#and i say this from a very personal experience but

[street-smarts00]

in omnia paratus

Spencer Reid x fem!reader

Summary: Spencer's been on the fence with his feelings for you. Due to his past traumas he’s decided to keep his feelings hidden. Until you’re caught in a dangerous situation at work

WC: 3.5 k

A/N: I am SO SORRY this took so long. I’ve been sitting on this for two months because I was being a perfectionist and had writer's block. Thank you so much to the person who requested this idea and I hope ya’ll like it! beta read by @whats-yesterday00

Tags: Hurt/Comfort, Angst, Fluff, Protective!spencer, Friends to lovers, age gap (25 and idk 33 or 34), during season 9 (sadly no post prison Reid, I refuse to watch the show after Derek & Hotch leave), Maeve is implied 

Warnings!: mentions of murder, stalking, gunshot wounds, hostage situation and incorrect info about hostage situation cause Idk I'm not in the FBI

Everyone knew Spencer Reid had a soft spot for you. Well, everyone except for you. 

Since the moment you met you’ve been on his mind. 

“Do you know how old she is?” 

“No, how old is she?” 

“25!” Penelope squeaked before being shushed by Rossi. 

“Wow, she’s gotta be the youngest person to ever be in the BAU. Well, second to genius over here,” JJ commented while pointing to Reid. 

“That’s if she gets the job,” Morgan added. 

They were all crowded around the desks in front of Hotch’s office. The blinds were cracked and they could just barely make out the woman seated across from their boss for an interview. 

Due to the increase in caseload after Alex joined, Hotch made the request to add an additional member of the team. After interviewing a few people that didn’t pan out, he heard quite a bit about you from your supervisor saying how well you’ve done with the FBI and you’d be an exceptional fit for the team.

Then of course Penelope looked up everyone who was interviewing with Hotch. You being her most recent victim. 

“How long has she been with the FBI?” Alex questioned. 

“Three years,” Penelope answered 

“What? Did she join right after college?” 

“Not right away. She graduated early and got experience with law enforcement first.” 

Spencer sat at his desk quietly while everyone was peering into Hotch’s office. Not to say he wasn’t nosy as well. You were already behind the blinds when he arrived for work. 

“Oh they’re shaking hands! That has to be a good sign,” Penelope cheered. 

Morgan turned to the window, “It’s definitely not a bad one.” 

Her eyes widened before loudly whispering, “Oh no they’re leaving. Disperse.” 

She scurried off in her heels towards Derek’s desk while he followed behind with a grin. JJ, and Rossi averted their eyes from Hotch’s office and found Alex’s desk far more interesting. 

All while Spencer’s attention was brought to the woman led down the stairs by his boss. It felt like his heart stopped beating when he saw how beautiful you were. He was brought back to earth as Hotch introduced you to the rest of the team. 

“This is Dr. Spencer Reid,” he gestured to the man sitting at his desk. 

You offered him a small wave and a kind smile, “Nice to meet you.” 

It became quite obvious you two would get along very well. From very early on conversation flowed incredibly well between the two of you. There were very few people that he felt were easy to talk to because of his niche interests and the way he would ramble spitting facts left and right. 

But he never had to worry about saying the wrong thing or talking too much with you. You often were a content listener or you would even match his passion on certain subjects. Most were topics Spencer already knew about. 

When you first met Spencer you didn’t know the Dr in his name meant he held 3 PhD’s or that he was quite literally a genius. 

So you were often telling stories or facts you found interesting that he already knew. In fact, almost every “fun fact” you brought up, he knew about already.  

But he never interrupted you. He always was listening intently to what you had to say. Like he was hearing about it for the first time. 

At some point you learned of his eidetic memory and how vast his knowledge was. It was during a case where you found out and mentioned it to him. 

“Reid, remember when we were at the harbor and I mentioned that thing about sharks?” You hesitated, “did you know that already?”

“Yes,” he guiltily admitted. 

You partially deflated suddenly feeling that the whole tangent you went on was pointless. “Why did you let me go on and on if you already knew?” 

His eyes softened, “because I wanted to hear you talk about it.” 

That was when his feelings started to peek through. As the months went on it only grew and grew. And you were none the wiser.

To the average person, it might not seem like much. Perhaps you were just good friends. But to a team of profilers (and best friends) it was painfully obvious. 

It was almost painful the way he looked at you with a longing in his eyes. Or when his gaze immediately turned to you to catch your reaction or smile. 

It was obvious by the way he found any excuse to bring you up in conversation. Or how in conversation with you he would mirror your mannerisms and lean closer to you. 

As well as the things he remembered about you or the little things he did for you. Like the countless coffee cups he bought for you from his favorite coffee shop before work. And when he saw you struggling to find something or open something he was always right there to help. 

Spencer Reid had feelings for you. Feelings so deep that he couldn’t pull the roots out even if he tried. 

He didn’t know what to do with his feelings exactly. He hadn’t felt this strongly for someone since … well for a while. He was terrified of history repeating itself. 

He couldn't lose you. He’d seen first hand what this job did to him, what it did to Hotch. Their loved ones ripped away from them too soon.

So for now at least, he kept his feelings to himself. 

Well, until your last case. 

The BAU was called in on a case that just turned serial. They found the unsub to be a man named Mark, who started killing because his girlfriend cheated on him. The first two victims reminded him of the man she cheated with. When that didn’t satisfy him, he hunted down and killed the other man. 

Now the team and SWAT was stationed outside a bus that Mark was holding hostage. He stalked his ex-girlfriend and tracked down the new city bus she took. 

The officers couldn’t get a clear shot of him because of where he was standing and he kept using the passengers as shields. Rossi was currently on the phone with him trying to make negotiation terms and get some of the people off the bus. Mark however was incredibly stubborn and didn’t want to let his leverage go. 

So Rossi asked about the children on the bus and if Mark would be willing to let them off. They were met with silence on the other end of the phone, contrary to his previous behavior where he loved to hear himself talk. 

After a short pause the phone spoke. “I’ll only send out the kids if you send in an agent.” 

Rossi shifted his weight and crossed his arms. “Are there any other circumstances you’re willing to send out the children for?” he asked. 

“Nope,” he said with a pop at the end of the word. 

A look of concern was quickly exchanged between Rossi and Hotch. While their faces didn’t reveal much, their eyes spoke volumes. 

“How about this,” the unsub continued. “I’ll send out their moms too.” 

Rossi’s eyebrows furrowed slightly at the eagerness to comply from the criminal. “You’ll send out the children and their mothers if we send in one of our agents?” 

“I promise.” 

Rossi returned his eyes to Hotch who stood rigid and tall with his arms folded. He was met with an approving nod before returning to the call. 

“Alright, we can agree to those terms.” 

“Oh and agent Rossi?” Mark perked. 

“Yes?”

“Send in a girl.”

There was a tension that quietly branched out between the agents listening to the phone call. 

“Why do you want a woman?” Rossi asked, clearly changing the dialogue used.

“I’m losing too many ladies sending out these moms. I want one back,” he replied with a cockiness to his voice. 

Ross confirmed they could send in a female agent. Almost immediately after the unsub hung up, you volunteered to be the agent going on the bus.  

“I’ll do it.”

Spencer’s head shot in your direction. “No you're not.” His voice was laced with concern and a hint of demand.  

“Reid-”

“He specifically asked for a woman. We don’t know what he’s planning, he’s devolving.”

“And I’m willing to take that risk to make sure those kids are safe,” You defended yourself. 

You turned to your boss waiting for his thoughts. Hotch knew you’d been exposed to enough high tension scenarios to know what you were doing. But just like any member of his team, he silently hesitated, worrying for your safety. 

He took a breath before meeting your eyes again. “Send her in.” 

Right before you were led to the bus, Hotch took off the holster on his ankle and handed it to you. “Some extra protection in case something happens.” You couldn’t hear the concern in his voice, but you saw it clear as day in his eyes. 

You made your way to the bus and saw through the window Mark holding a gun to the driver and telling him to open the door. You stepped on and the doors closed quickly behind you. The unsub took a long look at you, panning up and down. 

“Well how about that. Aren’t you a beauty? He said with a cheeky grin. 

You tried your hardest not to look disgusted with him. Instead you kept your composure and spoke with courage and a confident demeanor. 

“You this flirty with all your hostages?” you asked plainly.

As he gazed down at your legs his eyebrows furrowed and lips pursed. He bent down and with the gun in his hand, pushed away the bottom of your pants leg. When he saw the gun in the holster, he tsked. 

“You always carry this much dead weight on you?” 

He stood back up and put his hand out, “hand it over, I told them no weapons.” 

You reluctantly took off Hotch’s holster and placed it in the unsubs hand. Your one line of defense was gone. 

The longer you were on the bus, the more anxious Spencer got. He knew you were an exceptional profiler, and you had enough experience and skill to handle yourself in situations like this. 

But that couldn’t stop the ache in his stomach or the fact that his heart rate could power a car by now. 

He stood closer to the bus now to get a clearer view of the windows. They managed to successfully get the children and moms off and to safety, but you weren’t safe. Spencer figured you were trying to negotiate with the unsub, but that was going nowhere. This was confirmed when Rossi tried calling him again but every call was ignored. 

This unsub was stubborn as hell. He knows he trapped himself, but didn’t want to back down. At least he didn’t want to go quietly. 

Spencer was talking with the rest of the team trying to devise a plan when the gunshots were fired. The team immediately ran back to the cacophony on the bus. 

More shots were fired, he didn’t know where from. He didn’t care. 

He just needed to get to you. 

When he got a decent view through one of the windows that hadn’t shattered he saw you. Your hand over arm in pain but still standing in front of the civilians to protect them. The unsub stalking over to you, gun in hand and smacking you over the head with it. You slammed against the chairs and fell to the floor. 

Spencer's face paled. He swore he was going to throw up. 

Through the fog of his mind Spencer saw Morgan escorting Mark off the bus, his hands now behind his back in cuffs. 

He rushed past them, clambering through the door and up the stairs to get to you, calling your name. 

“Reid?” he heard your small tired voice through the crowd. 

He followed it to you, laying on the ground struggling to open your eyes and clutching your left arm. 

He crouched down to your level with a gentle hand on your uninjured arm. 

“Hey, I’m here. I’m right here,” he comforted. 

“My head hurts,” you mumbled.

His eyes softened, “I know. I think you might have a concussion, you need to go to the hospital.” 

You slowly started to fade out of consciousness. Spencer’s heart dropped and his hand moved from your arm to your face. 

“No no no no stay with me okay?” he caressed your cheek with his thumb.

“Stay with me sweetheart,” he consoled.

Your eyes stopped struggling to stay open and finally made their close. His other hand rushed to your pulse point as he called for a medic.

Time seemed to stand still while Spencer sat next to your hospital bed waiting for you to wake up. He couldn’t leave your side. He didn’t want to. 

You were okay. You were laying in the bed in front of him. But of course in his mind he ran through all the possible scenarios of how things could’ve gone worse, how things could’ve gone better. What would’ve happened if you didn’t have your gun taken away, or if the unsub got angry that you tried to bring a gun in. What if he didn’t lose his cool and start firing. What if you never went inside in the first place. 

And with all of those possible scenarios, the same thought plagued him. 

He was wrong. 

Before he was too scarred from past traumas to reveal just how much you meant to him. Not wanting to repeat the past and lose yet another person he loved cared for. 

But now, after seeing you in danger right in front of him, now he was terrified at the thought of you never knowing. He was now more scared you would never know how much he loved the way your nose crinkled when you smiled. How he thought the sound of your voice could cure any ailment he had. How he admired your strength and desire to protect others. How you could light up anyone's mood by just being you. How he could listen to you for hours, even if you were lecturing him on things he’d known like the back of his hand.

To him it was a whole new experience hearing it from you. 

Spencer was pulled from his thoughts as you stirred awake. He saw your eyes adjust to the bright fluorescent lights ahead. He quickly got up to dim the lights for you. 

When he returned to his seat you smiled at him, “hi.” 

“Hi,” he smiled back.  

“How are you feeling?” 

You sighed. “Like shit,” you complained with a hint of humor. 

“The doctor said you have a minor head injury, bruised ribs, and the shot to your arm thankfully didn’t break any bones.” 

“Fun,” you said sarcastically. 

A moment of silence passes between you two. He doesn’t exactly know what to say. How do you casually tell your friend and coworker you have a crush on them? 

There is no casual way. 

“You called me sweetheart,” you broke the silence. 

He furrowed his eyebrows, “What?” 

You fidget with the blanket, “earlier, when I passed out on the bus. You called me sweetheart.”

He searches his mind for the memories of the day. When he finds the memory he realizes in the heat of the moment the term of endearment slipped out. 

He wasn’t aware you heard it. 

“I did,” he confirmed as his ears flushed.

“Why?” you asked curiously. 

He didn’t know how to tell you that he’s wanted to call you that for weeks now. So instead he settled with-

“It just … felt right.” 

“Oh,” you replied quietly.

Spencer tensed up at your response. 

“If I crossed the line-“ 

“No. Of course not,” you interrupted with a comforting voice. 

The corners of your mouth lifted and cheeks dusted pink. “I thought it was sweet. You don’t normally say stuff like that.”  

His heart warmed at your confession and a smile spread on his face. 

“You thought me calling you sweetheart was sweet?” he lightly teased.

“Shut up,” you chuckled, rolling your eyes. “You know what I mean.” 

Your laughter was cut short by a sharp pain in your abdomen. You bit down on your lip and gripped the side of the bed in pain. 

The reality that you were injured on the job was rushing back to him. 

He licked his lips, his nervous unconscious habit. 

“I was really worried about you.”

“I know.”

“No, you don’t,” he interjected. 

“The entire time you were on that bus I was sick to my stomach. Terrified that something bad was gonna happen and it did,” he started to ramble. 

You leaned closer to him. ”But I’m okay Reid.”

“You still got hurt. He shot you for christ sake!” his voice raising in pitch and volume. 

“Reid-”

“He lashed out at you! You could’ve died!” 

“Spencer,” you said firmly, pulling his attention towards you. 

He never heard you say his name before. No matter how many times he said you could call him Spencer, you still called him Reid. Hearing his name fall from your lips was like the consistency of honey.

You placed your hands on his face caressing his cheek. His golden eyes meet yours. 

“I’m alright. I’m still here,” you consoled. 

“But if-“

“Spencer.”

“Please,” he pleaded. “It’s important.” 

You nodded your head, signaling for him to continue. He gently grabbed your wrists and brought your hands in his. He took a deep breath before he decided to spill the thing that had been eating away at his heart. 

“I have feelings for you. I have for a long time. Almost as long as you’ve been at the BAU,” he started. 

With your hands in his he started tracing his thumb over your knuckles. 

“If we don’t have work I count down the days until I can see you again. When I do see you I desperately want to see you smile, see you happy. And if I’m the one that causes that smile, it makes my whole day. That’s why I never interrupted when you talked about something I already knew. The way your face lit up when you talked with such passion was the highlight of my day.” 

“For months I was scared of my feelings and I kept them to myself. I was too scared to admit how much I liked you because I-” his hold on your hands tightened.

“I know what it feels like to lose someone. This job takes so much from us; I never wanted it to take you.” 

Spencer let out a breath he didn’t know he was holding in. 

“Today I realized it would be more painful if I went the rest of my life not telling you, than having even a fraction of a moment with you.”

A moment of silence danced between you two. Your head reeling from his confession, heart beating so hard you could feel it in your bones. Your palms sweaty from holding onto Spencers, but still neither of you let go. 

The silence was deafening, plaguing him. 

“Please … say something,” he begged. 

Your lash line was collecting tears that you simultaneously tried blinking away. Your eyes found his tie less intimidating than his gaze.

“I never thought you would like me back,” you said with a soft tone. 

Spencer's cheeks turned red as his heart started melting. “I do.” 

You brought your eyes back to his. That precious smile on his face was infectious. 

“Listen,” you squeezed his hands. “I’m not going anywhere. So you have as much time with me as you want.” 

Spencer's eyes softened at your words. He raised your hands and placed a loving kiss on your knuckles. 

The two of you were too lost in eachother to notice the footsteps towards the room. 

“Hey, I found some Jello for her if she-” Alex abruptly stopped once she noticed what she walked into. 

You both awkwardly pulled your hands away from each other; you fiddling with the hospital blanket, him rubbing his palms on his slacks. 

“So, feeling better?” she asked hesitantly. 

“Much,” you answered, still a bit flustered. 

“Good, good to hear,” She tried not to sound too smug, but the small smile on her face said otherwise. 

She raised and shook the jello container in her hand. 

“I’m gonna leave this here,” she placed it on the table. “I’ll be back in a bit.” 

“Thanks Blake,” you thanked as she left. 

Once she was gone you quietly giggled and mumbled “oh my god,” under your breath. 

“You know, she kept teasing me asking when I was going to ask you out. And don’t even get me started on Morgan,” he chuckled, shaking his head. 

Your jaw dropped and eyes furrowed. “Did everyone else know but me?” 

He pressed his lips in a thin line, “pretty much.” 

“I must be a shitty profiler,” you half joked.

“Absolutely not,” he said in the most comforting voice. He brushed the hair that had fallen in front of your face behind your ear. 

“You’re an amazing profiler.” 

You smiled that smile he loved so much. The one where you couldn’t hide your joy and your nose crinkled. 

“So, how do you think you’ll spend all those moments with me?” you inquired with a bit of a teasing tone. 

“Doing anything sweetheart,” he answered seriously. He looked at you with awe written all over your face. “I'm ready for anything with you.” 

“in omnia paratus” - ready for anything

Tag asks: @adrienneleclerc @ladybirdbeetle7

[lychee-angelica]

random vedic astrology observations

i thought i may as well post some content that has been sitting in my drafts for over a year xx

౨ৎ libra ascendant 18+

these women are obviously very beautiful, but they are also highly alluring and mysterious. this can be attributed to venus ruling both their first house and eighth house. it is honestly difficult to ignore that these women are seductive and passionate individuals. i have personally observed that these women are highly attractive and naturally possess an evidently strong sexual appeal.

the above can also apply to women with first house lord in the eighth house or eighth house lord in the first house

౨ৎ venus in leo

within my time observing charts of various individuals and celebrities i have found an absurd amount of models with venus in leo. in all honesty this does not surprise me, considering leo is ruled by sun, the most visible, important and prominent celestial body. these women possess a beauty that was almost made for shining above the rest, their beauty is so apparent in the eyes of others. i often think of venus in leo women as embodying the beauty queen archetype.

౨ৎ aquarius ascendant

the identity of these women is heavily tied to something deeply intangible, given that saturn rules both their first and twelfth house. saturn's repressive nature propels these women far from egocentric ideals and toward the undoing of self. that being said, these women can seem very disconnected and even out of touch with reality.

౨ৎ mrigasira

these women can be naturally doe-eyed and have a sweet, bambi appearance. this is due to mrigasira symbolising a deer sniffing the ground, a specific yet beautiful depiction of the deer's face. honestly, even the men have large doe eyes. additionally, i often notice many of these women wear their hair in braids and look beautiful with their hair in this inherently protective style. i say this because the idea of braiding and weaving is deeply rooted in the symbolic nature of mrigasira. deers experience pressure to weave themselves into the heard in order to mitigate the threat of predation.

౨ৎ pisces ascendant

these women are naturally possess a loving curiosity on deeply occult and esoteric knowledge. this is due to venus ruling both their third and eighth house. acknowledging that this aspect of their chart is due to venus, their interest and fascination in mysterious information is something that naturally attracts them, painted with a tinge of romanticism and deep love.

౨ৎ rahu conjunct venus

honestly, women with this placement can get so lost in a world of beauty, indulgence, love and romantic relationships. they most likely have great karma in life that propels them toward learning all of the struggles that come with beauty and love. although how negative this seems, they are undeniably attractive and intensely magnetic women.

౨ৎ saturn conjunct venus

these women are the types who are able to truly let go of unrealistic expectations in love. they are able to love truly, through thick and thin, this placement tends to indicate a devotional and long term orientated lover. another note is that these women can struggle immensely with insecurity in relation to their beauty, it can be very helpful for them to remain devoted to their own beauty. despite the struggle this placement indicates over time their security with their beauty solidities and firms.

౨ৎ ardra, ashlesha, jyeshta and mula

these nakshatras are all considered to embody sharp or dreadful quality. despite the intense struggle these women face, there is a beautiful upside. they are incredibly hypnotising, mystical and deep women.

౨ৎ visakha nakshatra

these women can be have a very intensely ambitious and obsessive streak. particularly when a woman's venus, mars or seventh house lord sits within this nakshatra, they can be highly obsessive and fixated over their partners. despite how intense these women may love, they are very loyal and devoted

[majikkulu]

♱ 𝖆𝖘𝖙𝖗𝖔 𝖓𝖔𝖙𝖊𝖘; 003 by majikkulu ;P ♱

━━ ❝ masterlist ❞

these are my personal observations and may not resonate with everyone. please take them with a grain of salt, as i'm not a professional astrologer! :))

♱ having transit saturn square natal chiron/pluto can indicate potential injuries or illness. the same goes for transit uranus conjuncting natal mars, but that happens unexpectedly.

♱ virgo moon is great at advising others on their feelings and decisions, but it's funny how they struggle with their own. they often feel confused and chaotic. (i’m speaking from experience!)

♱ mercury at 20° can indicate clearer ideas and communication. in scorpio, it brings confidence in what they say, but they can be reckless with their words and talk quickly. they might ask controlling questions and easily read others, being very observant.

♱ i feel like mercury conjunct pluto people have an easier time saying controversial things that could get them canceled, lmao. they dgaf. 

♱ moon opposite mercury may struggle to express their emotions and desires clearly, often feeling disconnected. they might say things that don’t align with their true feelings and tend to overthink. mood swings are also common.

♱ saturn retrograde natives might struggle with confidence, often feeling uncomfortable in authority roles and fearing failure. they can be quite pessimistic. they may avoid or struggle with taking responsibility and accountability, especially when younger, but with age, they learn to embrace it. things get better over time.

♱ jupiter retrograde natives might struggle to embrace positive changes in their lives due to a fear that they will be temporary. it's hard for them to fully express and feel happiness because they may feel it will be taken away from them.

♱ men with moon conjunct venus are incredibly caring and nurturing. they’re affectionate and understanding, usually avoiding conflicts. this placement will avoid arguments at all costs and strive to make things better. they also want the same treatment in return. in general this placement falls in love easily (which is not a bad thing! they find beauty in everything)

♱ many men with venus conjunct chiron have been cheated on or experienced significant heartbreak, leading them to question their worth and if they are enough. they may also have faced abuse, making them hesitant to pursue romantic interests. they could attract partners who are wounded and somewhat toxic.

♱ i've noticed that people with a taurus midheaven (mc) often have their own businesses or work as accountants or in real estate. both of these careers tend to be stable, long-term, and provide financial security.

♱ having chiron in the 5th house can bring delays and challenges in romantic life, making it take longer to enter the love scene. once they do, they love deeply and unconditionally. sometimes, romantic connections can offer them healing in some way.

♱ natives with the moon in the 11th house may find that friends are often in love with them due  their caring and comfy presence. many of their romantic connections can start as friendships as well.

[gyuuberryy]

a love affair in colour

pairing: art tutor!jay x princess!reader

synopsis: as a princess exploring her artistic passions, you’re drawn to jay, your mesmerising art teacher whose lessons stir more than just creativity. what begins as a quest to master your craft quickly becomes a whirlwind of tension and forbidden desire. with every brushstroke and shared moment, the line between teacher and lover blurs. but when societal barriers and personal doubts threaten your connection, will you both find a way to embrace a future together, or will your love remain a beautiful but fleeting masterpiece?

genre: strangers to lovers, forbidden relationship, comfort

warnings: kissing, lots of tension, mentions of status difference, angst, a little suggestive

note: i used my experience in art to detail all the content related to it so bear with me if it seems a little modern, i don't know much about how they did art in the olden times. also jay just constantly raises my standards??? i love that man so much he's so husband material it hurts TT enjoy reading!

word count : 11.1k

royally yours masterlist | prev:heeseung | next: jake

if you liked it please reblog or comment to give me your feedback! <3

you’ve always been drawn to art. as a child, while other princesses were learning courtly etiquette or practising diplomacy, you were sneaking into the gardens to sketch the trees or hiding in your chambers, fingers stained with ink as you copied paintings from the castle’s grand halls. but those were mere indulgences, fleeting escapes from the rigid structure of royal life.

when your parents noticed your growing talent, they encouraged it—as a hobby, of course. something to amuse yourself with between diplomatic meetings, public appearances, and the pressures of royal expectations. but for you, art was never just a pastime. it was a passion. an escape. a way to express the parts of you that didn’t fit into the carefully curated image of a princess.

so, when you told your parents you wanted to pursue art seriously, it was met with initial resistance. a princess has duties, obligations, responsibilities. but you persisted, and eventually, they relented. if you were going to study art, they wanted the best for you. that’s how jay came to the palace—an accomplished artist in his own right, though he came from modest beginnings. he was hired to help you master the craft before your trip to paris, where you’d study under the finest artists in the world.

jay’s reputation preceded him. he was known not only for his skill but for his ability to bring out the best in his students. when he arrived at the palace, you were both eager and nervous, unsure of what to expect.

your first meeting was in the grand studio, a room that had once been your sanctuary. now, as you stand by the window, gazing out over the palace grounds, you feel the weight of what’s to come. you’re no longer a novice; this isn’t just a casual hobby. this is the beginning of something serious, something real. and the thought of it is both exhilarating and terrifying.

the door creaks open behind you, and you turn to see him—jay. he’s younger than you expected, though older than you by a few years. his clothes are simple, a stark contrast to the luxury of your surroundings, yet he wears them with a quiet confidence. his dark hair is tousled, as though he’s just come from a long day at work, and there’s a certain intensity in his eyes, a focus that makes your stomach flip.

“your highness,” he greets, bowing low.

“please, just my name,” you say quickly, hoping to dispel some of the formality that hangs between you. “if we’re to work together, there’s no need for titles.”

he straightens, and for a moment, you think you see a flicker of something—surprise? amusement?—in his expression, but it’s gone as quickly as it came. “very well,” he says simply. “shall we begin?”

you nod, feeling a mix of anticipation and nerves as you lead him to the easel set up near the window. it’s been prepared for your first lesson, a blank canvas stretched taut, waiting for the first stroke of charcoal or paint. you’ve done this before, hundreds of times, but never under the watchful eye of a teacher like jay.

“before we begin,” he says, setting his bag down on the table, “tell me why you want to do this. not because you have to—because you want to.”

his question catches you off guard. you’d expected him to dive straight into the technical aspects of drawing or painting, not to ask about your motivations. but there’s a seriousness in his tone that tells you he’s not just asking out of curiosity. he wants to understand. he wants to know you.

“i’ve always loved art,” you admit, folding your hands in front of you, feeling a little exposed. “it’s the one thing that’s mine. in a world where so much is decided for me, art is where i get to choose. it’s... freedom.”

jay nods slowly, as if weighing your words. “art is freedom,” he agrees quietly. “it’s expression. it’s telling the world who you are without saying a word. but it’s also discipline. and commitment. if you’re serious about this, i’ll push you. i’ll make sure you’re challenged. does that sound like something you’re ready for?”

your heart beats faster. his intensity is palpable, and it’s hard not to be swept up in it. “yes,” you say, though the word comes out softer than you intended. “i’m ready.”

he regards you for a moment longer, then reaches into his bag, pulling out a small sketchbook and a piece of charcoal. “we’ll start with something simple,” he says, handing you the charcoal. “i want you to draw me.”

you blink, surprised. “draw you?”

“it’s a good exercise,” he explains, moving to stand a little distance away. “if you can capture the essence of a person, you can draw anything.”

your fingers tighten around the charcoal as you sit at the easel, facing him. it feels strange, having him as the subject. his features are sharp, defined, but there’s something else—an intensity in his gaze that makes it hard to concentrate. you take a deep breath and begin to sketch, the sound of the charcoal scratching against the canvas the only sound in the room.

it’s not easy. his face is a study in contrasts—strong jawline, soft eyes, dark brows furrowed in concentration as he watches you work. you find yourself getting lost in the details, trying to capture the exact curve of his lips, the shadow beneath his cheekbone. but the more you focus, the more elusive it becomes.

“you’re overthinking it,” jay says suddenly, breaking the silence. he moves behind you, close enough that you can feel the warmth of his body, though he doesn’t touch you. “you’re focusing on the parts, not the whole. step back. see the bigger picture.”

you try to follow his advice, but his presence behind you is distracting, and the scent of him—earthy, with a hint of something fresh—fills your senses. your heart beats faster, though you try to ignore it.

jay steps closer, his breath warm against your ear. “here,” he says softly, reaching out to guide your hand. his fingers brush yours, sending a jolt through your body, and you almost drop the charcoal. “loosen your grip. let the lines flow.”

you do as he says, though your heart races at his nearness. his hand lingers over yours for a moment too long before he pulls away, but the connection between you doesn’t fade. the air feels charged, as if something unsaid hangs between you.

when you finish the sketch, it’s rough, imperfect, but there’s something there—a spark of life, of emotion. jay leans over your shoulder to examine it, his expression unreadable.

“better,” he says after a moment, his voice low and approving. “you’ve captured something real here.”

you look at the drawing again, trying to see what he sees, but all you can think about is the way his hand felt over yours, the way his voice seemed to wrap around you like a secret.

as he moves to gather his things, you realise that this is just the beginning. the first lesson. but already, something has shifted between you. something neither of you can name yet, but it’s there—in the shared glances, the lingering touches, the unspoken connection.

and as jay turns to leave, promising to return for your next lesson, you can’t help but wonder if this is really just about art—or if something far more dangerous has already begun.

the days following your first lesson with jay felt like a strange new rhythm. art had always been a deeply personal escape for you, something that existed in the quiet moments between royal duties, but now it had become something more. each session with jay stirred something inside you—not just the desire to improve, but a spark of something you couldn't quite name.

jay had been nothing but professional, his focus always on your craft. but beneath his calm demeanour, there was an undercurrent, a kind of intensity in the way he looked at you during your lessons. it was subtle, barely noticeable, but it was there, like the brushstrokes of a painting hidden beneath layers of paint.

today, as you enter the studio, you feel it more than ever. the room is bathed in soft light, the kind of glow that makes everything seem warmer, softer. jay is already there, setting up supplies on the table, his back to you. you watch him for a moment, your eyes tracing the broad lines of his shoulders, the way his hands move with such precision and care.

“good morning,” you say, finally breaking the silence. your voice comes out softer than you intended, the room swallowing the sound.

he turns, a brief smile crossing his face. “good morning.” there’s a hint of warmth in his tone, but as always, it’s controlled, measured. jay has never been one to show too much emotion, though lately, you’ve caught glimpses of something more.

“i thought we’d try something different today,” he says, gesturing to the large canvas in the corner of the room. “i want to work on your observation skills.”

you nod, intrigued. “what do you have in mind?”

instead of answering immediately, jay picks up a chair and places it in the centre of the room, angled toward the sunlight. he then takes his sketchbook and charcoal, positioning himself in front of the chair but far enough away that there’s space between you.

“i want you to sit,” he says simply, his eyes meeting yours for a moment before flickering away. “i’m going to sketch you.”

the request catches you off guard. “me? but... shouldn’t i be the one practising sketching?”

he smiles faintly, shaking his head. “today, i want you to feel what it’s like to be the subject. to understand how the artist sees you.” he glances at the canvas, and then back at you. “it’ll help you observe the world around you with more empathy, more connection.”

the thought of jay watching you, studying you so closely, makes your heart race. you’ve always been behind the canvas, never in front of it. to have his eyes on you, not just in passing but with the intention of capturing every detail—it feels strangely vulnerable.

but you trust him. there’s something about jay that puts you at ease, even when you’re unsure of yourself. so, you sit in the chair, adjusting your posture slightly, your hands resting in your lap.

“relax,” he says softly, his voice gentle. “you don’t have to pose. just be yourself.”

you try to do as he says, leaning back into the chair, though your heart is beating a little faster now. the room is quiet except for the faint scratch of his charcoal on the page, and you’re acutely aware of his gaze as it moves over you—your face, your hands, the way the light falls on your hair.

he works silently, his brow furrowed in concentration, and you find yourself watching him, trying to read the expression on his face. there’s a softness there that you hadn’t noticed before, a kind of careful attention that feels almost… tender.

for a while, neither of you speaks. you’re not sure how long has passed—minutes? hours? time seems to lose its meaning in this space, as if the world outside the studio doesn’t exist.

“so you want to pursue art huh?” jay’s voice breaks the silence, and you blink, surprised by the question.

“yes” you reply, shifting slightly in the chair.

he doesn’t look up from his sketch. “why did you choose art? out of everything you could have pursued?”

the question is one you’ve asked yourself many times. you think back to your childhood, to the afternoons spent sneaking away from your tutors to draw in the gardens, the way art always felt like a safe space in a world full of expectations.

“i think… it’s because art lets me be free,” you say slowly, choosing your words carefully. “in everything else, i’m the princess. i have to be perfect, poised, controlled. but with art, i can be messy. i can make mistakes. it’s mine.”

jay pauses, his hand hovering over the sketchbook for a moment before he continues. “freedom is important,” he says quietly. “especially for someone like you.”

there’s something in his tone, a weight to his words, and you wonder what he means by that. does he understand what it’s like to feel trapped by expectations? to want something more, something beyond the roles you’ve been given?

before you can ask, jay looks up, his eyes meeting yours for the first time since he started sketching. his gaze is intense, but not in a way that makes you uncomfortable. it’s more like he’s seeing you, really seeing you, in a way that no one else ever has.

“you have a natural grace,” he says softly, almost as if speaking to himself. “but it’s more than that. there’s something… untamed about you.”

your breath catches in your throat. no one has ever spoken to you like that before. not with such quiet certainty, as if they’ve seen beyond the surface of who you are.

you don’t know what to say. the air in the room feels heavier now, charged with something you can’t quite name. you shift in your seat, suddenly self-conscious under his gaze, but jay’s expression remains calm, thoughtful.

he tilts his head slightly, observing you with the same intensity he’s had since the beginning of the lesson. “there’s more to art than technique,” he says, his voice low. “it’s about connection. about understanding the person you’re drawing, not just how they look, but who they are.”

his words stir something inside you—a sense of being understood in a way you’ve never experienced before. you’re not just a princess in this room, not just another student. you’re you, with all your complexities and contradictions, and somehow, jay has seen that.

it makes you feel exposed in a way you hadn’t anticipated, and yet there’s a comfort in it, too. you’ve spent your whole life hiding parts of yourself, but with jay, it feels like you don’t have to.

finally, he sets the sketchbook aside, standing up and crossing the room to where you’re seated. he doesn’t hand you the sketch immediately, and for a moment, you wonder if he’s unsure about showing it to you.

“you can tell a lot about a person by how they draw,” he says quietly, standing in front of you now, his gaze unwavering. “but you can tell even more by how they let themselves be seen.”

your pulse quickens, the weight of his words settling deep within you. it’s not just about the sketch anymore—it’s about everything. the way you’ve been navigating these lessons, the way you’ve been letting him into your world, piece by piece.

he holds out the sketch to you, and when you take it, your fingers brush against his, a fleeting touch that lingers in your mind longer than it should.

the drawing is beautiful. he’s captured you in a way that feels both familiar and unfamiliar at the same time. there’s a softness to your expression, a quiet strength in the lines of your face, and yet… there’s something else. something deeper.

“it’s beautiful,” you whisper, tracing the lines with your fingertips. “i’ve never seen myself like this before.”

jay watches you carefully, his expression unreadable. “that’s because no one’s ever looked at you like this before.”

the words hit you like a gentle wave, their meaning sinking in slowly. you glance up at him, unsure of how to respond. there’s a new tension between you now, but it’s not the kind that comes from desire or rushed feelings. it’s deeper than that—a connection, a shared understanding that goes beyond mere attraction.

for a moment, you sit in silence, the sketch resting in your lap as the light from the window shifts slightly, casting long shadows across the room. you can feel the change in the air, but neither of you moves to break it.

and as jay steps back, giving you space, you realise that this—whatever it is—will take time to fully unfold. you’re not rushing toward anything, but there’s something between you now, something real and undeniable.

but for now, you’ll let it simmer. there’s no need to rush. not yet.

the days have passed like pages in a book, each art lesson with jay slowly building a tension that you feel in the very air of the studio. his presence is constant but controlled, his touch fleeting yet always careful. you’ve found yourself looking forward to these lessons more than you’d ever anticipated, though not only for the sake of art. something else draws you here each time, something that’s harder to admit even to yourself.

when you arrive at the studio today, the familiar scent of paint and canvas greets you, mingling with the crisp morning air. jay is there, of course, already preparing the materials, his back to you as he arranges brushes and bottles of linseed oil. the sun filters in through the tall windows, casting long beams across the room, turning everything into shades of gold. today feels different, though you can’t quite pinpoint why.

he turns as you approach, offering you a brief smile that doesn’t quite reach his eyes. "good morning," he says, his voice as calm and composed as ever, though you think you detect a slight hesitancy behind his words.

"good morning," you reply, your heart already beating a little faster. the last few lessons have been charged with a new energy, a subtle yet undeniable pull between the two of you. you've tried to keep your thoughts focused on the art, but with each session, it’s become harder.

jay steps over to the large canvas he’s set up for today’s lesson. "we’re going to work on technique," he explains, holding up a palette of mixed colours, the vibrant hues blending like a sunset in his hands. "i want you to feel the texture of the paint, how the brush moves against the canvas. it’s all about control and release."

you nod, though the concept seems easier said than done. painting has always been more of a challenge for you, especially when it comes to finding that balance. jay, however, has a way of guiding you through each step without ever making you feel inadequate.

"let’s start with the basics," he says, handing you a brush. his fingers brush against yours for the briefest moment, and you feel a spark travel up your arm, though you’re sure he doesn’t notice.

you position yourself in front of the canvas, trying to steady your breathing as you dip the brush into the paint. the first few strokes are tentative, careful. you focus on the movement of your hand, but your mind is distracted by the weight of jay’s presence behind you. it’s as if the air in the room has thickened, every sound, every movement, magnified.

jay watches in silence for a few moments, then steps closer, so close that you can feel the warmth of his body behind you. "here," he murmurs softly, his voice right beside your ear. "let me show you."

before you can respond, he places his hands lightly on your waist, adjusting your stance. the touch is firm but gentle, and it sends a shockwave through your body. your breath catches in your throat, and for a moment, you’re hyper-aware of every point of contact—his hands on your hips, the warmth of his chest just inches from your back.

"relax," he whispers, his voice low and calming, though you can hear a slight strain in it, like he’s carefully keeping something in check. "you’re too tense."

easier said than done. you can barely think straight with him so close, let alone concentrate on the canvas. but you try, forcing yourself to take a breath, to focus on the task at hand. jay doesn’t move away. instead, he steps even closer, his chest nearly brushing your back as he moves his hands from your waist to your arm, guiding your wrist as you hold the brush.

"feel the paint," he says, his breath warm against your ear. "don’t fight it. let it flow."

his hand wraps around yours, firm but careful, and he moves your arm in a slow, fluid motion. the brush glides across the canvas with ease, the paint spreading in smooth, even strokes. his touch is light but deliberate, and you find yourself following his lead, your body responding to the way he directs the movement.

"you’re doing well," he murmurs, and you can feel his breath against your neck, sending shivers down your spine. "just like that."

the room feels smaller, the air thicker, as if the space between you is shrinking with each passing second. you try to focus on the canvas, but it’s impossible with jay so close. his presence is overwhelming, consuming, and you’re acutely aware of every shift, every movement.

"you don’t need to force it," he continues, his voice barely above a whisper now, his lips dangerously close to your ear. "let the brush move with you."

you nod, though your throat is too dry to speak. the closeness between you is intoxicating, and you can feel the tension building with each breath you take. jay’s hand tightens slightly around yours, and for a moment, you wonder if he feels it too—the pull, the unspoken connection that seems to have grown stronger with each lesson.

he guides your hand in another slow stroke across the canvas, but this time, the brush slips slightly, leaving a streak of paint that’s a little too heavy. you let out a soft, frustrated sigh, but jay only chuckles, the sound low and warm.

"don’t worry about perfection," he says, his voice rumbling in your ear. "art isn’t about being perfect. it’s about feeling."

his hand lingers on yours a moment longer before he lets go, stepping back slightly. the sudden absence of his touch leaves you feeling off-balance, as if the ground beneath you has shifted. you exhale a breath you didn’t realise you were holding and lower the brush, your heart still racing.

"good," jay says, his voice a little more distant now as he moves back to the table. "you’re getting better. it’s all about control and release, but it takes time to find that balance."

you nod, though your mind is still reeling from the intensity of the moment. you’ve never felt so aware of your body, of your own reactions, as you do when jay is close like that. it’s as though he knows exactly how to touch you, how to guide you, without ever crossing the line—but just barely.

you place the brush down on the easel, turning to face him. jay is busy cleaning the palette, his face unreadable as he focuses on the task. but there’s something different about the way he holds himself, a tension in his posture that wasn’t there before.

"thank you," you say softly, breaking the silence that has settled between you. your voice sounds a little shaky, but you hope he doesn’t notice.

he glances up at you, his eyes meeting yours for a brief moment before flickering away. "it’s my job," he replies, but there’s something in his tone—something almost… uncertain.

the silence that follows is heavy, filled with the unspoken tension that has been growing between you for weeks. you can feel it in the way he looks at you, in the way his hands linger just a little too long when he helps you. it’s as though you’re both standing at the edge of something, but neither of you knows how to take the next step.

finally, jay sets the palette down and steps back, putting a little more distance between you. "we’ll keep working on this," he says, his voice returning to its usual composed tone. "you’re improving, but there’s still more to learn."

you nod, feeling a little breathless, though you’re not sure if it’s from the painting or from the closeness you just shared. "i’ll keep practising," you say, though the words feel almost trivial in the weight of the moment.

jay gives you a small smile, but it doesn’t quite reach his eyes. "good," he says softly, before turning back to his brushes. "we’ll pick up again tomorrow."

you linger for a moment, watching him as he carefully cleans the paint from his hands, his movements precise and controlled. and as you leave the studio, you can’t shake the feeling that something has changed between you, something that neither of you can ignore for much longer.

the pottery studio feels different today. the atmosphere is heavy, thick with anticipation, but you try to ignore it as you sit at the wheel, your hands already messy with clay. the wheel spins slowly beneath your fingers, but no matter how many times you’ve tried, the clay refuses to cooperate, collapsing into a lump before you can give it any real shape. you groan in frustration, watching another failed attempt crumble under your touch.

“take your time. it’s all about feeling the clay, not controlling it,” jay says softly from behind you, his voice calm but carrying that familiar undercurrent of something unspoken. he’s watching closely, his presence as steady as always, but today it feels more intense—like a subtle hum in the air that makes the space between you vibrate with tension.

you sigh, wiping your hands on your apron. "i don’t think i’m getting this at all," you mutter, staring down at the shapeless mound on the wheel. pottery has proven to be a far bigger challenge than painting—there’s something about the unpredictability of the clay that throws you off balance.

jay steps closer, his footsteps almost silent on the studio floor. "you’re too tense," he observes, his voice low and measured. "let me show you."

before you can respond, he’s already moving behind you. the air shifts as his body nears, and suddenly, you can feel the heat of him pressing close. he slides onto the bench behind you, his legs on either side of yours. the intimate position makes your heart race instantly, your pulse quickening in response to his proximity. his chest brushes your back, his breath warm on the side of your neck, and suddenly it’s hard to focus on anything other than how close he is.

he pauses his movements. “is it okay if i sit behind you like this? i may need to touch your hands as well.”

you nod at his soft words, “yes that’s alright.”

the studio feels smaller, the world outside forgotten as you’re enveloped by his presence. you can feel the solid warmth of his chest against your spine, the way his thighs gently cage yours. every point of contact feels electric, the tension simmering between you palpable.

“relax,” he murmurs, his voice almost a whisper, low and soothing. his breath brushes the shell of your ear, sending a shiver down your spine. “you’re trying too hard to control it. you have to let the clay respond to your touch.”

his hands move to cover yours, his fingers sliding over your clay-streaked knuckles. his touch is firm but gentle, guiding your hands to the wheel as it starts spinning once again. the sensation of his fingers wrapping around yours sends a ripple of awareness through your body, and for a moment, all you can focus on is the warmth of his skin, the weight of his hands over yours.

"feel the clay," jay instructs, his voice quiet but filled with intent. his breath is warm against your ear, and the proximity, the intimacy of the moment, makes it nearly impossible to concentrate. "it moves with you. let it guide you."

his hands press lightly against yours, directing your fingers as they glide over the surface of the clay. the wheel turns slowly beneath your palms, the soft texture of the clay smoothing out under the pressure. you try to focus on the task at hand, but the sensation of his body against yours—the gentle weight of his chest pressed to your back, his legs framing yours—is overwhelming. the world narrows down to the feel of his touch, the sound of his steady breath so close to your ear.

"you need to feel the shape," jay continues, his voice lower now, more intimate. his hands move with yours, guiding your fingers as they dip into the soft clay. his touch is deliberate, patient, and it feels like he’s not just teaching you pottery, but something deeper, something far more personal.

your hands move together as you both shape the clay, your fingers sliding inside the hollow of the vase. the action is slow, almost sensual, and the suggestiveness of the movement doesn’t escape you. the pressure of his fingers over yours, the way his hands direct yours in shaping the delicate interior, feels too intimate, too deliberate. the tension that has been building for weeks now feels almost unbearable.

your breath quickens, your heart hammering in your chest, and you can feel the heat rising to your cheeks. jay’s chest presses more firmly against your back as his hands guide you deeper into the clay, shaping it from within. his fingers dip, mirroring yours, and the act of molding the vase becomes something far more intimate than you could have ever anticipated.

"just like that," jay whispers, his voice huskier than before, his breath hot against your ear. his hands slow, his fingers lingering on yours as you move together. the wheel spins quietly, the clay yielding to your touch, but it’s hard to focus on the art when the closeness between you feels like it’s about to explode into something more.

you can feel every movement of his chest against your back, the rise and fall of his breath growing uneven. the heat of his body is overwhelming, making it nearly impossible to concentrate on the clay. your pulse is racing, and you’re certain he can feel the way your body trembles slightly under his touch.

suddenly, you realise you can feel his heart. it’s beating erratically against your spine, matching the rapid rhythm of your own. the awareness crashes over you like a wave—he’s feeling it too. the tension, the pull between you, it’s not just in your head. his hands tighten slightly over yours, his chest pressing more firmly against your back, and for a fleeting moment, it feels like the world is tilting.

you bite your lip, trying to keep your breathing steady, but it’s impossible with him so close, with the weight of his body grounding you while simultaneously setting you on fire. your fingers dip into the clay once more, but all you can feel is the warmth of his hands over yours, the way his presence fills every corner of your mind.

jay’s breath hitches, barely audible, but you hear it. you feel it. the tension between you has been simmering for weeks, and now it’s at a boiling point, undeniable and heavy.

after what feels like an eternity, jay finally pulls his hands away, the absence of his touch leaving you cold and disoriented. his chest moves away from your back, and he stands slowly, as if he, too, is struggling to shake off the intensity of the moment.

"good work," he says, his voice quieter than usual, almost strained. he steps away from the wheel, his hands clenching and unclenching as though he’s trying to regain his composure.

you remain seated, your hands still coated in clay, your heart still racing. the silence between you is thick with everything unsaid. you can still feel the echo of his hands on yours, the warmth of his body lingering against your skin.

finally, you glance over your shoulder, your eyes searching his face for some kind of answer, some indication of what he’s thinking. but jay’s expression is unreadable, his gaze fixed on the now-complete vase on the wheel.

"you did well," he repeats, though his tone is quieter, almost distant. there’s something unresolved in the air, something that neither of you dares to acknowledge aloud.

as you stand, your legs unsteady, you can’t help but feel that something between you has shifted irreversibly. the line you’ve both been walking for weeks feels dangerously close to being crossed, and the question now is whether either of you is ready to take that step.

the last day of your art lessons starts with a sense of melancholy that you try to push away. you know that this will be your final session with jay, and although you’ve learned more than you could have imagined, the thought of no longer spending time with him feels like a loss. he greets you at the studio with his usual warm smile, but there’s something different about him today—a lightness that wasn’t there before.

“we’re not staying inside today,” jay says, a mischievous glint in his eyes. “i figured we’ve done enough of that. you’ve been using my supplies, so i thought it’s time you get your own.”

you blink, surprised by the suggestion. “you mean we’re going shopping?”

he nods, a small smile playing on his lips. “you deserve your own tools. besides, i want to show you my favourite spots.”

the idea excites you more than you’d expected. it feels intimate, personal—like he’s sharing a part of himself with you outside the confines of the studio. and so, you follow him out into the bustling streets, the city alive with activity as you walk side by side, the sky overhead a muted grey that promises rain.

the first shop is a small, unassuming place tucked between two larger storefronts, and you wouldn’t have noticed it if jay hadn’t pointed it out. inside, it’s a treasure trove of art supplies—shelves stacked high with paints, brushes, and sketchpads of every kind. the scent of paper and wood fills the air, and you can’t help but feel a little like a child in a candy store, overwhelmed by the endless possibilities.

jay moves through the aisles with ease, clearly at home here. he picks up brushes, testing their weight in his hand before handing them to you to feel. “this one’s perfect for detail work,” he says, holding up a fine-tipped brush. “and this,” he adds, pulling out a thicker, more rugged one, “is for broader strokes, more expression.”

you watch him as he speaks, his voice low and sure, and you find yourself more captivated by him than the tools he’s showing you. there’s something about the way his hands move with such confidence, the way he seems to understand the soul of each item, that draws you in. it’s a side of him you haven’t seen before, one that’s less restrained, more passionate.

he catches you staring, and a small smile tugs at the corners of his mouth. “what?”

you quickly look away, feeling heat rise to your cheeks. “nothing,” you mumble, pretending to examine the brushes in front of you.

but you can’t hide your growing admiration for him, and you suspect he knows it. he moves closer, his arm brushing lightly against yours as he reaches for a set of soft pastels. “try these,” he says, handing them to you. “i think they’ll suit your style.”

you take the pastels from him, your fingers brushing against his in the exchange, and for a moment, the air between you feels charged. you swallow hard, trying to focus on the colours in your hand rather than the way his touch lingers in your mind.

from there, you move to the next shop, a slightly larger one filled with canvases of all sizes and shapes. jay pulls you toward a display of stretched canvas frames, explaining the difference between cotton and linen, the various textures and how they interact with different mediums. he talks with such enthusiasm that you can’t help but smile, his passion contagious.

“pick a few,” he says, gesturing to the rows of canvases. “you’re going to need a variety if you want to keep experimenting.”

you nod, feeling a sense of freedom in the choice. as you select your canvases, jay hovers nearby, occasionally offering suggestions but mostly watching with a quiet intensity that makes your skin prickle. you wonder what he’s thinking, whether he’s just as aware of the subtle tension that’s been growing between you over the weeks.

the third shop is more modern, filled with high-end supplies—gorgeous palettes of oil paints in jewel tones, sleek metal easels, and handcrafted wooden boxes for storing brushes. it’s clear jay has saved the best for last, and as you wander the aisles together, he shows you some of his favourites, his voice soft and reverent as he talks about the craftsmanship behind each item.

“i’ve always wanted one of these,” you say, running your fingers over a beautiful wooden palette, its smooth surface gleaming under the soft light. “it’s almost too nice to use.”

jay grins, standing beside you as he watches you admire it. “you should get it,” he says, his voice warm. “every artist needs something that feels special, something that inspires them to create.”

his words send a shiver through you, and you glance at him, the closeness between you suddenly palpable. the quiet intimacy of the moment, standing together in the softly lit store, surrounded by the tools of your shared passion, feels heavy with something unspoken. you nod, slipping the palette into your basket, trying to shake the fluttering in your chest.

as you leave the last shop, your arms full of bags and supplies, the sky opens up, releasing a sudden torrent of rain. the drops fall fast and heavy, soaking you within moments. you yelp in surprise, pulling your hood over your head, but it’s no use—you’re drenched almost immediately.

jay laughs, a rich sound that cuts through the noise of the rain. “looks like we’re in for it!” he shouts over the downpour, his hair already dripping wet as he holds a hand out to catch the rain.

you can’t help but laugh, your spirits lifting despite the sudden storm. the two of you stand in the rain for a moment, looking at each other, before jay suddenly grabs your hand.

“come on!” he says, pulling you into a run.

you follow him, laughing breathlessly as you race through the rain-soaked streets, splashing through puddles and dodging other passersby who huddle under umbrellas and awnings. the bags of art supplies jostle against your sides, but you barely notice, too caught up in the exhilaration of running with him through the storm.

the rain comes down harder, drenching you completely, your clothes clinging to your body and your hair sticking to your face. but none of it matters—you’re both laughing, the world around you a blur as you sprint through the narrow streets, your hand still held tightly in his.

jay pulls you into a narrow alleyway, ducking under a stone archway for shelter. it’s barely enough to shield you from the rain, but you’re both out of breath, giggling uncontrollably as you lean against the cold stone walls.

you’re both soaked, your clothes dripping water onto the ground, but the warmth between you is undeniable. jay’s hair is plastered to his forehead, droplets sliding down his face as he looks at you, his chest rising and falling with each breath.

you can feel the heat radiating from his body, even through the dampness of your clothes. you’re pressed so close to him in the narrow space that you can feel the tension building, the awareness of every inch of space between you—or rather, the lack of it.

jay’s laughter fades as his eyes meet yours, and for a moment, the air between you shifts. his gaze softens, his usual playful demeanour replaced by something more serious, more intense. you’re both still, the rain beating down around you, but inside this tiny archway, it feels like time has slowed.

he reaches up, his fingers brushing a strand of wet hair from your face, and the simple gesture sends a shiver down your spine. his hand lingers by your cheek, and you can feel the warmth of his touch even through the coolness of the rain.

for a moment, neither of you say anything, the space between you heavy with everything that’s gone unsaid. you can feel your heart racing, your breath catching in your throat as his eyes drop to your lips for just a second, but it’s enough to make your pulse quicken.

then, without thinking, without hesitation, he leans in.

the kiss is slow at first—tentative, as though he’s testing the waters. his lips brush against yours softly, almost delicately, and for a moment, it feels like the world stops. the rain, the city, everything fades away, and all that exists is the warmth of his mouth on yours, the softness of his kiss.

your heart stutters, your body frozen for a split second before you kiss him back, your hands finding their way to his chest. the kiss deepens, and the tension that’s been building between you for weeks unravels in a rush of heat and longing. his hands slide to your waist, pulling you closer, and you respond in kind, pressing into him as though you can’t get close enough.

the rain falls around you, forgotten, as you lose yourself in the kiss. there’s a desperation to it, like neither of you knows when—or if—you’ll ever get this chance again. it’s intoxicating, overwhelming, and everything you’ve been holding back spills out in that single kiss.

when you finally pull away, breathless, jay rests his forehead against yours, his hands still holding you close as though he’s afraid to let go. you’re both panting, your chest heaving as you try to catch your breath, but you can’t seem to move, can’t seem to break the connection between you.

the kiss lingers in the air, an invisible thread still tying you to jay even as the rain continues to fall. his forehead rests against yours, his breath shallow and quick, matching the erratic rhythm of your heart. for a moment, everything feels right, the world outside forgotten, the storm cocooning you in your own little universe.

but then something shifts. you feel it in the way his grip on your waist tightens briefly before loosening, in the way his eyes darken, filled with a sorrow that cuts through the joy of the moment.

he pulls back, just a fraction, enough to put space between you but not enough to break the connection entirely. his gaze drops to the ground, as though he can’t bear to meet your eyes.

“we… we can’t,” jay whispers, his voice heavy with regret.

the words hit you like cold water, the warmth of the kiss suddenly feeling distant. “what do you mean?” your voice is soft, confused, almost pleading. you take a step closer, unwilling to let him slip away. “jay, what are you saying?”

he sighs, running a hand through his damp hair, his shoulders tense. “you know what i mean,” he says quietly. “you’re a princess. you belong to a world of crowns and thrones, and i… i’m just your art teacher.”

you shake your head, the rain beginning to soak through your clothes, but you hardly notice. “i don’t care about that! my parents wouldn’t either. jay, this—this connection we have, it’s real. you can’t just pretend it isn’t.”

his eyes finally meet yours, and for a moment, you see the same longing reflected in them. but then he looks away again, his jaw tightening. “maybe your parents wouldn’t care, but i do. i won’t let you throw away your life for me. you have responsibilities, a future. i can’t be the reason you turn your back on all of that.”

your heart aches at his words, at the way he’s trying to protect you even as it tears you both apart. you reach for his hand, holding it tightly. “you’re not asking me to give anything up. i’m telling you what i want. you. you’re what i want, jay.”

he looks at your hand in his, and for a second, he doesn’t move, as though he’s frozen between what he wants and what he believes is right. “you don’t understand,” he says quietly. “you’re used to a life of luxury. i can’t give you that. i won’t let you settle for less.”

the frustration bubbles up inside you, mixing with the hurt. “it’s not about that. it never was. do you really think any of that matters to me if i’m not happy?”

jay’s gaze softens, but the doubt lingers in his eyes, a shadow of the barriers between you. “i need time,” he says, his voice pained. “i need to think about this.”

you bite your lip, the tears you’ve been holding back threatening to spill. “take all the time you need. just… don’t take too long. please.”

he nods, his face filled with a mix of guilt and sorrow. then, like the gentleman he is, he steps closer, offering you his arm. “let me take you home,” he says softly, his voice carrying a tenderness that only deepens the ache in your chest.

the walk back to the palace is quiet, both of you wrapped in your own thoughts, the sound of the rain the only noise between you. his arm around yours feels protective, grounding, but it’s bittersweet knowing that he’s still holding a part of himself back.

when you finally reach the palace gates, jay pauses, turning to face you. the light from the lanterns casts a soft glow over his features, and for a moment, it feels like time stands still.

“goodnight, princess,” he says, his voice gentle, though there’s an unmistakable distance in his tone now.

you look up at him, wanting to say something—anything—to make him stay, to convince him that this is worth fighting for. but the words stick in your throat. instead, you nod, forcing a small smile despite the heaviness in your heart.

“goodnight, jay.”

he gives you a final, lingering glance before turning and walking away, the rain continuing to fall as his figure disappears into the night. you stand there for a long time, watching him go, your heart aching with every step he takes.

as you finally turn and walk inside, the warmth of the palace feels stifling compared to the cool rain outside. the emptiness left in jay’s wake presses down on you, and the realisation that you might not see him again for a while hits you like a blow.

in the days that follow, the quiet is suffocating. you try to fill your time with painting, with other lessons and royal duties, but nothing seems to lift the weight pressing on your chest. each moment stretches on, and the palace, usually filled with the comfort of familiarity, now feels hollow without him.

your parents notice your change in mood but don’t pry, their knowing glances suggesting they’re aware that something more than art is on your mind. still, you keep jay’s name on the tip of your tongue, unable to speak it without feeling the ache of uncertainty.

and so, you wait. you wait for a letter, for a word from him—anything to tell you that he hasn’t let go, that he’s still thinking about you as much as you are about him. but with each passing day, the silence only grows louder, the doubt harder to ignore.

what if he doesn’t come back? what if he decides you aren’t worth the risk?

the thought makes your heart tighten painfully. you sit in your art studio, staring at an unfinished painting, the brush limp in your hand, as you wonder if jay is fighting the same battle within himself.

it feels like an eternity has passed since that rainy day, since that kiss that felt like the world shifted. and now, all you can do is hope that he finds his way back to you before it’s too late.

the days stretch long and quiet after that night in the rain, and the distance between you and jay feels more unbearable with each passing moment. you keep replaying his words, the look in his eyes, the way he had kissed you—like he wanted to hold on forever but didn’t know if he should.

you throw yourself into your art, hoping the colours and brushstrokes will distract you from the weight of his absence. but the empty space he’s left behind is hard to ignore, especially as you finish the final piece you’d been working on for weeks—a vibrant painting of a parisian street, your future awaiting you there.

paris. the word itself sounds like a dream. the trip is supposed to happen soon—your long-awaited opportunity to study art in the heart of a city known for its creativity and beauty. it’s everything you’ve worked toward, yet now the thought of leaving without jay feels hollow.

what was once the pinnacle of your aspirations now feels incomplete. you had imagined this adventure, this new chapter of your life, and pictured jay being a part of it. but now, with his silence lingering between you, you’re uncertain of whether he’ll still be there when it begins.

sitting at your desk, you stare down at the blank parchment, the quill hovering in your hand. you haven’t spoken to jay since he walked away that night, but you can’t bear to leave for paris without reaching out, without giving him one last chance to understand how much he means to you.

the words come slowly at first, but then they start to pour out, your emotions and thoughts spilling onto the page.

dear jay, it feels strange writing to you after all this time—after all the moments we shared that now seem so far away. i’ve been thinking about what you said that night, about how we come from different worlds, about the future you think i deserve. but you need to know that none of it matters to me if you’re not a part of it. i’ve wanted this trip to paris for as long as i can remember, to learn from the best, to immerse myself in art and culture. it’s something i’ve dreamed about for years. and yet, now, as the day of my departure gets closer, all i can think about is you. i don’t want to go to paris and leave you behind, wondering what could have been. you’re as much a part of my passion for art as any paintbrush or canvas. you’ve shown me new ways to see the world, to express myself, and i’ll always be grateful for that. but more than that, you’ve become someone i can’t imagine my life without. i know you think i’m giving up too much, that i’m risking my future. but my future isn’t just about royal duties or titles. it’s about choosing the life i want—and i choose you, jay. i wish you could see that. paris is calling, but so are you. i can only hope that when you think of me, it’s with the same longing that fills every moment of my days without you. i hope that when you think of our time together, you’ll realise that this isn’t about status or sacrifice—it’s about love. i’ll be leaving soon after my birthday, but before i go, i need to know: will you come with me? or will i have to leave you behind? with love, [your name]

after sealing the letter, your heart is heavy with both hope and fear. you send it to jay, knowing that the next move is his. each day that passes without a response stretches the wait longer, the ache of uncertainty growing.

you try to stay busy with preparations for your trip, packing supplies and finishing your artwork. your parents notice the change in you—the excitement for paris dimmed by something you can’t quite bring yourself to share with them yet. they ask if you’re nervous, if you’re ready for the adventure, and you smile, telling them what they want to hear. but deep down, all you want is to hear from jay.

paris is just around the corner, but so is the decision you’re waiting for—the choice that could change everything.

the ballroom is a swirl of colour and laughter, filled with nobles, artists, and well-wishers all gathered to celebrate your birthday. the chandeliers above glitter like stars, casting a golden glow over the elegant space, and the music weaves through the conversations like a living thing, light and joyous. your parents spared no expense for this occasion, not only to mark your birthday but also to celebrate the upcoming adventure to paris.

it’s your birthday ball, but your mind is elsewhere, your heart tugged toward a memory that refuses to leave. you stand in front of your painting, the centrepiece of the night, hanging proudly on display for all to see. nobles and artists alike gather around it, marvelling at the vivid colours and delicate brushstrokes. you nod and smile politely as they offer praise, but inside, your thoughts are distant, wandering to a day not long ago when everything felt simpler.

the painting is of the marketplace—a bustling, lively scene full of energy and warmth. it’s the day you and jay had gone shopping together for art supplies, the day you let yourselves be ordinary, blending in with the crowds. the colours are bright and rich, capturing the vibrant chaos of the market: vendors calling out, the smell of freshly baked bread, the sound of coins clinking and people bartering for goods. in the corner of the canvas, nestled in the shadows of an alley, is a small, quiet space. it’s where you and jay had shared a moment away from the crowd, a stolen minute of peace amidst the noise, where the world had seemed to slow just for the two of you.

every brushstroke is infused with that memory—the warmth of the sun on your skin, the soft brush of his hand as he reached for yours, the unspoken connection that had blossomed between you in that hidden corner of the market. it was a day that felt like freedom, a glimpse of something more, something forbidden but undeniably real.

“your highness, it’s simply breathtaking,” someone says beside you, pulling you momentarily back to the present. a noblewoman in an exquisite gown stands at your side, her eyes wide with admiration as she gazes at the painting. “the light, the detail… it feels as though i’m standing there in the market myself.”

you nod and smile, offering a polite thank you, but her words barely register. all you can think about is him.

the weight of his absence has been heavy, pulling at your heart with every passing day, each one more difficult than the last. and now, on the night of your birthday, as you prepare to embark on a new chapter, all you can think about is the chapter you left unfinished.

you glance at the painting again, tracing the familiar lines of the marketplace, the hidden alley. that was the moment you knew there was something between you and jay, something more than just student and teacher, more than just friendship. it was the moment you allowed yourself to hope. but now, standing here alone, you wonder if that hope was misplaced.

and then, through the hum of voices and the soft strains of music, you hear it—a voice that sends a jolt through your entire body.

“you captured it perfectly.”

the sound of his voice makes the air around you seem to freeze. your heart skips a beat, your breath catching in your throat. slowly, you turn toward the source, and there he is—jay, standing just a few steps away, his eyes locked on the painting, his expression a mixture of awe and something deeper, something raw.

for a moment, you’re not sure if you’re dreaming. after weeks of waiting, of wondering, here he is, standing before you, his presence filling the space that had felt so empty without him. he looks different tonight—still himself, but dressed in a way that blends with the formality of the event. yet, there’s something in his posture, in the way his dark eyes flicker between you and the painting, that betrays the turmoil he’s been carrying.

“jay,” you whisper, your voice barely audible. but he hears you, as he always does.

he takes a step closer, his gaze shifting to meet yours, and for a moment, the world around you disappears. the ballroom, the guests, the music—it all fades into the background, leaving only the two of you in this fragile, suspended moment.

his eyes soften as they take you in, and there’s a vulnerability in his expression that you hadn’t seen before, something that makes your heart ache even more. “you remembered,” he says quietly, gesturing toward the painting. “the marketplace. that day.”

you nod, your throat tightening. “how could i forget? it was…” you pause, searching for the right words, but nothing seems adequate. “it was perfect.”

jay’s gaze lingers on the painting, as though seeing the memory play out all over again. his lips part, but no words come. instead, he takes another step toward you, his presence so close now that you can feel the pull between you—the unspoken tension that had simmered just beneath the surface for so long.

“i’ve been thinking about that day,” he says, his voice low and rough. “about us.”

your heart hammers in your chest. “and?”

his eyes flicker with a mix of emotions—regret, longing, and something you can’t quite place. “i thought i could stay away. that it would be easier, safer, for both of us. but i couldn’t.” his voice wavers, just slightly, and the vulnerability in it makes your pulse race. “not tonight.”

you swallow, your chest tight with the weight of everything left unsaid. the distance between you feels unbearably small, but also impossibly vast. he’s here. after all this time, he’s finally here. but the question still lingers, heavy in the air between you: what happens now?

just as you open your mouth to speak, to ask the questions that have been burning inside you for weeks, jay steps closer, his eyes locked on yours. the noise of the ballroom fades even further into the background, until all that’s left is him. and in that moment, with his gaze so full of emotion, you know that nothing has been forgotten. every stolen glance, every brush of hands, every whispered word—it’s all still there, between you, as real and undeniable as ever.

the night may be full of celebrations, but the only thing that matters is this: jay is here, and nothing will ever be the same again.

the grand ballroom continues to pulse with life around you, but the world feels quiet in the cocoon of jay’s presence. you haven’t even fully processed the fact that he’s here, standing in front of you after weeks of silence. his eyes—deep and full of an emotion you’ve longed to see—are fixed on you, as though he’s drinking in the sight of you, afraid to blink in case you disappear.

the weight of his absence, the unanswered letter, the uncertainty—it all rushes to the surface, but you force yourself to stay grounded in the moment. you open your mouth to speak, to ask the questions burning in your chest, but before you can, jay takes a step closer.

“you never stopped painting,” he says quietly, nodding toward the marketplace painting, his voice filled with a mix of awe and relief. “you’ve grown even more since i left.”

his words are a gentle balm to the ache in your heart, but they only skim the surface of what you truly want to know. you swallow hard, the emotions too thick in your throat to speak.

your breath hitches. “why didn’t you respond to my letter, jay?”

there’s a beat of silence before he looks away, the rawness of his feelings flickering across his face. “because i didn’t know if i was strong enough to walk away again,” he admits. “and i wasn’t sure if i could give you the life you deserve.”

“after everything we’ve been through, you still think i care about that?” you whisper, your voice trembling with the weight of all the unspoken words. “i just wanted you, jay. that’s all i’ve ever wanted.”

his jaw tightens, and he takes another step forward, closing the distance between you until his presence is overwhelming. “i couldn’t respond, because i knew that if i did, i wouldn’t be able to stop myself from coming back to you. and once i did, i’d never want to leave. but you… you have paris, you have a future.”

“and i want you to be part of that future,” you say, your voice stronger now. “i’ve had weeks to think about this, jay. i’m leaving soon, and i need to know where we stand before i go. please, just tell me how you feel.”

jay’s eyes flash with a storm of emotions—hesitation, fear, and something deeper, something that has been bubbling just beneath the surface. he reaches out slowly, his fingers brushing yours, the touch sending warmth rushing up your arm. “i’m terrified,” he admits in a voice so soft it makes your heart ache. “i’ve never felt like this about anyone before, and i don’t want to ruin it.”

“you won’t,” you say, stepping closer until your hands are fully entwined, your pulse quickening as his warmth floods your senses. “i don’t care about titles, status, or what anyone else thinks. you make me feel alive, jay. that’s all i need.”

his grip tightens on your hand, and for a moment, it seems like he’s grappling with the depth of what you’re offering. his breath comes in shallow, uneven bursts, as though he’s trying to hold himself together.

“i don’t want you to sacrifice everything for me,” he says, his voice thick with emotion. “you’re a princess, destined for greatness, for a life most people can only dream of. i’m just... a man who paints.”

you step even closer, until there’s barely any space between you. “and that’s enough for me. more than enough.”

for a split second, he looks at you as though he can’t believe you’re real. but then, before you can say anything more, he steps forward, pulling you into his arms in one swift motion. the warmth of his body against yours is overwhelming, but in the best way, and as his arms wrap around you, holding you tightly, you feel the tension that’s been building between you melt away.

“i’m so sorry,” he whispers, his breath warm against your ear as he holds you close. “for leaving. for making you wait.”

you close your eyes, leaning into him, your heart swelling with the relief of finally having him here. “you’re here now,” you murmur against his shoulder. “that’s all that matters.”

he pulls back just enough to look at you, his hands resting gently on your arms as his dark eyes meet yours. and in them, you see everything—the love he’s been holding back, the fear, the hope. “i love you,” he says, his voice thick with emotion. “i’ve loved you since the first day we met, and i’ve been fighting it ever since. but i don’t want to fight it anymore.”

your heart swells at his words, the weight of them settling deep in your chest. “i love you, too,” you whisper, feeling a rush of warmth spread through you as you say the words out loud for the first time. “i always have.”

the smile that spreads across jay’s face is like sunlight breaking through clouds, and before you know it, he’s lifting you off the ground, spinning you around in a burst of joy and laughter. the world around you spins with him, but you don’t care—because for the first time in what feels like forever, everything is right. everything is exactly how it’s supposed to be.

when he finally sets you back down, your feet touching the ground once more, his hands stay on your waist, grounding you in the moment. his eyes, full of love and warmth, search yours, and for a second, neither of you speak. you don’t need to. the silence is filled with everything you’ve both been waiting for.

“i want to be with you,” he says softly, brushing a strand of hair behind your ear. “but i don’t want you to lose yourself for me.”

you smile, shaking your head. “i’m not losing anything. i’m gaining everything i’ve ever wanted.”

jay’s hand finds yours, his thumb brushing over your knuckles as he looks at you, his gaze full of the future. “paris,” he says, a small smile tugging at the corner of his lips. “you’re still going?”

you nod, your heart racing at the thought of what’s to come. “i am. and i want you to come with me.”

he hesitates, just for a moment, as though the reality of what you’re asking is still sinking in. but then, his smile grows, and he nods, his grip on your hand tightening just slightly. “i’ll come with you. we’ll go together.”

your heart leaps at his words, the hope you’d been holding onto finally blossoming into something real. paris—together. it’s everything you’d dreamed of, everything you hadn’t dared to believe could happen. but now, standing here with jay, it’s all within reach.

“we’ll see the world,” he says, his voice soft but filled with excitement. “we’ll paint, we’ll live, we’ll—”

“we’ll be happy,” you finish for him, your smile widening as you lean into his touch.

he nods, his forehead resting gently against yours. “yes. we’ll be happy.”

and in that moment, as the ballroom buzzes with life around you, as the painting of your shared memory hangs on the wall behind you, you know it’s true. you and jay—together, free, and full of love. the world is yours, waiting to be explored. and with him by your side, you know that this is only the beginning.

as you stand there, wrapped in each other’s arms, the future stretches out before you like a blank canvas, waiting for you to fill it with all the colours of your love, your passion, and the adventures you’ll share. together, you’ll paint a life full of beauty, one brushstroke at a time.

and as the night fades and the dawn of a new chapter begins, you know—this is your happily ever after.

𝗰𝗼𝗽𝘆𝗿𝗶𝗴𝗵𝘁 ©𝗴𝘆𝘂𝘂𝗯𝗲𝗿𝗿𝘆𝘆 on Tumblr

˚ · .𝗮𝗹𝗹 𝗿𝗶𝗴𝗵𝘁𝘀 𝗿𝗲𝘀𝗲𝗿𝘃𝗲𝗱

taglist: @punchbug9-blog @firstclassjaylee @capri-cuntz @addictedtohobi @jaysfavoritegirl @yuniesluv @isa942572 @academiq @missychief1404 //the ones in bold could not be tagged for some reason. im so sorry guys tumblr is acting up :(

[linkspooky]

SUKUNA, YOU ARE ME

Now that we're in the last few chapters of Jujutsu Kaisen it's time to do a deep dive into Yuji and Sukuna's relationship. Is what Yuji showing Sukuna here truly empathy? Does Sukuna's death and Yuji's attempt to reach out mean Sukuna was human all along? We'll discuss that, the parallels between this and Mahito, and what Sukuna's exit means for both himself and Yuji as characters underneath the cut.

I AM YOU

While this post is about the connection between Yuji and Sukuna, I'm going to say the majority of this post will be about Yuji. I stated this in a previous post, I don't believe Yuji's showing Sukuna empathy here. While his offer to let Sukuna live inside of him may be genuine, it doesn't come from a place of genuine understanding. Sukuna himself isn't written as a character to be understood or empathized with.

Look at the words Yuji said. "You are me." He's not saying he's like Sukuna, he's saying Sukuna is like him. He is projecting himself onto Sukuna. Everyone in the story does, even Kashimo and Gojo who both considers themselves the strongest of their time and who naturally should have been able to understand the isolation of being someone as incomprehensibly strong as Sukuna were just projecting their own personal experiences on them in the end.

Of course we could dig a little deeper on the topic.

How much can one person truly understand another? It doesn't have to be a curser, or a borderline incomprehensible deity like Sukuna. How much do you understand your own best friend?

Gojo mentions that he felt loved by everyone, but also that he was so beyond their understanding that they may as well have been plants in comparison to him.

Of course, Shoko herself says that Shoko was always right there next to Gojo trying to offer him support and Gojo just chose to keep her at an arm's length. Gojo also believed that only someone as equally as powerful as him like Sukuna could understand him. Only to find that Sukuna didn't care about Gojo's feelings of isolation at all, nor was he troubled by love in the least.

Gojo makes himself out to be someone so superior to other human beings that he's beyond their comprehension, but that's Sukuna. Gojo did feel understood once, by Geto in his youth. The thing was that Gojo assumed that Geto could understand him because they were both euqal in power level. However, years after the fact when Gojo has long surpassed Geto, their friendship remains exactly the same.

The one that Gojo pictures patting him on the back is adult Geto, not teenage Geto. The one who Gojo truly would have been satisfied by in the end was Geto, not Sukuna.

So maybe what makes Sukuna so impossible to understand by others is that same reason why Shoko can't be close to Geto. Sukuna can't be understood by others because he doesn't care to be understood by them.

Perhaps, understanding isn't the end all be all of human connection. Gojo accepted Geto, and he didn't accept Shoko. Maybe Shoko would have been able to understand Gojo if Gojo ever tried to be emotionally open with her the ever way he was with Geto then he might have felt understood.

Then there's Ryomen Sukuna who rejects love and every notion of humanity along with it.

Therefore empathy means nothing to Sukuna. Yuji's empathy in particular. No, Yuji's attempt to save Sukuna is more about himself than Sukuna. It's a reflection of a change of Yuji's state of mind that he's willing to accept living with a curse like Sukuna. That he'd even try to understand Sukuna. Curses that Yuji previously dismissed as not even being worth understanding.

The first time Yuji said these words was when Yuji tried to make an offer to Sukuna to let him take control of his body in order to heal Junpei, in order to be laughed at by Sukuna. It was the last time Yuji ever asked anything of Sukuna.

Remember, in the very beginning of the manga Sukuna seemed like a standard inner demon character like the nine tails, or hollow ichigo. Yuji even thinks he can use Sukuna to switch out to help fight for him like against the special grade cursed spirit. However, we and the audience quickly learns that not only is Sukuna not just some evil half of Yuji, or a convenient power up, he's an actively malevolent entity with a will that will do anything to escape.

When Yuji realizes that Mahito and Sukuna are both curses, he starts to see Sukuna as an enemy trapped within him. Something he's reminded of again and again, especially after the Shibuya Massacre. From that moment Sukuna and Mahito become like villainous foils to Yuji, the dark to his light, the enemy for him to kill.

Yuji defines Mahito and Sukuna as his opposites and his enemies By killing them, he also gives himself a role. It's Sukuna and Mahito's actions in taunting is the first time Yuji uses the language "kill" when dealing with curses.

Mahito compared himself to Yuji and by saying as a curse he mindlessly kills humans. The same way that Yuji as a sorcerer, mindlessly kills curses. They are on the opposite side of the same cycle with no end in sight.

Yuji decides to embrace this violent cycle because it at least gives him a role to play. If curses are the shadow of humanity, if they're a reflection of humanity then what exactly is you saying here?

Yuji says he is Mahito, and then immediately that he's going to kill Mahito. It's not a statement of self acceptance, or accepting your shadow, but rather a statement of self destruction. Even though Mahito is a chaotic evil curse who enjoys killing humans, Yuji's decision to throw away his humanity just for the sake of killing him isn't a healthy way.

When Mahito said "You are me" he was attempting to drag Yuji down to his level. Yuji then willfully descends to Mahito's level as long as it gives him the strength to kill Mahito. It's character regression on his part. Yuji once said he didn't want to kill because then the value of life might become vague to him.

In a way it did, because Yuji began to devalue his own life. Yuji wasn't able to see any meaning in his life besides a "role' that someone else assigned him. Not only was he willing to throw it away at the drop of a hat, but he also didn't feel like he had permission to live.

Unlike Yuta who actively sought affirmation from others, Yuji rejected that affirmation and tried to push everyone including people like Megumi and Choso away. They were right next to him, but Yuji became unable to accept their love and support.

Yuji is a strange paradox because he presents himself as an all-loving hero who just wants to save as many people as possible, but then you read his dialogue and he's like "I'm just a cog in the machine, I will continue to kill curses until one day I die. Then I'll just be replaced by another cog. There's no meaning at all to this sequence. Life is an endless nightmare."

I'm exaggerating, but underneath Yuji's sweet nature and goofing around, there's this very bleak attitude that his life means nothing except for the labor that he produces, and one day he'll be tossed aside and that's fine because it's what he deserves.

If Yuta seeks self-affirmation, then Yuji is seeking self-destruction. His self-loathing leads him to practically lay his head down on the chopping block and offer his neck up for execution by Higuruma's domain during the fight with Higuruma, even when Higuruma himself points out that Yuji isn't the one at fault because he wans't in control of his own body. Yuji will still take the blame, anything to punish himself further.

So, the words Yuji uses in his triumph against Mahito also signify the destruction of his own ego. That is what Yuji does when he adapts his cog mentality, he denies his own sense of self.

What Yuji experiences is basically a prolonged ego-death.

Ego death is a "complete loss of subjective self-identity".[1] The term is used in various intertwined contexts, with related meanings. The 19th-century philosopher and psychologist William James uses the synonymous term "self-surrender" and Jungian psychology uses the synonymous term psychic death, referring to a fundamental transformation of the psyche.

I brung up Ego-Death in the Jungian context, but in Yuji's case, resigning himself to being a cog is also an act of self-surrender. Yuji basically moves away from all of his previous ideals. He only sees himself as a tool to kill curses. Saving others, or helping guide others to a natural death, those things get put on the back burner as a tool doesn't need ideals.

He's abandoned all kinds of idealism and higher reasoning. In fact that is what Mahito wanted him to do, to abandon the higher reasoning that belongs to human beings and act on instinct like a curse. Mahito successfully pushed Yuji to abandon human reason and become an unthinking cog.

Jung defines the Ego-Death as the stripping away of everything else to revert to your natural self. According to Ventegodt and Merrick, the Jungian term "psychic death" is a synonym for "ego death":

In order to radically improve global quality of life, it seems necessary to have a fundamental transformation of the psyche. Such a shift in personality has been labeled an "ego death" in Buddhism or a psychic death by Jung, because it implies a shift back to the existential position of the natural self, i.e., living the true purpose of life. 

Megumi also experiences an ego-death over the course of the manga that mirrors Yuji's own when Sukuna takes over his body, soaks his soul to bring Megumi near evil, and then kills Tsumiki. At this point both Yuji and Megumi both lose what were their reasons for fighting. The so-called "dignity obtained by human reason" is lost. After having those reasons stripped away from them and experiencing their ego-deaths both of them surrender control. Megumi becomes helpless and stops trying to fight Sukuna. While Yuji may not seem like he's given up on anything since he keeps trucking along, he too has given up on thinking for himself. Yuji has essentially given up as much as Megumi has, there's just less plot consequences for it.

Either way they are both brought to their lowest point by ego-death, in order to bring them to their lowest point, and make them experience a rebirth of sorts.

The persona in Jung is the face you show the outside world. it's one part of personality, with the other being the shadow. The shadow is the repressed part of peresonality. Just like curses are made up of repressed human emotions that leak out from our collective subconscious. Curses serve as the shadow of humanity collectively, especially Mahito who is made up of everything humans hate and fear about other humans. The physical embodiment of human cruelty.

However, a person can't live without their shadow. There's no such thing as a human without flaws after all, and you don't become a better person just by ignoring your own flaws. The kinds of people who are unaware of their own flaws tend to unconsciously repeat the same mistakes again and again and again.

Yuji despises curses as inhuman monsters that he can slaughter like they're enemies in a video game, but they're like... made of human vices. They are the product of humanity's emotions. Yuji's habit of only looking at the good makes him unaware of both his own shadow, his own shortcomings, and also the darker shades of grey in the world around him.

Megumi and Yuji both are characters who, need to be dragged down to the darkest point of the shadow and forced to confront their own flaws in order to learn about themselves. It's not a coincidence thaT Yuji who puts humanity on such a pedestal is a human and curse hybrid. That his older brother who's shown to be a source of overflowing unconditional love is also a human / curse hybrid, and who Yuji nearly killed because he blindly, obediently decided to kill curses. That Yuji killed two of his other curse / human hybrid brothers in spite of noticing they were different from other curses and had a family bond with each other.

It's not a coincidence that Yuji who puts humanity on such a pedestal devoured the corpses of all of his other brothers the same way that Sukuna ate his own twin in the womb to gain the power to defeat Sukuna.

Yuiji lacks a lot of self-awareness. That's why I've always said he doesn't quite live up to the "all-loving hero" he sees himself as. Savior is just a role that Yuji has adopted in order to give himself a purpose in life, but he falls short of that. The reason that he falls short is ironically that Yuji tries so hard to be superhuman, that he can't forgive himself for having basic human flaws.

It's why "Being a child is not a sin" is such a meaningful line coming from Nanami. In Yuji's eyes being a child is a sin. He constantly blames himself for not being able to hold the weight of the world on his shoulders, for not being able to save everyone by himself even though he's only been a jujutsu sorcerer for a few months.

It's why Yuji gets excited for a moment when Kusakabe mentions that Yuji is developing very fast by sorcerer standards, because he wants to be someone monstrously talented like Higuruma or Gojo - and why he immediately looks so disappointed when Kusakabe says it's not because Yuji is talented it's just because of Sukuna.

Yuji feels an overwhelming amount of responsibility and wants to be a special person who is strong enough to actually carry all that responsibility on his shoulders. That's why I say Yuji isn't a true all-loving hero, because it's more about Yuji's own feelings than the act of saving others. His guilt complex over Sukuna.

His desires to be someone special and meaningful. Yuji wants to be a good person who saves others because it gives YUJI and purpose and it gives YUJI a sense of fulfillment. If you've read Tokyo Ghoul it's like Kaneki's reason for participating in the Anteiku Raid. Not because he genuinely wanted to save others, but because he "was tired of not being able to do a thing."

(I'm keeping the meme panel because it's funny)-

Yuji wants to be strong and wants to be a savior because Yuji feels insecure in himself and loathes himself for his own weakness. However, this pushes Yuji farther away from his goal of saving others and making connections with other people so he can die surrounded by people BECAUSE people empathize with each other over their weaknesses.

Yuji wants to become someone strong and unbreakable who will never falter, never feel pain, and most of all never lose. He basically wants to become Satoru Gojo, but if Yuji were to ever rise to Gojo's level like that just by getting rid of all of his weaknesses he'd fundamentally lose his ability to connect with people the way Gojo and Sukuna have.

Yuji defines himself in strength, and suffering, and always overcoming, but then what is his heart for? He strives to become someone stronger than Gojo or Sukuna to protect his friends, but if he loses his heart that loves and cherishes those friends in the process then what even is the point?

Yuji walks a dangerous road from the culling games up until the Shinjuku incident, into nearly becoming like Mahito or Sukuna in his attempts to be stronger than them. I don't think he was ever in danger of going on a murder spree, but I do think he was risking becoming someone like Gojo.

Gojo made himself a tool for Jujutsu Society for the greater good and look what happened to him in the end. Not only did he die in the line of duty, his corpse was turned into a puppet to use as a weapon against the enemy. He made himself into a monster even when people like Yuta were begging Gojo not to. Yuji was on a similiar path of cutting off all the people who loved him and just becoming a person exploited in both life and death for the greater good.

So what stopped him?

Megumi.

YOU ARE ME.

A few people said that Yuji's abandoning the cog mentality suddenly happened too fast, or felt unearned but I think if you look at the culling games arc from higiruma's fight onwards as a whole it's actually a natural progression.

It all starts with Higuruma and Yuji's conversation:

Higuruma: "You're innocent. You didn't commit that crime." Yuji: "Even so, it's my fault." Higuruma: "Why?" Yuji: "...I see. Itaodri, there still may be a lot of people who are weak like you."

Yuji is someone who loevs humans, but puts humanity as a whole on a pedestal. He loves humanity but hates human weakness, especially his own weakness. Ironic because Higuruma is also someone who became jaded by having to work in the corrupt justice system and was forced to look at human ugliness day after day after day even though he wanted to be someone who valued people for their weaknesses.

Yuji doesn't learn to empathize with human weakness until Megumi's weaknesses are the one he's forced to confront. He doesn't abandon his notion of roles until he's robbed of his roles by Sukuna when Megumi becomes the possessed one instead of him.

Yuji is fine with being a sacrifice for the greater good, but he is not fine with sacrificing Megumi. By knowing exactly what Megumi is going through and wanting to save Megumi from Sukuna's possession, Yuji is in an odd way forced to empathize with himself. Like, it's a double standard on his part that's being challenged. Yuji blames himself for all the people he hurt as Sukuna, but he'd never blame Megumi for letting Sukuna kill tsumuki while possessing his body.

In his refusal to sacrifice Megumi for the greater good, even when Megumi is begging him to do so he rejects the common Ethos that sorcerer's are expendable cogs who are expected to sacrifice themselves and their comrades in the eternal fight against curses for the sake of public safety.

Yuji carries with him this grandiose notion of saving as many people as possible. However, when the option comes to make a sacrifice that would save hundreds of thousands of people from the merger by fighting to kill Megumi instead of save him from Sukuna's clutches Yuji can't do it. Even though Megumi at that point would be a completely willing sacrifice.

Yuji has to abandon his cog mentality to save Megumi, because an unthinking cog wouldn't put Megumi's life over the lives of everyone in Shibuya. A cog, especially a sorcerer would kill that one kid in order to save thousands of lives. Heck, Kusakabe more conservative sorcerer even brings up that argument that everything would have been avoided if Yuji was executed to begin with.

In order to save Megumi, Yuji must also reclaim his own humanity. There's a reason that Nanami, and Nobara, die right before Yuji adopts his cog mentality. Nanami, the most ethical of the first grade sorcerers who tried to teach Yuji to value his own life because he was a child, and Nobara the only kid in the main trio who was a normal person are both representatives of Yuji's humanity.

After losing both Yuji becomes reckless, he stops valuing his own life. As I said far, far bove, Yuji never listened to the advice Nanami gave him that it wasn't a sin to be a child. Yuji has this entire time thought it was a sin just to be weak, just to need the help of other people, just to not be able to accomplish everything on his own.

After Yuji starts reconciling with his own humanity though, he regains his connections to both Nanami and Nobara. Nanami comes back symbolically in the form of Higuruma, someone Yuji tries to encourage to live instead of taking the same suicidal path that Yuji was bent on. Whereas, Nobara herself actually comes back from the dead in time to land the final blow, the same way she reminded Yuji of her presence and that she wasn't alone in the Mahito fight.

Yuji also regains these connections when he's processed the grief for both people. He remembers Nanami and what Nanami left him in a more positive light. In my interpretation the line "I am a sorcerer" refers to Yuji developing a more healthy version of being a sorcerer. That instead of Yuji seeing sorcerers as slaves who have to sacrifice themselves for the greater good like Geto did, Yuji can see the camraderie between sorcerers who fight and put their lives on the line together.

Either way, I think the moment Yuji truly reconciled with the grief of death is sadly enough with Choso's death. If you want proof that Yuji's revelation wasn't rushed, that he didn't skip from point a to point b, then it's right here.

Choso apologizes to Yuji for leaving him ahead of time, and Yuji tells him not to, because Choso was always by his side when he was at his lowest point and that brief time they had together was enough for him.

Yuji's relationships so far have been defined by his fear of losing people. He wants to have a natural death, he wants the other people around him to have good deaths, he doesn't want people to die too early. By focusing on the fear of losing people, he hasn't yet been able to enjoy the time that they were around. However, in this moment he realizes how much Choso meant to him, even if their relationship was brief, and even if it came to an end. Yuji learned you can still love someone even if you inevitably lose them.

This is when Yuji finally accepts mortality and fragility as a part of life.

This is also what Sukuna can't accept. That life is fragile. That life is weak. That life comes to an end. Sukuna's entire goal is to maximize pleasure and live as long as possible, and therefore he's rejected all of the unpleasant parts of reality. Sukuna doesn't want to live in the real world like a human being, he wants to exist only in the world of Jujutsu where he's a god.

This is what Yuji represents to Sukuna, The human vulnerability, and mundanity that he threw away, by literally cannabilizing his own twin and throwing away part of his soul. The part of his soul that Sukuna threw away was taken by Kenjaku, and used as a science experiment to create Yuji. Technically, Sukuna is Yuji's uncle but symbolically Yuji is the twin that Sukuna cast aside. Especially since in this world cursed energy treats identical twins like they are the same person.

Yuji for the longest time tried to do what Sukuna did. Tried to throw his own humanity away so he could be as strong as Sukuna. He literally even ate the corpses of his own brothers.

Yuji and Sukuna are symbolically twins, but Yuji learns to embrace the things that Sukuna threw away. Sukuna threw away his own soul's twin in order to grow strong. He became all powerful in the jujutsu world because he ate his twin and gained an extra pair of arms and a mouth. He's like if Maki chose to kill Mai instead of Mai sacrificing herself for Maki's sake.

Yuji chose companionship with others over power. Sukuna doesn't need others people to satisfy him, and Yuji begs Megumi to come back from the dead because his life would be lonely without him. Yuji doesn't have some noble reason for going this far for Megumi's sake. He's not saving Megumi for the greater good, but because his connection to Megumi is important to him. Because he doesn't want to go through life without Megumi.

Yuji loathes weakness like Sukuna. Yuji desires to be someone special like Sukuna. Yuji has a grandiose sense of self importance like Sukuna. Yuji desires power like Sukuna. Yuji looks down on weak people like Sukuna does, he just condescendingly wants to save them instead of Sukuna who just wants to stomp on them like ants.

Yuji is also literally Sukuna. He was created by an offshoot of his soul. The same way that Sukuna was born with a body perfect for Jujutsu, Yuji was born stronger than anyone his age, and develops at an extreme rate as a sorcerer BECAUSE he was Kenjaku's science project to make the perfect vessel for Sukuna.

They are totally twinsies in so many ways, the only difference in the end is that Yuji learns to value human connection. In Sukuna's book there is no meaning to life, except for the pleasures he pursues as an individual. Therefore Sukuna is the only real person that matters or even exists. The narrator says as much he alone is the honored one, all that exists is his pleasures and displeasures.

In Buberian terms Sukuna only experiences existence and I and It relationships.

Buber's main proposition is that we may address existence in two ways:

The attitude of the "I" towards an "It", towards an object that is separate in itself, which we either use or experience.

The attitude of the "I" towards "Thou", in a relationship in which the other is not separated by discrete bounds.

Sukuna is the "i" and everyone else is an "it." Sukuna is the only real person who exists, and everyone else is just an object for their amusement.

Whereas, Yuji experiences "I" and "Thou" relationships. Yuji learns to see other people as different from himself. Yuji appreciates people as separate entities. While Sukuna gets amusement from his life by treating other people like toys, for Yuji the value in his life comes from the people who have entered into his life in some form. He appreciates the relationships he's formed with people and the memories they've left behind, no matter how brief the time they spent together was.

This is why Yuji's words reach Megumi, because he respects that Megumi feels differently than he does. He doesn't tell Megumi to just suck it up and keep fighting because that's what Yuji would do. He understands that he's a different person than Megumi, and he can't say he understands the grief and pain Megumi is going through right now.

That's Yuji's big revelation, in just a few short months as a sorcerer he's met so many people who left an impact on him. Some of those relationships came to an end early, but that painful ending doesn't negate what they meant to him.

The few months he spent with Choso have value even if it's not the same as the one hudnred and fifty years Choso spent with the rest of his brothers, because Choso supported Yuji when he was at his lowest point. Yuji finally sees that what gave his life meaning was the memories he made with other people while they were alive together. Not the way that they died.

So Yuji is finally willing to let himself exist outside of a role.

That's what he's offering to Sukuna as well. Maybe not empathy or understanding, because if Yuji had truly learned empathy maybe Sukuna might have accepted his offer. No, Yuji is simply willing to offer Sukuna the chance to live alongside him.

Sukuna rejects bonds of all kinds and Yuji is now embracing them. Yuji no longer seeks to annihilate curses because they're a fundamental part of life. Yuji wants to live on with his curses and burdens. He's also willing to give Sukuna a chance to keep living too.

Even Yuji points out that both of them are totally twinsies. Sukuna was born as a curse because he devoured his twin brother in the womb. Yuji was born as a curse because he was created to be Sukuna's vessel. The only way that Yuji is the way that he is is because he was raised as a normal child by his grandfather. If Yuji hadn't then he would have turned out entirely different. It's the same way that Choso became human because of his love for his brothers, even though he was born as a curse human hybrid and tossed aside by Kenjaku as a failed experience.

Yuji acknowledges both his capacity to have turned out like Sukuna if not for his grandfather's sake. This time when he says You are me, he's not saying it to threaten and destroy the person he sees as his shadow. This time Yuji is trying to reconcile with his shadow. He's looking at the person who represents the absolute worst of humanity, and the things he hates about himself and is still willing to give them the chance to keep on living together with him.

When Yuji says "I am you, so I'll kill you" to Mahito, that signals his first step on the road to self destruction.

When Yuji says, "I am you, so I'll save you" to Sukuna, that signals his first step on the road to self-acceptance.

It's Yuji allowing himself for the first time to just exist as a normal person not as the hero of some epic story. He even gave Sukuna that chance too, to just continue living alongisde him, but sukuna rejected it to keep on living as a curse until the end.

So, while Yuji saying "You are me" to Sukuna isn't true empathy, it is Yuji learning to accept himself and his flaws. . Because if Yuji is willing to forgive someone like Sukuna, then perhaps he might just learn to forgive himself.

[rafaelsilvasource]

Husbands (we love typing that as much as you love reading it) T.K. (Ronen Rubinstein) and Carlos (Rafael L. Silva) are coming into the fifth and final season of 9-1-1: Lone Star (premiering Monday, September 23 on Fox) already dealing with the unsolved murder of the latter’s father. But there’s more drama to come.

Carlos’ obsession with that investigation is going to put their marriage to the test. T.K.’s half-brother, Jonah, is coming to Austin (which is sure to affect Rob Lowe‘s Owen as well). Below, co-showrunner Rashad Raisani previews that and more that’s ahead for the fan-favorite couple.

Carlos is investigating his father’s death. What can you preview about that investigation? That’s also going to involve Campbell (Parker Young), right?

The way we’ve been talking about Campbell and Carlos is that they’re like two brothers, the big brother and the little brother. Carlos comes along, and in Campbell’s mind, he got kind of a free pass because of who his dad, Gabriel Reyes, was, the legend, and to go to the front of the line and become a Texas Ranger. The first episode is about these two brothers both fighting for daddy’s love and daddy being Chief Bridges, their boss. But what’s gonna happen is they learn to respect each other and they’re gonna discover that they’re so much better when they work as a team and they really complement each other brilliantly, not just as investigators, but as characters and frankly to me, as actors. I think just they have a wonderful dynamic that only gets richer as the season goes forward.

Carlos’s father’s murder is a thing that Carlos is not giving that up. It is the central driving force in Carlos’ life. And there’s no way we’re going to end the series without giving that poor guy some answers. So there will be some answers at the end of the day on that.

The season description says that T.K. and Carlos’ marriage is put to the test because Carlos becomes obsessed with solving his father’s murder. What can you tease about how we see that play out and how tough things are gonna get in the middle of that for them? I do have faith that they’re gonna be okay by the end.

A big part for me about their marriage was I really wanted to treat it like a real marriage, and by that, I mean that even though these guys are so wonderful to each other and they’re so handsome, life isn’t perfect no matter who you are and everybody has real struggles that affect even great relationships. And the true strength of a relationship isn’t the absence of challenges and problems, it’s how you grapple with them and encounter them and if they make your relationship stronger or weaker.

And so for Carlos, this burden of his dad’s murder is going to sit there and take up a lot of oxygen in the room and T.K., who is an incredibly supportive husband, is gonna try and be patient and graceful and allow Carlos to have that space. But at a certain point, he’s got to advocate for them to have a future together, and that’s part of what you were talking about with Jonah. I like to think that little boy, in some ways, represents the future of their relationship and Gabriel’s murder represents the past of their relationship, and there’s gonna be a tension between those two things and that’s gonna be their central dynamic this year, is that one person is struggling to get answers in the past and the other person is struggling to move on and build a future, which I think is a very relatable human experience.

All of this makes me think about kids, and that has been a bit of an issue for them in the past. How does that come into play?

I think that’s another pressure point because Carlos was very upfront with T.K. about, “Hey, I’m not ready to have kids and I don’t know if I ever will be,” and then now that his dad’s been murdered, in his headspace, that’s the last thing that he’s got the bandwidth or the emotional energy to deal with. But like I said, T.K. is feeling like life is happening right now, like we don’t get moments back, and especially as a first responder, they see that you can’t take anything for granted. And circumstances are going to align that are going to [lead to] a situation where T.K. is like, I know that you were uncomfortable with taking this next step as a father, but I feel like it’s something powerful that I need to do, and to make that a crisis point for them as well.

I hope that the audience can see the argument from both of their points of view and just go, “S**t, I don’t know what to do. I don’t know what I would do either.” That’s what I hope because I feel like people have real problems that aren’t so simple as to say, well, he’s right, he’s wrong, whatever. We just wanted to put them through that.

[hochsleep]

Relationship with Daryl Dixon (headcanons)

This is my first experience writing headcanons, but I have a lot to say! And yes, I used a gif from Beth, but we don't support that pairing here, guys.....

Also, thanks to the author of the gif!

Pronouns: she/her (fem!reader) / (I'll do headcanons for Daryl's relationship for gender-neutral readers later on)

Pairing: Daryl Dixon/fem!reader (Y/N)

Warnings: no, not this time. Everything is decent (underage readers can read)

• Daryl Dixon is far from stupid. I mean, he can certainly tell the difference between romantic interest and friendly sympathy. He has Carol, his best friend, and he knows that he feels for her the kind of platonic friendly love he usually feels for a family member. But that's not the case with you. Sure, you've most likely known Daryl for a long time (assuming you joined Rick's group at any point from Atlanta to Prison, can pick at your discretion). So since you've known each other for a while, Daryl has had time to realize that his feelings for you are far from friendly. All the tenderness and care that he feels for you hardly compares to friendship. Daryl definitely didn't feel like kissing Carol's lips every time she came into his field of vision. That's the difference.

• But realizing your feelings is only halfway there. Daryl isn't the type to make the first move and declare his love. He's a very insecure person because of his past, so it would be hard for him to believe that someone like you would want someone like him. Daryl will just watch over you from the sidelines, he will make sure you are safe and will always be there to protect you. Even if it's just a harmless fall down the stairs when you were arranging jars of canned fruit on the top shelf in the Alexandria pantry. He will notice that the stepladder beneath you is wobbling dangerously and will be there to catch you and prevent you from bruising any part of your body. He will take great care of you.

• Daryl is probably the type of man who idolizes and admires the girl he's in love with. Both her character and inner world, as well as her looks. He would spend hours just looking at your unconditionally beautiful face. Every mole, every freckle, every wrinkle in the corner of your eyes when you smile. God, he could never get enough. Every part of you is perfect. Daryl's not sure he's ever seen a more beautiful woman. I mean, he probably had a soft spot for women he personally thought were pretty in the past, but it was never more than a glance in their direction. Just trying to say that Daryl isn't a pristine and innocent man who never thought about women. Over the many years of his maybe not the most prosperous life, Daryl has definitely had his fair share of beautiful women. But it had always been respectful. Mental admiration from the sidelines. Daryl never "barked" or "bit" like Merle. Daryl is much more respectful of women.

• That's why he likes to watch from the sidelines and think about you. A lot of thinking. Daryl is indeed a man of few words, but he has more than enough to think about. And when he falls in love, you become the center. Except when Daryl has to think about survival or when he and Rick are making a plan of action to save the group. But rest assured, all of Daryl's free time is spent thinking about you. He's very observant and remembers every little thing about you so he can think about it later. Do you like to read? Daryl will listen to you talk about your favorite books and find them during one of your outings, rest assured. Do you like wildflowers? Great, a bouquet of a hundred of them will be waiting for you on the doorstep of your Alexandria home when you come home after a hard day's work. Maybe you like a certain kind of clothing? Like something knit? Daryl will either find it during the outing or ask Carol to help with it when she's not busy. He won't say who it's for, but Carol certainly knows. And after you get those little gifts, Daryl will watch you smile widely because you know who left them under your door. And Daryl will think about your smile until he falls asleep at night. But he'll only dream about you, too.

• Somehow you were the first to admit your feelings because Daryl is actually cowardly about these things. A man can take on walkers or hostile people with his bare hands (like the Saviors), but he definitely can't just go and tell someone he really likes how he feels. No, you have to push him. And hints aren't enough, you have to say it outright. And then probably prove the sincerity of your words of love for the rest of your life, because Daryl Dixon is a very insecure man. He knows in his brain that you really do love him and will be faithful to him, but those childhood traumas are really getting in the way of his life. Be prepared for that.

• Your relationship with Daryl will gain momentum gradually. I don't think Daryl really likes all these formalities and labels like "girlfriend" and "boyfriend". You're just his and he's just yours. There's no need to complicate it all, the world of the zombie apocalypse is already very complicated. But if you care about dates and formalities, surely Daryl can learn to take it seriously. Not right away, but he will. Just give him time and he'll lay the whole world at your feet. And he'll start marking your anniversary with a marker on his calendar so that he definitely won't miss this important day for you (he won't admit it, but for him too). Daryl will be learning and you'll have to be a good mentor in this relationship for the first few years. It will be worth it, trust me.

• Daryl Dixon gets attached to people easily. He's like a big loyal dog. I mean, have you seen how loyal he is to Rick and Carol? He bites at first, doesn't want to let anyone in, but eventually he gives in and lets you take his heart and soul under his protection. Take care of that. My point is that this is the same way love works in Daryl's case. I'm pretty sure Daryl doesn't believe in the concept of love at first sight and stuff, he rather believes that love only comes about through the process of a relationship. So at first he thinks you are just a pretty woman. Then a friend. Then a good friend. And yes, he may feel sympathy, affection and probably crush at this time, but not love. No, he falls in love with you gradually. It's a slow process, but in Daryl's case it will be forever. He's definitely a one-woman man. And when he allows himself to really love you and not just be a little bit in love, when his heart completely belongs to you and he finally says "I love you" with all seriousness and responsibility, rest assured that this is love. This man will show you what true love is. Safe, sincere, and endlessly committed. Just give him time. Let him love you.

• The following headcanon (though I think it's unqualified canon) about Daryl's loyalty follows from this. You may try to be jealous of him or think he'll fall in love with someone else (it all depends on your confidence), but Daryl will prove time and time again that he's only loyal to you. This man is serious about his and your feelings and your relationship. Therefore, he will not give not a single reason for jealousy. But there could be quite a few women around (and men probably too) who might like Daryl. He doesn't care, he will never look at anyone else. Why would he do that when he has you? You're perfect for him and his heart doesn't belong to him anymore. So if Daryl notices your jealousy and insecurity, he'll spend all his time trying to prove to you that you're the one for him. He's deeply committed. To Rick, to Carol, to Maggie, to Alexandria. He's eternally devoted to you.

• The relationship with Daryl will be full of complexities, let's not turn a blind eye to that. He's a complicated man with a lot of trauma behind him. The situation is more acute if you're a complicated person, too. There's a lot to put up with. Probably a lot of fighting at the beginning of the relationship, especially if we're talking about Daryl from the first seasons of the show. But if you're both willing to work on that relationship, it will work well. Again, not right away, but it will. Daryl is sure that his love for you will be enough for both of you and certainly for solving all your problems in this relationship. He will try his best for you and you will try your best for him too.

• Physical intimacy is probably going to be difficult. Daryl's not a fan of close physical contact, especially with someone he can't call his family. You know, the boy had a shitty childhood. But he feels the need to feel the warmth of your skin on his skin. So he may unknowingly touch you before your relationship even begins. It could just be a "casual" hand collision when you both reached for the same item on the shelf. Or he may lightly touch your shoulder when he needs to get your attention and say something to you. You shouldn't pressure him with this and force a hug or anything like that. He will definitely come to it on his own when he's comfortable and he sees that you're okay with it. As your relationship progresses, he will open up to new types of physical contact more quickly. Sure he'll hug you a lot, try to hold your hand in his, but it's all in private. And of course kissing. I think Daryl actually likes kissing, but he's not very good at it for lack of much experience. Teach him how to kiss well if you have enough experience yourself. He'll be a good student. Especially when it comes to lessons involving his lips on yours. I'm pretty sure Daryl will become very clingy as your relationship progresses. When you're alone together, he won't be able to feel comfortable unless his arms are around you in one way or another. He physically needs to hold you, to bump his nose into your neck and hair to smell your scent, which he loves so much. And of course kissing. Gentle kisses or passionate French kisses, he loves it all.

• Daryl definitely doesn't like the display of attachment on the publick. He considers it yours and his alone. Something private that needs to be kept out of the public eye. Well, he's also pissed off by those ambiguous looks Carol and Rick give him after you call him "baby" or "cutie" in public. But Daryl is willing to hold your hands and will even let you kiss him on the cheek in public if he's in a good mood. He'll save the rest for the two of you alone in your sweet home in Alexandria.

• As for intimacy, everything is ambiguous here. I think for Daryl it is not at all a mandatory aspect of the relationship. If you are asexual, he will have absolutely no problem with this. You are more than enough. The opportunity to see you smile, hug you and make you happy is all he needs. Sex is not necessary and Daryl can definitely live without it if you are not interested in sexual relations. But if you are not against it, then he will be happy to please you. I mean, he does it every day just by existing and loving you, but if he can please you in a sexual sense, he will be happy to do so. But again, not right away. You both will go to this gradually. Trial and error. Only when he completely opens up to you and is not ashamed of his scars, knowing that you love them completely and completely because they are a part of him. But most importantly, when you yourself tell him that you are also ready, then you can act. Daryl has some experience. Merle ordered Daryl... a prostitute for his twenty-first birthday and Daryl had to do it. I think he was the one feeling like a prostitute, not the woman. And maybe he's slept with random women from a bar a couple of times after drinking too much. But it was never anything special and not out of great desire. With you, it's different. Sex with you is his way of showing you love in a new way. Either way, he knows how it works, but you still need to guide him. Show him how you like it and help him the first few times. Daryl is a quick learner, especially if you help him. So pretty soon he'll memorize all the right places and positions to make you feel good as hell, nothing less. Daryl will make sure that you feel good first.

• Your comfort is Daryl's absolute priority. Over the years, he will learn to compromise and give in when necessary. Daryl loves you unconditionally and is ready to be on his knees in front of you, this is what you have done to him with your love and tenderness. Daryl Dixon has become soft and fluffy around you. Just for you. Merle would call him a pansy and laugh, but Daryl doesn't care. Not anymore. You're all he cares about.

• You're his safe place. His home. His heart and soul belong to you, take care of it. And then Daryl Dixon will move mountains for you, you bet he will.

~ A cute little headcanon as a bonus: I honestly think the soundtrack of the relationship with Daryl, is the song: The Goo Goo Dolls - Iris.

[pepperf]

Genuinely can't decide if the writers intended the Five and Lila relationship to be toxic, or if that's just their idea of romance - just like Rochester, Heathcliff, Darcy, and that dude from Twilight, right???

Okay, let's have a readmore. Note tags, ppl, and curate your experience.

Lila has a relatively sensible approach to relationships, which is consistent, despite her somewhat Machiavellian approach to getting what she wants out of them - she put Diego in his place about having realistic expectations back in s3. She's pretty clear about who she is and where her lines are drawn, and is "weirdly self-actualised", according to Klaus. And Five - romantically inexperienced, thinks everyone should do what he says at all times - tries to impose his notion of How This Should Go onto her, from nearly the start of their brief romance, but leaning hard into it once it starts going sour - which also checks out: he was alone for 45 years and his previous relationship was all in his head, giving him full control, so that's what he's used to. But I couldn't tell if they genuinely intended to show it as him being incredibly selfish in prioritising his feelings over her wishes, or if they honestly thought it was romantic. I mean, the barbed wire-style bracelet is a little on the nose, and there's some symbolism that I'll get into in a sec. Truthfully, I'm not inclined to give them the benefit of the doubt - I think SB at least thought it was hot, judging by what he's said about identifying with Five, and about how he finally gets to have a romance. This seems to have been his pet project for the season, blergh.

It's that tedious old misogynist chestnut, that all women secretly want A Man to take control. It's frustrating, because they already established that Lila likes to be in charge, she wants to be free to make her own choices, she'd already had twenty-plus years of being told what to think and do. And yet she has to remind Five, who really ought to know her better by now, "You do not get to decide what I do with my life!" It's also very disconnected from reality. It's not actually fun or sexy to be gaslighted, to be lied to by some insecure asshole who thinks they know better about what's good for you, that they have a right to stick their nose into your personal relationships or keep you away from your kids. Not cool, Five, not cool. He's lucky she didn't kick him in the nuts on the way out. But another reason I think they didn't do this consciously is that Five doesn't seem to realise his assholery - there's no hint that he's regretting anything other than being dumped.

Lila was trapped for seven years in an intense, claustrophobic situation with Five - and if they'd continued to exist, she could have worked through the feelings that come out of that. Like Ritu said, of course there's going to be love there: they've spent seven years together, on the run. If nothing else, it would be a matter of survival - either you find a way to get along, or you kill each other. And they went in with a fair amount in common already (although being adopted by the Handler at age four is not at all the same as being recruited by her at age fifty-something). So I'm annoyed that Lila's whole arc this season is one of frustration about having to be the grown up in her relationship, taking a break to reassess, going off to do something a bit crazy and fun - and promptly getting stranded with someone considerably less emotionally competent.

Okay, I'm being somewhat harsh - Lila unexpectedly getting the timeout she wanted could've been a decent storyline, she could have some time to reflect, live the child-free life without consequences, and have some adventures (she actively enjoys danger!). And she and Five got to bond, that had lots of interesting potential, especially with their complicated history. But it tipped over from being a potential opportunity into an immensely over the top punishment for her impulsivity, and took them so far from where they'd started that there's a total emotional disconnect with the main story. Which is a fucking weird choice for one episode in such a short season, ngl.

And then, ugh, she's right back to dealing with the apocalypse, visibly thrown by a Diego who has unexpectedly thought about what she said and is trying to be a better husband, and dealing with a Five who has decided to get territorial. It's deeply uncomfortable, Five is gearing up to start trouble, so wrapped up in his own hurt feelings that he's functionally useless for the actual problem in front of them - leaving Lila to deal with the mess he creates, and then leverage said feelings to get him to put on his big boy pants and help. She still reaches out to him in the end, I think she knows him well enough by this point to understand what makes him tick...and she's having to be the sensible one up to the end of her existence. Can't she have someone who's willing to meet her halfway? The reflecting that Diego did, him making a start on making amends (given that it was only a few hours for him, that's about as much as they could squeeze in) was basically just wasted. They start to reconnect at the end, and mutually apologise for the damage they've done - but that's all they get, and it's a travesty.

Personally I think the whole storyline should have been cut, but if - if - they really felt it added something, they could have given it some time in the real world, see how this shaky new romance holds up against a serious relationship that's been massively fractured. In a different show, that might have been a fine story. But they don't do that. Whatever she might have wanted, Lila doesn't get time to even think about her choices. She gets to stop existing. (Or they could just have not gone there in the first place, god I hate love triangle plotlines, they do no favours for anyone involved!)

Given a continued existence in which to do so, I'm sure Five would have moved on pretty quickly. It's his first romance with a real person, he feels it intensely - but once the dust settled, he'd see that they were in very different emotional places (she wanted to get back to her family, the break from reality is way overdue to end - and he wanted to stay in their little bubble and leave all that behind). The actual romance part was actually pretty brief, and lacking in any deep communication - as Lila says, it wasn't real. They're playing house in an attempt to feel normal - in a greenhouse (a fragile structure, not a real home), eating strawberries (a treat more than real sustenance), like children...hey, maybe I'm wrong and the writers DID intend to do that, bc that's some choice visual metaphors. And they're playing roles: all their normal antagonism - what made them so fun and sparky in previous seasons, and even during the earlier part of their adventure! - disappears. Lila is a chameleon, taking on a character is her happy place - and this was how Five kept himself going, last time he was in this situation, so he's slipping back into that method of survival (although he's not as good as she is at separating reality from fiction). So while all that is totally understandable, it's insubstantial. If Five had the space to do some self-reflection, or if one of his more rational siblings (Luther maybe, or...um...or a friend, if he can make one...or maybe that dude in the Losers Department at the CIA...) sat down with him and explained that you need to treat a partner as an equal, maybe he could do better next time - or double down and keep being an asshole, that's also a strong possibility.

idk - I still don't honestly think the show intended it that way, unfortunately. I think they shoehorned the characters into the scenes they wanted, regardless of sense or even plot requirement. There are a LOT of badly-explained or badly-thought out moments in this season, and this whole mess just adds to the incoherency. Or maybe it's just a consequence of TV - you get multiple creative people involved, and the reasoning gets muddied, especially over time. Maybe it was SB's intention from the start, but he didn't inform the actors until the final season, so they've been playing it straight.

This show has an...interesting tendency to do something that you think is totally unacceptable and just gloss over it at the time, and then address it next season (like Luther apologising to Viktor), as if the writers all brought it up in their respective therapy sessions during the break, and worked through the issues - so maybe if they'd had another season, they would have gone into all that. Maybe. But we're clearly not going to get that, and they're all gone from existence so I can't headcanon that in this universe, they eventually sort it out. So I'm putting it down to one thing:

Break out the dodgy facial hair (I see you're ahead of me, Five) and let's get kicking babies!

[enhasparadise]

HOW TO (NOT) BE A BROKEN HEART.

— a lee heeseung serie; prologue.

why should you be heart broken when i’m by your side ?

SYNOPSIS ・ Heartbreak aren't a easy thing. well.. breaking up with your boyfriend wasn't the easiest thing to be and was absolutely not the thing that you wished for. and of course it was the most sadest thing you experimented (because you were in love of course.) but suddenly the sad feelings left your body when this boy from the theatre club get into your life on this rainy day.

PAIRING ・ theatre club member!heeseung x student fem!reader

GENRES ・ romance, fluff, slice of life, college au, strangers to lovers!

WORDS COUNT ・ 2138 words

WARNINGS ・ bullying, jealousy, anxiety mentionned, soft!beomgyu,

FEATURING ・ ENHYPEN jake, sunghoon, jungwon & ni-ki, TXT taehyun, beomgyu, ITZY chaeryeong (more will be added later..)

STATUS ・ UNFiNiSHED / ONGOiNG / iNCOMPLET

DATE STARTED ・ 18/09/2024

TAGLIST ・ @r1kification @charlizefaye @starfallia comment to be added to the taglist !!

MASTERLIST | NEXT >>

PROLOGUE. LOVE ISN’T A EASY THING..

Saying that romantic relationships were one of your strong points will most certainly be a huge lie. You've never really had a serious relationship, and your last relationship was a few years ago now. So obviously, saying that you were currently dating Beomgyu, one of the most popular boys in your high school, was quite strange.

Beomgyu was one of the best students in his class, if not one of the best. He was a member of a rock band with four other students in his class who happened to be his best friends, and of course, being a popular student means countless girls interested in him. And, looking at you next to him, you didn't know what to think, you were a shy girl, who spent most of her time reading books. The complete opposite of Beomgyu, so obviously he was quite curious to know that you were going out with him.

When your relationship was made public in high school, all the girls who were interested in your boyfriend gave you a number of dirty looks, and you quickly understood that they just wanted your relationship to end quickly. Apart from the girls, the boys around never took their eyes off you, well... no one took their eyes off you because the scene was so unimaginable.

Your hand was in his, and just feeling all his eyes on you, you felt a lump forming in the pit of your stomach because of the stress and unease you felt inside of you. In truth, you only had one desire since you entered the high school establishment. To hide.

Noticing your discomfort and your slight withdrawal when Beomgyu advanced through the corridors, he let go of your hand simply so that his arm came around your shoulder while he whispered in your ear. "Don't worry about all the looks you want to get okay? They're just jealous to know that such a beautiful girl as you is finally taken by the most incredible boy in this school.." and, onwards from what he had just said, a kiss had been placed on your cheek.

But unfortunately, beomgyu's words had done the opposite rather than reassuring you. You looked up at him, and without knowing why you felt almost your whole body trembling, imagining what you could potentially feel as the day progressed simply because you knew how much girls could be pests when it was about the boys. And unfortunately, Beomgyu was one of the most popular with girls.

"Beomgyu.. I don't feel comfortable.. all the girls are looking at me.." you started to explain while you felt close to crying while tears were present on the corner of your lips. And right now it was at this very moment that you hated being more sensitive than normal. "I've already explained to you... the girls will possibly hate me if she doesn't already hate me and... I'm afraid of what could happen to me during the day when you're not with me.. "

"Don't worry, I promised you that at least one person would be with you all the time when I wasn't there.. Taehyun is in your class, right?" beomgyu asked you, and after a few seconds you ended up nodding your head, responding with a yes. "In this case I would tell him to pay attention to you during lessons, and to defend you if ever necessary, but believe me you wouldn't have any problems, okay?"

Despite everything Beomgyu could tell you to reassure you about the day ahead, your mind kept creating many horrible scenarios where you found yourself the victim of several things because of the girls in your class who were jealous . And just with what you imagined you already hated the fact of having agreed to reveal your relationship in broad daylight, but just at this very moment, with all his eyes on you, you felt extremely bad at it. You were comfortable and you really didn't feel in your element. You just wanted to hide far, far away from everyone. It wasn't even eight o'clock yet when, deep down you knew, the day was going to be very long.

Noticing every detail about your discomfort, Beomgyu tried once again to reassure you, but nothing worked, you were stuck on the idea that, after leaving Beomgyu to join your class, you will be the victim of everything the girls can tell you. to suffer, despite the presence of his best friend in your class.

The corridors starting to empty due to the first ring that would soon be heard, Beomgyu took your face in his hands and delicately placed his lips against yours, a smile appearing lightly on your lips at this contact that you liked so much , but he finally cut contact a few seconds later, delicately caressing your cheeks. "see you at lunch break okay sweetie? and don't worry everything will be fine i promise, taehyun will be there for you" he whispered before quickly running towards the stairs to get to his classroom.

And you had to do the same thing since the time was getting closer and closer to the start of classes.

The halls were now almost empty, and you said surprised to notice almost no one in the halls you had taken to get to your classroom. When you looked up, you noticed that Taehyun was leaning against the wall, his phone in his hand, probably waiting for you, as you had told Beomgyu before he disappeared. And your stress decreased slightly while a smile appeared on your lips, reassured.

Except that, as soon as you raised your hand to wave at him, you were pulled to the right suddenly, and it took you several seconds before you understood where you could be. But noticing the walls and the numerous sinks, you quickly realized that you were in the girls' bathroom. The only problem was that you had just been dragged here, and you hadn't just gone there alone, so obviously this stress had quickly taken over your body.

Without even having time to understand, you were locked in one of the cabins present and, despite all your efforts to get out, you couldn't do it. Your stress began to turn into fear as you began pounding on the door, hoping that the people who brought you inside would let you out. "Hey, that's not funny! Let me go, classes will start soon!" You shouted but no response was heard in return.

The only thing you heard was much too high-pitched laughter and running water. And you froze almost instantly as you realized what was potentially going to happen, while the girls on the other side of the booth seemed to be laughing a lot more as it went on and were whispering among themselves. Your hands had started drumming against the cabin door again but still no way to get out. "It's not fun let me out!!" Did you scream a second time hoping they would let you out.

"Don't dream, we're not going to get you out now!" Had said one of the girls before their laughter resumed, the water still flowing, and just hearing the sentence made you hate the girl no matter who she was.

Despite your many efforts the door still didn't seem to open and, after what seemed like long minutes, the sound of water finally stopped. Which quickly made you panic since you imagined the worst, and unfortunately you started to cry because of the anxiety.

"Go ahead and do it, she deserves it anyway!" A girl's voice said from behind the cabin door.

"But I'm not bad! It was Syeon's idea! She should be the one to do it!" A second girl's voice said as you really wondered what was happening.

But you didn't have enough time to understand that you received the contents of a basin filled with water on your head, which directly wet your hair and completely ruined your uniform.

From the other side of the cabin, the girls' laughter had started up again as they couldn't believe that one of them had finally just thrown all the water at you. And quickly the laughter had faded in the toilets since they had finally left, but one of them had stayed longer since you could still see her converse through the space which separates the floor from the door of the bathroom.

"That's because you're dating Beomgyu." she said without any kindness present in her voice, and as the bathroom door opened she added. "We'll start again soon, don't worry about that."

And then, there was no more noise around you. Except that, even if you tried, you couldn't open the cabin door.

Only two minutes had passed, and you ended up sitting on the toilet and just letting the tears roll down your cheeks while you didn't even know what to do. It hadn't even been an hour since you made your relationship with Beomgyu official that girls were already starting to make you experience this type of thing? No, it wasn't possible... you weren't one of his daughters who boasted about going out with a popular boy... you were actually quite the opposite.

Your hope continued to make you imagine many things and your hands, which were resting on your knees, tightened on them, gripping your tights. You weren't angry, you were just... completely lost and on top of that you were going to be late for the first class, or weren't even going to be able to show up in the classroom.

Your cries could be heard throughout the restroom, but when the door opened again you tried to make as little noise as possible, trembling at the idea that it was one of his daughters again. come to humiliate you once again.

"Is anyone there?" Came the voice of a girl who didn't seem to be mean at all and understanding this you got back up and knocked on the cabin door. "Yes..! I.. I was locked in a cabin by some girls.. I can't get out.."

"Oh...! I'm going to find a teacher and I'll be right back!" She replied before the door closed again and you found yourself alone in the room again.

After about ten minutes, and the bell announcing the start of classes, the bathroom door opened again and the voice of a teacher was heard on the other side.

"Are you sure there's a girl stuck in the Chaeryeong toilet?" She asked as she walked towards the cabin you were stuck in.

"Yes...! It was towards that cabin...!" She replied.

And almost immediately the two girls had noticed something blocking the door handle of a cabin so quickly, it was removed and the door in front of you opened.

Chaeryeong brought her hands to her lips to cover her mouth, noticing the state you were in while the teacher took you out of there, taking your bag at the same time. And although you were happy to finally leave the bathroom stall your crying hadn't stopped as you left the bathroom.

But you were quickly stopped because a boy's voice had shouted your name, and when you turned around you were surprised to notice Taehyun who had quickly arrived towards you.

"My god, what happened to you?!" He asked when he saw the state of your uniform, drops of water falling against the floor. "Do you want me to talk to Beomgyu about this?" He asked you and strangely you shook your head to mean no, probably too humiliating for your boyfriend to know about this incident.

"Mr. Kang, please go back to class," said the teacher next to you, who was holding your arm, "Chaeryeong will come with you, she is also in your class, and tell your teacher that your classmate is in the infirmary please."

"Yes Ms. Yang.." he both replied before they left towards the classroom, leaving you alone with the teacher.

You went down the stairs and after several minutes you ended up in the infirmary. On the way, the teacher asked you many questions to find out what had happened to cause you to unfortunately find yourself in a state like this, but the lump in your stomach that you had felt a little earlier had you completely prevented from speaking.

Fortunately she didn't insist, and when you were in the hands of the nurse she left you, leaving the infirmary to go to her classroom.

And it was at that precise moment that you understood that, unfortunately, the day was going to be very, very long. But you also understood something else...

There was absolutely nothing easy about love.

And that, only because of his daughters who were completely jealous of the idea of ​​you being in a relationship with Beomgyu..

MASTERLIST | NEXT >>

Screaming inside because it’s only the prologue and I already love reading this serie omg

I hope that you enjoy reading it and that you liked how the prologue was going ! I hope to see you for the next chapter or for some other worlds that I’m writing

don’t forget to comment if you want to be added to the taglist

Love y’all 🧸

See you soon, Rain 💗

[curioscurio]

Why we have to start being nicer to eachother:

I know it sucks and is hard, but I think we really do need to start treating techbros and incels and our fellow humans with a bit more compassion, empathy, and understanding before we jump to bad faith interpretation. Especially when seeing a bad take online used as bait for arguments. We have to give other people the opportunity and knowledge to think for themselves, and make the choice to become a better person on their own.

"Hold on! Why should I be nice to people like that? THEY'RE the ones who are being bigoted to US!"

Well, I'll try and answer that question below! I ended up writing a lot, so check out the "read more" if you're curious. At the end of the day, I'm not an expert or a professional on human behavior, so keep that in mind. This is just something I've been thinking about based on my own past experiences.

Conspiracy theorists, the far right, gun enthusiasts, and even MAGA's all operate on the belief that modern society hates them for who they are. They think the entire world is against them.

And, looking at the kind of hate rhetoric and harmful ideologies they talk about; the cruel acts of casual and extremist violence that stem from that community, it easy to see why the world has turned its back on them. Right?

It makes you wonder: "Why are they like this?"

The easy way out is to simply hold on to the belief that they are behaving this way because they are bad people. Bad people do bad things, after all.

But when the world turns its back on a group of people, those people turn their backs on the world. They will naturally gravitate towards whichever group of accepting humans they come across first. Whoever validates their feelings and makes them feel accepted and safe instead of rejected and fearful.

The far right preys on young men who don't know know any better because they are never treated any better. They have influencers, exactly like Donald Trump, that make you feel safe. They also are lying to these people and using their fear of rejection to control them.

It's very similar to how the Church will help you out and feed you if you're homelss... as long as you join the church and donate 10% of your earnings to "God." (The churchs bank account. )

That is to say, people don't usually pop out of the womb with these prejudices and fears programed into their heads. It's something that has to be taught to them by somebody else. Their parents, the church, their school, their friends, youtubers, etc.

"So, what do we do? How do we save future and current generations from being sucked into this hateful spiral of far right bigotry?"

"How do we help our conservative parents, who we know love us but are absolutely convinced that they need guns to keep their families safe? How do we help our Trump Train family members who used to be loving, compassionate, people?"

Well, you're not gonna like the answer. We have to start being nicer to everyone. We have to be nicer to incels, dude bros, techbros, Karen's, and yes, even your average Republican voters. We have to show them compassion and empathy when they're expressing their fears, without immediately attacking them for it. We have got to prove to them that there's a place for them to come back to.

Their fears are being taken advantage of by a system that benefits from pitting the general population against each other. If we're too busy fighting eachother, we can never join forces and fight the system.

And so it turns into a self-sustaining system of fear and reactive lashing out. They start believing that everybody is against them, except the few people who understand. Until the only safe place left for them is the Q Anon message boards. Quite literally an orobourous of hate.

"But Curio! They literally want us dead! These people are violent and irredeemable!"

Many of them are. So many of these people are groomed into believing that the only way they can keep themselves safe is by killing anything they think has caused them harm. It's an intentional system maintained by those in power to control those who are not.

Some of them, however, are just normal people who got in with the wrong crowd or are too young to know better. Some people were never given the chance to be better.

"So, what SHOULD we do? Be nice to our oppressors? Let them get away with hate crimes and bigotry?"

No. But we DO need to stop thinking of "them" as this massive malevolent demographic who have no souls and are inherently evil. The majority of these people were lied to and manipulated and groomed into these beliefs.

We have to try harder to stop ourselves before we start calling them names and attack them, regardless of if they deserve it or not. We have to engage with them on good faith. Learn about WHY they believe conspiracy theories and why it stems from fear.

"Why? What will this help?"

Because you're quite literally showing them that there's another option available for them to take. You're showing them that, if they do change their minds and want to change their behavior, that you are a safe person to approach with these thoughts. You have the power to create a space for them where they're allowed to think for themselves without punishing them for it.

Once you create that connection, it's like you're showing them another road in life they can explore. They now can see a new future for themselves. A future where their kids start talking to them again. A future where they're not terrified of being humiliated for being soft. A future where they feel listened to.

And that's all. You just have to give them that chance. It's not your job to change their mind, or to tell them that they're wrong for thinking thoughts. In fact, trying to do just that will usually encourage them to double down.

But what you CAN do is build an environment where they have the OPPORTUNITY to change their mind. You can be kind, empathetic, and educational. Be patient and listen and have a respectful conversation with them.

It is especially important for people with privilege to step up and be those kinds of diplomats. People who are able and willing to look past the surface bigotry to address the scared humans underneath. People who can do this without endangering themselves or their community. This may be other cis straight white people who can get away with bringing these topics up gently, without triggering reflexive defensiveness. Who then have the patience to gently educate them and steer them towards a better path.

"But Curio, I can't do this. I've been hurt too many times by these people, and doing this would cause me significant mental distress."

Then don't. You're not obligated to be the better person for every situation and circumstance. Nuance must be taken into account. You don't have to be nice to every troll or ragebait Twitter post. I certainly don't want you to put yourself in a situation that causes you emotional, physical, or mental harm. Hell, you don't even have to give them the time of day. It's your own responsibility to make the judgment call regarding your health.

But people simply won't change if there's no room for them to change. And some people have the power to make that room for them little by little.

"I've tried everything. I've begged, cried, been nice, and shown them that we won't reject them. They won't change their minds no matter what."

And that's also ok! It can happen. When you give people the opportunity to make choices for themselves, there will always be people who still choose to believe the system they were groomed on. They can do that because thats free will, baby. There will still be people who will not change their minds and who will actively choose to become more radicalized.

And it's sad to see. But you also have to respect that sometimes people aren't ready to change at the same time that you're ready to help them change.

But you should try to do it for all the young men and children who are being taught by their parents that White Genocide is real. You should do it for the parents who love their kid so much, but are so terrified when they say they're transgender because they don't know what to do. Because they know the world will not treat them fairly or are afraid of ruining everything.

You should do it for your 10 year old nephew who watches Andrew Tate because their mother doesn't give a damn enough to check what kind of YouTube videos their kid is watching. You should do it for the depressed and hurting teenager who thinks they have no option left but to buy a gun and shoot up their school, because no ones listening to them. You should do it for the tradwife who's alone and hurting after her conservative husband cheated on her and left her with nothing; because she thought she would be the exception.

"...How do you know this will work? What if you're wrong, and nothing changes?"

I don't! I'm just a random person on the internet. I dont know who might read this. It's just my opinion.

But at least, at the end of the day, you tried your best to be a good person to another human being, and I don't think that's such very a bad thing. For me, I'm going to try because I don't want to lose my father to that kind of environment. I want to be able to have a normal conversation with him again.

There's some good in this world, Mr. Frodo, and it's worth fighting for.

[coffeegnomee]

Bacon saying "yes. [I watched] the entire thing" about having seen Kab's new video "I watched it for entertainment purposes, but I also think I took some things from it as well"

KAB: "fair enough, I put things in there knowing people would watch it and take things from it"

she brings up how Clown never offered her a team, and that she is close to getting his full trust. Which I think is a lie rooted in the truth that she was so "my son could never hurt a fly he's just misunderstood" in the video to get Clown to trust her more irl/in lifesteal. Like how he trusts Branzy and Ferre.

(even though it is SO WEIRD for her to have been like that about Clown in the video. Like it was an exposé about how right the Mice were to be cautious about her affiliation and assume she was telling him things. She was. Maybe not base coords, but she just leaked that she absolutely told him things about them and that she was not for the team at all. And she left that all in. why? WHY Kab? I can only assume it was to endear her to Clown more? That's the only thing that makes sense? Unless she did it to "prove" to the Mice that they were wrong to assume she was teamed with Clown, "see I was just telling him to be careful and you guys were making him into a villain" or smth. I genuinely don't know. I don't understand her at all.)

But she's bringing it up to Bacon and downplaying it so that he thinks she isn't as close to Clown as she is. She's trying to manipulate him here I think.

then Bacon brings up the google doc of Mapicc's personality, which apparently Mapicc dmed her about (which is hilarious for the record)

To which she says it wasn't real [the doc itself], she made it for the video. She only articulated Mapicc's personality and Mapicc's alone.. which obviously means it was him very much on purpose. So did she do it to stoke Mapicc's ego? Or to see what he would say about it and confirm or deny if she was right? I can so easily imagine her writing it up being like, now Mapicc will think I understand him but this is not really what I think about him and he will be easier to manipulate.

But the analysis, like I wrote about, was right for the wrong reasons, AND YET I saw how they were rooted in very plausible assumptions she would have made bc of talking to Ash.

So I struggle to see how that writeup wasn't what she genuinely thought. This whole video just feels like exactly what she genuinely thought throughout the whole first week.

And it's completely rooted in the concept that she knows what she's talking about, even though her only evidence is that she can read Clown. (the only other moment being that she was right the empire would betray them in the End. Which was the softest of softball throws. It was an allyship against the other team. Obv the beef starts up the second that is over.) Like congrats. You've known Clown for two years very closely. It would be weird if you didn't. And on THAT note,

She called Woogie a dipshit for having his own opinions about Clown based on his interactions with him for the past FIVE whole seasons. THREE YEARS.

She took his words as saying that you shouldn't trust Clown instead of what he was really trying to say, which was we as a team should not trust Clown. Kab knows Clown won't kill her but she just fails to understand that other people have their own valid experiences of the members. She's just so focused on her singular view of people and how they will interact with her that she completely misses the opportunity to learn what other people think of other people without it being an attack on her own opinion.

I know I get on here and analyze everyone to death. I know that that's how I love to watch and enjoy lifesteal. And that not everyone observes the lifestealers like bugs to be pinned down and dissected. Watching vods is a listening-only experience. I cannot talk or add to the convo, right?

But it still boggles my mind that she doesn't see the manipulative value in silently listening to every word that comes out of someone's mouth in order to learn what they think about others. And let that tell you what to think about others.

If she just listened to what people said, especially what they say about people she doesn't understand, she would learn SO much.

Like she completely called Woogie an idiot for wanting to ally with the Empire for the purpose of killing Clown Mane and Flame.

And she said it because she doesn't understand how Mapicc and Spoke think.

And because she doesn't understand them, she thinks Woogie doesn't understand them.

Like I know Woogie isn't always the most active and integrated member, and he's also an unreliable narrator and has assumptions rooted in a subjective path just like she does.

But Woogie AND Mapicc AND Spoke have all been playing on this server since Season ONE. You would think that that would be an excellent learning opportunity to ask Woogie how he views Mapicc and Spoke.

And then from there, sure! Take it with a grain of salt. Take your personal experiences with them as the most important opinion to value for your own safety (bc nobody can tell you what your gut says) but then also take their opinion and use it against them if you want to be such a great manipulator. Or at the very least catalogue their opinion away for further study at a future time.

It's just. She just has her assumptions about herself towards every member and completely and totally discounts what anyone has to say about their assumptions of themselves with other members. And she gets so damn triggered by people saying they have more experience than her, thinking it's a personal attack on her intelligence. Where that comes from I cannot know but that sounds incredibly deeply rooted.

So back to the Bacon conversation.

She said she knew people would watch it and said stuff on purpose.

And yet she completely left in the whole scene about lying to Woogie about being sorry for discounting his opinion. “Sometimes you need to be sopping wet for people to trust you chat”

Everyone on lifesteal is going to watch this video. WOOGIE might watch this video (though I have a feeling he won't tbh) and you're just leaving in that when you apologize you are never sincere about it and are 100% using that to manipulate them later.

INSANE to leave that in. You leave that in the drawing board. You keep that shit hidden. ESPECIALLY if you know your enemies will watch it. Girl was the most open book ever.

And then to end the video saying I'm a liar and manipulator bitch I know what I'm talking about. Insane. You are just BROADCASTING that you should never be trusted ever. (for the second video in a row!)

Also in a video about you desperately trying to prove that you should be trusted. It's two different kinds of trust, funny that we use the same word for both.

Trusted in that you tell the truth vs trusted that you know what you're talking about.

I am so interested to know what Bacon thought of that. What will he think if she does apologize now? He's not dumb. He saw the video.

She just thinks she's playing 4D chess. And yet 4D chess would be being silent and listening to what everyone says. Like how Spokes does. and Clown. No talking, just silently listening in vc's and coming to conclusions about the members.

And Bacon too. He's been asking people so many questions about what they're doing and why and then just listening to what they have to say, and then forming his own conclusion about it and going off to try something. He's becoming great at listening and thinking and this whole little arc was founded on using that information to do something interesting on the server.

Though I suppose he wasn't always that good at it. And therefore the final conclusion you can take is the same every time: Kab needs experience in order to gain experience. And it will be a long and painful process.

[y0ur-fr1endly-queer]

Bill Williamson.

There’s a lot of mischaracterization about Bill.

From what I’ve seen, it's like they’ve made him another Micah. They characterize him as an extra antagonist, and it upsets me. Did you guys even play the game? And if you did, you clearly didn’t look at camp interactions.

Bill ain’t just some angry fool, he’s a character with a very deep story that's looked past.

And when I say these things I want ya’ll to know I support nothing of what he did in rd1. I don't know what that thing was. I don't support specific interactions that he's had in camp, either.

Bill has done bad things, and there are things I won't forgive him for, but that's just like the other characters. These guys are a gang of outlaws, they are not perfect, and some people try and make it seem that way.

As clearly stated in the game, Bill struggles a lot with alcoholism, he practically drinks himself to death and takes it out on other people. I believe that he never wanted to be this way, but I also believe it numbed him and he put a coating of, "I deserve it." On top of it.

Bill has clearly been through a lot, I’m sure hes suffered from his time in the army and possibly childhood experiences and just life in general. He has feelings, and sometimes he cant control those feelings. That doesn’t make him just angry, or just an asshole. He’s still a person, not some antagonist placeholder in peoples fanfics or role plays.

When Sean died, he was blamed, and if you look at a specific interaction in camp you can see how much that hurt him, I don't remember the lines exactly, but it's actually the most guilty I've ever seen him (Sean’s death crushed me and that interaction made it so much sadder). What I remember is that he explained to Arthur how he didn’t know and didn’t mean it, almost as if he was trying to explain it to himself as well as convince himself. He was crying, I'm pretty sure.

He clearly struggles with his emotions and doesn't like to talk to people about it, about anything. I think when he opened up to Arthur about Sean was the first time in the entire game.

He's so well-written and has so much story underneath what's obvious.

@cupidsbeartrap and I rant about this guy so much.

[dr-spectre]

RANT POST ABOUT CALLIE AHEAD!!!

I need to get some old and built up feelings out of my chest before i explode into a trillion pieces, if you do not wish to see a LONG rambling about me getting mad and rageful about this important character to me then by all means skip over and have a good rest of your day or night!

If you can handle me getting a bit pissed off and mean then keep on reading!!

This will also be a VERY LONG POST!!! Because I have a lot to rant about. Some of it i have talked about before many times but i need to talk about them... Again..

So anyways. If you wanna move on, that's okay, if you wanna stick around? That's all good as well!!! I highly HIGHLY encourage you to read all that I have to say. Okay? Thank you!

You know, as someone who has put in a lot of time and research into Hypno Callie and the others. What I've come to notice in media is that people tend to use the words mind control, brainwashing, hypnosis, influence, indoctrination, corruption, all interchangeably despite each word having vastly different meanings and connotations and effects.

Brainwashing has been used as an incorrect word to describe a lot of these kinds of plots in TV, movies, games, etc. and it really bugs me personally. Like, if you see something as clearly hypnosis, they explain that it is hypnosis and there is a hypnotic element at play here, you cannot just slap the word brainwashing onto it. It's like if I called a mango an apple you know? Or if I showed you a squid and you called it an octopus and you were REALLY adamant that it's an octopus.

Another example, if there's mind controlled zombies that are being controlled by aliens or something, slapping the word hypnotised or brainwashing onto that scenario is stupid because they clearly explained it in the story with evidence that it's straight up direct mind control and nothing else.

This doesn't just to apply to Splatoon btw, this annoyance goes for every other time a "mind control" plot has occurred in fiction.

I don't wanna sound rude here, I really don't! But guys, do you realise that we have this cool thing all across the world called a language? And languages have words in them!!!! And words have meanings in them that are brains understand and interpret!?

If I say the word "fluffy" what do you think of? "Fluff, fur, cute, huggable, adorable." You think of cute fluffy things, yeah?

If I say the word "hypnosis" what do you think of? A trance like state, a weird altered state of consciousness, maybe even a weird sleep/flow state?

If I say the word "brainwashed" what do you think of? Cults, militarily, experiments, evil, etc.

You guys see why I take issue? You guys see why I am extremely picky and laser focused on people's word choices when it comes to Callie and what happened? You guys see why I get really angry when people who do fuck tons of research into the events of Splatoon forget that languages exist and fail to see things past a fucking Wikipedia article?!? Is it seriously THAT hard for some people to say hypnotised?

I don't even necessarily blame most people for the words that they use, they don't know any better! And you know what? That's okay! I don't wanna get mad at SOME people since that word has been used incorrectly in media for a long ass time. And you wanna know another reason why i don't blame the casual fan or someone not in the know that much too? Because even the SPLATOON DEVELOPERS use brainwashing to describe Callie which is just... from my research and posts, incorrect.

I have yet to find a single person who can confidently explain to me that Callie was actually brainwashed and provide evidence to me to prove their points. Cause all I see is people just saying that "oh, a wiki and an artbook said so, so it must be true." Instead of looking at the actual game and looking at Hypno Callie's personality, behaviour, actions, etc. and comparing them to regular Callie.

Why do you think 99% of people call her Hypno Callie? Like there's a reason as to why her name is that in most circles... Have you ever talked to someone who calls her brainwashed Callie? Probably not...

God... I'm really sorry if i come off as some gatekeeping fan or elitist snob or some shit. I'm not trying to be and i don't wanna be like that. I wanna educate people, make people think of a different perspective and make people think a little more you know?

I'm just getting tired of it all... It affects how I see Hypno Callie and the events of Splatoon 2. I can't enjoy it when some people throw out these certain words, and it makes me feel so sad and terrible. And not in an engaging way, just a sadness that fucking stings my chest and I'm SO SICK OF IT!!!!!

I just despise this notion in the Splatoon community, Inkipedia, YouTube videos, social media and official sources that Callie was kidnapped out of the blue when she was alone and Octavio forced the shades onto her, brainwashing her and removing her memories. I hate it so much. It's something that truly fills me with great sadness and pain and pure anger. Callie is a comfort character of mine and to hear that scenario for her in official canon is just... no. I can't accept it. I refuse to accept such a vile and awful thing. It makes the Octarians more evil and way less sympathetic that way too, it makes DJ Octavio's eventual redemption make less sense because in one game he's this fucking monster and the next he's like "Hey guys imma help you out!" It makes his character incredibly inconsistent at that point.

it makes his appearance with Cuttlefish at the Grand Fest feel less satisfying because there this huge black spot on his character from Splatoon 2 where he apparently did something truly evil and unredeemable. Why would Cuttlefish be okay with standing next to a man who """kidnapped and brainwashed"""" his grand daughter?! I don't care about their history together, if i was Cuttlefish and I heard about that kind of event for my grand daughter, I WOULD NEVER FORGIVE OCTAVIO!!!

Hypnosis by nature is less evil and has more nuance and agency for Callie and the Octarians. Sure it's still fucking bad but not as extreme and dark as brainwashing is. The two terms are so vastly different and using either word willy-nilly is extremely annoying and frustrating to me.

Hypnosis ≠ brainwashing and you cannot prove to me otherwise. You literally cannot mind control someone with hypnosis, that's not how it works. They are so opposite of each other it's actually insane. I DON'T GET WHY PEOPLE USE THEM INTERCHANGEABLY ALL THE FUCKING TIME?!?! WHY?!?!!? Is it a lack of knowledge?!? Lack of caring?! Is it because of how hypnosis is portrayed?!?!

And the whole "Callie was kidnapped/abducted." My god... Do people understand what words are coming out of their fucking mouths?

Callie was more than willing to join the Octarians and she said to them "okay fine I'll hear you out." That is not KIDNAPPING!!!!!!!!!! THAT STATEMENT MADE BY CALLIE GOES AGAINST THE DEFINITION OF THE WORD!!!!

I don't know why they say this in some official sources either, i don't know why Inkipedia lists it on their pages. i don't know why fans keep wanting to push this idea that Callie was kidnapped, is it because an artbook said so and nothing in the game? I don't know why timeline explainers and people who do a fuck ton of research into Splatoon push it too. If Callie was kidnapped you figure she would mention it. But she doesn't!!!! Marie does and says she was brainwashed in the North American (NoA) localization, but of course she would think that and from her perspective she would figure that is the case from her limited knowledge of what happened to Callie.

God I just.... I hate it when people say Callie was brainwashed. I fucking despise it. It makes me so violently angry and upset and EVERYONE WHO HAS A LOUD VOICE IN THE COMMUNITY SAYS IT!!!

This doesn't even impact just Callie. It impacts the entirety of the Octarians as a species and DJ Octavio too. I LIKE DJ OCTAVIO!! I THINK HE WAS FUNNY IN SPLATOON 1! I like his role in Splatoon 3 and how he redeems himself and how he appeared in the Grand Festival with Cuttlefish. It ties back to before the Great Turf War when the Inklings and Octarians were on good terms and now finally that peace is back....

But this enjoyment... this appreciation of his character growth gets ruined because of the shit Nintendo did and what the fanbase did when Splatoon 2 rolled around... I can't enjoy Octavio as a character anymore because of the notion that Callie was brainwashed by him.

I can't look at his inkipedia page because IN THE FIRST PARAGRAPH THEY SAY HE BRAINWASHED HER!!!!

And don't you EVEN MENTION the line "I remixed Callie's brain!" My brother in Christ, that is not only a call back to a line he said in the final boss of Splatoon 1, but it's also because DJ Octavio is a.. idk... DJ!!!! A DISC JOCKEY!!!! In the NoA version of Splatoon, Octavio's personality is very loud and in your face, compared to his more sinister and intense personality in the European and original Japanese versions. This serious personality was only given to Octavio finally in the NOA version of Splatoon 3 ROTM where his personality actually matches his Japanese and European versions from Splatoon 1 and 2.

Octavio says puns and musical terms to describe shit in the NoA versions of Splatoon 1 and 2. Remixing by definition is taking a song and altering it to make something new. What is Hypno Callie? A REMIX OF CALLIE!!!! It's Callie but she's more aggressive, emotional and impulsive. And you know where we've seen this remix of Callie before? IN SPLATOON 1!!!! IN THE SPLATFEST DIALOGUE!!!!

Octavio didn't literally mean that he "remixed her brain." via actual brain, washing. He just means that he gave Callie a new twist, and Callie in her hypnotic state was like "okay fine I'll hear you out."

Octavio hypnotising Callie who wanted to help the Octarians anyways out of her own free will, planting suggestions into her head that SHE HERSELF ACCEPTED AS DURING HYPNOSIS, SUGGESTIONS GIVEN CANNOT GO AGAINST THE PERSON'S MORALS AND IDEOLOGIES!!! So that Callie would be more likely to stay in Octo Canyon and not decide to suddenly run off as Callie was under a lot of mental distress and emotion from her busy and lonely life, and allowing Callie to put her influence onto Octo Canyon to help his people and boost motivation, fits more in line with Splatoon as a series and Octavio as a character than the whole "he brainwashed Callie" bullshit that has plagued the internet for 7 years and continuing. Why do you think Callie is so chill to see DJ Octavio come back in Splatoon 3 huh? Why do you think she misses shaven Octarians in ROTM? Why do you think she calls Octarians cute? Hmm... I WONDER WHY?!?!?!

Is Octavio still bad? Yes! Did he use Callie to benefit his people? YES!!!! Was Octavio being manipulative and selfish? FUCK YES!!! HE'S THE ANTAGONIST!!!! I AM NOT RESOLVING THAT MAN OF BLAME!!!! DONT GET MY WORDS TWISTED!!! HE'S STILL BAD! just not unredeemable... because once you say he brainwashed someone and forcefully removed Callie's memories like a pure evil monster, then you have a character who is pretty much unredeemable at that point. You have made him cross a line that he can't turn back from. You implanted these disgusting and disturbingly sexual suggestions about Octavio and Callie and her outfit. Why the FUCK do you want that? Why?! Why do you wanna even suggest the idea that Callie was forced to wear skimpy clothing against her consent and knowledge? Do you know how fucking DISGUSTING AND EVIL THAT IS?!?!?! FOR A SERIES SUCH AS SPLATOON?!?!?! DO YOU HAVE ANY IDEA ON WHAT YOU ARE TRYING TO FUCKING IMPLY HERE?!?!?!

WHAT IS WRONG WITH YOU PEOPLE?!?!?! GOD!!!! WHY DO YOU WANT THESE AWFUL THINGS DONE TO CALLIE AGAINST HER KNOWLEDGE AND CONSENT IN THE MAIN TIMELINE!!??!?!?!?!! For AUs I get it, it's your right as a fan to make fanfiction and explore darker topics. I personally won't read it but I won't EVER stop someone from making a darker AU. It has its place in the community and I 100% respect it with all of my heart. I truly respect those who make dark AUs and darker takes on Splatoon because I'm sure it's fun and interesting for some people. To each their own! I actually like hearing my friends talk about Fuzzy AUs and stuff like that, given the time and place, darker toned AUs are something that i find really interesting but I'm not super duper in love with them.

But don't you DARE put these disgusting and sexual undertones about Callie and the Octarians in the main canon. Fuck off. Don't you even try and suggest that the Octarians are this purely evil race that forced Callie into a revealing outfit while she was completely unaware and it was against her consent. And that they just grabbed her... god... Jesus Christ man. Fuck. I hate thinking about that so much dude.

This type of scenario that people push did NOT happen.

THIS DID!

I'm so angry. I'm so sorry for this giant humongous rant. I care a lot about Callie. I only want the best for her. I only want a more engaging and more in-depth take on Splatoon 2. I want to enjoy Tidal Rush, I want to enjoy Spicy Calamari Inkantation, I want to enjoy Fresh Start, I want to enjoy the Bomb Rush Blush remix like how i enjoy Unconscience by Marina Agitando. I want to enjoy Hypno Callie in general, BUT SOMETIMES I JUST CANT AND I GET SO SAD AND MY CHEST HURTS!!!! This has been going on FOR SOOO LONGGG!!

I keep making all these posts about Callie because I still see that kind of bullshit being thrown around. Imagine having a perspective on a character you really love and you try and hold on to it. But everyone else around is pushing that perspective down and you feel so sad and stupid and ridiculous... And so your only option left is to scream and bark and yell....

I am literally gonna keep ranting until I can see the word "brainwashed" in media without having a fucking heart attack. I wanna just be able to enjoy Callie's arc and see it for what it truly is...

A story about two cousins drifting apart... Callie becoming so popular and famous... and lonely... that she became so mentally distraught and overthought everything. She did something incredibly irrational. She went to Octavio and the Octarians. Octavio knows that Callie can be a huge help to him after his loss and so he enlisted her help. And she just said, "okay, fine."

She was given hypnotic shades by Octavio in order to keep her more under control as she was ridden with mental illness and could leave Octo Canyon at any point with her overthinking. But he did NOT put her under total control and brainwash her, he needed Callie's influence for the Octarians, to decorate bases and add her touch into their music. The Octarians became happy and more motivated then ever. He didn't need a drone to help him. He needed, CALLIE.

However... Callie, in the canyon, lost herself, she gave into bitterness, hatred, sadness, anger... She knows who she is, but her memory is so cloudy and muffled by emotion and the shades... She needs help... Proper. Help. You can hear it in the songs found within the Octo Canyon, her reversed vocals sound so sad and deeply emotional...

When Marie arrives, Callie is mad at her, she wants nothing to do with her. But when Marie shoots the shades off of her, Callie is still dazed, upset, emotional, sick, she dances and continues to sing back against Marie's desperate words and pleas... Marie only wants to repair their broken relationship and lend out a hand to her cousin who needs to see the light....

But, when that heavenly melody echoed in that stadium, it was like a rushing tide of memories and feelings flooded into Callie. All of her and Marie's time performing, hosting news, celebrating Splatfests, and arriving to Inkopolis for the first time, came back to her and dispelled the darkness in her heart.

Callie heard the melody and went "wait... This isn't me! What am i doing!? YEAH! I REMEMBER!!!!!!!!!!!!!!"

And well... The rest is history, the pair healed their relationship over the course of a few years and are stronger than ever.

They fulfilled their fresh start, they helped redeem an angry vengeful man from the past, they inspired the present with Off the Hook, and they planted the seeds for the future in Deep Cut.

and they won the Grand Festival... TOGETHER!

Well... At least that's MY interpretation on things ;). And i want my interpretation to be held strong in my head... I'm tired of getting chest pains man... I'm tired of feeling this sadness and pain... I'm tired of going on Inkipedia and seeing that FUCKING word. I'm tired of being scared to watch YouTube videos focusing on lore and the story of Splatoon because deep down i KNOW they will say that word that has such fucking horrible connotations and meaning behind it...

Anyways. I think I'm done. I think I'm just in a huge ranting mode and I had to get it out, my autism was really acting up and i wanted to vomit this stuff out of me. I hope you guys feel what I'm feeling and if you have a character who you feel similar towards, let me know! Let the anger out. Okay?

Have a Callie for sticking around and actually reading. You're amazing.

[not-too-many-eyes]

A Study on Mesmer Jr.

(Also Known As: Nott is obsessed with the bigot autistic girl from the time travel gacha game and its her birthday tommorow so lets talk about her.)

(CWs: Ableism, racism, child abuse) I Love Mesmer Jr. Which isn't a secret to any of my friends who have had to listen to me talk about her at length. I cannot get her out of my head. I think she's fantastically written, fun to read about, and just an all around interesting character.

As such, I want to take a moment to pull apart Mesmer Jr, and consider her place in this story. To contemplate why she acts the way she does, and to connect to the themes relating to her character. I hope you enjoy reading this.

A Curious Impression

Mesmer Jr makes an interesting impression when you first meet her. For one, she immediately causes alarm bells to rings when she talks to Sonneto, one of her earliest conversations, who she says she enjoys talking to because of their "shared values" she feels the need to say that she would have liked talking to her more if she were a "full-blooded human."

Which is something that you see a lot whenever she's complimenting an arcanist, or considering arcanists in any positive light. Even if it's inappropriate in the context, she feels the need to assert her beliefs, to say that:

Mesmer Jr, Praise: As an arcanist, your performance really amazes me. Wish you were a pure-blood human.

Of course, as we know, Mesmer Jr is an arcanist. She's a full-blooded arcanist. Being noted to be from a very Important family, and even being implied to be more talented than most of her family in their line of work: (The Fallacy of Idealism)

Nobody is more talented in this than Mesmer Jr. Her bloodline gives her outstanding ability and keen senses, which makes everything clear and intelligible to her.

She's also startlingly obedient. She has no noticeable outward negativity towards what Constantine has ordered her to do to Vertin, despite it seeming to cause pain or stress. Insisting that this is the normal treatment given to patients despite Madam Z's opinion, and we learn Much Later that her boss had an ulterior motive to all this.

She's even noted before we meet her to seem like a:

(Open Sandwich)

???: It is the other one- the one with indifferent outlines that makes her look like a refined machine.

Evoking images of perfectly programmed robots and droids that do what they are ordered to perfectly without question.

Of course, in the same part this line is from, the game is already nudging us to be open-minded when it comes to interacting with her. As the first thing we learn about her isn't her personality, isn't her appearance, isn't even her Voice.

It's her abuse.

Dirtied Hands

Open Sandwich is one of my favorite bits of writing in this game. It creates this incredible tension where you just waiting for the bad thing to happen, the line about how the child labor laws were turned into paper to wrap the sandwich is wonderful, and I love it.

But it's also the first time we ever actually hear about her. It depicts her having a Sensory Meltdown. Caused by her family's uh- blatant disregard for children's rights, and exposing her to a patient at age 12 because her skill was useful for the treatment. The trauma of the event marking the start of her "nightmare."

Of course this isn't the Only Thing she has gone through at the age of 12. The entire events of Nouvelles et Textes pour Rien happened during when she was 12. She might of had even more traumatic experience before that, considering she went to SPDM, a school that we know Very Well for their child abuse, and she Certainly had traumatic experiences afterwards.

She Is a 16 year old therapist taking care of The Foundation's most "unstable" patients, after all:

Mesmer Jr, Suitcase Climate: Those insane people screamed and rushed out of the guardroom. They kept meaninglessly and repeatedly roaring. Then, their blood shed on the snowy ground. I've seen that a lot.

The Rights of Children Don't Matter when there is Scarcity. Her needs are secondary to The Company's. Her welfare simply isn't important for the Foundation's Beautiful Future. Only the skills and infromation she can provide.

Constantine even manipulated Mesmer Jr into telling her the plan. Purposefully traumatizing her so that she would become scared and anxious. She Asked her to help them, trusting that Constantine, an adult she trusted, would be able to help. Constantine just lied, and made her continue to treat these people even when the experience mind numbingly traumatic for even fully-grown adults.

As a result, Mesmer Jr has developed multiple mental illnesses. Most notable OCD, but she seems to hallucinate in her Monologue.

She's not exactly a healthy person, which really compounds how much you Don't want her to be a therapist.

Of course, it's not like she would ever seek actual proper treatment for it.

For many reasons.

For one, Reverse 1999 is not exactly a kind world to the mentally ill, and she herself is a good example as to why.

Proper Treatment

Let's go back to the first thing I mentioned about Mesmer Jr. She's a bigot, she's a certified racist to every arcanist she ever talks to. She thinks humans are the superior race that will overtake arcanists.

She's also ableist. Just horrible ableist. These two bigotries are intertwined in Very important ways. Her hatred of arcanists is informed by her hatred of the mentally ill, and is further informed by what she has been taught about arcanists.

Reverse has established that the way arcanists and humans are generally viewed is that arcanists are the more emotional, unstable, immature ones and humans are the more logical, stable, and mature ones.

Now, this is a stereotype, one that has been proven wrong time and time again. There is nothing logical, stable, or mature about being so upset at a 12 year old you think killing her friends is a good idea.

And similarly, there is nothing actually inherently wrong about being a weirdo, or mentally ill. For one, uh, everyone is a bit of a freak sometimes, and two, Mesmer Jr treats it as if for the world to get better arcanists need to fully disappear and be replaced with human rationality, but Madam Hoffman says it best:

(Chapter 6 Part 15: With Hope Rekindled)

Hofmann: We have all heard it, humans are more rational and arcanists are more emotional. Hofmann: Their sensitive to the darkness of the world, so they can easily become absorbed in their own emotions and ignore reality Hofmann: But, if we put a human child in the position of an arcanist, who always takes on the world because of his uniqueness, who is never understood for his talents... Hoffmann: Maybe he too will become impulsive, sensitive immature and unstable Hoffmann: And that's why it sometimes dawns on me that if we put an arcanist child in the position of a human being who receives enough love, education, and positive feedback... Hoffmann: These 'instabilities' might be controllable. At least enough to keep them from hurting themselves or others.

But Mesmer Jr really does believe wholeheartedly that being a "freak" is bad, and that being an arcanist is to blame for why she is one.

Mesmer Jr, Hat and Hair: Thanks to it, we are all freaks now. Haven't you ever blamed your brain? Haven't you for once vomited due to the sound or whisper in your brain? How naive and ignorant.

That being an arcanist is something inherently wrong, and as a result of that inherent wrongness, that inherent "insanity," they need to be controlled by humanity.

Mesmer Jr, Chitchat II: I can only stand those arcanists from the Foundation and the Laplace. After all, their insanity is contained by humans.

She believes that humans are destined to overtake arcanists like it's natural selection. That it's only inevitable that arcanists will be overtaken by a species that in her eyes, is logical and understandable.

Mesmer Jr, To the Future: Just like Homo sapiens wiped out Neanderthals, arcanists will be eliminated as well. This is not a prediction, but a predestined fate.

This is, of course, due to the systemic part of Reverse's world constantly pushing this idea that arcanists are Inherently more immature and chaotic.

Constantine and her family deeply traumatized Mesmer Jr and then told her it wasn't actually their fault but this Other Group that She is also apart of but Don't Worry it can Be Controlled.

Mesmer Jr: It's not just about age. It was never going to be suitable for me. Mesmer Jr: Unless one day all the arcanists are gone. Pandora Wilson: Then you and I will be gone, too. Mesmer Jr: Exactly, along with the source of my pain

However, Mesmer Jr's own mental illnesses and susceptibility towards being overwhelmed by others emotions does really mean that she finds being around highly emotional people Taxing. She also finds that the unpredictable of life and other people Tiresome.

She was friends with Vertin in the rest when she was younger sure, but even then she did find arcanists overwhelming and "scary," even when she wasn't in the full thick of it, she saw them being treated and found it unpleasant and painful.

(Nouvelles et Textes pour Rien)

Mesmer Jr: But I'm not interested in arcanists. They are all mad people, and we had to treat them after all...They looked scary.

Now, usually, you grow out of this. She's not Born To Be Racist Forever.

In a better world she very much could have, I dunno-

Be able to actually internalize that arcanists aren't actually inherently a harmful thing, but that her needs sometimes conflict with the needs of others and grew up with the tools necessary to understand that this is a fixable problem that doesn't actually need a whole group of people including herself to die to be solved.

Or, something like that.

However, this isn't that world, this world thinks Mesmer Jr is a good therapist, and that her treatment is humane.

So she's seeks to create stability in the world as a result of that lack of support.

Mesmer Jr, Hobby: What you see is the alignment and tidiness. What I adore is this orderly state.

As much as she understands that it's a sign of her own "franticness" that she does this, it gives her comfort knowing that she has things that she Can Control. That her life isn't actually dictated fully by things out of her understanding. That she has the ability to direct her life in a small, maybe even insignificant way.

Cause, she really just doesn't have much control over her life.

Press the Button

Mesmer Jr, Clothing and Torso: ...Achieve the function.

A lot of Mesmer Jr's idolization of humanity comes from this idea of efficiency and simplicity. She talks so much about rationality and "tidiness," but as I've already established Reverse is full of so many instances of "human insanity" so it's plain ignorant to ascribe this trait to humans.

Which, well one she is ignorant, and also racism isn't rational and Mesmer Jr was taught human supremacy of course it's not going to be aligned with actual reality.

Which is true.

However, I do think it's interesting these traits that she idolizes are not from humans but from:

Mesmer Jr, Clothing and Torso: Humans are like machinery, simple and efficient. Arcanists are quite the opposite.

That's who she's actually idolizing here, isn't it? She's not really idolizing humans, that's just the framework she was given. She's idolizing machines and going "Wow humans are so cool."

Her Udimo is a machine.

Not just any machine, but a machine invented in part By Her Workplace, and even when she was 12 the narrator describes her as a "refined machine." Indifferent and rigid.

This is the beautiful controlled being that she is seeking! The beautiful tidy, orderly, calm being that just proceeds with whatever order is given to it. One that has...completely no control over it's life, and what to do with it.

Because, traditionally speaking, Machines do not have the ability to self-determine. They don't exist as people with conscious thought and emotion, but as Things and Tools that can Achieve Functions.

I noted way back in the start that Mesmer Jr is startlingly obedient. She does what she is told, and encourages others to do the same.

She's glad that Vertin:

Mesmer Jr, 100% Bond Conversation: ...Anyway, I'm glad you gave up on those insane plans.

Before saying that she doesn't want to be forced to Lobotomize Her, and that she doesn't actually want anyone to end up in Artificial Somnambulism.

But she doesn't say she won't do it. Just that she's happy Vertin did "give up" because it means that she probably won't have to. This seems to be her general approach. Even if she's not happy, she'll do it, her wants don't matter.

She assumes that she has no other option and that her only path forward is following orders from her boss. That the only path forward is the one set for her. There's no point in fighting it so she's just gonna continue on that path, and others should do the same or else they'll get Hurt. Learned Helplessness.

Sonetto is similar to her in this sense (Mesmer Jr says so herself,) and Sonetto is shown to hold quite a lot of repressed emotions, and to deviate from the rules or what is logical when she feels something is at stake.

After all: (Is ABA Really “Dog Training for Children”? A Professional Dog Trainer Weighs In.)

We all know that we can feel angry without expressing anger. That we can smile when inside we are crying. You can stop someone from expressing an emotion, but that doesn’t make the emotion go away. A dog who has been trained not to growl is considered by trainers to be a “time bomb dog.” When you read about a dog attack that came “out of nowhere” and “without warning,” it is because this sort of method was used to handle “problem behaviours.” Studies show that dogs trained with these sorts of methods actually have an increased rate of aggression, because punishing aggressive behaviour doesn’t deal with the underlying fear and anxiety that caused the aggression in the first place.

But Mesmer Jr, in contrast to Sonetto, who has an interest in poetry and curiosity in the outside world and has the aforementioned repressed emotions. Has no real distinct personal identity. She does not own anything that shows her interests, unlike her other coworkers who usually have at least Something on them. All of her items are stuff made by Laplace and exist unaltered. Even her cute little headband is a EM amplifier is part of the uniform.

She holds no control, no identity, no agency. She exists as a machine that someone can press the buttons of and achieve whatever function she needs to achieve at the given moment.

This is her current state of existence, and it's not something that's exactly sustainable. The cracks in this machine-living have been showing since she was 12. How many more do you think have been created now that she's 16?

The Foundation

Now, this is really depressing, but that's because Mesmer Jr is just a bit of a depressing character. She can't really get away from her job. For one, her parents are horrible, two The Storm means that the world is always on the verge of ending. Where else will she go?

But, as said previously:

A dog who has been trained not to growl is considered by trainers to be a “time bomb dog.”

Similarly, a girl trained to not develop any sort of identity will crack Someday.

I have no knowledge of what could happen next in her story, nor am I interested in theorizing about it. But I do find it interesting to think about.

[anxietyfluffy]

I dont try to make posts like this as it sucks all the fun n life out of the tags at points but theres a person in the tags rn who is openly homophobic and I feel the need to call them out on it. The user in question is @bradwongsgffrrrr . They change their name often from what i saw, so here is the post in question, which is a ship edit of Diego and Evie. Another edit of theirs gets mentioned a lot as well, which is an edit they did of Joe Warren and Louis Leroux

Here is the discussion that happened where they said some pretty gross stuff:

The reason me as well as others assumed the Warren & Leroux edit was a ship edit was cus of the fact people reblogged n replied to it saying how they loved the ship as well as the fact the audio used was a ship audio. Anyways, just wanna warn you all as of there are plenty of queer artists in the CC fandom, so seeing this kind of stuff is always sucky. I will also say, religion is NEVER an excuse for homophobia. Even if you yourself aren't comfortable with queer people, especially in a fandom like this you need to keep it to yourself as even the game itself goes against your beliefs with having openly queer characters. What you personally believe in doesn't give you the moral highground to sit there and judge others for living their lives, especially if it isnt hurting anyone. While there are also other suspicions me as well as others have noticed with certain accounts only reblogging and liking newer/popular posts in the tag and then this person's content, them being around the same time on the exact same date and being very obviously newer accounts with all similar writing styles and images that couldve been taken from google, Pinterest or Tumblr and easily can be accounts that were made for possibly botting notes on this persons posts -

-The main issue is just the homophobia and the doubling down on said homophobia, especially in a fandom as queer as this one. And its clear this person is truly just outright homophobic, it is clear when you read through the messages shown above that they at the very least have a distain towards gay people.

Again, sorry I have to make a post like this, i always hate posting drama-related things instead of fanart or content for yall but this is important as i know so many people in this fandom, esp people who make content for it here, are queer and i dont want people having to experience this. So, I recommend blocking them.

[damnfandomproblems]

This is about 5796

I'm saying this as a young adult(just turned 19) but honestly adults have a right to be weary of minors. I joined fandom when I was 14 and I lurked in fandom spaces for years. I always felt safer with adults than other minors. I have seen more minors who start drama than adults. It might be because they lack experience, stress or because parents don't teach their children how internet works but some minors do act, how do I say, aggressive. And unfortunately those are the louder ones so they paint a very bad picture. Yeah minors do need spaces for themselves and it's very unfortunate that they don't exist but it's not adults fault. It doesn't mean you have a right to take adults' spaces from them. I have seen some aggressive adults too but adults usually don't have time for needless dramas. Most of them are here trying to have fun and..... dramas aren't fun. The fact that minors fall for purity wanks do not make things better either(again I think it's the lack of experience). I have seen conversations like the one we have about 5796 before and I'm sure I'll see them again. Adults always say to block people and tags and as someone who does that, it works.

You don't like a ship? Filter the tag. Someone posts nsfw without tagging(bad move tbh, there should be tags so people can both find and avoid them)? Block that person. I haven't seen nsfw for years and the few times I did, I went and specifically looked for it.

Posting as a response to a previous problem.