intentions horribly. I'm impressed you managed to make it so far like that."

You furrow your brows in annoyance. "Then what?"

"The values of the Fatui no longer align with mine." The assertion draws your attention more than anything else. You have always been aware that she is unconcerned with the ideas of loyalty and honour, which you can't fault her for. Abiding by the code of honour the Tsaritsa instilled in you left you here.

You may be completely wrong, but she was so vague and doesn't seem to be waiting to say anything else. "Is this your way of telling me you're deserting the Fatui?"

"No."

"Then what?"

"You so happen to be someone I like." 

You're startled by that as well. As far as you were aware, the decision to do nothing in the face of your dismissal was unanimous. You thought Capitano was your only remaining ally. Even if she's the lowest ranking, that is not indicative of power in an objective sense but of authority. In a sense, she is the new 'you' of the Harbingers, as she always was to a degree. 

Blame for the disorder is shifting in your absence to her.

"Because I cleaned the messes you now manage?"

"Because you aren't cowardly and fixated on politics but inhibited by them. You are a model of what is right." You can't say you follow what she's saying but allow her to continue. "Pulcinella and even Pierro refuse to travel abroad, always making excuses to shirk their jobs when faced with danger in order to comfortably remain in luxury. From the day I joined, you stood out to me in that way."

You raise an eyebrow at her, unimpressed by whatever she's trying to do right now. "Are you trying to flatter me into coming back?"

"I was telling the truth." She doesn't look impressed, either.

You feel a little embarrassed by that, suddenly feeling as though you really had responded quite rudely to an innocent statement. "Hearing a person idolise me is strange," you admit.

"It's not idolising." Her correction is sharp.

"Sounded close enough."

Silence again, as with the pauses scattered around the rest of your conversation. You aren't catapulting the topic into something of great interest or progressing, and neither is Arlecchino. Her lips press into a thin line trying to hide any cracks and stifle any emotion that slips through.

"I admire you."

You did not realise such a thing was possible, really.

"I thought you may have remembered the times we shared and think fondly of it, but perhaps not. We fought once- maybe twice- before. We drank together. Nothing else."

To end that statement with 'nothing else' as if to reduce every conversation, interaction, hour and experience to ashes is thoughtless at best. You didn't remember either instance in which Arlecchino believes you fought and still don't, though you try to now that you have come to find it apparently happened. If it did, the chances of you actually remembering is slim to none with how your memory is. It's not that you forget things quickly, but that minor events slip through the cracks in your frankly chock-full memory.

"I don't remember them, I'm sorry."

"I didn't expect you to."

Despite her words, there is a faint bittersweetness to it, the realisation you are insignificant to the person you aspire toward being like. Somewhere, even if she is aware it was always not only a possibility but highly likely, it still feels like a letdown, the fragile hope you might remember her strength. You only remember her drunken and all too enamoured by you to think properly. It is foolish of her to feel that way because you have battled many foes, and expecting you to remember all of them, let alone your underling, is unreasonable.

"You still haven't answered my question." Changing the topic, you take the opportunity to try to direct her back to what you asked in the first place. "Why are you really here?"

"The Jester gave me permission to pursue you, believing I would attempt to convince you to return to Snezhnaya after Columbina failed." As Arlecchino begins to explain, it slowly begins to make sense as the pieces fall neatly into place. "However, I have no interest in appeasing the wants of dignitaries who care only for their comfort."

You don't want that either. It's just a repeat of Capitano. "Do you understand how dangerous what you're doing is?" It's an attempt to remind her, but Arlecchino's unwavering expression tells you that reminders are unnecessary and unwanted.

"Yes, you were removed for less." She only confirms it for you. "Dottore is of the opinion that you will be forgotten, as are several others-" you imagine singling him out has something to do with them fighting all the time- "but that is simply impossible."

"Times change. You would be surprised how many things we thought would never be forgotten that humans have completely lost all knowledge of."

To her, that concept may be harder to swallow. Arlecchino has never seen the centuries roll by as you have and isn't as familiar with what does and does not remain. Even the greatest gods fell in the Archon War, and most humans cannot name any but the seven Archons. It is natural to forget and progress. The past is meant to become speculation and theory.

"I won't allow that." Abruptly she stops, though her sudden words startle you somewhat with how intense they are. That kind of illogical thought process is natural, maybe. You can't really say. "They could remember."

You shake your head in response, a firm denial before she's even begun to try and sell you on the idea. "There's no need for them to remember."

"There is every need."

"People don't glean the same admiration you do for someone they see as a tyrant."

"Then evoke fear!"

"Enough." You did not expect to have to put your foot down so harshly but do not hesitate to. "I won't entertain this."

Arlecchino grits her teeth at how easily you let go. Even though you are obviously not acclimated to civilian life, you refuse her offer that would allow you to return to Snezhnaya in a potential position of power. It is yet another failed step in the many she expected to have to take to convince you.

"Then let me hide you until some time passes."

"I'm not a precious treasure." She ignores how you roll your eyes at her, completely withdrawing how emotionally available you had managed to be. She can't let her anger take control of her again. "I can handle myself thank you very much." 

You sense she will not be giving up easily.

Even if you could convince her to leave you to your devices and that you would be fine, you doubt she would accept that. However, you have a feeling she knows you intend to disappear after this conversation. You have no idea why else she would pour her heart out in an attempt to make you easier to keep hold of. If you leave, you hold the advantage.

"I cannot continue to defend your honour while you stand by and allow them to do as they please with your name."

That doesn't worry you too much when you've been contributing to it since leaving. "Then give up. Let my name be tarnished."

Arlecchno's anger finally begins to boil over despite her efforts to contain it, rage spilling from the cracks in her composure. "You cannot have forgotten everything we did together."

"Of course I have not forgotten that." Your words are more fuel than suffocation to the growing fire.

"Then accept my help and stop being so stubborn."

"There's no need to."

She grabs you by your arm before you can step away, and you can feel a chill in her hand seep into your skin, likely a byproduct of her delusion. It doesn't hurt, but it doesn't match well with how warm you are most of the time. "You would be willing to pretend you don't wish for normalcy to avoid confronting the Tsaritsa?"

"If I return to Snezhnaya, I will die." You lay it out as directly as possible, without an if, but or and. There's no room to debate this because the outcome will not change. Even if the two of you decide you're best friends, nobody else will see things that way, so it's pointless to pretend you don't see it as it has to be.

Arlecchino finally appears to consider your words more carefully, remaining silent again, but you do not interrupt her this time. You shift your focus to the icy hand still touching you and begin to channel what little you can of your vision without drawing your bow to warm her. You hope she doesn't notice it, not wanting her to find an ulterior motive in it.

"Then it is unavoidable."

You don't quite understand what she is saying until she removes her hand from you to place something on the table you shared.

Suspiciously, you eye the item as you wonder about the significance of abandoning it beyond the obvious, but you don't want to acknowledge that option. "You'll need your insignia if you wish to return." You needn't remind her of that, but it is a prompting statement.

Arlecchino shocks you with her next words.

"I'm remaining with you."

You stand in stunned silence for several seconds, replaying them over in your head. Remaining with you. She doesn't mean that, does she? This is another of her persuasion tactics, right? She cannot actually go through with this. "You're what?"

"I'm not going back to Snezhnaya."

That only confirms your fear, the chill of it rushing to the core of your being and lighting your nerves up with an icy cold. Maybe that's just the hand touching your cheek.

"You can't. You shouldn't. You should stay there."

She makes an odd face at you, half understanding of your plight and the other confused about why you care so much about what she does with her job. "In that place you curse yourself for leaving Capitano?"

"It's a comfortable position." You try to reason that way with her, pointing out the inarguable benefit.

"I don't care for comfort."

You scramble to find another reason, something else to make her give in and pick it back up. You have not gotten anything you attempted to get this night. Arlecchino didn't leave and is, in fact, intent on leaving the Fatui to continue that.

"I don't care to waste my time pandering to people who do not value what I provide for them, all the while relying on it."

That's not a reason you wish to say, but it is. It is a very real reason. You can see it in how the Fatui regards your circumstances that they have never found enough value in the mountain of work you took on. If they had, you wouldn't be having this conversation. She's right, you realise, she realised what you could not.

"Even if you do not allow it, I would be able to follow you." It's a strange thing to say, but maybe she was trying to convince you. Her arm falls back to her side.

You shake your head. "Humans tire."

"I won't be too slow."

It's different for her. Arlecchino doesn't hulk around a bulky suit of armour and a helmet to conceal her face. It is open and well-known. There will be places she can't ever travel to again. Her life will be this and nothing else, while yours will eventually become something else, as it was always supposed to. Even if you don't want to now, you will move on and find a new sense of self. She may never.

"There are grave consequences."

"I know."

"You may never know peace."

"I can live with that."

"You--" 

--will question everything you have ever known. That was what you were about to say. You again come to a realisation that clears things for you. It's different. Arlecchino has not spent her whole life dedicated to serving the Tsaritsa, only a few years at best. You spent centuries. It is no wonder that she could give it all up so easily. Arlecchino only had one foot in the door in the first place.

The realisation dawning on you this way is daunting.

"...Fine. I will accept that." Though you thought you would struggle more, you also understand that it is useless to do so.

"A good choice."

The act of conceding can bring about a sense of relief and comfort. Conceding feels nice, in a way. It is a respite from constantly controlling everything to be exactly as you wish. It allows you the freedom of simply acknowledging the reality of a situation and accept that it may not align with your ideals, even if you don't necessarily like it.

You don't want Arlecchino to accompany you for her sake, but accepting that she will not share your fate of being humiliated can bring about a sense of peace. She will live however she pleases, and that means she may not want for the same future you received. Having a free will allows her to leave.

Slowly, you try to recover from the shock of the situation. As you take in a deep, quivering breath, you begin to steady yourself and attemt to process all that is unfolding.

A single question comes to your mind, a relatively simple one but significant enough to matter greatly.

"What is your name?"

CROSSPOSTED ON AO3

[prickly-paprikash]

Don't you just hate it when one of the biggest grifters online decides to like a piece of media you like?

Gatekeeping is wrong. Forcing someone to like something in the specific way I interact and consume a piece of media is wrong. Art is meant to be viewed through a multitude of lenses, and each individual will have their own way of interpreting that creation. And that's good. That's fine. That's human.

But when an Anti-Woke Grifter who thinks alcoholism is a really cool personality trait and decides to brand everything about themselves as that; who has historically engaged and criticized films and shows and games and books in bad faith; who has put down women and POC's and Queer representation in media; who is one of the biggest dicks in the online space decides to actually pay attention to an art that is pretty much dipped, coated, laminated, and injected with fucking GAY, ANTI-PATRIARCHAL ENERGY—that's when I get mad.

For those not in the know, Critical Drinker has posted a review for Blue Eye Samurai, saying he likes it.

You know... Blue Eye Samurai?

The show that oozes Queer Wrath? Feminine Rage? Curb-Stomping Toxic Masculinity and the Patriarchy whenever and wherever it can? That Blue Eye Samurai?

See, he's done this before with Arcane.

He says he likes it. Him and his ilk say that, "Finally, the wokies have done something actually good!" and point to Vi and Jinx as strong female characters written well!

But they also say, dang, feels like all the men in that show are idiots and that they had to be dumbed down to make room for the rainbow-haired girlies brigade. Who have all remarked that Vi and Caitlyn's relationship is forced and being shoved down our throats because god forbid women like women!

I got sick of watching his Arcane review halfway, and this was before I knew what a douche Critical Sucker was.

So I ain't watching his Blue Eye Samurai review. Why?

His Glass Onion review was done in bad faith.

I didn't like She-Hulk, but that's because that show was a byproduct of abused VFX animators, creatively bankrupt executives, and writers desperately trying to manage a convoluted shared universe that continues to buckle under its own weight. Political Stinker over here thinks that it's pandering, stupid, feminist garbage. He is one of the biggest Anti-Feminist voices in Youtube.

Him and his incel brigade have an obsession over hating Captain Marvel and Brie Larson. These basement dwelling cucks rant and rave over a mediocre duology and an actress that just lives in their tiny heads rent-free.

He says that they are removing men from leading roles and roles of great importance!

So why would I want to listen to an inebriated libertarian's opinions on a show that has become the show for lesbians, trans mascs, and other lovely brands of gay and feminism that he oh so despises? He'll most likely praise the action and violence and shit like that, then probably say that Mizu and Taigen's homoerotic rivalry isn't gay actually. Or that Mizu and Akemi's narrative foils don't scream enemies-to-sapphics. Or that Mizu, WHO'S NAME MEANS WATER AND HER ENTIRE CHARACTER REVOLVES AROUND FLUIDITY ISN'T IN ANY WAY SHAPE OR FORM FLUID IN HER GENDER AND SEXUALITY.

Fuck. I'm sorry. I don't even care if he doesn't say that. He's made so many disgusting, disparaging remarks about any piece of media that shows an inkling of progressive themes that what else am I supposed to expect?

If anyone watches it and sees this, lemme know. Watching an Anti-Woke bullshit video with just myself is just straight up wading through the desert without proper protection. No thanks.

Anyway watch Blue Eye Samurai again. Because I know you watched it. Watch it again. And again. And when you're done, watch Arcane. Watch She-Ra. Watch Dragon Prince. Castlevania. Watch anything "woke". Consume trans-positive shows. Make all the haters and even the ones who like it but have no ounce of media literacy irrelevant. Let them dry out and die, please.

[twst-rose-prisms]

Twst boys and their respective Vocaloid songs

Part 2 of this post!

Characters: All NRC students Warning: Some of these songs contain angsty/dark themes or imply self-harm, however it's nothing too much as that's the nature of Vocaloid songs in general and I recommend you checking them out if you guys can!

Part 1 | Part 2

🕌 Scarabia 🕌

Kalim: Tondemo-Wonderz

This song is full of fun, excitement and upbeat, colorful beats that make you want to smile and dance along, just like the ball of sunshine Kalim he is! The song talks about embracing the unknown and excitement the world offers to us while also having fun, encouraging us to have faith in the wondrous possibilities, while also embracing the failure and mistakes with laughter and positivity. I’d say it’s a perfect song for Kalim, from the vibe to the lyrics!

“Even in this sort of era, We still believe in "wonders," no, no, no? Know! The adult's sharp, money-making memories Make us worry too much! I'm gonna go cross-eyed!” "Why?!" "Do it like this!!" I love everything! That's fine, isn’t it? In this plot to make everyone laugh I can call them rival monsters, right?! We live in a wild, awesome world.” “I reckon it's fine to have troubles you can't do a thing about! I make a pose like I'm gonna save everyone. How about this smile, it's not gonna crumble at all! Even if I fall 100 times, I'm like a phoenix. I won't get upset! Wan wan, too quick, three four! Everybody, showtime!” “Come on professor! This exam is so tough! Agh! Alright, done? Is it final? If I don't get 0 points, it's OK! Let's rain a shower of arrows on those true and false questions! Right and wrong answers are important memories." "There are days when I fail too. You still deny "wonders", no, no, no? Know! Before I'm taken to pieces, listen, wait! This slanted society is too on edge. Charge in, leap in, one more time! Are you ready?!”

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Jamil: Ghost City Tokyo

Like a ghost who is almost invisible to other’s eyes, Jamil used to do the same too, he always makes sure everything he does is at an average level so nobody will notice him. That’s why I picked this song for him, also because of the lyrics - he’s used to losing, to not be able to shine and stand out for the sake of others, and it’s not something he dreamt of at all. Also I think the city here can be interpreted as Scarabia too, because he still wants to be here despite everything that happened in Book 4.

“The lights of the brilliant shining city Shine down on me in stark contrast They mix with the neon colours changing and escaping from the spaces between those buildings" "I trade my time and this world And sink into the night” “It’s fine, someday it will all be fine How many days I’ve thought so, that have piled up on each other But even today, the me who fades into the Tokyo scenery all alone Seems like a ghost” “Even as I grow used to losing These important feelings that I haven't lost - When I held them close to myself, my tears fell suddenly Because I think I still want to Keep living in this city”

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👑 Pomefiore 👑

Vil: Cinema

This song is pretty self-explanatory with the lyrics, it’s like someone views their life as a movie, their story is like an unchanged script, yet they’re being satisfied with everything - they want to be the leading star, the protagonist of the movie. Being someone who always has to play the villain role, I picked this song for Vil because it just fits him so much with his backstory and his goal as a whole!

“A delusion of dawn Invaluable escapades and A misunderstood hero play-pretend Traffic's already jammed up now- Oh well, nothing I can do about that anyway” “No, it can't be this, not this. This is a bad fit for me I'm not suited for it- Should I quit it now, or— But that's not right, right! I wonder, when will I get to be The leading star of this show?” “We're not here yet, yet. This can't be the end, so If you're not suited for the role Then just rewrite the script! Look, for the most part, I'm sure it'll always just be me The leading star will only be me!” “The future I wanted to change has come. Whatever you like, however you like it, This is it. I made it here, all the way from the bottom. Just like a movie, this is my story.”

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Epel: Telecaster B-boy

A song talking about the struggle of growing up, trying to find one’s place in this vast world, the singer desires to be loved and appreciated but always gets misunderstood and underappreciated and also frustrated with society,  just like Epel himself. He hates being the stereotype, cliche thing. If you know his story and goal then this song is very fitting for him! Also the funky, youthful but somewhat fast beat and lyrics fit him very well too!

“The more I grow up DeDeDe The less I fit in, a vacant temple. The girl the life philosopher spoke to Turns into a bird … With just lip service PaPaPa I'll tie up my raggedy shoes … The boy whom a believer in digitization cursed Turns into wind …” “No matter how you look at it DeDeDe It's a stereo bias, sadistic The girl who sang like she was stung by a bee Turns into a flower... Even if you cover your ears PaPaPa Those guys' voices become loud The boy who got these words stabbed in his chest Turns back…” “In this world where I can't Even breathe for a bit Declaring a goodbye to reality Won't you just forgive us? We, the weak ones Let's meet up again somewhere”

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Rook: Liar Dance

Rook is a bit hard to find, but in my opinion this is the best song for him. It talks about a couple who both hide and lie to each other. But it also means that the singer’s POV is them knowing they’re a liar, a criminal just like other people. Rook himself is not an exception, he also lies and hides many things away even to his friends or someone like Vil. Also I think the lyrics fit him really well, with constant mention of love and lies many times throughout.

''Stolen? Just whatever do you mean?'' Feigning ignorance today as well Having made a vow, to you and you alone Declaring this loveless love of mine in front of you" "Stolen? Just whatever do you mean?" Committing myself to this performance, set lines and all Those memories we've desperately created and clung to, they blend together and feelings between us intensify” “Dance away liar This love has swelled up like a balloon let's turn it into a lie with the prick of a needle On the count of "I-love-you" “Dance away, liar It's too late to apologize We're already partners in this crime called "love" Who cares if there's no going back?”

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💀 Ignihyde 💀

Idia: All I Need are Things I Like

While there could be many other songs that fit Idia, I decided to pick this one because of the lyrics and overall meaning. The song talks about indulging solely into one’s interests and favorite thing everyday, almost every time without paying much attention to reality much at all. Even though the singer sounds happy and satisfied, they also sound lonely, deprived of energy and strength and also longing for actual companionship instead of coping up to the things that they like. It sounds like Idia himself after what happened to him and also his backstory!

"I don’t like weekdays, I like the weekend I don’t like work, I like going back to sleep It’s impossible to live on slacking like this My consciousness recedes" "I don’t like vegetables, I like hamburgers I don’t like barley tea, I like juice Don’t be sweet on me, but I like sweet tasting things My lifetime’s first page" "Only looking at things I like gradually my eyesight gets worse Only being filled with things I like gradually my mind gets duller" "I don’t like living things, I like machines I don’t like the real world, I like the virtual Your tastes were always biased deteriorating and ceasing to think" "Surrounded by the things I like I’ve become unforgiving to the things I don’t like Living only with the things I like I'm resented by someone, somewhere"

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Ortho: Near

This song is gentle, yet emotional and bittersweet, its meaning also fits Ortho and Idia + their relationship a lot if you take it into their backstory context too. At first, Ortho is just a robot that only acts according to how he was programmed but gradually, he starts acting outside his intended programming and learns his own sentience and emotions - just like the robot girl as the song progresses. Overall, I think this fits him a lot!

“Hey, Near. If I don't make fun of someone And if I won't be able to forgive myself How do you feel about This horrible person?" "Hey, Near. Watching other's strides Stepping out without a purpose How do you feel about this Dull person? Hey Near” “Hey, Near. I think living every day with a smile Is something natural How do you feel about This arrogant person?" "Things that do not take any form and cannot be predicted Will interfere with the calculation process" Even so" "Ah, I'll still continue to believe And ask you who doesn't have a heart Because your hand was So much warmer than mine”

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🐉 Diasomnia 🐉

Malleus: Hare wo Matsu

I feel like this song fits Malleus the most with how the lyrics constantly talk about one’s loneliness and about past’s memories. For Malleus, his biggest fear perhaps is his dearest, most cherished people leave his life, like Lilia - his guardian that raises him up ever since he’s still a little lizard or maybe even MC - his ever first friend that treats him so dearly despite his status or his fearful magic power unlike others who is afraid of him. Even the beat is also beautiful but sad, full of longing for your loved one when they leave - just like Malleus himself.

"I'm not getting tired of this morning, One that I've waited for. Very faintly, I'm laughing while appearing to be sorrowful, And wishing to completely forget you." "Because there's no end to this curse Of sleeplessness and the painful past. I'm singing a song in the morning glow, If only I could completely forget, it would end." "There's just one thing I can't yield, And still, without knowing the reason, I live, even now..." "Since I don't have a dream I want to protect, These are days with no answer, But that isn't kindness, isn't it?" "Look, since absolutely nothing hurts, It's alright," I say. Someday, when you'll be gone, ah~ Will I be living alone?”

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Lilia: Kanade Tomosu Sora 

I feel like this song fits Lilia the most in terms of the vibe, the lyrics that matched well with his backstory. This song, while sad, full of longing and reminiscent from the past yet it’s like a glimmer of hope somewhere in the deep, dark sea of sad memories. Lilia was the same too despite how we see him acting outwardly. He gives love to others, but he also needs love and hope. He went through events that could crush him easily and yet, he still stayed strong - for a whole 200+ years, for the sake of others. (I recommend checking out the 25ji, Night Code de version too!)

“Every time I trace back my memories, I feel as if I’m going to be crushed, yet Since I have no place to take refuge,  I just keep questioning myself over and over. Ah…” “There are too many things in my way,  It’s as if there are only things I can’t see Is it alright if I try touching it a little? I want to say it. Even though it might surely be impossible, I want to somehow. Hey, more; hey, more; I want to see more” “So I can turn the images I’ve found of your world still unknown to me Into song" "Blaming myself all this time,  I simply live and breathe but only just barely I’ve always shut it away in a cage I’m not asking for a plain, simple story. I simply wish to hear your voice” “It still hurts. Words keep tightening the cord round my neck, but... These eyes of mine I closed so gently as well, still hurt a little, but… I want to say it. Even though now, I still don’t know when it’ll be but someday for sure. Hey, more; hey, more; I want to see more”

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Silver: Ice Drop

I think this song fits Silver a lot mostly because of the lyrics, and the deep sea could symbolize the dreams that he dives into in Book 7. Although it’s upbeat, the lyrics are full of longing and reminiscing of the past and also his father, but eventually move on and “grow up” from it.  Not to mention, you could even take it as a SilverMC song if you think about that aspect! But even if it's not in a romantic sense, it's still a song talking about how much the past affects us and how we long for our loved one even if it's just a memory, that's why to me this song is really for Silver!

“Even the memories of the past are merely a thousand-year tale I take a deep breath as I fall into the deep sea” “Uh- that voice of yours drenches my whole heart Tangled up and captivated by each other, we sing our unchanging love once more You, not letting go of your hands become a rule of mine It's a heart that will melt away the rusted last page That one and only magic will turn this world around” “I’ll be waiting. Inside my dream, I reach out my hand” “Uh- On this planet, I fell in love without sleeping I longed for you and hesitated what to do, but from now on, I'll grow up You, If it’s with you, I’ll dive in without hesitation”

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Sebek: Kashika

Sebek was the hardest to find for me in the entire list mainly because while he has his own character, he doesn’t have too much depth but I tried my best and I think this song fits him the most! This song is powerful, full of willpower and hope towards tomorrow despite the hard, tough times. The song encourages us to keep living, even in the most uncertain moments, you need to cherish each moment of your life as well your living heartbeat, which represents the tenacity and perseverance of life. I feel like the energy as well the meaning of the song fits Sebek a lot overall for his character - with the desire to rise, stand up and protect he always have.

“When my quivering voice breathed life into a song, It was then I realized, That was the first time my breath could be seen. They say that in the end, the value of music is subjective– Well then, I'll sing as I please, I'll show you the message I want to convey. I won't despair over Or be afraid of my mistakes. They say to "live the right way," But I want to fight against that. My whole life has consisted of "it's my fault." Even if I'm treated like a fool, I'll be hurt and I'll hurt others, I'll live, causing both kindness and injury. The present I see is everything to me, So I don't want to cling onto ideals of the past or the future. Beat, beat, o heart of mine! It might be unsteady, but even so, this is my pulse.”

-----------------------------------

[dearweirdme]

https://www.tumblr.com/dearweirdme/756624824076468224/there-are-some-places-i-hope-to-never-be-and-one

Couldn’t we say the same thing about Jimin though? Wasn’t he the one who said his favourite thing was waking up to Jungkook? He’s the one who also sat infront of Tae and Jk and said Jk spends almost all his time in his room and he is the same one who has constantly taken his face right infront of Jk’s like he was going to kiss him on the mouth with Tae sitting right there, why do you think he would do things like this if Taekook were together and how would Tae have felt about those things? Jimin has done and said way more suggestive things about himself and Jk than Tae has ever done and that is one of the reasons why some tkkrs hate him so much because they believed he was being a bad friend to Tae. Y’all are just witnessing Jimin in his quiet phase. You needed to hear the things he constantly said and did prior to 2021 because if he was still the way he used to before, it would have been a bloodbath between these two ships because while we have tae dropping bombs, we would have had Jimin dropping even bigger ones lol.

Jk too has done a few things with Jimin that wouldn’t make sense for him to do if he was dating Tae, like that naked bed Live he did inviting himself to shower at Jimin’s place, (if you think Jimin should have a problem with Tae’s captions if he was with Jk then how do you think Tae should feel about Jk openly asking Jimin to let him come over and shower infront of 5 million fans?) or when he made that “thirst trap” birthday video for Jimin (many people interpreted it as one), or him making a blatant sexual innuendo Joke with Jimin on ITS “Do you want ramen? ” This is a conversation I probably shouldn’t be in because I personally don’t think the boys are dating each other but I think this logic works both ways and that is mainly the reason why we have jkkrs hating on Tae and tkkrs hating on Jimin because they feel like Vmin are crossing lines.

Hi @causeilikescience !

Posting this ask in good faith and trusting you are actually neutral in this.. please don't go crazy on me.. I just went through that with another blog last week 🙈.

I'm sure that when you are someone who doesn't believe any of the guys are dating all shipping fandoms look the same. I'm well aware that while I am answering this ask right now, most will look at my answer and say 'she's a Tkkr, she's delusional and not give my words any actual thought. And to be honest, most of my beliefs do stem from how I interpret Tae and Jk's interactions and the way their body's speak. My thoughts on that should not actually matter, because I am a stranger on the internet 😂.

I think for me, the biggest difference between how Tkkrs think and how Jkkrs think is that Jkkrs believe a queer couple from the same band are being allowed so much openness. I mean, Jk and Jm are not limited in their interactions at all. We can beat around the bush, but Jk and Jm are the main focus of Bh when it comes to BTS. They are made use of hugely. That does not undermine that their friendship is real (it's making use of your biggest strenghts really) but it does undermine that they are in a relationship, in my opinion. I do not believe that BH (a SK company) would treat an in band couple the way they treat Jm and JK.

I understand why Jkkrs believe though, at least.. to a certain point. The moments they use, like Rosebowl, like hickey gate, like those times Jm comes close to Jk's face and acting like he's about to kiss him.. those look sus when you isolate them BUt, when you look beyond those isolated moments, you know that that is exactly what they are. Jm has those moments with Hobi and Tae as well for instance. Probably not as often, because Hobi doesn't entertain it as much and Tae actually gets Jm flustered when he goes that way. Jk and Jm though have the same type of banter... they are.. matched in that way I think. They aren't actually flirting, they are play-flirting. And these are my words ofcourse and no-one will value those, because I'm a Taekooker, but I do think that that's what it is. Maybe because you are neutral, you recognize that that's what it is also. I don't see anything actually sus between Jm and Jk. I think everything they do fit easily in the realm of friendship. A friendship that has a lot of banter and is definitely deep, but a platonic friendship nevertheless. I never feel the need to downplay anything Jm and Jk do, because it just is what it is and I love that for them.

Tae and Jk is a whole different story though. And admittingly, you do have to believe in things being hidden and lies having been told. You have to believe that there are ugly parts to their story. I don't even really want to believe those parts, because they are hurtfull and they mean that Tae and Jk (and all members by association) have gone through shit. There will have been many tears and fights, and feelings of shame and insecurity. That's not something I want for them, but I do feel that has been a part of their lives. I think there is no way that a company like BH would allow a queer couple from the same band to freely interact. I think BH would have come up with a way to keep the band from being in a potential scandal. They had big plans for BTS (which they accomplished) and the risk of queer allegations becoming too strong would have been too high in the eyes of those who call the shots. What I see between Tae and Jk fits how I feel a queer idol couple would be treated in SK music industry. It does set us as a fandom up for misunderstandings though, it can't actually be any other way. So our thoughts willl always be hunches and never about having actual proof. A closeted couple can't give us proof. What we do have, is a ton of patterns and a ton of repetitive behavior. It's the shear amount of consistent bahavior that makes us feel strongly about them being together. You can only understand this, if you look into that amount.. it is simply not possible to understand this if you don't. Me explaining this with all the words I have will never do the actual situation justice. So basically this whole ask is just me ranting without actually being able to convey the realness of Takook 😂.

I think many people don't actually realize the amount of times Jk and Tae are holding back movements, and biting away smiles, or are holding back jealousy. It's something Tkkrs know, because we pay attention. It's not something we invent, the moments are there and people can just look them up. You will not find that between any other pairing within BTS. Another thing is that many people also don't realize how much Tae and Jk actually move towards each other. After 2016 they weren't the focus of footage much anymore, so people are quick to miss it. But in the background, when other members are the focus.. they gravitate to each other. Again, not something we make up.. it is all in the footage, people just don't notice.

Without wanting to open this up to Jm hate (and I'm gonna elaborate.. don't worry😁), I think Tae did have a problem with Jk and Jm at times. This is what I mean with the nasty parts that come with this. It's not all pretty, and it probably affected the other members too. It was pretty obvious actually at times. Rolling his eyes and whatnot. I'll do you one better. Jk also had a problem with Tae and other members at times, we can clearly see him annoyed at times when Tae was close with someone else. They were fickle about it though, there's times when they didn't care and there were times when it probably just hit differently. People are fickle in their reactions though. Different situations make for differnt reactions, that are influenced by many different factors. The reason why I don't blame Jm for this is that Jm did nothing wrong. On top of that, Tae, Jk and Jm know each other so much better than that fandom knows them. When Jm and Jk make a joke about ramen in front of Tae, Tae knows how to read that. When Jm goes to flirt with Tae, Jk knows how to read that. These men know each other, they know what each other's intentions are. Tae knows that Jm isn't trying to steal Jk from him.

I'm fully convinced that vminkook had conversations about the shipping wars. I think I see an adjustment in how they deal with it. It is clear to me, that Jm is aware of Tae and Jk. I think these three obviously chose to not let fandom shenanigans stand in the way of them interacting. While Tae was annoyed at Jkk moments at times, he cares about Jk and Jm too much to want them to adjust the way they interact. I can't speak for Jkkrs on this.. but I'd hope it's the same for them.

Comparing Tkk and Jkk is not something that I actually do when consuming BTS content. I know I've done it on here, because I literally get asked to do it 😂. But Jkk isn't a factor for me. Jm is their best friend. Obviously he plays a role in their lives, but I don't go and think.. wait Jm did this with Jk how does that affect Tae? I'm sure Jkkrs want to do the same, but yet everytime one of them comes here they hit me with the comparisons. I do wish that things were different. I think this is very unpleasant for Jm, Jk and Tae. Those men love each other to bits and I think large parts of fandom make it really hard for them to keep loving us.

Well, I'm sure this has been hugely unsatisfactory and I made no difference in your understanding of Tkk fandom😂 . I'm also a very small part in all this, I'm fully aware that there is madness going on everywhere.. Tkkrs are not excluded from that at all.

[panharmonium]

Hi! I love your Naruto thoughts and meta posts with all my heart and I want to ask your thoughts on something that has been on my mind literally since I was 13: what do you think about the relationship between Sasuke and Sakura? I went from being a hardcore shipper when I was a teenager, to being against any romantic relationship in Naruto after finishing the anime when I was in my early twenties. Nowadays I'm very into platonic love and depictions of friendship and I think the anime's obsession with forcing the "romantic interest" curse upon the main female character robbed us of... so much. There are a few wonderful moments in the anime where Sasuke and Sakura acknowledge each other, but because she's always "the girl with the crush", her actions are so often interpret as irrational or selfish by the fandom.

Hi @riemmetric!  It's great to talk to you again! Sorry it's taken me so long to answer this; RL has been making demands of me lately and it took me way longer to finish writing this up than I wanted it to (then again, I knew from the minute I read your original ask that my reply was going to get long, so I suppose I should have predicted a delay XD)

It's funny, my sister once asked me to choose between Sasuke or Sakura for an “unpopular opinion” meme, and I ended up doing Sasuke solely because I think the negative fandom opinions about Sakura are so unhinged and divorced from the actual text that I wouldn’t even know where to start.  People are entitled to dislike whatever characters they want, obviously, but there are some fandom takes that are, for me, so obviously rooted in bad faith viewings/readings that there’s no urge in me to discuss them.  That said, since you asked, I’m happy to go into my own thoughts on this a bit, with the disclaimer for other potential readers that I only write about fandom things for my own personal enjoyment, not as a contribution to The Discourse. If you don’t like Sakura, great!  I have no interest in changing your mind. Please consider this a sincere invitation to scroll on by and go enjoy whatever parts of the fandom appeal to you.

In general terms: I love Sasuke and Sakura’s relationship as much as I love all of the relationships in Team 7.  If we’re talking about them specifically as a romantic couple, then I probably fall somewhere in the middle of the spectrum, because I do like them together in a post-canon (to be clear: non-Boruto) setting, after time has passed and they’ve continued to develop individually and reconnect with each other, but I also wouldn’t exactly call myself an intense “shipper,” in the sense that I have no interest in pulling things out from the text and incorrectly citing them as evidence that Sasuke has hidden romantic feelings for her during the canon period. He cares about her in the canon period, just like he cares about Naruto and Kakashi.  That’s not up for interpretation; it’s the text.  But Sasuke during the canon time period does not demonstrate specifically romantic interest in anyone.  

[A note before people who might ship Sasuke with Someone Else emerge to rail against this statement - please just scroll past and continue enjoying fandom in whatever way is most fun for you. It is cool to ship whatever fanon thing you want; I think that’s great!  But earnestly citing any loving or emotional thing Sasuke does re: various characters in this story (yes, Sakura included) as indicative of specifically romantic love isn’t supported by the text. I know there are always going to be enormous subsets of any fandom who insist that it is, and I'm certainly not going to barge into anyone else's space to complain about that (because other people having fun together is harmless and none of my business), but I'm not obligated to indulge it on my own blog, either.]

Anyway, that said - the reason why I love Sakura and Sasuke’s relationship (from here on out I’ll use “relationship” in a general, non-romantic sense) is precisely because Sakura isn’t just “the girl with the crush.” Sakura has an arc when it comes to Sasuke, and its trajectory moves in the exact opposite direction of “irrational” or “selfish.”  She specifically goes from “the girl with the crush” to “the girl who steels herself and tries to put her personal feelings for Sasuke aside for the greater good” to “the girl who knows she can’t put her feelings aside, but who also knows full well that Sasuke doesn’t reciprocate them, and who still wants to save him regardless, because he matters to her as a person and a friend.”

[I'm putting the rest of this under a cut to save everyone's dash, and also to emphasize once again that this is a personal post on my personal blog which I wrote in response to a question from a personal acquaintance, the full content of which no one is obligated to read. I am not sending this post to random strangers and forcing them to look at it. I'm not even putting it in the character tags. I'm typing it up on my own blog and putting it under a cut. If you already know that you don't like Sakura, but you still click the link/read the post and then feel an urge to comment and complain, I am going to copy-paste this disclaimer and remind you that I specifically recommended that you scroll past and go have fun with fandom in your own way. Thanks in advance for responsibly curating your own fandom experience!]

So, from the top:

1. the girl with the crush

Sakura is, obviously, completely obsessed with Sasuke at the beginning of Part 1.  She’s also deeply clueless about him and his history (bizarre though it is, the story seems to indicate that she initially doesn’t know what happened with his family, the same way young!Obito is initially clueless about Kakashi’s father).  But what I like about Sakura and Sasuke’s Part 1 relationship is how this changes over time.

The critical scene that kicks this off happens right at the beginning of the manga, when she and Sasuke are talking by that bench - she complains about Naruto and blames his behavior on him being all alone/having no family to scold him; and even says she’s jealous that he doesn’t have parents to nag him all the time.  This obviously triggers an outburst from Sasuke, who tells her she has no idea what loneliness means and that she “makes him sick”/she’s “annoying” (importantly, the exact same thing Sakura said to Naruto in anger earlier that day), which in turn prompts Sakura to reassess herself and wonder whether she’s been making Naruto feel this terrible all the time, too:

From that point on, it’s a process of her putting little pieces together.  She still has a MAJOR crush, and she still acts like a twelve year-old, but as we approach the end of Part I, Sakura actually has a more accurate grasp on Sasuke’s current state of mind than Naruto does.  Naruto is initially excited to fight Sasuke on top of the hospital, because he feels like Sasuke’s finally acknowledging him, whereas Sakura is the one who immediately recognizes that something is wrong about this situation.  She is also the one who, after this fight, is concerned that Sasuke is really unwell and might do something drastic like run off in pursuit of the power Orochimaru promised him, but when she communicates this to Naruto, he assures her that this would NEVER happen:

(Sakura isn't convinced, though, because she goes to monitor the exit out of the village anyway.)

I’m not criticizing Naruto for his response here.  I ADORE hearing him say that Sasuke is too strong to need Orochimaru, with such perfect confidence - I love seeing how much respect and admiration he has for Sasuke underneath all their fighting, because that’s the whole reason he’s always baiting Sasuke and yelling at him and claiming “you're not so great!” He looks up to Sasuke; he wants to be like Sasuke; he thinks Sasuke is awesome! (It’s that Obito @ Kakashi behavior, you know?) But the fact remains that he is clueless about what’s actually going on with Sasuke in Part 1, and he remains clueless(ly optimistic) for a long time.  

(Eg, when he catches up to Sasuke during the retrieval arc and Sasuke climbs out of that cursed seal coffin, Naruto waves at him and calls "Come on, let's go!" as if Sasuke has been successfully rescued and is now going to come running home.  Even in Part II, when Naruto hears that Sasuke killed Orochimaru, he beams and immediately says, “So he must be on his way back to the Leaf Village!”  And everyone else in the room is like, “....,” because they know better.  Naruto doesn’t yet fully understand [or doesn't want to accept] the extent to which Sasuke has willingly chosen this path, and it’s not until after Jiraiya’s death/the Pain attack/the Five Kage Summit that Naruto really starts to understand Sasuke more clearly, which is something he himself admits.)

Sakura, in Part 1, has access to more information about Sasuke - she’s there for his first dissociative monologue during the bells test, she’s there for the curse mark’s placement, she’s there for his first violent transformation in the Forest of Death - she is, in fact, the unwitting catalyst for it (“Sakura…who did this to you?”), and her compassion is the reason Sasuke is later able to overcome the curse mark’s influence - so she has a more accurate/complete picture of “how he’s doing,” for lack of a better phrase, whereas Naruto, who doesn’t know about the curse mark in the first place, is still in the dark.  This means that Sakura is able to accurately discern that Sasuke is struggling more than Naruto realizes, and specifically to predict that he’s going to run away.  

(This dynamic is then interestingly flipped in the back half of Part II, since at any point after the Five Kage Summit, Sakura doesn’t have access to extremely relevant [if currently questionable and unproven] details that would in any other circumstance inform her behavior).

Of course, just because she has more info in Part 1 doesn’t mean she has some kind of miraculous insight into Sasuke’s every thought and feeling.  There are parts of her attempt to convince Sasuke to stay in the village that are as clueless as any of Naruto’s assumptions, and they showcase the kind of magical thinking common to childhood - like when she says that if he stayed with her, she could give him happiness, she’d do anything for him, even help him get his revenge - this idea that she herself can do something to make him feel better, that she can love him powerfully enough to defeat his pain - obviously none of that is rooted in realism.

Is this part of her approach irrational and immature and inadvertently self-centered?  Of course it is!  But it’s no more irrational and immature and inadvertently self-centered than Naruto’s stated plan to drag Sasuke back to the village even if he has to “break every bone in [his] body!” 

Hating on Sakura for her Part 1 attempt to convince Sasuke to stay in the village while simultaneously lauding Naruto for his feels like a bad faith misread of what is, to me, pretty clear narrative intention.  The story doesn’t at any point intend for us to see her begging him to stay as a selfish or conniving attempt to get something she wants.  She’s begging him to stay for the same underlying reason that Naruto is: she cares about him.  She thinks he’s making a mistake that will only cause him more pain in the end (she’s right) and she wants to make it so he feels less pain right now (she can’t.  But she doesn’t understand that/isn’t able to admit that, and she’s willing to try ANYTHING that might help).  

It’s critical that this farewell scene is set in front of that same bench from their first important confrontation - she references that day and how angry he got at her, and this time she tells him that she understands his reaction.  She’s learned things and she recognizes how insensitive she was being back then (“I know what happened to your clan, Sasuke”), even though she still can’t fully grasp all the complexities of the situation. She tells him that him blowing up at her back then helped her understand what loneliness actually meant (as opposed to her previous shallow understanding of it), and she challenges him about his choice right now: "So that's it, you're choosing the lonely path?" And when she tells him that she'll be very lonely if he leaves, we're immediately shown a panel of Sasuke thinking of both his friends, with the very clear implication that if he goes through with this, he will be lonely without them, too - that he's still struggling with the idea of leaving them, no matter how hard he tries to pretend:

Sakura at this point knows that Sasuke isn’t interested in her the way she is in him, but she still wants to give him happiness, however fantastical and immature her ideas sound to us (and, I’m sure, to him).  “I’ll do anything, even help you get your revenge/we'll have fun every day, and...and you'll be happy! I'll make sure of it!” - of course, it’s completely childish.  It’s irrational.  It’s ridiculous to think that any of this would ever be effective, but no more ridiculous than Naruto’s belief that he can simply break every bone in Sasuke’s body and keep him in the Leaf by force.

Both Naruto and Sakura are children who have a deeply oversimplified understanding of Sasuke’s situation.  They both still think they can fix him themselves.  They both think they can save him themselves.  They both think they can convince (or force) him to do what they want, what they think is in his best interests.  Both of them don’t yet understand that he has to want to come back, if it’s ever going to mean anything.  Their attempts to keep him in the village are immature and unrealistic, yes.  What they aren’t, however, is selfish, because neither Sakura nor Naruto are doing any of this with the intention of advancing their own interests.  They’re only thinking about Sasuke - how to keep Sasuke safe, how to make Sasuke happy - even when neither of them are taking an approach that will actually work.

Naruto and Sakura are children.  They’re afraid of losing somebody they care about.  Their attempts to prevent that from happening are desperate and messy and ultimately ineffective, but they are also genuinely felt and rooted in a true desire to rescue Sasuke from his pain, which - and this is the single most important thing that should impact our viewing of Part 1 - is something that Sasuke RECOGNIZES.  He doesn’t spend that agonizingly long moment bowed over Naruto’s defeated body so we can pretend he doesn’t understand that Naruto was just trying to help him.  He doesn’t take the time to murmur, “Sakura…thank you,” before laying her out carefully on a bench, just so we can discount it and pretend that he doesn’t recognize and appreciate her genuine intention to make things better for him, however clumsy that attempt might have been.

2. the greater good

If Stage 1 Sakura is "the girl with the crush," then Stage 2 Sakura is a progression to “the girl who decides to put her feelings for Sasuke aside in order to protect innocent people, including (but certainly not limited to) Naruto.”  She’s driven to this decision by interactions with Shikamaru, who all too recently had to grow up fast himself (“We're not kids anymore...we can't allow a war to break out between the Hidden Leaf and the Hidden Cloud because of Sasuke") and Sai, who risks his new friendship with Sakura and Team 7 in order to speak some hard truths and deliver one of my favorite lines in the whole story: “I don’t know what promise Naruto made to you, but it’s really no different than what was done to me.  It’s like a curse mark.”

(INCREDIBLE.  How can anybody be complaining about a season where Sai gets to say something that goes THIS HARD and Sakura LISTENS and takes DRAMATIC ACTION that actually propels the story forward in a meaningful way - )

[Okay, yeah, brief personal opinion interlude - it is just bonkers wild to me that there are people who complain about Sakura in the Five Kage Summit arc. That entire season is the greatest character arc she ever has.  Literally she has never been more interesting and dynamic than in Season 10; it’s the first time she ever gets to be as deep and fascinating as the boys; what is everybody so worked up about?  Oh, “she lied to Naruto that one time” - Sasuke joined infant-kidnapping baby-murdering human experimentation machine Orochimaru when he was twelve years old in order to (dare I say it????) selfishly pursue his personal goals and yet, somehow, we are still able to root for him.  He abandoned his friends/allies to imprisonment and death (Suigetsu and Jūgo) or outright stabbed them in the chest himself (Karin) in order to (SELFISHLY) get what he wanted, and yet, somehow, we are still able to love him, understand him, and be on his side.  Naruto is canonically not upset with Sakura about her lie after receiving context for the situation and I think we can probably take our cues from him without feeling the need to bring her up on war crimes; please calm down]

[Sorry, I just really love most of Season 10 and think it’s one of the best examples of how good this story can be when every single character gets to do something that matters (as opposed to things being all Naruto, all the time) so I get a little bit worked up over people complaining about some of the best writing Sakura ever gets.  I don’t understand what certain elements of fandom want from her. People complain about her being “useless” and not doing anything that contributes to the story, but then they complain just as much when she does finally get to act decisively and have just as complex/dynamic an inner world as the boys.  She’s “weak” for being unreasonably in love with Sasuke, but when she tries to be “strong” and put her love for him aside and eliminate him in order to protect Naruto and the rest of the world, she’s evil, because she should have been more understanding of his situation (despite the fact that she doesn’t KNOW anything about his situation).  But then when she can’t go through with killing him after all because she cares about him too much despite the things he’s done, she’s not "compassionate" or "kind" or "a good friend," she’s “weak” again. Nothing Sakura does in S10 is more wrongheaded or rash than any of the batshit, buckwild things Naruto and Sasuke have done in the past (and will continue to do in the future), but when Naruto and Sasuke have big feelings or take bold action, it makes them interesting characters, whereas Sakura can’t breathe in anyone’s direction without being minutely scrutinized for moral impurities.]  

Anyway. Back to a more measured response.  

Every single piece of development Sakura has with regard to Sasuke in this season satisfies me so much.  Her initial shock and disbelief at hearing that Sasuke had joined the Akatsuki?  Good, appropriate.  The fact that she starts to acknowledge the reality of what Sasuke’s done sooner than Naruto does?  Also extremely appropriate, very in-character for both of them.  Her taking Sai’s words to heart and deciding that the promise she asked Naruto to make when they were children is causing him to suffer and she has to relieve him of that burden?  Juicy!  AND thematically significant (promises!!!!  the burden that a promise places on a person, especially when it can't be kept - we've seen that before in this story and we'll see it again).  Her anguished pivot from wanting to protect Sasuke to realizing that she has a responsibility to protect the countless innocents who will die because of the war he’s trying to start?  HELLO THIS IS INCREDIBLE CHARACTER DEVELOPMENT.  Her knocking out the classmates who agreed to help her so they don’t have to share in her burden (and so the only person Naruto will hate when it’s over is her)?  BRUH.  Her being so committed and focused on her goal of saving innocents and protecting Naruto (not just from being harmed by Sasuke/the Akatsuki, but by the possibility that Naruto will someday have to hurt Sasuke himself) that she tries to take everything on by herself and walks into a confrontation that she absolutely cannot win??  INCREDIBLE.  (Literally the first time I watched this, I said, “Finally!!!  It’s Sakura’s turn to go off the rails!”  I laughed with my sister about how Kakashi isn’t even mad, because Naruto and Sasuke have been pulling stunts like this for years and Sakura was way overdue for her own meltdown.)  And then, after Kakashi intervenes in the fight - Sakura barreling back into the battle when she realizes he’s going to take on the burden of killing Sasuke himself in order to spare her and Naruto the horror - “I can’t let Kakashi-sensei bear this burden!”  I love her for that.  

And then, of course, in the end - her not being able to do hurt Sasuke after all.  Despite committing herself to the act, despite forcing herself to put her feelings for him aside, despite resolving to stop him from starting a war and killing innocent people, she can’t harm him.  She cares about him too much.  This, too, is thematically significant - think about Itachi’s “you don’t have enough hatred” - she doesn’t have enough hatred to kill someone she cares about, even if it seems like he deserves it, even if would be the right thing to do to protect others.  She can’t do it, and Sasuke almost kills her for her compassion.  

I love the dynamic this sets up between her and Sasuke, for a few reasons:

1) Personally, I think Sasuke respects Sakura much more for trying to kill him than he would have if she’d just tried to talk him out of his behavior or beg him to come home (a la their original confrontation in Part 1).  This is the first significant interaction he’s had with Sakura in years, and the fact that she does something SO contrary to his memory of her is an important demonstration of the fact that she’s not the same girl she used to be.  Sasuke spends a lot of time after his defection declaring to his old team “I’ve changed; I’m not that person anymore,” but this is one of the moments where he’s forced to acknowledge that his teammates have changed, too.  Time didn’t just stop for them when he left.  While he was turning into someone new, so were they.  They grew up without him, and his old memories of them can’t encompass the whole picture of who they are now.  

(This is a little tangential, but in general, I love the spectrum of reactions that Naruto, Sakura, and Kakashi have in this sequence, and the way that all of them are ultimately messages Sasuke needs to hear.  Sasuke - who we know textually regrets what he did here, who apologizes to Sakura for it later - for “everything,” in fact - needs Naruto’s aggressively optimistic open-arms policy, yes, needs that potential, that unconditional possibility of return.  He also needs Sakura’s refusal to let him hurt her friends and start a war that will kill thousands of people, needs her surprisingly ruthless attempt to take him down; needs just as much her failure to do so, because it shows him that she still loves him too much to kill him even as she condemns him.  And he needs Kakashi’s grim line in the sand, needs someone who very possibly won't hesitate like Sakura (despite the horrifying personal cost), someone who will try to reach him but also won't let him escape and become the next generation’s Orochimaru, who won't let him cause untold suffering to untold numbers of people just because a teacher loved him too much to stop him when he had the chance. 

(And then even Kakashi chooses not to deliver a killing blow when he has the opportunity -)

(I know that in fandom people are more likely to be all, “oh, Naruto Good, everybody else Bad,” but I don’t think the narrative frames Sakura or Kakashi as “worse” than Naruto in any way.  The story goes out of its way to make it clear how desperately they don’t want to hurt Sasuke and how much they care about him.  And [this is just my interpretation, so obviously I won’t claim it as fact], I personally think that Sasuke - Sasuke, who, looking back, can see how lost he was then and how tortured he would have been if he’d gone through with many of his plans - would be grateful to Sakura and Kakashi for making an attempt to stop him when he couldn’t stop himself.)

2) On the other side of this, the fact that Sakura wasn’t able to deliver the killing blow means a lot. Sasuke was incapacitated under that bridge; he was completely at her mercy - but she stopped with the kunai an inch from his back.  She couldn’t kill him, even though she knew that he was completely willing to kill her (because he'd attempted to Chidori-assassinate her from behind just a few minutes ago).  That’s huge!  Sasuke is too out of his head right now to process this or understand it, but later, it's going to matter.  She stayed her hand.  She spared his life.  She loved him too much to hurt him, even when he’d given her every reason to take him down.  She hesitated, and he almost killed her for it, but her inability to strike him ultimately gave him yet another chance to come home, another chance to get better, another chance to have a life outside of his pain.  Despite everything, some part of her still hadn’t really given up on him, and that knowledge will matter later, when he’s finally able to acknowledge it.  

The point of all this is to say that I really have no complaints about Sakura and Sasuke’s dynamic in their S10 confrontation.  This season is the point where Sakura fully grows past her “girl with a crush” stage and into her “shinobi must make very harsh decisions” adulthood, but it never means that she doesn’t care about the person she’s trying to take down.  Her ultimate inability to deliver the killing blow remains a dangling lifeline for her relationship with Sasuke, an open door that Sasuke is able to walk through at the end of the story (literally, in fact, when Sakura opens that portal for him and saves him from Kaguya’s desert prison, and figuratively, too, when Sasuke apologizes to her).

3. she only wants to save you

The last stage in their relationship is what Sakura settles into during the war arc.  She started off Part 1 being just a girl with a crush, then tried to harden her heart and put her feelings for Sasuke aside in service of the greater good, but she was unable to actually follow through and kill him, and because of that, what she’s come to accept by the war arc is actually two things: that 1) Sasuke truly is willing to let her die if it furthers his goals, and 2) she wants to save him anyway.  

She has no intention of pursuing Sasuke romantically.  She knows full well that Sasuke isn’t interested in her.  She even knows that Sasuke isn’t really on their side (there’s a great scene where Sai questions Sakura about Sasuke’s return, and she reassures him that everything is fine, and Sai sadly thinks to himself “even I can tell your smile is fake”).  She’s well-aware that Sasuke didn’t try to help her when Madara stabbed her.  She’s well-aware that he left her to die in the lava pit.  She’s also well-aware that none of this is enough to make her stop loving him.  He doesn’t have to care about her - she still cares about him.  She still wants to help him.  She still wants to save him.

This is not hidden, hard-to-parse character development.  It’s explicitly articulated on the page:

Sakura’s not trying or wanting to make you hers!  She only wants to save you.

I’m not sure if people look at this last confrontation and unquestioningly take Sasuke at his word (as if we haven’t just read 71 volumes/watched 700 episodes showing us how how painfully distorted his thinking is), or if they stop reading/watching before the end of the scene, or if they don’t understand that Sasuke saying something doesn’t make that statement an accurate representation of reality.  The entire point of this scene is to show us how deeply mistaken Sasuke is about Sakura (and, by extension, the rest of Team 7).  He’s locked into a false pattern of thinking.  His single-minded focus on revenge and destruction has blinded him to the unconditional love his friends feel for him; he’s become so accustomed to using others and being used that he can’t understand or accept that someone would care about him without needing a reason, without needing him to love them back, without needing to receive something from him in exchange.

Sakura’s not trying or wanting to make you hers!  She only wants to save you.

Sasuke matters to Sakura as more than a love interest.  He always has.  She does love him romantically, yes, but she doesn’t only love him romantically, and her desire to help him is not and has never been contingent on him returning her feelings, romantically or otherwise.  Sasuke isn’t able to acknowledge that in this scene, but that doesn’t mean we’re supposed to just sit back and agree with his warped perspective.  Kakashi is the one who’s explicitly positioned as the voice of the narrative here.  We, as the audience, are supposed to recognize that Kakashi is the one telling us the truth.

[tangential thing 1: You don’t have to love Sakura's last plea to Sasuke here. It’s not my favorite, either - the best part, other than Kakashi’s speech at the end, is the moment after Kakashi collapses when Sakura’s expression changes from pained uncertainty to pure rage, when she grits her teeth together - when I first saw that, I almost leapt out of my seat like “Oh my god.  She’s finally going to let him have it.  It’s finally happening - ”  I wanted that so badly, and I still think it would have been a more effective writing choice for Sakura’s last words to lean more into her anger at the suffering Sasuke is causing all of them (himself included!) and less into yet another of Kishimoto’s “let me have Sakura articulate what a shame it is that she can’t do as much as Naruto despite the fact that I literally just went through a major reveal sequence in the war to show that she’s caught up to the boys; I can’t make up my mind about whether I want her to progress or not” - it’s extremely frustrating (and it's something he does at the very end of the S10 Team 7 reunion, too, which is the ONLY moment of S10 that falls flat for me).  But at the same time, even if there are ways this sequence could be more satisfying, it doesn’t change the fact that her plea to him is not remotely motivated by a desire to be with him romantically and not anything to condemn her for.]

[tangential thing 2: I do like how she remembers that moment when Sasuke says “Thank you.”  That panel precedes her saying “If there’s even a tiny corner of your heart that thinks about me…” (which I’m sure is one of the things that people like to criticize about this scene, aka “oh she’s sooooo self-centered” etc), but that particular line of dialogue is preceded by that particular flashback panel for a reason: Sakura knows that Sasuke DOES think about her.  He thinks about all of them.  Sakura remembers that “thank you,” and it reminds her that despite everything Sasuke has done and said since, despite all evidence to the contrary, she knows in her bones that his expression of gratitude back then was genuine.  He cared about her once.  He cared about all of them.  She’s trying to reach the part of him that still does, if it exists.]

[tangential thing 3: The fact that Kakashi says “she suffers from loving you,” and it triggers Sasuke to remember his own family - thinking about how much he suffered (and still suffers) from loving them - “Perhaps…those are the ties to a failed past” - the idea that it’s not worth it to have bonds if it means you suffer this much…that it’s too difficult, it’s too painful, and if Sakura and the rest of Team 7 were smarter they would just give it up (all Sasuke knows how to do now is sever potential bonds before they can hurt him; so why aren’t Sakura and the rest of his teammates doing that, why can’t they let it go, why are they making this so hard - ) << yeah, he clearly doesn't care about her/them at all.]

4. the shadow of my family

This has all been a really long way to answer the original question, but the short response to “What do you think about the relationship between Sasuke and Sakura?” is “I really care about it,” just like I really care about the relationship between Sasuke and Naruto, just like I really care about the relationship between Sasuke and Kakashi. And I don’t think the story ever asks me to choose between them.

I’m not sure whether it’s the impact of Boruto-era “canon” that gets in the way of other people approaching things this way (I don’t consider sequel material when I evaluate the original story), or if it’s Kishimoto’s frequent disinterest in/disrespect towards female characters, which yes, does sometimes make it harder, or if it's a shipping thing (bane of my existence), or some combination of factors, but for me, taking one member of Team 7 out of the equation hobbles the rest of the story.  I can’t read/watch Naruto while hating one of the protagonists and loving the other three.  It doesn’t work like that for me.  The story wasn’t written that way, and there’s nothing in the text that would cause me to receive it that way.

That doesn't mean there's anything wrong with disliking one of the main foursome (or any character, for that matter) - obviously we're all going to have different preferences, and everyone is free to enjoy or reject whatever parts of a story they want, or to like or dislike whatever characters they want. I know that some people have more fun disregarding canon and doing their own thing, which is fine.  My own personal zone of enjoyment comes from receiving the story as closely to how I think it was intended to be read as I can, and personally, when I look at this particular story, what I see is that all the members of Team 7 clearly demonstrate their love for Sasuke in ways that he himself later recognizes and acknowledges. All of them are driven by their desire to save him and their unwillingness to hurt him. All of them make repeated choices to chase after him when he runs away, to trust him when he hasn't exactly earned it, to give him another chance when he doesn't appear to deserve it. ALL of them, not just Naruto, do these things multiple times throughout the story, and Sasuke owes his life (and thus his eventual recovery) to ALL of them, many times over. Kakashi disobeys Hokage-elect Danzō and breaks the law to negotiate for Sasuke's life with a foreign head of state. Sakura and Kakashi both have opportunities to kill Sasuke in the Land of Iron, and they choose to spare him instead. Kakashi stops Sasuke from killing his only friends at two different points in the story, which would have been a mistake Sasuke couldn't have recovered from. Sasuke would have died in Kaguya's desert dimension if Sakura hadn't saved him (Sakura, who knew that Sasuke wasn't even truly on her side yet, who knew he'd abandoned her for dead multiple times already that day). Kaguya's bone bullet would have killed Sasuke too, if Kakashi, with his intention to die in Sasuke's place, hadn't leapt in front of it (Kakashi, who also knew that Sasuke wasn't fully on their side yet, who also knew that Sasuke had abandoned him for dead earlier that day). Sasuke and Naruto would have BOTH died in the Final Valley if Sakura and a severely injured Kakashi hadn't chased after them to heal their injuries.

Remove any one member of Team 7, and Sasuke never makes it home. Without the combined efforts of all three of his teammates, he doesn't survive.  That’s the way it should be, thematically, for a story whose first and most foundational premise was the importance of teamwork, and since Sakura was just as essential to that framework as everyone else, I’m just as invested in her relationship with Sasuke as I am in his relationship with everyone else.  You can’t remove one leg from a four-legged stool without damaging the integrity of the entire structure, and for me, discounting any single member of Team 7 irreparably damages the integrity of the entire story. 

TL;DR: I love all of the Team 7 relationships, including Sakura and Sasuke's, because despite what some segments of fandom seem to believe, the text of the story never gives me any reason not to.

[sideprince]

I wrote a reply to this post but OP has deleted it and even though I should probably leave well enough alone, it got to me that I could have sworn I saw this post months ago and then realized it was actually from yesterday. This is a long reply so I'm putting it under a cut, but after I went to OP's blog and saw a post from them complaining how mean everyone was to them on this post, I replied to say I'm sorry if they got any anon hate I don't know about but otherwise none of the comments on this post were mean or hateful, they just disagreed with OP. I pointed out that this is partly because they cited non-canon events as canon, and OP immediately blocked me (this may be why I can't reblog the post even from another user, though that's not how tumblr usually works so who knows). I can't help but feel that OP's post was made in bad faith, as a result, and I've seen enough people on this hellsite who are more interested in protecting their egos than admit when they could have been approached something more thoughtfully, so I'm diving in. If you're going to say a character "is very interesting to study" while doing the exact opposite, then you'd better have the critical analysis skills and textual evidence to back it up.

I think OP has some misconceptions that are frustratingly common, and seem to stem from people not having read the books, or not read them for a long time, and conflating the movies with canon. While I mostly agree with the replies above, I want to take this opportunity to cite the text to refute some of OP's points. I often forget details from the text, but I choose to either look them up before asserting unconfirmed points as fact (Potter Search is a great tool, or you can just do a ctrl+F search if you have the books digitally), or else I usually state clearly that I'm not sure if I remember something correctly and don't have the spoons to look it up.

I saw OP say in the comments in response to someone arguing their points:

"that's your interpretation, I have mine, I think both can coexist within the material we are given."

It doesn't sit right with me that so many people think that referring to their subjective memory of what the text meant to them is the same as actually citing it and offering an explanation. OP's interpretation can't exist within the material given, because some of it doesn't exist in the material at all, and you can't interpret what isn't there. OP is essentially claiming to have done critical analysis, and although no one is required to always critique a text analytically on a tumblr post, I find it upsetting when people claim to do so while failing to cite a single source to support their argument. To me it sounds like someone trying to pass off a creative writing essay as an academic research paper, and in an age of rampant propaganda and knee-jerk reblogs that eschew critical thinking, I feel an almost compulsive need to go through OP's reply and argue it with the textual evidence they conveniently avoided, if for no other reason than to show why it's important to discern between loosely formed opinions and informed ones.

I also want to explain why I don't accept the films as canon, because while I do think that canon can exist across several mediums (such as with Good Omens, in which at least one of the writers of the text is directly involved in writing the TV series), I don't think that applies to Harry Potter because the original author was only marginally involved in the films, in only a consultant role, and had little input on the writing. The HP films are an interpretation as written from the perspective of Steve Kloves, except for OoTP, which was written by Michael Goldenberg. I've gone into it on other posts, but suffice to say these interpretations did not prioritize story and character development and were often influenced by pressure from the studio to prioritize marketing opportunities over storytelling. Important elements like foreshadowing and themes were not carried over from the text to the screen. These changes affected the storytelling significantly and left out crucial elements. This, combined with the films having been written with little to no involvement from the original author, is why I feel the films can't be taken as canon. This doesn't mean they can't be enjoyed by any means, just that they scenes that appear in the films but not in the text, or are presented differently on screen than in the text, are not a reasonable basis for character analysis.

And now, on to OP's ask:

"I think he is a very good representation of a man who felt insecure in his manhood; his male ego was permanently wounded by James' bullying and he decided to make it everyone else's problem by being the most insufferable teacher at Hogwarts."

The first thing we have to establish is that the books are told from Harry's perspective, so we have to take narrative bias into account. Calling Snape "the most insufferable teacher at Hogwarts" is a subjective statement and I can only assume it's based in Harry's biased perspective as narrator, given that he and Snape have a bad relationship from the outset. I have a brief analysis here about how Snape dislikes Harry because in their first class together he interprets Harry's ignorance of the course material as a lack of curiosity and appreciation for his gifts as a wizard, while also recognizing something of his own experiences with childhood poverty and abuse in Harry. Harry, being ignorant of these factors, just feels singled out for hate by a strict teacher, and their relationship deteriorates throughout the rest of the series, until the end of the final book.

To pull back from the narrative bias, let's look at some of the other teachers are Hogwarts:

McGonagall:

“Miss Granger, you foolish girl, how could you think of tackling a mountain troll on your own?”  Hermione hung her head. Harry was speechless. Hermione was the last person to do anything against the rules, and here she was, pretending she had, to get them out of trouble. It was as if Snape had started handing out sweets. “Miss Granger, five points will be taken from Gryffindor for this,” said Professor McGonagall. “I’m very disappointed in you. If you’re not hurt at all, you’d better get off to Gryffindor Tower. Students are finishing the feast in their Houses.”

Philosopher's Stone, Ch. 10.

“I’m disgusted,” said Professor McGonagall. “Four students out of bed in one night! I’ve never heard of such a thing before! You, Miss Granger, I thought you had more sense. As for you, Mr. Potter, I thought Gryffindor meant more to you than this. All three of you will receive detentions — yes, you too, Mr. Longbottom, nothing gives you the right to walk around school at night, especially these days, it’s very dangerous — and fifty points will be taken from Gryffindor.” “Fifty?” Harry gasped — they would lose the lead, the lead he’d won in the last Quidditch match.  “Fifty points each,” said Professor McGonagall, breathing heavily through her long, pointed nose.

Philosopher's Stone, Ch. 15

In just the first book we see McGonagall punish Hermione for successfully defending herself against a troll and take house points, then sends her back to her common room without getting medical attention, as if a ten year old can be responsible for assessing how badly they're hurt. A few chapters later McGonagall takes several hundred points from students in her own house (more than we see any other teacher do at one time throughout the series), and assigns the students detention on top of it. As we later see in the same chapter, the detentions aren't even served with her directly, but instead the children - again, ten years old - are sent into the Forbidden Forest at night with only Hagrid to protect them, to hunt down whatever creature is vicious and cunning enough to kill unicorns.

Although it's said that Snape favors the students in his own house, he doesn't seem to be the only one:

“Potter's been sent a broomstick, Professor,” said Malfoy quickly.  “Yes, yes, that’s right,” said Professor Flitwick, beaming at Harry. “Professor McGonagall told me all about the special circumstances, Potter. And what model is it?”  “A Nimbus Two Thousand, sir,” said Harry, fighting not to laugh at the look of horror on Malfoy’s face. “And it’s really thanks to Malfoy here that I’ve got it,” he added. 

Philosopher's Stone, Ch. 10

Not only did McGonagall make an exception to school practices and allow Harry on his house Quidditch team despite being a first year, she used either school funds or her own (unclear) to purchase a first-rate broom for him. We know the school has brooms, as first years are not allowed their own and they are provided for flying lessons, and because “Harry had heard Fred and George Weasley complain about the school brooms” (PS ch. 9). And yet, McGonagall ensures Harry has his own broom, and an expensive one, new enough to be the show model in a shop window in Diagon Alley a few months earlier:

“Several boys of about Harry’s age had their noses pressed against a window with broomsticks in it. ‘Look,’ Harry heard one of them say, ‘the new Nimbus Two Thousand - fastest ever -”

-Philosopher's Stone, Ch. 5

If we're discussing which teachers are Hogwarts are the most "insufferable" then we also have to talk about Hagrid, who might mean well and be affectionate, but is also irresponsible and dangerous.

In Philosopher's Stone, Hagrid:

Punishes Dudley, a child, for his parents' offenses, the final straw being his father insulting Dumbledore (Ch. 4). While Hagrid acknowledges that he shouldn't have lost his temper, he also admits that his intention had been to turn Dudley fully into a pig.

Hatches a dragon in his cabin (Ch. 14), tries to raise it illegally and against the animal's need of care, and Harry, Ron, and Hermione (again, ten year olds) have to fix the situation and get Ron's brother to find some friends to take the dragon away safely and prevent Hagrid losing his job (Ch. 14). In the process Hagrid endangers himself as well as the children, and it's because of this that McGonagall gives them detention and deducts hundreds of house points. Hagrid not only allows the children to endanger themselves for his sake, but to be punished and subsequently ostracized by their peers also for his sake.

The reason he even has a dragon is, as we find out in Ch. 16, because he was foolish enough to accept it from a faceless stranger in exchange for unwittingly divulging the secret to getting past the three headed dog guarding the Philosopher's Stone (and the stranger later turns out to be Quirrel/Voldemort).

In Prisoner of Azkaban, Hagrid:

Starts his first lesson with a volatile creature (Ch. 6) and, although Malfoy acted irresponsibly, Hagrid was nevertheless the teacher and responsible for providing course material consistent with the experience level and maturity of his students' age.

Gets drunk and has to be taken care of by Harry, Ron, and Hermione (again, children) (Ch. 6)

Skipping ahead to Order of the Phoenix ch. 30, we find out Hagrid

Compromised his return from the mission Dumbledore sent him on by bringing a giant back to England.

Brought said giant into the school grounds and left him in the Forbidden Forest.

Asks Harry and Hermione (still children) to look after him if Hagrid is sacked.

Although Hagrid means well, his actions are consistently thoughtless and irresponsible, requiring those around him - often Harry, Ron, and Hermione - to fix the damage he causes. Although I think it remains subjective which teacher at Hogwarts is the "most insufferable" I think Hagrid is a strong enough candidate to qualify OP's interpretation of Snape holding that title as extremely contestable. Of course, since the books are presented through the lens of Harry's narrative bias, and he's fond of Hagrid, respects McGonagall, and dislikes Snape, an uncritical reading could lead one to OP's conclusions. However, a more objective analysis of the text shows that many teachers at Hogwarts are strict, punitive, biased, and wreak havoc on students in ways that make the Snape's actions look fairly tame, or at least the norm. And this is excluding an analysis of various DADA professors like Lockhart and Crouch/Moody, who were insufferable in their own rights (Lockhart was smarmy and dishonest to the point it risked students' lives; Crouch/Moodly transfigured a child into a ferret and humiliated him with torture as a disciplinary measure and deliberately triggered Neville's trauma in class).

OP continues their reply to say:

Add to this that he is a halfblood and only his mother was around, iirc?

They don't recall correctly. Snape, whose father was a muggle and whose mother was a witch, was indeed a half-blood (as is evidenced by him being revealed to be the Half-Blood Prince - I assume I don't need to cite a source as this is a pretty well-known fact and the literal title of an entire HP book, but should you need a reference it's in Ch. 28 of HBP). Both his parents were around in his childhood:

Snape staggered - his wand flew upwards, away from Harry - and suddenly Harry’s mind was teeming with memories that were not his: a hook-nosed man was shouting at a cowering woman, while a small dark-haired boy cried in a corner …

-Order of the Phoenix, Ch. 26

‘How are things at your house?’ Lily asked. A little crease appeared between his eyes. ‘Fine,’ he said. ‘They’re not arguing any more?’ ‘Oh, yes, they’re arguing,’ said Snape. He picked up a fistful of leaves and began tearing them apart, apparently unaware of what he was doing. ‘But it won’t be that long and I’ll be gone.’ ‘Doesn’t your dad like magic?’ ‘He doesn’t like anything, much,’ said Snape.

-Deathly Hallows, Ch. 33

We know that Snape's father was around because he's mentioned both in Snape's memories in OoTP that Harry accidentally invades during an Occlumency lesson, and when we see in Snape's memories that he gives Harry as he dies. Lily asks about his home life by referring to both his parents, implying that his dad is a consistent presence at home. We also know from JK Rowling that Snape's father "didn't hold back when it came to the whip" but this is supplementary and not mentioned in canon, so I don't expect anyone to refer to it when analyzing the text, I'm just adding it as bonus material.

Continuing on with OP's reply:

Snape, Voldemort and Harry all act like foils of each other in that sense, but whereas Voldemort fixated on his blood status as the main reason for his insecurities, Snape fixated on Lily.

So much to unpack here. Firstly, all of this should be backed up by examples from the text, as they are subjective readings that have significant bearing on character analysis.

Snape, Harry, and Voldemort don't act like foils of each other. For one thing, a character doesn't act like a foil, a character either is or isn't one. That being said, I don't know OP's background and there could be a language barrier because English isn't everyone's first language, I'm just being pedantic. Even with that in mind, the statement remains incorrect. A foil is a literary device - a character who contrasts with another character, often with the protagonist. It is not a choice a character makes or an action they take.

In Philosopher's Stone Snape is set up as a foil to Harry in order to misdirect the reader from suspecting the real villain, Quirrel/Voldemort. Snape is presented as secretive, sneaky, and nefarious, contrasting Harry's role as a protagonist who is outspoken, honest, and brave. As the series progresses, Snape, along with Voldemort, are eventually shown to have more parallels than contrasts with Harry. Snape and Voldemort were born into muggle poverty, and although Harry was raised in a middle class home by the Dursleys, they thrust poverty and neglect onto him in a way that parallels his childhood of neglect and want with that of Snape and Voldemort. Snape's father was abusive, as was Harry's guardian, Vernon Dursley. Harry, Voldemort, and Snape all had traumatic experiences growing up in muggle environments. If anything, Snape and Voldemort might be foils to Harry in that they both harbored resentment for their muggle fathers in ways that signified the separation between the wizarding and muggle world, while Harry's experiences with the Dursleys didn't color his image of muggles in a comparable way.

The contrast between Harry, Snape, and Voldemort is in the way each of them deals with their trauma. As Dumbledore says:

"It is our choices, Harry, that show what we truly are, far more than our abilities."

-Chamber of Secrets, Ch. 18

This becomes one of the overarching themes of the HP series, Harry, Snape, and Voldemort are all examples of how their choices took them to such different places in life from their comparable childhoods.

At school Voldemort was a handsome boy with talent, intelligence, and the recommendations of his teachers, but he chose to pursue power instead of success:

“He reached the seventh year of his schooling with, as you might have expected, top grades in every examination he had taken. All around him, his classmates were deciding which jobs they were to pursue once they had left Hogwarts. Nearly everybody expected spectacular things from Tom Riddle, prefect, Head Boy, winner of the Special Award for Services to the School. I know that several teachers, Professor Slughorn amongst them, suggested that he join the Ministry of Magic, offered to set up appointments, put him in touch with useful contacts. He refused all offers. The next thing the staff knew, Voldemort was working at Borgin and Burkes.”

Half-Blood Prince, Ch. 20

Snape chose to become a Death Eater for reasons we can only assume. We know he was in Slytherin during an era when Voldemort was in power and many of his allies had children in Slytherin house. At least two of Snape's dorm-mates, Mulciber and Avery, are canonically acknowledged to have become Death Eaters (both are present at the Ministry when Harry and his friends fight the Death Eaters in the Department of Mysteries in OoTP Ch. 35). It's unclear whether Snape chose to become a Death Eater out of admiration for them or out of peer pressure, or perhaps a lack of other options, while at school:

'… thought we were supposed to be friends?’ Snape was saying. ‘Best friends?’ ‘We are, Sev, but I don’t like some of the people you’re hanging around with! I’m sorry, but I detest Avery and Mulciber! Mulciber! What do you see in him, Sev? He’s creepy! D’you know what he tried to do to Mary Macdonald the other day?’ Lily had reached a pillar and leaned against it, looking up into the thin, sallow face. ‘That was nothing,’ said Snape. ‘It was a laugh, that’s all -‘ ‘It was Dark Magic, and if you think that’s funny -‘ ‘What about the stuff Potter and his mates get up to?’ demanded Snape. His colour rose again as he said it, unable, it seemed, to hold in his resentment.

-Deathly Hallows, Ch. 33

It's unclear what Snape thinks of Avery and Mulciber, as his reply to Lily is downplaying but doesn't defend their actions. We see Snape's indecisiveness later in the argument he has with Lily after he calls her a Mudblood:

'It’s too late. I’ve made excuses for you for years. None of my friends can understand why I even talk to you. You and your precious little Death Eater friends - you see, you don’t even deny it! You don’t even deny that’s what you’re all aiming to be! You can’t wait to join You-Know-Who, can you?’ He opened his mouth, but closed it without speaking. ‘I can’t pretend any more. You’ve chosen your way, I’ve chosen mine.’ ‘No - listen, I didn’t mean -‘ ‘- to call me Mudblood? But you call everyone of my birth Mudblood, Severus. Why should I be any different?'

-Deathly Hallows, Ch. 33

Although Snape does ultimately choose to become a Death Eater, we see in his reply to Lily about both Avery and Mulciber and later her assumption that they all want to become Death Eaters that Snape doesn't argue for or against her accusations, but instead is evasive and unsure of himself. He opens his mouth to speak when she accuses him of wanting to become a Death Eater, but then closes it again without saying anything - he can neither argue against her point, nor state clearly, let alone with any kind of conviction, that this is indeed his ambition. It can be argued that it's the passivity of his choice that lands him with a Dark Mark on his arm, and it's the active choice he makes to risk his life in order to defect from Voldemort's ranks and turn spy that defines his character and without which Harry could not have defeated Voldemort.

Harry, as the protagonist, is also significantly defined by the theme of choice:

'But, sir,’ said Harry, making valiant efforts not to sound argumentative, ‘it all comes to the same thing, doesn’t it? I’ve got to try and kill him, or -‘ ‘Got to?’ said Dumbledore. ‘Of course you’ve got to! But not because of the prophecy! Because you, yourself, will never rest until you’ve tried! We both know it! Imagine, please, just for a moment, that you had never heard that prophecy! How would you feel about Voldemort now? Think!’ Harry watched Dumbledore striding up and down in front of him, and thought. He thought of his mother, his father and Sirius. He thought of Cedric Diggory. He thought of all the terrible deeds he knew Lord Voldemort had done. A flame seemed to leap inside his chest, searing his throat. ‘I’d want him finished,’ said Harry quietly. ‘And I’d want to do it.’ ‘Of course you would!’ cried Dumbledore. ‘You see, the prophecy does not mean you have to do anything! But the prophecy caused Lord Voldemort to mark you as his equal … in other words, you are free to choose your way, quite free to turn your back on the prophecy! But Voldemort continues to set store by the prophecy. He will continue to hunt you … which makes it certain, really, that -' ‘That one of us is going to end up killing the other,’ said Harry. ‘Yes.'

-Half-Blood Prince, Ch. 33

There's a clear point made by the author through Dumbledore as her proxy here, that choice is what matters, not fate. It's Harry's choices that make him the person he is and lead him to eventually defeat Voldemort. While Snape, Voldemort, and Harry all can be contrasted through the lens of their choices, this does not make them foils, as it is the the theme of choice and how it is exemplified by each character that makes them unique, but their experiences and many of their character traits (boldness, bravery, a personal sense of conviction) that make them parallels of one another. Each of them occupies their own place on the spectrum between the light and dark that the series establishes, Voldemort at the dark end, Harry at the light, and Snape in the grey area between them.

OP goes on to say:

His character is all about male entitlement, he was obsessed with her at Hogwarts and then showed to have no boundaries as he went into her house to cradle her dead body in front of her traumatized kid.

There's a lot to unpack here, and it's particularly challenging because you can't provide textual evidence for something that didn't happen in the text. After the above scene from Ch. 33 of DH in which Lily ends her friendship with Snape, we never see them interact again:

'No - listen, I didn’t mean -‘ ‘- to call me Mudblood? But you call everyone of my birth Mudblood, Severus. Why should I be any different?’ He struggled on the verge of speech, but with a contemptuous look she turned and climbed back through the portrait hole … The corridor dissolved, and the scene took a little longer to reform: Harry seemed to fly through shifting shapes and colours until his surroundings solidified again and he stood on a hilltop, forlorn and cold in the darkness, the wind whistling through the branches of a few leafless trees. The adult Snape was panting, turning on the spot, his wand gripped tightly in his hand, waiting for something or for someone …'

-Deathly Hallows, Ch. 33

The scene in the corridor in front of Gryffindor Tower between a fifth year Snape and Lily leads directly into the scene where Snape begs Dumbledore to protect the Potters (which I wrote an analysis of a few months ago but is too long a subject to derail this post for). We see no more interactions between Snape and Lily, and therefore there is no canonical support for the idea that Snape behaved obsessively or failed to respect her boundaries.

There's also no mention of Snape going to Godric's Hollow at all after her death. Snape holding Lily's dead body is only shown in the film version of Deathly Hallows, and as mentioned, the films are not canon. That moment doesn't exist in the text and can't be considered in an analysis of Snape's character. The scene on the hilltop leads directly into the scene of Snape crying in Dumbledore's office:

The hilltop faded, and Harry stood in Dumbledore’s office, and something was making a terrible sound, like a wounded animal. Snape was slumped forwards in a chair and Dumbledore was standing over him, looking grim. After a moment or two, Snape raised his face, and he looked like a man who had lived a hundred years of misery since leaving the wild hilltop. ‘I thought … you were going … to keep her … safe …’ ‘She and James put their faith in the wrong person,’ said Dumbledore. ‘Rather like you, Severus. Weren’t you hoping that Lord Voldemort would spare her?’ Snape’s breathing was shallow.

-Deathly Hallows, Ch. 33

This is the only depiction of Snape immediately following the Potters' deaths. The scene of him cradling Lily's dead body was Steve Kloves' invention and has no basis in canon. If anything, Snape's actions in canon can be interpreted to show that he respected the boundaries Lily set, and that even when her life was at risk he chose to go to Dumbledore - who he thought might kill him on sight - rather than talk to her directly after she ended their friendship. In addition, in all the information the text gives about the night Voldemort fell in Godric's Hollow and Hagrid collected Harry to take him to Privet Drive, there's no mention of Snape whatsoever.

There isn't much in the text to support the interpretation that Snape exemplified male entitlement either. So far we've seen him being as strict, if not milder, than other teachers at the school, his favoritism is also comparable to that of other teachers - implying it's more of a norm than an example of entitlement - and there are no canonical examples to support the argument that he was obsessed with Lily or violated her boundaries. Snape struggles to argue with Lily when she accuses and berates him, and the usual markers of patriarchal entitlement - silencing women, gaslighting, dismissing women's opinions, talking over them - are all nowhere to be found in any of their interactions. The only time we see him lash out at Lily is when he calls her Mudblood (OoTP Ch. 28) which, while inexcusable, he does under traumatic duress, and is not indicative of his usual interactions with her, as exemplified by the fact that she ends their friendship over it. As cited before:

'No - listen, I didn’t mean -‘ ‘- to call me Mudblood? But you call everyone of my birth Mudblood, Severus. Why should I be any different?’

There's a clear implication that Snape has never called her this before. An argument can also be made that it speaks volumes of Lily's own biases, or perhaps her own affection for Snape (who, not long before this, was still her best friend), that she excused this behavior from him when it was directed at others, and only took issue with it when it was directed at herself. That, combined with Lily's own acknowledgment that they were "best friends" shows that Snape's relationship with her was a balanced, consensual one even when it became strained, up until their friendship ended.

Continuing with OP's points:

He only saw Lily as a trophy to be possessed, which you can see from the way he hated Harry, because Harry reminded him Lily wasn't his and that Lily had sex with another man.

There's no support for this in the text anywhere and is pure conjecture. I can appreciate it being OP's headcanon, but it's certainly not a result of studying the text and relying on it to form opinions, but rather seems to be OP projecting pre-conceived notions onto Snape as a character and trying to find justification for it. I've written a whole post extrapolating Snape's first class with Harry, but the tl;dr is that Snape, who grew up in muggle poverty and knew Aunt Petunia enough to guess that Harry didn't fare well in her care when he showed up at school bearing signs of neglect, likely expected Harry to have the same hunger for learning that he himself did at Harry's age. Instead, Harry couldn't answer a single one of his questions and showed no curiosity or enthusiasm towards being a wizard as far as Snape could tell.

Nevertheless, even though Snape did seem to dislike Harry, hate is an awful strong word given that it is revealed at the end of Deathly Hallows that Snape has risked his own life to protect him. This isn't particularly surprising when you consider that this goal was established as early as Philosopher's Stone, when Snape protected him, which Harry initially interpreted as Snape trying to kill him:

Harry couldn’t take it in. This couldn’t be true, it couldn’t. ‘But Snape tried to kill me!’ ‘No, no, no. I tried to kill you. Your friend Miss Granger accidentally knocked me over as she rushed to set fire to Snape at that Quidditch match. She broke my eye contact with you. Another few seconds and I’d have got you off that broom. I’d have managed it before then if Snape hadn’t been muttering a counter-curse, trying to save you.’ ‘Snape was trying to save me?’ ‘Of course,’ said Quirrell coolly. -Philosopher's Stone, Ch. 17

Again, the story is told through the lens of Harry's bias, but that doesn't mean his opinions of Snape reflect Snape's character. As another example, there's an implication in OoTP that Snape, having seen some of the Dursleys' abuse of Harry through his memories during Occlumency lessons, passed this information on in an effort to protect Harry, and that this is the reason why several Order members (Arthur Weasley and Moody in particular) show up at King's Cross at the end of the schoolyear and threaten the Dursleys to stop mistreating him. There seems to be no other explanation in the text for why these adults are suddenly aware of the abuse Harry experiences, except that Snape, who was abused as a child himself, and who is an Order member himself, is the only adult in the series who we see witness Harry's mistreatement firsthand. At no point in the narrative do we see Harry complain about the Dursleys to the adults he trusts or ask them for help, merely to spend his holidays away from them without explanation.

While Snape did indeed dislike Harry and often compared him to his father, his dislike for James had much more significant roots in bullying and trauma than in his concern for Lily's relationship with him. It's established in canon that James Potter and Sirius Black dislike Snape from the outset (as in the scene on the Hogwarts Express in DH Ch. 33). In their fifth year, Sirius - annoyed that Snape is so curious about where Lupin goes each month - tricks Snape into following the tunnel under the Whomping Willow to the Shrieking Shack, as Lupin tells Harry:

'Professor Snape was at school with us. ... Sirius here played a trick on him which nearly killed him, a trick which involved me -‘ Black made a derisive noise. ‘It served him right,’ he sneered. ‘Sneaking around, trying to find out what we were up to … hoping he could get us expelled …' 'Severus was very interested in where I went every month,’ Lupin told Harry, Ron and Hermione. ‘We were in the same year, you know, and we - er - didn’t like each other very much. He especially disliked James. Jealous, I think, of James’s talent on the Quidditch pitch … anyway, Snape had seen me crossing the grounds with Madam Pomfrey one evening as she led me towards the Whomping Willow to transform. Sirius thought it would be - er - amusing, to tell Snape all he had to do was prod the knot on the tree-trunk with a long stick, and he’d be able to get in after me. Well, of course, Snape tried it - if he’d got as far as this house, he’d have met a fully grown werewolf - but your father, who’d heard what Sirius had done, went after Snape and pulled him back, at great risk to his life … Snape glimpsed me, though, at the end of the tunnel. He was forbidden to tell anybody by Dumbledore, but from that time on he knew what I was …'

-Prisoner of Azkaban, Ch. 18

From this we can deduce that Sirius intended for Snape to die, or at least get severely injured, and that even as a grown adult Sirius doesn't regret trying to mete out this punishment to him as retaliation for curiosity. We can also deduce that Lupin was unaware of Sirius' intention and did not consent to be used as a weapon. For his part, Snape never did reveal that Lupin was a werewolf while at school, or even during that school year, until after Lupin ran amok on Hogwarts grounds, endangering others' lives, including Harry's.

There are other meta posts that go into Lupin's insecurities and vulnerabilities, but in short, he was grateful just to be allowed into the school as a student, let alone to have friends, and was in no position to challenge James and Sirius. Even as a prefect he didn't curb their behavior, as we see when he allows James to bully Snape later that year after their O.W.L.s:

'Leave him alone,’ Lily repeated. She was looking at James with every sign of great dislike. ‘What’s he done to you?’ ‘Well,’ said James, appearing to deliberate the point, ‘it’s more the fact that he exists, if you know what I mean …’ Many of the surrounding students laughed, Sirius and Wormtail included, but Lupin, still apparently intent on his book, didn’t, and nor did Lily. ‘You think you’re funny,’ she said coldly. ‘But you’re just an arrogant, bullying toerag, Potter. Leave him alone.’ ‘I will if you go out with me, Evans,’ said James quickly. ‘Go on … go out with me and I’ll never lay a wand on old Snivelly again.'

-Order of the Phoenix, Ch. 28

James acknowledges that he has no real reason to bully Snape and uses violence as a bargaining chip to coerce Lily into going out with him (James' behavior reflects much more entitlement than Snape's, in my opinion). He also chokes Snape with a bar of soap and then assaults him by dangling him upside down and removing his trousers (threatening to remove his underwear but we don't see it happen).

Lily herself refers to James as arrogant, and it's this trait, along with the trauma from James' bullying of him, that Snape perceives in Harry. He doesn't resent Harry for looking like his father because it reminds him that Lily had sex with another man, he resents him for it because of all the trauma James inflicted on him. The conflict-laden relationship between Snape and the Marauders is a significant driver of the story through several of the books and OP seems subjective to the point of being problematic in ignoring it completely and instead focusing Snape's dislike of Harry onto an invented idea of sexual jealousy that doesn't exist in the text.

It's never stated whether Snape had romantic feelings for Lily, or vice versa, only that they were friends. The closest we see to a hint of this is when “The intensity of his [Snape's] gaze made her [Lily] blush," or when “The moment she [Lily] had insulted James Potter, his [Snape's] whole body had relaxed, and as they walked away there was a new spring in Snape’s step …”

Lily's blush could be interpreted as implying she was attracted to him, or conversely that she didn't and felt awkward thinking he might be attracted to her. Similarly, Snape's relief at her insulting James can be interpreted as indicative of his attraction to her, or of him simply being worried about a friend hanging out with people he perceived as dangerous and was relieved to learn she wasn't putting herself in the way of danger by becoming friends with them. Although JK Rowling has said that her intention was for Snape's affections towards Lily to be romantic, and that she may have returned his affection had he not chosen the path he did, this is - like the note about Snape's father whipping him - extratextual and more of an interesting fact than a bit of canon to be extrapolated from the text.

Finally, OP says:

His interest in the Death Eaters was only secondary to his obsession with Lily and I think Lily rejecting him pushed him toward joining the Death Eaters, because, once again, his male ego was bruised and he needed to replace it with something else.

We've already seen that Snape's interest in joining the Death Eaters was a big part of Lily's reason for ending their friendship. Therefore, logically, Lily's decision didn't push him towards becoming a Death Eater, but rather isolated him from having any support system outside of the DEs. She didn't reject him, because rejection is the refusal or dismissal of another person's advances or proposal. They were friends, meaning they had a mutually consensual platonic relationship. Lily therefore didn't reject Snape, she ended their friendship and, as already stated, nothing in canon implies he didn't respect her boundaries.

As we have also seen in canon, Snape was bullied at school and had, at best, a neglectful and dysfunctional home environment in his childhood. In addition, he shared a dorm with students actively interested in becoming Death Eaters, and his one social lifeline away from them was cut off when he called Lily a Mudblood. What OP interprets as Snape's male ego being bruised is actually a much more complex set of social and emotional factors being described throughout the series to eventually reveal the profile of a character - young Snape - who was a vulnerable youth primed for radicalization by a violent faction of zealots. Although the enforcement and upholding of patriarchal norms is often a huge element of these kinds of social movements, that didn't seem to be the driving force for Snape based on everything we learn about his character. Instead, what we see is a boy who comes from abuse, lives in abuse at school, who loses all the support systems that might give him an alternative to the fascist cult he's being radicalized into which - if it's like most hate groups - would have been more than welcome to both take him in and help him cut his ties to anyone else in his life he might escape from them to.

It also goes against the argument that Snape was sexually obsessed with Lily that he continued to risk his life in order to protect her son an defeat her murderer for almost two decades after her death. He knew it would neither bring her back from the dead nor bring about forgiveness, and it goes without saying that sex was no longer an option. Framing Snape's motivation as obsession dismisses the realities of the complex and meaningful relationship we form as people, and the lasting, transformative influence we can have on each other, which is what Snape and Lily's story illustrates.

Finally, OP concludes with:

He remained mysterious up till the end and his back-and-forth with treason was very compelling to read about. So I hate him (as a "person") but he is such a good character narrative-wise and he is very interesting to study

OP openly admits to hating Snape, ie. having a bias against him, while stating he is "interesting to study" - except no part of their answer has shown that they've actually done so. Their arguments are unsupported in several ways, one being that they don't offer any evidence, and the other being that none can be found in the source text. What's ironic is that OP seems to resent Snape's subjective bias against Harry (and misinterpret his reasons for it in baseless ways) while also showing the exact same kind of bias against Snape themselves. You don't have to like a character by any means, but claiming that the kind of unfounded, superficial, and unsupported opinions that OP stated in their response have a basis in any kind of study of his character is ludicrous and an insult to the intelligence of anyone reading it.