#death seems pointless when it has no meaning

[depressedhatakekakashi]

I feel like I will never understand the people who think that Kakashi should have stayed dead in the Pain arc, since according to them he doesn't do anything relevant afterwards. I feel that if that had been the case, Kakashi would have had an unfinished character development. For me, people forget all the nice moments the character gave us (like, for example, him carrying Naruto), or all the characters he saved, or that he was the one who discovered how Obito's technique worked and that he was also the one who made the plan to seal Kaguya. Idk why they think he should have died there...

Without Kakashi

-Obito’s reveal would have held no weight. Like honestly the only reason we feel anything anout Obito’s reveal is because of his connection to Kakashi.

-Sasuke and Naruto would never have sealed Kaguya. The two of them were trying time and time again and it wasn’t until Kakashi entered the fight with Sussano and put into action a plan of his own that they FINALLY succeed.

- Obito would have never come back to the ‘good’ side. Naruto knocked some sense into Obito but Obito only gave up fighting at that point. It was Kakashi who brought Obito to their side in the fight.

-Sakura would have died, MULTIPLE TIMES. Heck, just from the change to the lava dimension her and Obito would have died as it was Kakashi who saved all of them.

-Obito’s heart would never have been destroyed, thus destroying Madara’s seal on it and giving Obito the freedom to break away from Madara.

- Naruto would probably have approached Danzo about sasuke and been locked away, forcing him to sit down and leaving no one to approach the Raikage about Sasuke, or forcing him to go Rogue to try and fight for Sasuke. It was Kakashi who chose to ignore rules and take Naruto to the Raikage to plead for Sasuke’s life.

-Sasuke would have killed Sakura. End point. Naruto saved her the second time, but Kakashi saved her the first time. If Kakashi was dead Naruto would have arrived to a dead Sakura.

-No one would have brought Naruto to the village and he would have passed out in the forest after his interaction with Nagato and Konan. It was Kakashi who arrived looking for him and carried him back to Konoha.

- Danzo would have been granted title of Hokage right away without struggle. Kakashi was the only one offered up as an opposing choice, and there was no one else the elder’s or even the daiymo would have seriously considered (For the daiymo connection matters, as shown by how quickly they recognized Kakashi by him being the ‘son of the White fang’

But most importabtly

That would have been an absolute shit ending. Kakashi is a character who has always been about dying to protect his precious people.

That was what he thought his worth was. Dying to protect ither’s and the village.’

Him living is what he needed.

Him living allowed him to realize he had worth as more than just a weapon, and that he was allowed to heal and be happy.

If he stayed dead in the pein arc he never would have gotten closure about Obito and Rin’s death, which would feel empty as by that point we’ve learned a bit about his past.

It’s the whole ‘gai should have died in the war’ shit all over again.

They could have died, but then they would just be feeding into the idea that they were fodder for the greater war machine with no worth other than to die for the cause

That was exactly the story kishi was trying to change

What naruto and others wanted so badly to change

Kakashi, Gai and other’s living was the purpose of the story because Naruto’s goal was to have a world where people didn’t die needless deaths.

Kakashi surving was part of Naruto achieving that goal

Putting an end to countless needless deaths.

It’s why Nagato brought the people of Konoha back. He realized that he was perpetuating what he had felt by killing others, and by placing his trust in naruto to change things for the better he chose to display that trust by being the first step and bringing those he killed back.

By ending the cycle of needless death

[entitled-fangirl]

Tradition.

Cregan Stark x Pregnant!reader

Summary: the reader and Cregan go to King's Landing to support her nephew, Luke's, Velaryon claim. She goes into early labor away from the North.

Warnings: Aegon is his own warning, body shaming, talks of brothels and stuff, labor, blood, death, fighting, all that stuff.

A/n: Based on an ask! I'll proofread later 😭

Masterlist

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Cregan held out his hand to help his very pregnant wife out of the carriage. 

He absolutely hated riding by carriage. It seemed pointless when you could ride a horse instead. But when summoned to King's Landing by King Viserys with his Targaryen wife to join the rest of her family, he had to guarantee her safety on the travel by any means necessary.

Alicent's face lit up at the sight of her daughter, practically running over Cregan to get to her. She embraced the pregnant woman tightly, "Oh, my love! How you've changed!" 

Y/n hugged her mother back just as firmly with a smile, "I've missed you, mother."

Alicent pulled away and admired her grown girl, "King's Landing is better with you here." Only then did Alicent notice Cregan, "Oh. Lord Stark."

Cregan bowed his head politely, "My queen."

"Cregan has been eager to see King's Landing again," Y/n chirped in, "He has only been a few times."

Alicent's brows lifted, "Really? I wouldn't have thought that."

He nodded, "I could've been patient enough to wait until after the birth, but alas, when the King calls, you answer."

Alicent gave a forced smile, "Right. Of course. The birth." She looked to her daughter, "How far along are you, my dear?"

"Nearing eight moons now," she said nervously with a hand on her swollen stomach.

Alicent didn't miss the equally nervous and protective look in Cregan's eyes.

…

Dinner that night was beyond tense. 

What was joy for Viserys was misery for everyone else.

Watching the king decay at the table and the rest of them squabble over trivial matters that seemed of great importance.

"A toast to the young princes and their betrothed."

Aegon leaned over to his nephew Jace, "Well done, Jace. You'll finally get to lie with a woman."

A glare was sent his way by Jace and Baela.

Y/n caught on and quickly looked to Aemond, who sipped his wine with no reaction.

"You do know how the act is done, I assume?" Aegon continued. "At least, in principle. Where to put your cock and all that?"

Jace's jaw clenched, "You can play the jester if you wish, but hold your tongue before my betrothed."

"Aegon." Y/n hissed through her teeth across the table.

His head immediately snapped to his sister in annoyance, "What?"

"Let it alone."

He scoffed lightly, "What do you mean? I'm only asking." He gained a grin, "It's not like I have to ask Lord Stark that. Look at the state of you!" He gestured to her swollen belly.

Cregan's grip on his fork tightened, turning his knuckles white. 

She placed a hand over her stomach and grimaced, "At least I was able to find a husband that wanted me. Mother had to force you to marry the only girl around, and that was Helaena."

Aegon gave an incredible glare, one that his sibling shot back.

Aemond became amused.

"Let us not fight at the table," Alicent reprimanded lightly.

Y/n looked to Jace, who gave a small nod of gratitude.

Silence filled the room until the King's long monologue of the need for peace in the house. 

Rhaenyra and Alicent gave small and seemingly back-handed toasts but Y/n was too set on the continuous mischievous look in her brother's eye.

And she called it right when he stood and moved to whisper in Baela's ear.

It was clear that it was muttered with the intention of riling up Jace, which it did quite well.

He stood up in anger, slamming his fist on the table.

Cregan, who had remained entirely silent thus far, instinctually moved a hand across his wife as if shielding her and the child.

The tense toasts only got worse from there.

Luckily, the music seemed to drown out the intensity, as well as Jace's good gesture of faith in dancing with Helaena. 

Y/n leaned over to Aemond, "Brother."

His brow raised as his eye traveled to look at her.

"It has been… long since I've seen you. I see you've faired quite well."

He hummed lightly, "I see you've… managed."

She could feel Cregan's intense gaze from behind her, "Wh…what do you mean?"

Aemond smirked and leaned in to where only the two Starks could hear him, "Inpregnanted by a brute-"

Cregan's jaw clenched so hard he feared for his teeth. His voice was a hushed whisper, but still held furiously to it, "Watch your words."

Y/n held Cregan's shoulder, "Let us not do this here."

Aemond smirked with Cregan sighed and leaned back in his chair.

When Viserys was escorted from the room due to his pain, Y/n decided to leave as well, and Cregan behind her.

They claimed a pregnancy illness and Rhaenyra smirked, knowing she'd used the same card many times.

…

Cregan helped her into bed, "I don't understand their need to crawl under everyone's skin like beetles."

She sighed, "They've never known life outside of a castle, Cregan. They've never been told no, and they never will. It's best to let it go."

"They mock us both. My name has been through dirt, blood, and tears, and I do not care, but yours?" He scoffed, "I will not stand by the next time you are mocked."

"It is only for a little while longer," she rebutted.

"Know that I do this for you, and only you, my love."

She smiled, "That's all I ask."

…

"The north has done a number on you, really," Aegon said as he appeared at her side.

She tilted her head, "I don't know what you mean."

He shrugged, "You're…" he then gestured his arms widely. "I dunno… well indulged?"

She pushed down the tears that welled up in her eyes, "Why do you care?"

He scoffed and leaned in towards her, "You know how many friends of mine asked for whores that looked like you? Many."

"And?"

"And?" He asked mockingly. "And? Who wants to fuck a whore that looks like you now?"

Her jaw went slack for a moment, completely shocked by his words. 

Finally, with now watery eyes, she spoke. "You're the worst kind of man, Aegon."

"Oh? And what kind is that?"

A sudden punch came from nowhere, landing on Aegon's jaw and sending him to the ground. 

Cregan stood over the man's body, a predatory look in his eyes and a murderous tone in his voice, "One that can't defend his fucking words."

Y/n pulled Cregan back, "Stop!"

He wanted to fight against her, but he knew better. His shoulders rolled back and he stood tall. 

She cursed under her breath as she took in exactly what had unfolded, "They could have your head for this, Cregan."

"Only if your brother wishes to defend his words against me again," Cregan scoffs as he looks down at the man.

Aegon sits up and huffs, wiping his nose that begins to leak blood. "Northern brute-"

"-Aegon!" She reprimands. 

Cregan glared at Aegon for a while, then scoffed and walked off a few steps to calm himself.

Aegon stands on shaky legs as he glares at his sister, "I liked you better when you lacked a guard dog."

Cregan immediately turned back to the man with a look that said he was ready to murder him. As he stepped forward, Aegon stepped back as he began to regret his words.

"Take me to our chambers, Cregan," she lightly pleaded. 

The wolf of the north only stared for a while before nodding, "Lead the way."

She sighed as she gave a final look to her brother. "Clean yourself up. You look like shit."

…

Standing behind Rhaenyra, Y/n and Cregan whispered idly to Daemon when someone would comment something out of hand. 

Luke's legitimacy was coming into question, and though the Starks knew the truth, they would not dare pry the inheritance from the boy's hands. That was not their place. So next to Daemon they stood as petitions were made to and against him.

Daemon leaned in to speak to Y/n, "how far along did you say you were?"

"Eight moons now," she whispered back.

Daemon let out a surprised grunt. "You're to have the child here then? That seems unlike you."

"Uncle, my father insisted I come, and I have. Whether the child is born in the North or the South, it is a Targaryen and Stark all the same."

He smiled lightly, "I suppose you're right. If you wish for someone to accompany Lord Stark to the dragon pit to choose a proper egg for the child, only say the word."

Cregan, who had been listening quietly, now leaned in, "I am to choose an egg?"

"It is tradition," she explained. "It can be before, during, or after the birth, but the father chooses the egg. If… If you would wish to continue that tradition."

He grinned, "I'd be delighted to try."

When Vaemond Valaryon stepped up forward to speak his mind, the Starks quieted. 

He spoke in anger, trying to take Luke's right. 

Y/n looked past him to her mother and siblings. 

Aegon looked like he'd rather be doing anything else. He didn't care the outcome of this ordeal. Aemond watched intensely with his one eye, taking in every detail. And Helaena… sweet Helaena. 

She needed to visit her and the children soon.

"And her children are…" Vaemond paused.

The room stilled.

"Say it," Daemon whispered under his breath.

"Her children are BASTARDS!" He screamed.

Y/n jumped back in surprise as Cregan's steady hands caught her waist.

"And she. Is. a. Whore." Vaemond finished.

The air in the room stilled and became stuffy as the tension reached an all time high.

Viserys stood on unstable legs as he unsheathed his dagger, "I will have… your tongue for this."

A sudden slice moved through the air, and half of Vaemond's head was gone.

Blood splattered across the ones' nearest, meaning the Starks. Cregan let out an annoyed grunt.

"He can keep his tongue," Daemon said proudly as he lowered his sword.

Y/n rested a hand over her swollen stomach with a shaky hand, trying to ignore the blood that began to seep into her clothes. 

Cregan leaned down to whisper in her ear, "Are you alright?"

"I… I want to go," she shuddered back.

He nodded, looking around as the crowd began to whisper amongst themselves. He held a hand firmly against her back as she became to let out an uncomfortable whine.

"Cregan, please," she whispered.

"Alright. Alright, let's go, my love," he said as he tried to move her through the crowd.

But her legs faltered as she let out a pained noise.

He caught her in panic, "Are you in pain?"

"The babe…"

No longer caring for proper manners, Cregan stood tall and looked over the crowd. "MOVE!" He yelled out.

The people quieted and moved as Cregan helped his wife through the room and out of the doors.

Alicent only saw a brief glimpse of her daughter's silver hair go through the doors, and she was on edge. She ran through the crowd to follow behind them.

He held onto his wife's arm with one hand and held her waist with the other, trying to support her as they moved to their chambers.

Y/n let out a gasp, and her water broke.

Alicent caught up to them and grabbed her daughter's other arm. "It's alright. You're alright." She turned to a servant and ordered him to get the maester. 

Sweat began to break out of the poor woman's forehead as the weight of what is happening began to settle. 

Once on her bed, Cregan refused to move from her side, Alicent as well. Alicent rubbed soothingly across her daughter's forehead as Cregan paced at the foot of the bed.

The maester and midwives came quickly, immediately moving to the woman in labor.

"My lord, it is best if you remain outside," one of them said.

Cregan's brows furrowed in confusion. "Out… Outside?"

Alicent chipped in, "It is tradition. The husband waits outside of the doors."

He stared at Y/n in thought. Tradition. How that word weighed on them like boulders. 

"Alright."

…

He tried to ignore the sounds of her cries as he stood in the corridor. 

Nothing could ease his worries. 

In the North, it was not uncommon to be by their wife's side. 

This was unusual to him.

"My lord," a midwife questioned as she poked her head from the room.

His eyes widened, "Is she alright?"

"The child is… having trouble, my lord."

That was Cregan's greatest fear. The maester in Winterfell had spent endless hours with Cregan to determine a plan for if such a thing were to occur. Now he was without a plan entirely.

"Alright?" He finally breathed.

"What do you wish for us to do?"

"What options do I have?" He spoke barely above a whisper.

The midwife gave him an empathetic look. "We can cut the child out-"

"-No." He was quick with his answer, the very thought of taking a blade to her seeming the greatest sin he could commit.

"Um… it will be painful, but we can help her force the child out."

"Is that safe for her?"

The midwife shrugged lightly, "More than any other option I can give you."

He nodded.

She gave a weak smile and moved back into the room, but Cregan caught the door before it closed and forced his way in.

At the sight of his wife, he felt as if a blade went into his own stomach.

She was crying in pain, the midwives forcing her hips down as she tried to move away from the pain, as if that was possible.

At the sight of him, her entire face relaxed, "Cregan…"

He moved to her side, "I'm here. How can I help?"

Alicent glared slightly at him. 

"They won't… I can't…" Y/n whimpered out.

"They won't what?" He looked up to Alicent, "What are they doing?"

"She wishes to get up. We cannot have her standing," she explained.

Cregan was thrown off by that. "She cannot? W… Why ever not?" When in labor with him, Cregan's mother was said to have walked the length of Winterfell 3x over. 

"It hurts… please, Cregan…" 

He nodded as his expression hardened. "Let her stand."

The maester shook his head, "She is nearing the labor. She should not-"

"-She wishes to stand. She will stand."

Alicent spoke up. "Lord Stark-"

"-This is my wife and child. If she wishes to walk, then she will," he barked. 

A fire lit behind the queen's eyes. "She will not."

The midwives watched the tension grow.

Finally, Cregan calmly reached down and began to help his wife sit up.

Alicent cursed under her breath and grabbed Cregan's wrist in an effort to stop him.

Cregan's eyes slowly moved up to Alicent's face as anger began to overcome him. 

But she was first to speak. "You are no longer in the North. You abide by our traditions when you are here."

He'd heard enough of that word for a lifetime. 

His words came out sharper than he intended, but he cared little to soften them. "Your family is made of vipers and cutthroats. When I take my wife and child back to Winterfell, it will truly be a miracle if you ever see them again, for I will not let her sit and be neglected and tormented. I am a brute, but I am not without heart. Now, Let. Go."

Alicent reluctantly let go.

Cregan helped Y/n sit, and she immediately felt relief. "I want to walk," she panted.

He nodded, practically holding her up as she stood. "We will walk the corridor and return." His voice had no room for argument.

Once they paced the corridor a few times, she was returned to the bed, only to find that Alicent had left. Cregan only cared about it when he noticed the tinge of sadness that moved over his laboring wife.

But he was quick to fill the gap. As she moved back to the bed, Cregan sat behind her and held her against his chest, messaging anywhere that began to ache.

The labor came soon after that. Cregan held her close as she screamed in pain and gripped his wrists. She surely left bruises.

"The babe is crowning, princess," the midwife exclaimed. "Keep pushing."

The pain came in waves that made her see white. 

Cregan began to panic when the midwives gave one another a look. "What?"

"She is not pushing hard enough."

Y/n began to cry in frustration.

"She is pushing," Cregan sighed. "What else is there to do?"

One of them reached up and began to push on her stomach, prompting the princess to cry harder as the pain multiplied. 

"Allow me," Cregan shifted her in his hold and carefully placed his hands where the midwife had, slowly applying pressure to the same place.

As Y/n screamed and cried, Cregan placed assuring kisses against her neck and cheek and whispered calming words to her. "You're doing well."

If the pain had not been so bad, she may have blushed.

…

Cregan held the baby close to his chest as his wife slept.

"My lord," a servant finally entered and interrupted the silence. "The queen has requested to see the child."

An annoyed feeling washed over the man. Of course, she wished to. 

The servant took note of his changed demeanor, "I can take-"

"-No," he countered. "I will go myself. Should my wife awaken in my absence, give her anything she desires."

His heavy feet stormed from the room and he walked to the queen's chambers.

Alicent turned and shock overcame her. "Lord Stark. I did not expect you to-"

"-Neither did I."

The two stared at one another for a moment before Alicent's eyes wandered to the bundle in the large lord's arms. "Healthy?"

"The very picture."

She nodded, unsure of what to say next.

"A boy," Cregan stated.

"A boy?" Alicent whispered. Any thoughts of annoyance were past to her, and she walked to the lord and eagerly looked at the child.

The baby was indeed the picture of health. Bright purple eyes looked up at the two. Dark hair sat atop his head.

"He's quite northern," she stated.

"Indeed." Cregan was sure she meant it as an insult, but he could care less. The thought of such a gift as a northern boy filled him with pride. 

"Congratulations, Lord Stark."

He nodded. "Your daughter is fine as well."

Alicent moved away from Cregan and sat down. "That is a blessing. To all of us. She will be a perfect mother."

"Aye, she will."

The tension between the two was evident, but they wouldn't let it dull the excitement of the newest addition to the line.

"I should return to my wife."

"Please, do."

Cregan moved to the door.

"Lord Stark?" She asked.

"Yes?"

Alicent stared at him and then the babe. "Thank you. For caring for her. And now him. You are a better man than most."

Cregan sighed. It wasn't a compliment, but it was something. "Thank you, my queen. She will want for nothing until my dying breath."

"This is all I wished for her."

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[noistanaccount]

Ryoko Kui Does Not Believe in Epiphanies (or: why Marcille and Mithrun's endings are great actually)

I have seen a couple of people who are upset about the way that Mithrun and Marcille's stories were resolved so I'm writing this to clear some things up. Ryoko Kui does not believe in epiphanies. An epiphany is a sudden and usually brief realization, an "aha" moment. Epiphanies are emotionally powerful moments. Both Marcille and Mithrun have powerful moments of realization, epiphanies.

Whether or not you like these resolutions, there's something you need to understand, Ryoko Kui does not put that much stock into these moments. Immediately after Marcille has her realization, Tansu responds like this:

While this is mostly his own opinion, what he is pointing out is that epiphanies are brief, they are singular moments that do not define a life. Life is long, and epiphanies do not sustain you. Marcille might feel like this now, but what about tomorrow? what about nex year? ten years, a hundred years, five hundred years from now? How often have you felt a sudden understanding? a burst of inspiration, or perhaps a realization that everything is pointless? It generally passes quickly, and you make dinner, and go to bed.

Think about the best meal you have ever had, it was probably a special occasion, maybe it felt like something magical, in the moment you might have felt like your life was changed. Then, in the morning you were hungry, so you ate breakfast. You cooked, you did the dishes, you went on with your life. What "meaning" did that meal have if you were hungry again the next day? Mithrun has to rebuild everything, every day he has to come up with new desires to do the very basics. None of it comes naturally, he has to find a reason to eat beyond being hungry, a reason to want to do anything when he doesn't want anything. Ryoko Kui tells us outright, that there is no magical solution:

The same thing applies to Ryoko Kui's representation of racism in dungeon meshi. Around when the orcs appeared in the anime I saw people gripeing about the way racism is treated. They seemed to think that Laios's party having dinner with the orcs was presented as them "solving" racism. Once again people misunderstand, they did not solve racism in a single moment. A few people, understood each other a little better, came to an arrangement and then parted. This was merely a moment in their lives. The characters continue to do micro-agressions, hold stereotypes, and have implicit biases. In dungeon meshi, characters don't suddenly stop being racist in the course of an evening. Life is a process, learning about others is a process, it's about the accumulation of experiences through the meat and potatoes of life, the daily activities that we actually fill our lives with, not the sudden realizations. Once you make learning about and living with other people into part of your routine, once it is embodied, then it is part of your life.

This is the real conclusion: life is not lived in a state of epiphany. Life is about chores, cooking, eating, shitting, working, and sleeping, it's everyday. Life is about doing simple things and doing them well. An epiphany is a useful tool for telling the reader that everything is going to be alright, we love to read epiphanies and be swept up in them. They can also be a breaking of a pattern, an escape from a spiral.

This is the other take away, it's about the people you do those things with, the way they rub off on you, the way they help you be human. For Mithrun and Marcille their paths would be impossible without other people pushing them back on the path as they stray. Mithrun literally would starve to death except for the thought that kabru and others don't want him to. Eating is a communal activity, so is living, you can have an epiphany on your own; you can't live on your own.

[syllikins]

"𝐀 𝐋𝐎𝐕𝐄 𝐏𝐔𝐑𝐄𝐑?"

❀ genre: fluff

❀ pairing: sylus x reader

❀ contains: mutual pining, sylus down bad, yucky vulnerable feelings (jk i love him so much for this reason), reader in denial (sorry guys), poorly proofread

❀ word count: 1.03k

❀ authors note: i'm taking a crack at this. but omg that scene where he tells mc there is no love purer than his after he asks if she finally realizes how he feels about her? COME ON. HOW CAN I NOT LOVE HIM?? had to write something inspired by that dialogue because it was so????? i'm definitely going to reference to some other stuff he has said in the game that made my heart flutter because?????

"there is no love purer than mine."

is a statement that has been replaying in your mind over and over again since that day.

you couldn't help but wonder if sylus lacks self awareness because how can you actually pinpoint his feelings when every conversation the two of you engage in seems like a ploy for his own entertainment.

every pointless banter. every teasing remark. every sickeningly corny nickname that unfortunately sounds like honey whenever it left his lips. maybe you ignored his childish attempts at flirting because you were too busy ignoring the ticklish feeling it gave you in your heart down to your toes.

sylus may make your eye twitch or send a small twinge in your brain with every smartass comment he feels he has to belch out: but maybe that's part of his charm. he mainly gets away with it with a face like that.

but your developing feelings for sylus was far more emotional than it was physical.

maybe it was the way he was always ready to lock in when it really came down to it.

the two of you being around each other always ended up with you or him being hurt. sometimes both. and if not either of you, chaos ensued. maybe a building was blown up instead. it was fun but it was times like those when you learned about sylus in a slightly more intimate way. it took a few deep gashes and heavy panting, near death experiences and stitches. but he needed your help. you liked that he could at least admit that. he saw you reliable enough to call on you when he was most vulnerable. and he helped you in the same way, despite protest.

he likes to hold hands. but it's not just his fingers intertwined but more like your hearts tangle more than your fingers. it was nice...he may mean it to be authoritative but there is always an underlying sense of comfort in his fingertips.

maybe he was a vampire. as you had previously joked. silver hair. red eyes. that inexplicably gorgeous face. pale skin that would automatically show any trace of lip gloss or lipstick that he would have obtained by getting a bit too close while attempting to tease you. that allure that often times makes your head go numb before you're brought back to reality by another witty comment.

you were more than enthralled by him; you realised as you laid in bed a few nights ago.

now he just makes you nervous. why would he say that?

there is no love purer than his?

and it's all for you?

it all feels like too much.

he calls and you stare at the caller ID before choosing to nervously accept the call. not before you start a petty argument.

but even among his arrogance, and the chirp in his voice when he engages with you, he's still sickening sweet. slipping in how strongly he feels about you in between every other colourful retort of yours or so. gosh. could he not?

after you pathetically stutter through a smartass comment of yours, his amused chuckle has you fighting the urge to chuck your phone. so you just hang up instead. maybe you just need to go outside. that should calm you down.

the warm yet slightly humid summer night air hugs itself against your slightly trembling form, a small fire lit in your heart as you walk down the empty sidewalk in pyjamas.

no one is around. all the stores are closed. it's just you and the street lights as you murmur about all the things you don't like about him in an attempt to kill the light in your heart, this light giving you an odd sense of pleasure. to no avail, your rambling on seems to make the light grow. and a small buzz on your leg.

in your pocket.

he's calling again.

you stare at it this time. its like you think the loving feelings pouring from your pores will tap the accept button for you. this doesn't last long before you shake your head and put the phone back in your pocket. you continue walking, eyes kept on the sidewalk as you weigh the pro's and con's of accepting such feelings.

*thud* you've hit your head on something.

the familiar scent in your nostril already tells you what- more like who it is.

it's obvious he used his evol to just appear in front of you. or else you would have seen his shadow underneath the streetlight you're under before your forehead met his chest.

the mere thought of it being him before even seeing his face is enough to get your stomach to flip, so you flip yourself in the other direction. then he wraps his hand around your wrist but he never seems to forget to add the electrifying part.

your free hand twitches as he intertwined his beautiful fingers with yours, the linking of both your pointer fingers keeping you together.

the silence among the song of cicadas makes you bite your tongue, anticipating a smart, playful retort. and yet amidst your baited breath nothing.

your heart beats in your ears as his warmth lingers on your fingertips. the two linked fingers generating the most heat.

"gosh, would you stop tormenting me already?" you whisper.

"is that what you think this is?" his voice echoing in the street.

you're both silent for a moment. yet neither of you make a motion to separate the linked fingers.

"your love...in it's purest form..."

another silence.

"it belongs to you." he finishes

you turn to him, still staring at the pavement.

"my love....." you began.

he seems to be holding his breath as you fidget in front of him. you attempt to make your slippers overlap or something to that effect as your palms get sweaty.

"is just as pure as yours." you breathe out in something like a scoff.

even now you're trying to challenge him

"and i want you to have it."

 when you utter that last bit, you look him straight in the eyes.

he exhales and accepts it with no hesitation.

in his arms, where both your hearts tangle.

© syllikins 2024

[genericpuff]

Lore Olympus just pulled off the biggest whiff in webtoon history.

I promised I would choose one of two headlines and of course, this is the one we wound up with. But should we really be surprised? Rachel herself seemed to be telling on herself down to the minutes leading up to the finale, fully confirming to us that yes, she's been writing this comic at the last minute, by the seat of her pants, for ages now.

(that second one was literally posted TWENTY FUCKING MINUTES BEFORE THE COMIC UPDATED.)

Welp, let's get into it. Possibly the last essay I'll ever write about this dumpster fire of a comic (but probably not, let's be real LOL)

CONTENT WARNING: DISCUSSION OF SEXUAL ASSAULT AND FASTPASS SPOILERS FOR THE SERIES FINALE AHEAD!

Holy crap, where to even start with this. I knew it was going to be bad. I knew it was going to be rushed. I knew it wasn't ever going to live up to what I had hoped it would be years ago when I was still a diehard fan.

But I didn't think it was going to fall quite this hard. Despite bracing myself for the worst, Rachel has once again let my expectations down through a final display of explosive mediocrity and disappointment.

Yes, the episode is called "You're Welcome", and yes, that instant "ick" you're feeling is the exact same as what we're all feeling. This title plays into the dialogue later, but what a shitty, lowkey mean-spirited title for the series finale.

Now, before we get into the actual episode, the WT ads for this are just... so desperate and misleading.

They are trying SO HARD to hype up something that isn't there, and at the last minute to boot, because Rachel definitely hadn't written any of this ahead of time.

First off, the bit about the gods being in "eternal chaos" of course isn't a stake worth worrying over because Gaia literally does away with Ouranos in the first 5 panels.

Did you really think I was joking about that 5 panels thing?

That's it. That's the death of Ouranos. As mysteriously and quickly as he arrived, he was gone, after Gaia ripped out of him what appeared to be some purple sunny side up - but it's actually, in fact, Apollo.

And that's when we start to get some of the worst dialogue I've ever seen throughout LO. Remember when I said LO's dialogue was like Shenmue 3? Welp, the finale decided to continue that tradition and further fuel the suspicion that this entire thing was written by ChatGPT.

Oh, by the way, that "thank you, ma'am" was Artemis' first and last line of the episode. So once again, just like in Episode 248, we're completely robbed of her reaction to Apollo being a rapist piece of shit and the character development she could have had as a supporting character. The women in this "feminist retelling" really couldn't be more half-baked.

Gaia stumbles upon Persephone, and I'm not even gonna fucking bother showing the panels where Gaia says it's time to "make things right" because they literally don't matter. Why don't they matter? Because Rachel just had to get in one more pointless time skip.

We're shown a sequence of pointless images that I'm not gonna show as I don't want to waste my image limit on them, depicting Hades having a sad day because his small wife isn't with him and oh nooo what could have happened?? Did Persephone finally divorce him ??

Nah, we couldn't possibly have an actually happy ending in this comic. Instead we get a completely pointless phone conversation between Hades and Hecate-

Not only is the grammar particularly bad in this episode, but the actual script-writing is atrocious. We literally did not need this phone conversation to happen because-

-we're cutting BACK TO THE PRESENT THAT WE JUST CUT AWAY FROM FOR A 3 MONTH TIME SKIP. FOR NO REASON BESIDES SHOWING HADES BE SAD OVER SOMETHING THAT ACTUALLY ISN'T THAT BIG A DEAL, AS YOU'RE ABOUT TO SEE.

I- I LITERALLY HAVE NO WORDS. I HAVE NO WORDS TO DESCRIBE WHAT THE FUCK THIS IS. ALL I CAN HEAR IN MY BRAIN IS THE LEGEND OF ZELDA ITEM GET MUSIC-

-BECAUSE THIS WHOLE THING SUDDENLY SOUNDS LIKE SOME CONTRIVED FETCH QUEST. WHAT DO YOU MEAN HADES AND PERSEPHONE HAVE PROVEN 'TRUE LOVE' IS REAL? WHAT DO YOU MEAN THEY HAVEN'T USED 'LOVE' AS A FORCE FOR DESTRUCTION?? ARE WE FORGETTING THAT HADES MUTILATED A GUY IN THE NAME OF 'LOVE'? THAT PERSEPHONE LITERALLY INVADED THE HOME OF HADES' CANONICAL FIRST WIFE BECAUSE SHE FELT MILDLY THREATENED BY HER?

This whole concept of "true love" that Rachel is trying to convey feels so juvenile especially for a series that has sold itself as being mature and thought-provoking and progressive.

HAHAHA SO FUNNYYYYYYY why does Rachel write like this. this is, at best, the writing of a 13 year old on fanfiction.net, which I SHOULD KNOW, because I WAS ONE OF THEM. BUT I'M 28 NOW AND RACHEL HAS ANOTHER 10 YEARS ON ME.

Okay, this is the part where I'm CONVINCED Rachel either just mashed this into the episode in the MINUTES leading up to its release, or she used ChatGPT or something. Because NONE of this dialogue makes any sense. Beyond how stilted and lifeless it is (seriously, this dialogue reads like something from Empress Theresa) Gaia is clearly meant to 'replace' Erebus here which I SHOULDN'T HAVE TO EVEN EXPLAIN IS SO FUCKING DUMB, but ALSO what is even Persephone trying to communicate here? "That is true, but it was a deal I was willing to make and ties me to the Underworld. Please don't change me." What? Gaia hasn't even insinuated that she's going to do anything to Persephone, why is Persephone immediately jumping to this conclusion? What does 'changing' her mean? Is she asking Gaia not to force her to sacrifice something (which she never did)? Or is she asking Gaia not to strip her of her Underworld status? Because again, why is that even something Gaia would do?

Maybe this is harsh but I'm pretty sure even Empress Theresa is more coherent than this, what in the flying fuck is Gaia talking about?

"I can just see the potential for conflict! To relieve you from the burden of the whats, the hows, and wheres." Like... okay, first of all, that second sentence isn't even a complete sentence, it's a dependent clause left hanging, but also what the fuck does this MEAN. Is she EXCITED for the conflict but then contradicting herself by saying she wants to relieve Persephone of that conflict? Or is she saying she can see the conflict it would cause for Persephone to have to perform duties in both realms and trying to insinuate that she's going to relieve her of those complications?

Here's what I think happened - I think that second 'sentence' wasn't supposed to be a sentence, but the start of the sentence to the next panel-

So with that theory in mind, the sentence becomes, "To relieve you from the burden of the whats, the hows, and wheres, you are to spend three months in the Mortal Realm to do spring and the rest of the year in the Underworld. That seems fair to me."

It's still a very poorly written line of dialogue, but at least with that fix in mind it makes sense. But man, you can really fucking tell this episode was submitted at the last minute because that's a serious syntax error that should NOT have happened in this two-time-Eisner-winning comic.

Errors aside, it's clear that Rachel is following through on having Persephone spend only three months in the Mortal Realm, rather than the traditional six. There ARE other translations that have that number closer to four, but those four are the time she spends in the UNDERWORLD, meaning she's always spending either equal or MORE time in the Mortal Realm. Of course, Rachel doesn't want her self-insert small wife power fantasy to actually have to be separated from Hades despite this being a retelling of The Abduction of Persephone, so instead of her spending three months in the Underworld, she's now spending them in the Mortal Realm, literally doubling the MINIMUM amount of time (four months) she was originally meant to reside in the Underworld.

But oh no, apparently those three months are STILL NOT SHORT ENOUGH FOR PERSEPHONE-

Of course, Rachel "Retcon" Smythe had to have her cake and eat it too. I always worried something like this was a possibility, but I never thought she would actually prove me right - not only is Persephone only separated from Hades for three months out of the year, but actually he can visit her any time he wants to, so really, they're not separating at all.

I think Rachel needs to look up "reunion" in the dictionary, because if you can visit each other any time, then that means the 'reunions' are no longer special occasions. This completely removes any semblance of depth or meaning from all of the storytelling leading up to this, all of it with the expectation that this was a retelling of the Abduction of Persephone, because that's what Rachel said it was going to be. At this point it's safe to say that Rachel has zero business attempting to "retell" mythological stories, because she doesn't even seem to grasp the concept of why they were written the way they were to begin with. Either that, or she really just doesn't care, and the only reason for making LO a Greek myth comic at all was to propel her career.

This also brings me back to those promotional ads, the other one that posed the question, "Will sacrifice be enough to bring these two back together?"

This is stating the obvious, but I need to make it perfectly clear - Hades and Persephone have never sacrificed a single thing. The only thing they could POSSIBLY quantify as a "sacrifice" is "not being tied at the hip for a few hours", because even Persephone going on the equivalent of a work trip next door is apparently enough to make Hades sad as we saw in the 3 month time skip panels. Why is Hades so sad and lonely if he can visit her any time? Why is he acting like he hasn't seen her in years when he's actually on his way to reunite with her? Why is Hecate calling to ask him if he's "okay" as if he JUST got separated from her, but actually he's about to literally go to the Mortal Realm to reunite with her?

Hades hasn't 'sacrificed' a damn thing, neither has Persephone. They've both always gotten exactly what they wanted, even at the cost of breaking the story's own established rules. Their 'sacrifice' is equivalent to what billionaires think are 'sacrifices' when they can't buy another yacht or go on that third overseas vacation for the month.

And even outside of this episode, when have these two ever sacrificed anything?

I've tried so hard to think of what sacrifices have been made by the characters within LO, and I genuinely can only think of one - and that was when Artemis chose to go to the Mortal Realm with Persephone instead of staying with her family in Olympus. That was a genuine, selfless sacrifice, made by a character who has been shelved in favor of focusing on the self-centered pink and blue airheads.

Being forced to be apart for a couple days to do the equivalent of a day job and whining about it the whole time is not a 'sacrifice'. Neither of these characters have ever sacrificed anything, they just feel like sacrifices because they have the integrity and empathy of soggy cardboard.

sigh Anyways, we're back in the present and Hades and Persephone immediately decide they're gonna have sex because ofc, and then we get this gem of a panel-

MMMMMM

FUNNYYYYYYYYYYYYYYYYYYYY JOKE

For some reason it's just a common thing for people to just be in Hades' home, and they can't seem to get any privacy as a result of this, but I digress. Turns out they still need to have that coronation for Persephone.

There is... so much wrong in these three panels.

First, to state the immediate issues - why the fuck are they mentioning Apollo at Persephone's coronation? Like first of all, no shit Apollo isn't gonna be there, but also, if this is supposed to be an event for and about Persephone becoming Queen of the Underworld, then why in the WORLD is Apollo even being mentioned? This is supposed to be a "feminist retelling" where the victims are empowered and heal from their trauma, but LO once again can't try to show any sort of positive growth for the victims without bringing up the assaulters and giving them screen time. It just goes to show that Rachel's idea of "healing" is purely rooted in the revenge, and not the growth. It's a very high schooler approach to this subject, hellbent on showcasing how all the meanies from the past are losers now and life just sucked for them forever, but inadvertently proving its own point that the victims haven't and can't move on because the narrative is spending so much time on caring what's going on with the abusers. It's the "I don't care! Look at how little I care! I'll prove it to you by putting in the effort of showing you how little I care!" approach, it doesn't really feel like moving on.

It's not about how Persephone and his other victims could have grown and healed, no, Rachel always needs to highlight just how much worse the bullies and haters and abusers are doing to make the victims seem like they've healed by comparison. Don't get me wrong, I can understand wanting to showcase the downfall of a character like Apollo, but this just... isn't the right context for that? Because it's once again taking attention away from the victim to focus on the abuser. It's once again spending screentime on the voices of the oppressors rather than the oppressed.

And speaking of, what the fuck is this punishment even? I knew Rachel wasn't gonna be able to resolve this plotline properly, she never had the capability to, but ... community service? Are you fucking for real? What is this even a punishment for even? Was this EXCLUSIVELY the SA, or does this ALSO include his attempts to overthrow Zeus by poisoning him, nearly killing Daphne, Eris, Eros and Psyche, trapping Eros and Psyche in an enchanted basement, and framing his father's 'death' on his half-sister? Because if so, how in the world is anyone content with community service? He hasn't even been turned into a mortal, HE'S STILL A GOD, so what's to stop him from going "WE'LL MEET AGAIN, SPIDERMAN" and trying something else? How is this a reasonable resolution in ANY context?

This is why I talked at length about what an issue it was to hide what Apollo really admitted to. Because now we really don't know what exactly he confessed to, and thus we can never really see the point of views of the victims outside of just Persephone - and we still don't even get Persephone's, because she just walks away from him and then he gets eaten by Ouranos and next we see of him is him doing community service! Once again, any emotional development that could be given to Persephone and the other victims is stripped away to make room for the point of views of the oppressive men. In this, the two-time-Eisner-winning "feminist comic" that is LO.

And that brings us to the "where are they now" segment. Yes, as we all feared, there's a "where are they now" segment, and it's as rushed and underwhelming as we ought to have expected it to be.

There is just... so much to unpack here, and yes, all of it is delivered in the dumbest way possible that only raises more questions than answers.

So Rhea and Metis are just back and we're not gonna talk about the implications of them being alive again?

Dionysus is a 3 month year old in the body of a teenager / young adult, and his mom is just alive now because Hades conveniently got his hands on more ambrosia and brought her back to life offscreen? But somehow Triptomelus and Hedone are still child-sized relative to their ages?

How did they 'heal Zeus'? And why is he so content with losing his power as King and Apollo being sentenced to community service after making an attempt on his life? How does he feel about the letter that Hera gave him? Did he even read it?

Where the fuck is Hebe in all of this? Is she okay? Do people still think it was her who put Zeus in a coma? Or did Apollo confess to that, too?

You're telling me Hera and Echo are just in a relationship now despite the fact that Hera is literally racist towards nymphs and there is ZERO reason for them to have a relationship in the comic beyond the fans making gratuitous headcanons out of it? How is Rachel, a bisexual woman, so bad at writing actual lesbian relationships and giving them the same amount of attention as the heterocis ones without shoving them into the background as props for insincere queer rep? And what about Hera herself? How did she overcome her role as the Goddess of Marriage to finally divorce Zeus?

"Ares is still a dog!" Haha! Ares is still a Persephone simp! Happy end!

Why is Eros just standing there smiling at the camera struggling to be seen past Hedone who's just floating right in front of him? You're telling me there wasn't a better place to put her out of that entire panel?

"Hades and Thanatos have been making more time for each other. Sometimes they even have a conversation." I'm sorry, is this supposed to be funny? The man abused Thanatos for years, treated him as just a lowly employee when he was literally his adopted son, and now you're trying to play it off as a joke that they're "making more time for each other"? What the fuck is this?

TGOEM disbanded? Why? What about the women who were genuinely a part of it?

Also, Artemis and Selene are just good friends now because reasons? Because they're both affiliated with the moon, I guess? Why is Selene even in this comic-

"They are still looking for Kassandra". Who? And why? This feels like such a last minute addition to acknowledge a character that the comic spent WEEKS foreshadowing only to have her finally appear as a pointless McGuffin, but it's so last minute that it does nothing. I'm assuming it's Eros and Psyche looking for her, but like... why can't they find her? They're gods, tracking down one mortal shouldn't be that difficult LOL ???

And also, where the fuck is Leto?? You're telling me she was an accessory - maybe manipulating Apollo, maybe not - but we don't see what happened to her? Is she just back to being a social outcast then? jesus christ this comic isn't finished-

Kassandra is where the "where are they now" sequence ends, and we're treated to one final horribly written dialogue scene between Hades and Persephone, where they tell each other how much they love each other in a desperate attempt to convince the audience that this is, in fact, a romance.

There's this thing in romances called chemistry, and if you're good at writing it, you shouldn't have to write dialogue like this. You should be able to see how much the characters love each other through their actions, through their small behaviors around each other. It's not always about what they say out loud, it's about what they don't have to say, because when two people really share that close of a bond based on love and trust and chemistry, words often aren't necessary.

Hades and Persephone do not have that chemistry. It has been apparent for years now, but this final exchange really is the nail in the coffin. There are no microexpressions or subtle emotions, no subtlety in their word choice, and nothing unique setting their voices apart. It's all just "wow thank you for being such a wonderful amazing partner, you are amazing and I love you" word salad that has to do all the heavy lifting for the completely non-existent chemistry that's been at its absolute worst throughout this entire season.

And worst of all, despite this story trying so hard to be focused around Persephone, around her story, her trauma and her healing, her voice... it's still all just about Hades. In the end, she's thanking Hades, and forcing him to say "you're welcome". All of it is trying so hard to convince us that Hades has been a positive addition to her life, that she 'owes' so much to him, but we've obviously seen plenty throughout the comic that begs to differ. And even if he were a better person than he is, it still doesn't change the fact that once again, the men are being held up above the women, with the women being grateful to the men who choose them. LO can try its hardest to convince people that it's feminist, but it is, at best, reinforcing the very same structures of the patriarchal system that it claims to despise and rebel against.

We do get one line from Hades acknowledging Persephone's part in the relationship-

-and it falls so fucking flat because it's still about him and what she does for him, and because nothing about their relationship was built on any sort of organic chemistry. There was a lot more chemistry back in S1, but it was still predicated on Hades lusting after a vulnerable 19 year old girl.

Yep, and that's it. That's the end.

Except it isn't because Rachel wanted to try and be smart by including an 'epilogue' that's really just stretching the episode out pointlessly for another few panels. And of course, we had to get another time skip, just a final dose of salt in the wound, this time to years ahead when we inevitably had to reconnect with Persephone and Hades in the future after Melinoe was born.

To recap, Melinoe doesn't remember... because Hades had Morpheus erase her memories.

This plotline has really started to give me the ick because it actually feels very familiar. Bear with me here, because I'm gonna go on a bit of a tangent about my own original work, but it's because I wrote a plotline exactly like this years ago.

There's this... turning point, in Time Gate: Reaper, when the main character Uzuki is kidnapped by a Reaper (see: undead) who wants to experiment on her in the hopes that he can somehow gain her abilities to bond her soul with others (which later allows her to literally possess people after she becomes a Reaper herself). Mitsuhiro, the male deuteragonist who kickstarts the plot by telling Uzuki she's got a limited amount of time left to live (which he knows thanks to his magical death timers that mark themselves on his skin), feels an immense amount of guilt after finding out she was kidnapped by the Reapers (at this point she's been gone for three months), as they were originally after him; he worries that she was made a target simply due to him associating himself with her, and vows to rescue her.

With the help of some other spunky teenagers and anime trope characters, Mitsuhiro does eventually rescue Uzuki - but for the three months she had been gone, she had been tortured, abused, and experimented on, causing her mind to split and for her to lose any sense of awareness of who Mitsuhiro or her other friends were. She was no longer herself after the hell she had been through.

Mitsuhiro's solution to this is to have Springlock - another Reaper with motivations that are not yet clear to the cast - erase her memory. This is not a light decision that comes without consequences - for the remaining duration of the story, Uzuki is plagued by night terrors and panic attacks, unable to really remember what happened to her aside from whatever brief flashbacks her brain recalls in its haze of memory loss. She is traumatized, both physically and mentally. She has lost three months of her life and memories, and doesn't know how to explain why she's covered in scars that are still healing, why she's missing organs, why she's now blind in one eye, and why the sound of scraping metal and ticking clocks gives her panic attacks. Mitsuhiro has convinced her friends that she's suffering from memory loss due to trauma, but only he knows the truth that he forcefully took her memories away from her, without her consent. This was not the right choice to make. It was not noble of him, it was not a grand gesture of love, he made a decision on her behalf without her consent that has now resulted in her becoming a nervous wreck. Sure, she still would have had PTSD if she remembered what happened, but at least she would know why and could then seek adequate help. Without those memories, she has nowhere to begin to heal. And so we see the consequences of this throughout [AFTERBIRTH] and even the upcoming Thread of Fate. It is a long-term problem that is not going to be solved overnight, especially not with Mitsuhiro withholding information from her.

Reading about Melinoe having dreams about her experiences trapped in Tartarus with Kronos ... it felt familiar enough that I had to talk about why the insinuations of this are so fucked up. I know there are people who are gonna handwave it away as "she's just a kid", "these are gods so what does it matter", etc. but ... it just feels like such an oversight to have Hades effectively erase her memory of her trauma and then hint at them still being present in her mind through her dreams. She did not ask for that. And the fact that she's now dreaming about it all does not bode well. But we're supposed to think Hades made the correct choice, regardless.

But none of this is effectively expanded on or explained, because we get one final scene of Melinoe and Demeter visiting Persephone, who has just given birth to... Makaria?

So it turns out Persephone and Hades are just able to have biological children now. Don't know why, but of course they both look exactly like Hades.

What I was really confused by though is the fact that it's Makaria and not Brimos. Do you remember Brimos? The child that was foreshadowed in Hades' original fantasy dream sequence about his future children about Persephone?

Either Rachel completely forgot about him, or she saw all the criticism over the fact that Brimos isn't a confirmed child of Hades and Persephone (rather, an epithet that can apply to basically any Underworld god including Persephone and Hades) and that her "research" was dependent on a book she read when she was 13 and decided to axe that. But she went to the effort of establishing that all the dreams Hades had were , in fact, canon visions of the future, so good job Rachel, you created yet another plothole on top of the hundreds of others.

And that's where the series ends, on a final nuclear-family-photo of Persephone, Hades, Melinoe, and Makaria. Of course, Dionysus and Thanatos aren't present in this shot because this is Lore Olympus and only biological children count /hj

Why Rachel couldn't move the "the end" portion to THIS part, I don't know, but I'm also expecting way too much of the person who finished this 20 minutes before it was due.

So that's it. Six years and that's what we get. I didn't expect much, but I was still incredibly disappointed, as were many others who walked away from this dazed and confused. Maybe it's all the "haters" deserve at this point. But what of the fans? While many of them are celebrating this ending at best and tolerating it at worst, I can't help but think of the fans of this comic who hung on for so long in the hopes it would "pay off", just for it to go out as gloriously as a wet fart.

As for me, I have such mixed feelings about Lore Olympus ending, but none of them pertain to the comic itself. Most of what I'll miss from this comic isn't the comic itself, but the people who have made reading it every week so fun, the artists and writers who have enriched the content with their own interpretations of what could have been, and the experiences of being part of such an amazing community made up of people who are as long-term-obsessed about this piece of media as I am.

I get people who ask me a lot if it's "worth it" to be so engrossed in the LO slander, who assume that I'm going to "regret" ever being a part of it all... but from where I'm standing right now, I couldn't ask for a better view.

Even if I didn't love every minute of it, everything I have here I owe to this comic. This stupid, wonderful, boring, amazing, pile of shit comic.

[long-live-astronerd-ghost-king]

DPXDC ~ Dead on main ~ Signs of Death

~~~Eye of Death~~~

Jason liked to think that Danny has cat's eyes. And by that Jay doesn't mean mixture of a predatory look and a cute purr of his boyfriend's core that comes with non-human being thing. Just cats have slit-shaped eyes. Danny have them too. And Todd is so into it.

Jason:

I don’t understand why he takes his eyes off me when I call him Kitty or try to catch his eye. He’s a dog lover but I didn’t think he hated cats. They’re cheeky and charming, just like him. Danny’s not embarrassed by his fangs or his white hair. So..why?

Later Sam explains to Jason that after the portal incident Danny did not immediately learn to live a half-life and for the first few days dropped dead several times.  And because she tested it using Ripault sign, the shape of his pupils ended up looking like cat's one in his phantom form.

P.S.Ripault sign - a sign of death consisting of a permanent change in the shape of the pupil produced by unilateral pressure on the eyeball.  So, a pupil  of a dead person acquires an oval shape, and in a healthy living person such a reaction is not observed. This is associated with the inevitable post-mortem drop in blood pressure and the lack of activity of the central nervous system, which manifests itself in the absence of ocular muscle tone.

Tacker adds that Danny also died with his eyes open, so in his Phantom form he barely blinks. It seems pretty creepy too everyone, well, except Jason. Thanks to Tim he used to have blank stare near him.

~~~~~~ the Lazarus heart ~~~~~~~

Team Phantom also tells him that when Danny's too focused on phantom's task (save, protect, escape) his systems just stop keeping Fenton's body alive.

No blinking and fixed pupils are the first signs Jason has learned to watch for. After that, breathing stops. Only a few times he recorded a complete cardiac arrest. After the battle with Pariah Dark, Danny passed out on the couch and lay without a heartbeat, so the blood clotted exactly where it had collected under gravity. Those cadaveric spots appeared in several places really frightened Jason. 

So during the fight his boyfriend's ghost side stops monitoring functions of his human body at all. And it doesn't help that cardiostimulation for Phantom is pointless. He died from exposure to electricity, so the generation of a signal to work the cells is now under full control of the core.

Jason fights with Danny for a long time, convincing him that he should take better care of his health. As a compromise, they decide to put several sensors on them to monitor some parameters around the clock. Jason curses that it was his idea when Batman enters their apartment at night, smashing the window. It turns out that death is still following Jason. His heart was the one that played the funeral march on the cardiogram and froze, and he didn’t even notice it.

The old man managed to break several of his ribs while doing CPR but Jason only came to life when Danny pulled the hyperventilating bat away from his body and let ectoplasm take its course.

P.S. Lazarus syndrome, also known as autoresuscitation after failed cardiopulmonary resuscitation, is the spontaneous return of a normal cardiac rhythm after failed attempts at resuscitation. 

[veryrockyraccoon]

So one of the most common problems people have with DC is that they won’t let their characters stay dead, it makes something that’s supposed to be a big thing that will permanently change other characters and the world around them feel like a pointless footnote. The obvious solution is to let them stay dead, however I would like to offer another option that is specifically geared toward the Robins.

They die but they don’t stay dead, it happens over and over again, their loved ones are stuck watching them suffer and die again and again only to come back and have the cycle repeat. No matter what they do death always finds them.

They lose sight of what life actually means because their own seems to mean nothing, they start struggling to understand things that use to make so much sense, like why people fight so hard to survive or why death scares so many, because they know they’ll never get to actually be dead.

The public starts to view them as demons or gods or something, because they’ve seen Redhood be stabbed through the heart, they’ve seen Nightwing fall and break himself on the concrete, they’ve seen Signal overload his powers and burn from the inside out, they’ve seen Red Robin’s head be crushed by block of stone, they’ve seen Robin choke and spit up blood before falling still because he was dosed with poison, they’ve seen Batgirls throat be slit, they’ve seen the birds die in dozens of horrific ways and they’ve seen the affect it has on the bats, but the birds come back, again and again, but every time they come back they look sadder, like less came back.

The birds don’t view themselves as the gods the public does, they view themselves as servants, servants of Gotham, of the people, of justice and vengeance, they can only pray that when their job is done they will be able to rest.

[thelightsandtheroses]

everywhere, everything | jm x female reader [au]

Summary: In recent months, the bar your family has owned for generations has changed. Now it can't keep a bouncer beyond one shift, attracts the 'wrong' crowd, and is an albatross around you and your cousin's neck. Your cousin's latest hire, Joel Miller, seems like he might just survive the shift and as time passes, you can't help but want to know him more. AKA the Bouncer!Joel fic Word Count: 8.2k Warnings: 18+ MDNI, mentions of canon typical violence, RoadHouseBouncer!Joel AU, no outbreak, no specified age but reader has a cousin and inferred (not detailed) family deaths in the past, flirting, smut (p in v), Joel Miller is his chaotic self, mentions of death of a child (canon), many scenes set in a bar and mentions of alcohol or drinking, your standard lolabee flangst and introspection, reader mentions music, singing and playing guitar. Notes: So much appreciation for encouraging me to write this fic goes to @trulybetty for listening toand supporting my ideas and @rhoorl. Watching the new Road House movie at the same time as starting TLOU games led to this idea I couldn't let go of. Fic title isfrom the Noah Kahan song of the same name.

It’s starting to weigh on you.

You see it in your cousin more though; the weariness in her eyes as the local gangs come in and inevitably cause trouble. Both of you know where it comes from, the reasons behind it, why it’s so much worse for your roadhouse than anywhere else in the town.

Most days, you want to leave and sell up. Sometimes a fight is too much, it isn’t worth the cost, there’s too high a loss, too tiresome a battle. Everything your cousin possesses is tied up in the bar though. It’s not that simple for her and you won’t walk away from your family. You can’t.

The two of you cannot be the ones who let decades of your family’s legacy just wash away to nothing.

That was why your cousin had started with the bouncers in the first place. The two of you can only afford one, but it’s a small building, a small town.

“This one will be different,” your cousin says with a firm nod and smile that doesn’t quite meet her eyes. “I just know he will. He’s new in town, he starts tonight and he - when you meet him, you’ll see what I mean.”

You don’t say that she said the same thing about the last bouncer - what was his name? Dave, or Frankie, or something like that. You’ve stopped learning their names now - it’s pointless when they never last longer than a few days.

The bar is still quiet; tinny music coming through the speakers as you finish unloading the clean glasses from the dishwasher.

“Are you playin’ tonight?” she asks.

“Might do. If the crowd let me,” you say, smiling at your cousin gently. It’s a joke now; the bar hasn’t been safe enough in months for that.

It used to be your favourite thing about this place; the music, the ability to perform songs and transport yourself to what could have been, what could be. It might not be Nashville, or the Sofi stadium, but it’s the closest you think you’ll ever get to feeling like a real musician. And now you don’t even have that.

“Good, they will. It’s going to be a good one tonight, you’ll see.”

The new bouncer is called Joel but your cousin calls him by his surname: Miller.

He’s quiet, not like the other one. Instead of stalking around and flexing, Miller sits in the corner of the bar, perched on a stool and staring into a cup of coffee as though it would answer all his queries about the universe.

You feel bad about the coffee; you should have warned him that it’s truly awful, pointed him in the direction of the small diner ten minutes away that serves some of the best coffee in the whole state. You think your own coffee isn’t too bad either; perfected and tweaked over years to figure out the perfect combination of beans and grind to bring the best out of your worn moka pot.

“Next time, I’d go for water,” you say lightly as you approach his side of the bar. It’s still quiet for this time of the evening but the trouble doesn’t usually start until after ten anyway.

“Oh, yeah?”

“I’m not sure we can even legally call this coffee. I think there’s more caffeine in the Kahlua.”

“You have Kahlua?” Miller asks.

“It’s a very old bottle, I really wouldn’t risk it.” You try and remember the last time someone ordered a drink with it here but it’s hazy. The Bar doesn’t exactly attract people for its cocktail list anymore.

“Pity.”

“I can get you a water if you’d prefer. Or something else?”

“It’s fine.” You notice Miller has pushed the cup slightly away from him though. He eyes it with mild disgust and you feel suddenly even more worried for him. If he can’t handle the coffee, he surely won’t be able to handle the patrons.

“You’re Joe, right?”

“Joel,” he corrects instantly.

“Joel, right. Sorry.”

“Are there that many of us passin’ through, that you don’t learn the names properly now? Is that why your boss calling me Miller?” He doesn’t know who you are, that’s clear. He doesn’t know it’s your family’s legacy here too and you’re not just a bartender. This place matters to you.

“It’s only your first shift.”

Joel sighs and meets your gaze. His eyes are deep brown and you take in the slight salt and pepper to his stubble, the surprisingly comfortable looking plaid flannel he’s wearing. At the same time, you notice the stoniness in his posture, the wariness in his eyes.

He isn’t spoiling for a fight because he lives for them, not like the other bouncers your cousin has hired.

You’ve already realised that Joel Miller fights in an entirely differently way to his predecessors. You can tell his biggest battles aren’t the ones in a bar like this. Without projecting too much, you think they’re probably inside his mind. No one has haunted eyes like that without a story. You’re a bartender, you can just tell.

“What have you have been told about this gig? Do you know what you’re getting into?”

“I know this place has some troubles,” he says carefully.

“I’ll say.”

You remember when things were different in the town, in the bar. It wasn’t like this back then. It used to be for families. Your aunt once joked that your dad’s cooking could bring the entire town together. It’s been a long time since the place was known for a family meal though.

You grew up with laughter and joy inside these walls. Now, it feels like it must have happened somewhere else entirely. This bar is still where you ran in after being asked on your first date ever, where you opened your SAT results, studied while the bar was closed, had every family significant gathering or event you can remember.

This isn’t just a job for you.

“How long have you been here? No offence, but you don’t seem the type -”

“It’s my family’s bar. Your boss you mentioned, she’s my cousin. The two of us run it these days, well I mean, I only help out. It’s her bar now more than mine but it’s been our family’s place for generations. We’re what’s left.” All that’s left.

“I didn’t know. I wasn’t - I didn’t mean anything by that.”

“Of course, Miller.” His words weren’t meant with offence but he had still managed to pick at your vulnerability that you don’t truly belong and cut at your soul.

Your family never thought you’d keep up with the bar, your cousin was the clear front runner to inherit it and you supported that. You wanted to leave your hometown, that had never been a secret and your childhood bedroom had been covered in posters and postcards for exciting and different places.

Once, you dreamt of Nashville, of music venues and guitar calloused hands playing idle melodies as a tour bus drove you to your next city across a starlit sky.

Life had different plans for you thought.

“This town didn’t used to be like this,” you add, “We’ve had a lot of bad luck and - the whole town is suffering. You wouldn’t have recognised this place if you passed through even just a few years ago.”

”I’m -“

The door to the bar crashes open before Joel can finish his sentence. You notice the first of the regular troublemakers walking in and warily look around the bar. You can tell by their posture, the look on their face exactly what type of night it’s going to be.

“Looks like your work will be getting started soon, Miller. I’d drink up.”

He might just survive his first shift. That’s annoying - you have five bucks counting on him either walking out or be stretchered out like any of the bouncers by the end of the night.

You try and pay attention to your surroundings. It’s sensible in your line of work. For so many people that line between a good night and becoming the worst version of themselves is wafer thin and you’re often the first line of defence, you’re the one who has to say when someone’s not being served anymore.

Your cousin is in the back office, trying to sort out the multitude of paperwork that comes with owning a bar or business that nobody ever thinks about.

He’s calm, polite even for the most part.

He doesn’t escalate the situation, not like some of the bouncers who have spent a shift here recently. Mostly he sits and observes. His calmness is almost disconcerting and contrasts sharply with the danger in his posture, the readiness to move he’s concealing.

There hasn’t been too much trouble so far tonight; a mild fight which was easily taken outside but you can feel the tension in the air.

“Can I get ‘nother whiskey?” Robert slurs. He’s a regular to the bar now and has a particular penchant for not being able to handle his alcohol, being very resentful at being cut off, and worse of all never has enough money to cover his bill or damages.

“I think you’re done for tonight,” you say lightly.

“Nah, I say when I’m done.”

“Not according to the liquor licence,” you snark back.

“Look, just pour me -”

“You’re done.”

“You’re such a fucking bitch.” Robert slams his fist down on the bar.

“I think it’s time to go,” Joel says politely, suddenly standing next to Robert in the bar. You’re not sure if he’ll last as a bouncer here but you’ll give him points for stealthiness. You hadn’t even heard him approaching.

“I think -“ Robert starts before pulling a sloppy punch. Joel easily dodges it, raising his eyebrow incredulously at Robert.

“C’mon, now, it’s time to go.”

He places a hand on Robert’s shoulder and guides him out. You’re struck that he didn’t escalate the situation - that was the last bouncer’s mistake. What he hadn’t counted on was what Robert is a mean drunk and often gets a second wind of energy.

Joel walks back up to you at the bar. “The way people talk about this place. That wasn’t so -“

“That, Miller, that was nothing.”

You watch as another troublemaker, Owen, walks in, all biker vest and swagger. It’s never a good night when he’s here. Usually his presence signals a full moon style night of fights, shouting and misery. He hasn’t been in for weeks to your joy; you’d heard a rumour he was in jail. Not any more though.

“Miller you see now the trouble’s really going to start. That wasn’t even your warmup.”

Sunlight streams through the window as you finish wiping over the table. It’s your favourite time of day in the bar. Your cousin is catching up on admin, sleep and supplier deliveries, the bar is empty and it’s just you, the stereo and sunlight.

You can’t help but lose yourself in the music just for a moment. You love this song, the beat, the lyrics, the way it ebbs and flows in all the right places. Music is magic.

You’re not in a rundown bar, not weighed down by obligation and memories and self-doubt. You’re not here, you’re somewhere else. In a city, in a crowd, on a stage or even just dancing around somewhere else. You’re lighter and freer and desperate for the song to continue just a little more as you spin around, humming along with the lyrics.

You hear the door open and turn around quickly. You heard about the diner getting robbed a couple of weeks ago. You should have locked the door.

Miller’s there, some light discolouration to his jaw from the one punch he didn’t dodge, but otherwise intact.

“You seem surprised to see me,” he says.

“You’ve cost me five bucks,” you reply simply.

He raises an eyebrow, “Didn’t think I could hack it*?*”

“The odds are the odds.”

“Well, I’m sorry about your money.”

“Yep, that five bucks was my ticket out of this town,” you joke.

“Not sure that would even cover a bus ticket,” he replies dryly.

“Maybe the coffee for on the bus?”

“Maybe.”

“So, day two,” you say awkwardly, swinging your arms around you and then immediately wondering why on earth you did that. You busy yourself by turning down the speakers.

“Yep,” Miller says casually, sitting on a bar stool.

“Have - are you hungry?” you ask, suddenly conscious that it’s lunchtime and Joel not doubt has another difficult day ahead.

“I could eat.”

”It’s nothing fancy, because the kitchen’s not open, but it is homemade - well, it was. I froze it but it’s defrosted and it’s really good. Also, frozen food still retains its nutrients well, and in the case of cake, freezing it makes it even better.”

“I see.” Miller pauses, “It’s not cake, is it? I don’t think I can eat frozen cake before a shift. ”

“No,” you argue, “it’s Tuesday, that’s what we’d do on a Wednesday! Today it’s lasagne.”

Miller smiles then. It’s a good smile. Slightly crooked and his eyes crease a little, the way you always associate someone smiling when they mean it. His deep eyes are momentarily lighter, there’s a change in him.

You want to tease more smiles out of this man, want to identify each and every changed in his face or the way his hands tap against the old bar. You want to keep him like this, bask in the glow that you’ve bought that expression to his face.

“Lasagne sounds great,” he says after a moment.

“Sure, okay, Miller. Coming right up.”

“Call me Joel. Please.”

“Okay, Joel.”

You like how his name sounds against your teeth, the way he smiles once more when you say his name.

It becomes a habit. Joel survives shift after shift and inevitably turns up to the bar early the following day when you’re there.

He’s lasted longer than fourteen bouncers now. He might just make it. He’s quiet, yes, but you’ve seen the violence in his movements when needed, the way he tries to be polite and then it’s over, then it’s a line. There’s something that compels and terrifies you about the violence he holds, its contradiction because he speaks to you so softly and how can a man be capable of both?

“You need a second bouncer,” he says one morning as you’re trying and failing to sort the back door out.

The employee room in the bar is a barely functioning space. Cliche after cliche with the cheap red IKEA futon, mismatching furniture and chairs and elderly microwave and kettle. The air conditioning has never worked in the room and now the back door is jammed too.

The place is falling apart.

“Can’t afford it,” you reply nonchalantly. “We’re doing our best.”

“I know. But then someone could try and watch at the door, stop some of these people coming in.”

“I know. But no one’s coming in because they’re there so we can’t afford a bouncer. It’s uh, a catch 22. Can’t even afford to replace the damn -” You shove your weight against the door to no avail.

“I can fix that,” Joel says softly as you kick the door one more time.

“The gangs? That’s ambitious.”

“The door.”

“Oh, it’s just the weather and it always gets stuck now. Replacing it would cost-”

“I can fix it. I uh, used to be a contractor.”

“A contractor?” Joel hasn’t talked about his past much before. You know he has a brother, he’s the oldest and that he’s from Texas. Joel carries that

“Did you have to say that with the air of a cowboy in an old movie?”

“I wasn’t aware I did,” he replies, cocking his eyebrow in a way.

“What sort of contractor were you?”

“Building, just the general type.”

“Oh, okay. So you could actually fix the door?”

“I said so, didn’t I?”

“How do you get from contractor to bouncer?”

“It’s a long story.”

“I’d expect so.”

Joel squirms awkwardly. You’ve watched him easily apprehend aggressive gang members shouting the vilest things to Joel and move them outside. You’ve seen him barely blink over ill drunks spilling their souls on his shoes. You’ve seen him so strong and resolute.

He looks at his watch which, for the first time, you notice is broken and then at the ground.

“It’s fine, Joel,” you say, “you don’t need to tell me anymore.”

He keeps coming back, night after night and things start to change. It’s small, a fixed door and then a window catch replaced, the fact the gangs start coming around less. It’s change but the quiet type of change you only discover through previously entrenched routines.

You’ve spent time cataloguing his details, each scar or line, the way he takes his coffee (black, but a two to one ratio of sugar that makes you wince a little). Joel Miller has a sweet tooth.

You’re used to Joel now, you like talking to him in quiet moments in the bar, before or after shifts as he hangs around just a little longer. You tell him about the town, about how it was growing up, he lets it slip he’s from Texas, mentions a brother, Tommy, and you want to unpeel his secrets more and more.

You proudly place the slab of cake in front of him. Rain hammers against the windows and roof, creating great echoes as it sounds like the bar will come down around you. It’s unseasonal, the rain, an omen of quiet days. Today you don’t mind.

“What’s the occasion?” Joel asks, looking at the cake curiously.

“It’s a Wednesday.” You take a bite of your own slice, savouring the flavours, the delicate balance of sponge and icing. If you can say so, it’s a pretty great cake. You really have improved over recent months and while this was experimental, you’re happy with the result.

“Ah. Say no more.”

“Also, congrats, you’ve officially been here for eight and half weeks.”

“I pass probation then?” Joel looks around dubiously, clearly concerned your cousin or others will suddenly pop out in some surprise party or sense of occasion.

“Pretty much passed that by coming back on day two, but that’s my cousin’s domain. I just pour drinks.”

“And provide frozen food to the bouncers.”

“Only the ones who come back. Besides, it’s defrosted. I can take that cake back you know.”

“No, don’t you dare.” Joel takes a large forkful of the cake. “So why the cake though, sweetheart?”

“You, Joel Miller, are officially our longest standing bouncer.” You clap lightly in mock celebration as he cocks an eyebrow in response.

“What an honour,” he replies sardonically.

”You’re welcome.”

“Do I need to make a speech?”

“I think it was the speech that bought the previous record holder down.” Clint had lasted forty-five minutes after that speech. It was a bad night - a particularly nasty gang fight.

“Hubris,” Joel says lightly.

“Exactly.”

“Not bad for a contractor turned bouncer though.”

Joel laughs. “You going to tell me that story one day?” you ask, hoping your teasing expression hides how genuine your question is.

“Maybe,” he says. “You’ve not hit my records yet.”

“That a challenge?”

He shrugs and walks towards the door to ready the bar for opening.

You hand Joel the frozen peas wrapped in an old cloth. After the commotion, your cousin’s closed the bar early. It’s hard to recover the night from a scene like that and you’re pretty sure the broken table and glass amount to some sort of safety violation at the least.

“Thanks,” Joel says gruffly.

“You could have a concussion.”

“I'm fine.”

“You’re bleeding.”

Joel looks at his cracked knuckles and raises a finger to the cut on his head, lightly touching it and observing the blood that comes away on his hand. “’m fine.”

“You hit the bar.”

“Standard night on the job.”

“You hit it with your head.”

Joel shrugs, nonchalance and mischief at once.

“How’s the idiot?” Owen had come in with the intention of causing trouble; something about the rival gang, or his girlfriend, or something that would never justify his trail of destruction. Joel had maintained his usual rules; polite, carefully moving Owen outside the bar, even as he tried to fight back. You’re not sure how it went so wrong, how instead of getting Owen outside suddenly there were more of the gang, broken tables and chaos.

It’s been weeks since a night like that. It makes it feel brand new, the hurt starker somehow.

“He needs to go to hospital,” you say, wrapping your jacket around you after you lock the bar door, keys heavy in your hand.

“Oh.”

“He’ll be fine. His friends are taking him. You probably need the hospital too, I’ll drive you.”

“’m fine.”

“You’re not. Get in the damn car, Joel.”

“I’m -”

“The car, Joel. Don’t make me start calling you Miller again.”

Joel holds his hands up and shakes his head. “Fine, I’ll go.”

“Excellent,” you say with a sweet smile.

You drive in near silence but once you’re both in the hospital waiting room, he talks. He talks more than he ever usually does.

“I didn't need to come here,” he grumbles.

“Are you on the lam?”

“What?” He asks incredulously.

“You seem reluctant to be in a hospital that takes down personal information. It’s a reasonable question.”

He sighs, pinches between his eyebrows. “No, I’m not on the damn lam. I just - I just don’t like hospitals.”

“I don’t think a lot of people do. I guess it’s an occupational habit with your work.”

“I patch myself up usually. Last time I was in one of these places, it was … I was …”

“Joel, it’s okay, you don’t have to say anything.” You reach for his bloody hand and squeeze, unsure if the blood on it is from his own split knuckles or the fight. The violence of his body contrasts so much with the man you talk to, the friend you’ve made.

“When I told you it was a long story, how I went from a contractor to this … it’s, I don’t know.”

You shift so you can face Joel and try and model your best supportive expression. Joel and you talk about everything now, but he’s guarded and this is the first time he’s volunteered this story to you.

“We can talk about it later.”

“I had a daughter,” he says so quietly that you can barely hear him. “And then I had a chance, a second chance to - but it’s been a mess. I’ve been a mess. I’ve got a lot wrong.”

So much of Joel Miller makes sense to you know and you can understand the sadness that crosses his eyes sometimes, the reluctance to talk about his past.

“Haven’t we all?” You pause. “I’m really sorry about your daughter, Joel.“

“I don’t know how to make it right now though.”

“I think,” you say gently, “all you can do is try. For what it’s worth, you’re making a difference here, you’re making a difference with me.”

“Really?” He glances up at you, suddenly years younger and as you nod a slight smile light up his face briefly.

“Why don’t you tell me about her? If you want to.”

He smiles. “I do, but not tonight, but I will.”

“Joel Miller,” a doctor calls.

“C’mon, you’re up.” You squeeze Joel’s arm before standing up.

The balance has shifted and something’s changed.

The bar changes gradually like the way spring teases itself for weeks. It’s all subtle shifts, blossoms of hope and shoots of a future you didn’t dare think of too much. The bar might survive, your cousin is smiling again.

And then there’s you and Joel. Joel, who still pops in to talk to you even on his days off. Joel, who you sit out with after the bar closes and drink beer and play guitar to the stars.

“You should play here,” he says, taking a sip of his beer, “you’re good.” “You’re better. I can’t play guitar like you.” “Nah. Just had more practice at best. Your voice is pretty, so pretty.” “Oh, I’m not so good at playing. I’m better at singing,” you say. “Four basic chords are about my limit on the guitar.” “Don’t do yourself down.” “Trust me, I’m not.” You pause. ”Joel, you could - you could play with me. If I ever played here. it’s probably stupid.” There’s something unreadable in his eyes, a soft smile on his lips. “No, I’d like that.”

You’re accustomed to his presence, his low but grounding voice, his calm demeanour throughout all chaos.

He’s told you more about his past now. About Sarah and how her loss tore him apart for years, and also about the foster daughter he took in, Ellie. He won’t tell you much about Ellie though, except they stopped talking around about the time he became a bouncer. He once asked you if you would do anything to save the life of someone you love and you said yes. He nodded and moved on. You think it’s connected, you’re not sure.

You’ve worked at a bar long enough to know when it’ll be a bad night. There’s an electricity in the air, a tension that is so tight anything could snap it. You look over at Joel to see if he’s picked up on the same energy.

He’s sitting on the stool, observing quietly, but you notice the slight furrow in his brows. He looks at you and his mouth twitches into the smallest of smiles, but there’s anxiety in his eyes.

“I heard that Owen’s gang declared war on the Rattlers,” you say in a low voice. You don’t like Owen, or his friends, but the Rattlers are worst. Owen’s gang is the typical cliched grouping of a small town that’s become lost. They drink too much, throw punches without thinking and cause trouble. They’re not evil though.

The Rattlers are.

“Didn’t hear the Rattlers came through here,” Joel says in a low voice. “I heard of their reputation at a previous gig.”

“Their uh, second in command, is that the term? Anyway, he’s had a thing with someone in town for years. On and off. Guess it’s on again.”

“They cause trouble when they’re here?”

You scoff. “This was starting to feel like -”

“It still is, it still will. Let me do my job,” Joel says firmly.

You want to trust him; you do trust him. It’s the Rattlers that worry you, the feeling in your gut that this hard sought over peace is threatened, the deep and terrifying fear that this bar can never change. Not now. Not even with Joel.

Joel smiles at you, the picture of reassurance. “Owen might not come in here. This is hardly a welcome environment for his group anymore.”

“Joel,” you say nervously, “I just … I have a feeling.”

Joel doesn’t laugh or dismiss you; he straightens up and nods.

You’re not sure how things fall apart so quickly. One moment the bar was quiet, then Owen was there and before Joel could get him to leave, the Rattlers were here too. Maybe it was planned, maybe it was what they all wanted.

“Evening, unfortunately I need to ask you all to leave tonight,” Joel says politely, standing from his barstool. “I’m afraid the business is at capacity and we have a private function on.”

“Well,” Owen begins.

“Leave.”

“Look, Miller, it’s not -”

“I’m not asking, Owen.” Joel’s voice is low, deadly, the tone he uses when polite words fall flat, when it’s time to not be nice. “That goes to all of you.”

Owen falters slightly at the sound of that, you wonder if he remembers how things went the last time Joel used that voice.

“Y’all got a function on?” one of the Rattlers asks you. He’s covered in tattoos and is wearing a leather vest with numerous patches with no other top underneath. You wonder if he based his outfit on the existing tropes, if he’s intentionally as cliched as possible or if it truly is just an unspoken truth now. His hair is slicked back into a ponytail that highlights his receding hairline and a puckered scar that runs from his brow to his nose.

“I’m afraid so, gentlemen. While we, uh appreciate the desire to visit, I’m afraid Mr Miller is correct.”

“Really?”

“Uh huh. It doesn’t look so-”

“Please,” you say quietly.

For a moment you wonder if it will work, you’re on bated breath as the Rattler steps back and moves to say something to his gang. However, that’s the very moment Owen smashes a chair on his back and hell breaks loose.

“Oh, thank you so fucking much for that,” Joel says in an irritated voice, immediately pulled into action to try and get the situation outside, away from the patrons, from you.

You step backwards, hoping the protection of the bar will be enough.

People are running out of the bar as the chaos unfolds. It’s a flood of sound,

Someone pushes Owen onto the bar, pummelling him as you try and back away. “Please stop,” you say.

Then a flash and searing heat.

That’s when you hear Joel swear, you notice his eyes have darkened, his entire demeanour has changed.

Your vision is blurred by something and you can feel a sharp pain on your face along with something sticky and hot when you touch it.

You shut your eyes, willing the events away and allowing yourself to crouch under the bar and wait for the noises to stop.

It’s fine. It’s fine.

You’re fine.

“Hey, hey, hey, it’s okay,” a soothing voice says. “Ladies and gentlemen, I apologise but we do have to close early today.”

There’s a pause, noise around you and then something cool on your face. “I need to see the damage, okay? It’s me, it’s Joel, you’re going to be okay. I’ve got you.”

You open your eyes to see Joel crouched in front of you. He’s holding a damp cloth that is already soaked in red.

“You’ll need stitches, I’ll drive you.” Joel moves your head gently and nods. “Your eye looks okay; can you see normally?”

“Yeah. What happened?”

”Fucking - it was Owen, he grabbed a glass from the bar and instead of hitting the rattler - ”

“Got me.”

“Yeah. It’s deep but um ‘”

“I’ll live. I’m okay. Don’t need hospital.”

“Huh, you trying to prove a point here? How annoyin’ it is when someone who needs hospital won’t go?”

”It’s fine, Joel.”

“You’re hurt,” he says and he looks disappointed.

You feel a burst of shame, you should have defended yourself better.

“I’m going to call your cousin and tell her what happened and then I’m driving you to hospital. No arguments, okay?”

You try and smile weakly in acquiescence which seems to only make Joel frown more.

His hand lingers on your shoulder slightly as he hands you the seatbelt after bundling you into his truck. He moved quickly, closing the bar, making a hushed call in the corner to your cousin and then immediately guiding you out, a clean cloth placed in your hands to hold against your cut.

There’s a nodding dog ornament on the dash, something that doesn’t seem like Joel at all.

“Ellie,” he says quietly as he notices you looking at it. “Keep the pressure on that wound, okay?”

He turns out of the bar.

“Didn’t seem your sort of ornament,” you reply placidly.

“She called it Ernie, I - that kid.” Joel sighs heavily.

“You could call her,” you say, braver in the wake of your injury.

“I would. But she doesn’t want to hear from me, trust me.” He mumbles something else you can’t make out.

“You’re a good person, Joel. She -”

“I’m not.”

“You are,” you say, “trust me, I know bad men, but you aren’t one of them. Owen? The Rattlers?”

“The bar’s pretty damn low there.”

“You know the town I live in.”

Joel chuckles mirthlessly.

“I was going to play tonight,” you say quietly, “I thought it was time. That’ll teach me.”

“You could still play, maybe tomorrow though.”

“It would be harder with the blood right now.”

“Just a tad.”

“Thanks for driving me.”

“Of course.”

You wonder if he’s trying to return a favour, whether he’s the sort of person who just can’t feel indebted to someone else. Now you’ve bled on his car too, now you’re even?

He looked worried though. You think about the way he sounded too, the forced calmness when he checked on you.

You’re friends.

That’s normal, right?

“I’m sorry,” he says suddenly. “You shouldn’t have got hurt.”

“Joel, it’s … you can’t be everywhere at once. It’s not on you.”

“I should have -”

“Miller,” you say sharply, “it’s not on you. Not one bit. Do you think I can bar Owen for good now?”

Joel chuckles. “Yeah, I reckon so.

“Good, well that’s something, isn’t it? Almost makes it worth it. Do you think it will scar?”

“I don’t know, sweetheart.”

You pause. It’s vanity, you know, but the idea of this leaving a permanent scar on your face hurts worse than the injury itself.

“That’s not ideal. I-it’s stupid.” It feels so foolish to be worried about a scar when things could be so much worse, for your own vanity to say ‘well, now, you’ll never make it as a musician or star’ or to focus on your looks. It’s normal, it’s human, but it makes you feel guilty.

Joel looks at you carefully and he places a warm, solid hand on your hand that is not holding a compress to your face. “You’re so beautiful, you know that, right?” he says in a low voice. “This won’t change that. It couldn’t, okay?”

No-one calls you beautiful. There’s been half-hearted claims of your ‘hotness’ with exes, of your friends’ encouragement when you make a particular effort in your appearance, but nothing like this. Nothing that feels this sincere either.

He takes his hand away as the doctor joins you. You can feel the heat lingering like butterflies as the doctor attends to your wound.

Joel stays with you the whole time.

You hear the guitar before you can see him. Soft, melodic chords that reach a crescendo as you walk closer to the small cabin style house he’s renting. You’re not sure if it’s a complete betrayal of the trust from when you dropped him off after his hospital trip weeks ago, but you need to see him outside of the bar.

“Hey,” he says in surprise when he sees you. He places the guitar carefully down before standing up to greet you.

“I’m sorry to just turn up, I hope it’s okay.” You awkwardly clasp your hands and wring them together. “I was passing through and I thought - I thought I’d say hi.”

This is a complete lie; you are not passing through at all.

You’re wearing your favourite outfit and you sprayed an extra two spritzes of your best perfume on this morning. In fact, you have made considerable effort when you think about all of this.

“No, it’s great. I’m happy you stopped by.”

“You’re good. The guitar, it was … really good. I’ve not heard you play that before.”

“Oh, it’s just something I’ve been working on.”

“It’s really good.”

“Nah, not really.”

You frown, hands on your hips and he raises his own hands in defence.

“Can I - do you want a drink?” Joel indicates inside the cabin and you nod enthusiastically.

“That would be great, thanks Joel.”

There are three cabins in the area that a local businessman rents out. Joel’s cabin is the closest to the woods, the one that’s slightly hidden away. Inside it looks like a typical rental; the slightly shabby furniture and neutral demeanour that feels void of any character, the aged kitchen stove and units, an abundance of wood furniture.

There are touches of Joel too though. There’s a vinyl player and box of records on the coffee table, a plaid blanket over the sofa and a couple of photos on the fireplace mantle. You think they might be Sarah, maybe Ellie, but you don’t want to pry.

This changes things. It’s not the bar, neither of you are at work, or hanging out outside after a shift. This feels more personal, more intimate. This is Joel Miller, the real Joel, the one you can’t hide your feelings for now.

You do have feelings for Joel.

It’s funny, when he started you wanted to keep him at a distance because you expected him to leave like everyone else, you thought the bar was beyond help. You wondered if you were beyond your dreams. He’s helping bring you back though.

It’s his calm demeanour, the wry expressions and dry humour, his plaid shirts and the way when he smiles, which is rare but you’ve seen it, his whole face softens and lightens up. It’s electric.

You think about him all the time; reading articles you try and remember to bring up at the bar, when you hear a song he’d like. Joel’s found his way into your life and you don’t want to let him go.

He’ll leave though. The bouncers inevitably do, most people in your life do. You just don’t want that with him. You want him to stay.

“Are you okay?” Joel asks.

“Why?”

“You have that serious thought face on.”

“I have a serious thought face?”

Joel scoffs. “So, what’s up?”

“I just - I’m sorry, I shouldn’t have come here.”

Joel frowns then. “Why not?”

“I don’t know.”

“Okay, c’mon I said I’d get you a drink, right?” Joel indicates the sturdy wooden table and you sit obligingly. “So I’ve got a choice of tea, well It says it’s tea anyway. Uh, some whiskey, beer, water …. I’m out of coffee.”

“That should be illegal.”

“Shouldn’t it?”

“I might just leave now.”

“Wouldn’t blame ya.”

He’s close to you now and you feel emboldened by the fact you’re here, you’re with him and he’s not pushing you away or looking like he wants to leave. Maybe, just maybe this is a great idea.

“Now I think about it though, I’m not sure that I’m thirsty after all,” you say boldly.

“Oh no?” He leans in closer, hands hovering just over your waist. “Look, you don’t want -”

“I do. I do want.”

Joel swallows. “Really?” He’s looking at you as though you’re something mythical, something intangible he could lose at any second. There’s reverence in his eyes and it’s overwhelming and beautiful at once.

You nod. “I’m not the only one here who - I’m not though, right?” There’s a hint of nervousness in your voice now, a sense that perhaps this isn’t the great idea you thought it was just seconds ago. It’s like whiplash. This is why you should just focus on music instead.

“No,” Joel says softly, “you’re not.”

His hands, hands you’ve seen both acts of violence and hold your injured face so gently, skim your body. Joel’s hands, like him, are contradictions. He steps minutely closer, a little more into your space and oh so welcome.

He smells like soap and coffee, with the faint hints of autumn you noticed around the cabin and there’s something magic in this Joel Miller. Something in every sense of him, the way he touches you, the sound of his voice, the feel of his skin and sound of his voice that instantly draws you closer, that makes heat pool in your stomach.

He kisses you and you reach for his hands, entwines them together. He stops, concern mounting over his face. “You’re injured, I should have -”

“Doesn’t hurt,” you say softly, drawing him close again.

You’re a mess of hands and lips, a clash of sensations and finally, finally this is happening you think as h guides you further into the cabin. Towards his bedroom.

He guides you past the kitchenette, down the narrow corridor to his room.

You want to drink him in, absorb every detail of his body and commit it to memory.

There’s a ragged scar on his abdomen, a light scattering of stories across his body from other bars, other jobs, other Joels.

There are other details you want to remember though, especially the look in his eyes right now, heavy with desire.

“You’re so beautiful,” he says. You’ve heard the words before in similar settings but it’s been clear to you it’s the lust, it’s the ‘right’ thing to say. You know when isn’t meant, the lack sincerity signalling a paint by the numbers dalliance at best.

Joel’s voice is fervent though. Honest. He means this.

The majority of your clothes are soon discarded, both yours and his in a combined mess on the floor.

Your hands are running through his hair as he guides you onto the bed, as his fingers hover over the edge of your underwear.

He pauses, just for a moment. You wonder if it’s recognition of the line you’re both about to cross, if it’s to give you the space to confirm that yes, you still want him, to offer an out just in case.

You reach for his face, run your hand down his stubbly cheek. You’re trying to sum up your thoughts, to bring everything you want to say together into a neat sentence.

You smile and gently say, “I want you, want this. I thought you knew.”

“I didn’t, I didn’t think you’d want me. Been driving myself crazy thinkin’ about you lately.”

“Oh yeah?”

“Yeah.”

“Why don’t you show me what you thought about?” you ask.

He smiles as his fingers finally reach beneath your underwear, carefully pulling them down and then gently gliding his finger.

You’re wet, almost embarrassingly so, you think, for just making out.

“This all for me?” He asks with a devilishly teasing tone.

You don’t immediately answer, just smirk as he teases up to your clit and traces circles around it, smiling as you finally make a groan of contentment.

He slides a finger inside you, lazily moving it within you, finding that spot that makes you moan, adding another finger.

You feel close already, but he withdraws his fingers and then, looking at you, brings them to his mouth one at a time in a move that makes your cheeks heat up.

He moves to his bedside drawer, fumbling for a box of condoms you suppose. You’re still lost in catching your breath, in replaying the last few moments, in anticipating what’s about to happen.

He kisses you before positioning himself and you ready yourself for him.

You’re entwined, adjusting yourself for the feel of him, the weight of him. Hands interlocked with his as he finally moves, as he meets your kiss once again.

He adapts quickly, noticing micro=movements or sounds and changing his rhythm to draw every one of them out, to bring you to the edge once more.

You’re both a mess of rushed breaths, a chorus of names and gasps, ebbing and flowing to tease each other apart.

He’s everything and nothing like you expected. Hoped for even.

The feeling builds in your stomach, the rush of pleasure building almost unbearably.

Finally, finally you get your release. The ripples of pleasure ride through your body as the two of you lie together, boneless, catching your breath.

You usually feel a need to say something, to fill a silence, but it’s comfortable. You roll over, daringly placing an arm over Joel’s chest and leaning close. He pulls you towards you, kissing your brow lazily

You can feel his heartbeat, the warmth of his skin.

You feel like you could stay here forever.

Instead though, you’re practical. You excuse yourself to his bathroom to clean up.

You take in your reflection; the telltale signs of your exploits feel so visible to you as you freshen up.

He’s not in bed when you return. You pull your clothes on and head back into the main room of the cabin.

Joel’s wearing his jeans and not much else, humming as he concentrates on something by the stove.

“I promised tea, didn’t I?”

“We did get sidetracked.”

“Well, that was welcome,” Joel says. His voice is so much softer than you’ve heard it in the bar. There’s a vulnerability leaking through with each moment you stay here. It’s two sided, you can feel your own edges softening, a desire to open yourself even more to the man in front of you.

“I agree.”

The kettle boils and you watch Joel making the tea, try and not lose yourself in the broadness of his shoulders.

“So …” you break off, swinging your arms nervously and then wrapping them around yourself.

Joel hands you a steaming mug. “So,” he says. His voice is calm though, relaxed and somehow that helps.

“That wasn’t exactly what I thought was - I didn’t turn up for this specifically, you know? It wasn’t intentional.” Not that intentional.

“Would you have been wearing a trench coat if it was? Seduce me properly?” There’s mischief in his eyes as you meet his gaze.

“That a fantasy or something, Joel?”

He laughs. “Maybe, maybe it is.”

“Okay then. Logging that for another day.”

“Oh really?” Joel’s smile warms his entire face, it softens each feature and it’s something you never want to stop seeing.

It feels like you’ve known him so much longer. You feel comfortable in his house, you feel comfortable around him.

“So we’re opening back up at the weekend,” you say, “Got any plans for this time off?”

“Nope. You?”

You shake your head. “How about that?”

“Hmm, that’s not right. We should do something about that. Let me take you to dinner?”

“Dinner?“

“People still do that, right?”

“Yes, but - I’d love to.”

“Great. I’ll uh, defer to your recommendation, seeing as you know this area more.” It hits you then. Joel doesn’t have roots here and the bar, except for the Rattlers, has improved. What does this town, what do you have to offer?

“Are you going to leave?” you ask suddenly, the anxious thought you’ve tried to suppress bubbling to the surface.

“Leave?”

“When the bar’s open, when there’s no trouble.”

“There’s always some trouble.”

“Don’t. You know what I mean.”

Joel sighs and takes a sip of his drink. “Usually, I would.”

“But this isn’t usual?”

He points his hand at you and adds, “I don’t make a habit of this. I don’t …. Usually, yes I go in and out of places and I don’t stay long.”

Your heart sinks. “I understand,” you lie.

“I think, I think maybe there are some reasons to stick around here though?” It’s a question, not a confirmation. It strikes you then that maybe Joel feels just as exposed as you do.

“I think there could be,” you say.

“Good. I’m glad.“

The bar looks like the Rattlers never came through here. Everything is neat, clean and in its place. There are no broken chairs or tables. It seems almost impossible for how short a time ago it was.

Joel helped, you realise, he helped your cousin bring this place back.

“Are you okay?” she asks, “I can cover the bar if you need -”

“I’m fine.”

“You’re sure.”

You pause and run your hand over the smooth, clean bar surface. You think of Joel, of the conversations over so many nights about music, about what makes you happy. “Can you still cover the bar for a bit?”

“Sure.” Your cousin pauses and hesitantly puts down the crate of soda bottles. “Is everything -”

“I want to play tonight.”

“Wow.”

“Yeah, I’ve got to stop waiting right for the right moment, right? Just do it,” you say.

“And this has nothing to do with a certain bouncer?”

“No,” you say, thinking of the scar on your face, the battles you’ve won and will win in the future. “It’s for me.”

You can feel his eyes on you. It doesn’t make you feel nervous or under a spotlight though as you carefully sit on the stool.

It’s almost as though it’s just the two of you. Another night after work under the stars and messing around with a guitar. Or outside his cabin, thick flannel wrapped around you as you both play.

The bar feels safer somehow. It’s funny considering the recent Rattlers attack. Maybe that’s why - they came in and they tried to wreck the place, you were caught in that crossfire, but you survived. The bar survived. And the locals are back, the locals you wanted back. If you shut your eyes, it almost feels like before when your family ran the place.

It’s different though, because it’s your cousins. Because even though it might not be on paper, it’s yours too. Your legacy. You don’t want to fight it anymore. You don’t want to feel cynical about this town.

You look at Joel and smile and then you start playing.

Everything Pedro tag-list: @harriedandharassed@pedrostories@hiroikegawa @pedrosaidsheispunk @pastelnap

[doctorbunny]

A little speculation about Corpse Disposal and J-horror

But I'm a little bored so sharing a part-theory, part-headcanon on Muu and Rei

So we unfortunately don't see much of Rei in "Its not my fault" but I want to point out three key times we do

The first time we see Rei in the MV, is her wet sleeve (we know its not Muu because Muu wears a pink jumper under her blazer)

Then, after a lot of bug stuff, we're finally back in the real world, where Muu has just killed her Post-After Pain. In INMF, we don't see the surroundings as well, just the dirt track and bushes. But in AP, we see this is right next to a rushing river (Muu's undercover card also features a bridge as a landmark)

The next time we see Rei after her corpse, is a flashback to the start where she turns the hourglass over. Then it cuts just further back to before Rei stood up - as she pulls herself up off the floor She's alive and absolutely soaked after a session of intense bullying (which we saw Muu insert herself into in AP)

However, I want to now switch a little to talk about cinematography and a concept called the Kuleshov effect The video I linked is pretty concise but the gist is that if you put two shots next to each other, even if they were filmed separately, the brain interprets it as a continuous scene (so if you film a character looking off screen, then a picture of an apple on a table, we're going to assume they're looking at the apple)

Therefore while we understand chronologically that the sequence of events is Rei (wet and alive) -> Rei's murder on dry land ↺ Flashback to Rei still wet and alive Which I think everyone understood as a commentary on how this power struggle was a constant cycle of the hourglass being turned over

I think visually, it also implies a sequence like Rei was bullied -> Muu kills her -> Sopping wet, Rei crawls back to the classroom

But wait! That sequence suggests a missing step How did Rei get wet again?

Well, we know Muu killed her next to a river And if you were a scrawny teenage murderer with a body on your hands, would you leave it there where someone could see it while you grab a shovel and stand in broad daylight digging a hole in tough ground??? Or try lighting a fire in public??? Of course not!

It'd be much easier for Muu to, in a panic, just roll her body into the convenient river and let all the evidence wash away!

(Of course, if Muu was panicking, she might not have been very careful. Given she ended up in MILGRAM, there must've been something tying Muu to Rei's death and in T2 Muu seems to have finally remembered losing her left shoe...)

Fun fact: this is the same shoe Cinderella loses in the animated Disney film (and the best known version of that story came into English from France)

Shoe break over, back to the Endless Queen's Game

So, if we assume Rei's corpse was thrown in the river, what does it matter? Its just a pointless headcanon

But I speculate the meaning goes deeper!

So that image of Rei, soaking wet, crawling off the floor reminded me of something: J-horror ghost girls! Specifically the most famous of ghost girls Samara/Sadako Who became a vengeful spirit after being thrown in a well and now crawls out of TVs to kill people who watched her VHS tape

Her story too is a cyclical one (its called 'Ring' for a reason), the only way to break the curse is to copy the tape and have someone else watch it, who will then become the victim unless they can themselves copy the tape and show it to another unsuspecting patsy

The story goes back further because this movie is based on a novel, which is based on the legend of 番町皿屋敷 Banchou Sara Yashiki. There are many versions but generally a maid girl Okiku is proposed to, and when she rejects the proposal, her master breaks one of ten plates and promises to forgive her if she marries him. When she declines again, he beats her to near death then throws her into a well (sometimes it's a jealous mistress instead of a master)

Interestingly, Atrophaneura alcinous (swallowtail butterfly) larvae found in Japanese wells became known as Okikumushi お菊虫 (Okiku bugs), tying back to the whole insect thing...

It's been said a bunch now, but the name 'Rei' can be read as 霊 meaning ghost (seen in words like Yuurei 幽霊, a more common word for ghost than Rei on its own)

We know Muu is afraid of ghosts too (though I must admit she says Obake, not yuurei, but both words refer to ghosts)

Remembers the i/井 in Sakurai/櫻井 can be read as 'well' I'm sure that has nothing to do with anything

Uh, I can't think of a conclusion because its 1 am and I had to look up a bunch of spooky images

TL;DR: I think Muu may have quickly shoved Rei's body into the river next to where the murder happened (maybe forgot her shoe at the scene of the crime) and now she's scared by the cycle continuing and Rei coming back to haunt her

[meraki-sunset]

i have a question about hiveswap as im just getting into it, considering that the events of hiveswap and hauntswitch both take place in the late 1900s, whats the point exactly?

we already know whats going to happen and that all of the characters are doomed fail on their goals and then die no matter the outcome. the caste system is never abolished, HIC stays in power, both earth and Alterna get destroyed, and doc scratch continues his plan without a hitch

none of it seems to really matter or serve any purpose other than worldbuilding for 2 already doomed worlds (3 if you count the cherub portal implying a lost society of cherubs)

Well, it is. It is worldbuilding, that’s what precuels are. They add extra context to events you already know will happen, they add to how they happened, how we got there. That doesn’t make them pointless.

It may seem irrelevant at first glance, but Hiveswap actually has a very important role.

It sets the stage for the arrival of the players on both Alternia and Earth-A

The events of Hiveswap are happening with an equivalent distance in years between both Alternia and earth

Which means the Beta children are about to arrive in their meteors (1995 - 1996) a little after the time when Joey and Jude are having this adventure (1994), which means the Alpha trolls will get to Alternia soon too.

Both timelines are mirrored in time, they both have the same exact amount of time before the end.

We know the Beta kids hadn’t arrived yet to earth during Hiveswap because it’s 1994, and that the Alpha trolls hadn’t arrived either because Trizza is the heiress, and there can only be one at a time, so Feferi isn't there yet.

This series of events are necessary for Doc scratch’s plan, otherwise he wouldn’t have intervened, giving Xefros a surveillance free communication channel, so Joey and him aren’t detected by the authorities.

He needs them under the radar so they can (while trying to send Joey back home) connect people with each other, cause necessary problems, kick start important events.

All which will set the stage for the 12 troll player’s arrival.

What do I think it’s the most important event Doc Scratch needs Joey and Xefros to make happen?

Trizza has to die. There can only be one heiress at a time, and if Feferi is about to arrive, then Trizza has to go.

The events of Hiveswap/HauntSwitch will cause the death of the heiress, either fighting against the Condesce, at the hands of the revolted trolls Joey and Xefros will influence, crushed to death by Feferi’s own meteor, who knows. But if this is the "equivalent to 1994 on Alternia" and all that is happening it’s really happening as a mirrored version of Earth’s timeline, then the 12 trolls should be to arriving at different dates during the following year. Which means she doesn’t have much time left, as we know Feferi was the only heiress on Alternia during Homestuck. And we’re 13 years away from the end of the world. It needs to happen now.

It's the same tactic Doc used with Rose, Vriska and Terezi

The only reason he ever “helps” anybody it's because he needs them to make things happen.

He needs Joey and Xefros alive, he needs the rebellion to go through (even if it fails, it'll fail in a way that it's usefull for him), he needs Trizza gone so Feferi can come to Alternia and so the final stage of this plan of millions of years connecting dots and manipulating people to create a hostile planet for the new players to grow stronger that their predecessors, can begin. The rise of the new players.

I personaly think Tyzias might be the one to intercept Karkat or at least be involved in it.

It could be her, Joey or maybe someone else, but whoever intercepts him will have to know about the signless and according to Tyzias’s password (69) she already knows about him and she knows his symbol, and seems to be a follower in the down low. Tyzias also must knows how the singless promised that there would be another troll like him, and according to Doc scratch's explanation:

The followers of the summoner decreased enormously, but the Doc said himself that there were still some of them hidden and I think he was talking about Tyzias and her alies.

Sometimes we forget that there was intervention from the suferer's followers to ensure Karkat's survival

That’s why he has the sufferer’s symbol, someone who knew it gave it to him. And we know Tyzias knows.

The ectobiologist and team leader also seems to always be the last one to turn 13, (as well as the last to wake up as their dream self) so Karkat should be the last one to arrive, ending that chain of events.

Of course this all means that, by the time the end of the world happens, and asuming they’re all still alive, all Hiveswap trolls would be adults carrying duties off planet and would die the day of the apocalypse during the Vast Glub along with all troll Civilization.

The same would happen to Joey and Jude, assuming Joey is successful and returns to Earth. They would die on the 13th of April 2009 with the rest of humanity, not knowing they had a part in it or that their lost brother was the detonator of the end of the world.

It’s tragic in the end, but it’s necessary. Someone has to play that role.

They are the stagehands who prepared the stage for the first act of the play they were never meant to see.

And who knows, it may not be the end of them, maybe we’re too quick to assume they didn’t get saved somehow. By some random paradoxical event or deus ex machine that teleported them away from danger. We’ll have to wait and see how it plays out.

It's been a while since i wrote an analysis, i really missed that ^u^

[flower-boi16]

I Don’t Really Like How Season 3 Handles Hunter’s Trauma of Losing FlapJack

Thanks to Them shows the grand finale of Hunter’s whole character arc throughout the series; he’s healed from his past trauma and abuse he underwent from Belos, and finally stood up to Belos cuts him out from his life. It’s a solid ending to his arc…until you remember that Hunter now has some brand new trauma of his abuser coming back, being possessed by that abuser, and then having that abuser kill his best friend while possessing him meaning that he was essentially forced to watch himself kill his best friend.

And this…never gets addressed. Ok, that’s a bit of a lie, For the Future tries to resolve this but execution is…eh. Hunter spends a lot of For the Future grieving over what happened with FlapJack, with him being more dead set to catch up to Belos then ever. The resolution that the episode tries to give to this is Hunter gaining new powers that he got due to FlapJack’s sacrifice.

Now, I do like what this represents, as it represents that FlapJack will always be with Hunter deep down even when he’s gone, it’s pretty sweet. But….at the same time, it’s also still fairly rushed and doesn’t really fully resolves or addresses Hunter’s grief. We never get to see Hunter come to terms with what happened, his grief still goes unaddressed.

Watching and Dreaming further continues to gloss over Hunter’s grief over what happened and at that point it doesn’t really get much of a resolution, it’s, again, entirely glossed over and not really resolved. The show effectively added in new trauma for Hunter at the last minute in the final season when it didn’t have much time to really address it, so now we’re supposed to just assume that Hunter came to terms with it off screen which doesn’t feel particularly satisfying to me.

I don’t think FlapJack’s death was pointless and it did serve a purpose, but it seemed that writers didn’t have much time to address Hunter’s grief and the resolution we got felt…very underwhelming. Season 3’s ending for Hunter was decent overall but when it came to this aspect I think they kinda fumbled the bag.

[dragonlands]

There's so much negativity around Izzy's death so I wanted to address some of the points I keep seeing thrown around.

"Izzy's death was pointless"

No, he just had his big speech about how basically they can kill him but they cannot kill the movement. That is a clear paraller to a lot of real life protestors of unjustice. He died protecting the community, he died so the community could go on.

"Izzy's death made his healing pointless"

No it didn't. Healing is always good, feeling happiness and belonging are ALWAYS worth it. We never know how long we've got, doesn't mean we gotta stop trying to be better or happier. His healing was still real. It still mattered.

"Izzy's character arc was left unfinished, it's bad writing"

Oh my god. If you open any writing guide about how to write impactful deaths, and the first thing that comes up is to leave some part of their arc unfinished. And his arc did go through quite a beautiful line, sure there could've been more but his story didn't end like, mid arc. As a writer, of course you want to make the audience sad when a character dies. It's good storytelling. Good stories are supposed to make us feel.

"Izzy died on the arms of his abuser"

Where the hell did this idea come from? Ed and Izzy have been in a toxic codependent relationship way before this show started. You could argue that Izzy was Ed's abuser, but that is not the argument I want to make here. Yes, we saw Ed driven to madness shoot Izzy on screen, but we know Izzy's the one that forced him to be Blackbeart when he didn't want it anymore. There's turmoil all around them. But the final moment is them finally meeting as people, not as components of Blackbeard.

"Izzy's death was unnecessarily awful"

His death was sad, yes, but it was quite beautiful as far as deaths go. He was surrounded by family who cared for him. He was loved, and accepted as he is. He knew his legacy will be carried on.

"They killed off the only character that showed us healing is never too late"

Did we watch the same show? That begins with then unhappy 40+ year old Stede deciding it's finally time to reach for his dreams? Where we see Blackbeard slowly gaining back his humanity? Where Black Pete starts off as toxically masculine dude but ends up in a soft gay marriage? Where most of the crew wanted to mutiny but then they realized being soft is good, actually. Jim's whole purpose in life being revenge but them learning to let that go and instead concentrate on love and fun and family. And so on. Izzy's arc is beautiful, but he's not the only person healing who thought it was too late already.

"Izzy's death was bury your gays trope"

No, what, no. In a pirate show where everyobody is queer some queer people will die. Bury your gays is about only having one or few queer characters and killing them off while the straights get their happily ever afters. This is so far from that.

Also, I want people to be aware of the phenomenon, where creators of diverse shows are subjected to more critism than those of non diverse shows. If this intrests you, Sarah Z on Youtube made a great video on it called Double standards and diverse media. Our flag means death has given us so much, queer love story with a happily ever after, finding community, nonbinary character. And the creators have always been so kind to fans, so let's show them tht kindness back. Because critizicing this one aspect can easily turn to seeming like the whole story is just unwanted. That stories like Ed and Stede's aren't worth telling. And I'm so aftraid that will happen, when just now for the first time in years we are finally getting queer stories.

Also, I understand people are sad. I am sad too - Izzy was an amazing character and his death was sad but that's just. Good writing. You can grieve, but trying to turn it into a moral or dramaturgy issue is just not a good look. And attacking the creators of this wonderful show is just horrible.

Remember - this fandom is a safe space ship 🏴‍☠️🏳️‍🌈

[soupthatistohot]

BSD 109 Spoilers!!!

I will always always ALWAYS come back to this panel when talking about Asagiri’s storytelling.

At its very core, BSD is an absurdist text, Kafka Asagiri having been inspired by many absurdist authors. Franz Kafka, who he took his pseudonym from is one of them. Albert Camus, basically the most well-known absurdist is referenced with the Mersault prison, the name of which comes from a character in his most famous absurdist work, The Stranger. 

Absurdism is the belief that the world around us is irrational and inherently absurd and that explicitly seeking meaning is pointless. In his essay The Myth of Sisyphus, Camus explains, that there is value in the act of rebellion, though. Sisyphus, who has been doomed to roll a boulder up a mountain only for the boulder to tumble back down each time he reaches the peak, finds meaning in the act of continuing to push the boulder. Even though he will continue this cycle for all of eternity, he doesn’t just lay down and give up, he rebels against the absurdity of his situation by continuing to push the boulder, despite the seemingly futile nature of the act. 

As I said earlier, BSD is an absurdist text. All of the animanga’s main characters are on a journey of discovering their meaning in life, and their place in the world, and they do this by rebelling against its absurdity — especially Dazai. 

Dazai sees the absurd world for what it is, and when he was in the PM, he hated it. Thus, he sought suicide as a solution. I will note here that absurdists generally view suicide as a failure to rebel against the absurd, just giving up and giving into hopelessness. But ever since Dazai left the PM and took Oda’s advice, he’s been rebelling against this, doing good despite his inherent beliefs about morality and the world, and he’s absolutely gotten better for it. 

Other characters embody this idea of rebelling against the absurd, hell, that’s kinda what this whole arc is about. The world is literally ending, and things seem to be at their absolute worst, but someone like Atsushi still has hope that he can change the minds of the hunting dogs and save reality as we know it. He even has hope that he can get through to a vampiric Akutagawa when the guy is literally brainwashed and attacking him. Aya as the “last hope” right now embodies this, too, deciding that she can’t just sit around and do nothing and then trying to remove the sword from Bram even though the effort appears futile. 

But everything is going wrong right now. Fukuzawa is bleeding out, Dazai has just been shot through the forehead and appears to have died, Atsushi’s had his limbs ripped off and is at Akutagawa’s mercy, and Fukuchi is literally going to end the world! How can we have hope?!

Think about BSD. Think about the story that’s been told so far. Surely Asagiri isn’t killing everyone right now, surely the world isn’t gonna actually end. I’m not entirely convinced Aya’s plan is gonna work— but please consider that the point of absurdist storytelling is that even when everything seems to be at its worst, even when life seems completely meaningless, there is inherent meaning in still continuing to fight against this. 

BSD has never been a story where the villains win, and I don’t think it’s gonna start being one. I think, as usual, Asagiri wants to scare us, to make us feel hopeless about the situation, only for someone to pull through and completely turn the tides.

Dazai laying down and accepting his death at Chuuya’s hands is not going to be the end of his story, because it goes against everything Asagiri seems to stand for. Dazai wouldn’t just give up in his fight against Fyodor, because he needs to prove he’s right about what he says in this panel:

"The ones who actually make the world turn are those who scream within the storm of uncertainty and run with flowing blood."

I think this reflects Asagiri's own beliefs and is also the reason why he is not going to let Dazai die like this, because in a way, that would be proving that Fyodor is right. From a storytelling perspective, it’d be saying “everything I’ve communicated up to this point actually means nothing and life is truly hopeless!” 

Dazai has cheated death before, as has basically everyone else in danger right now. I promise you, something is going to happen and they’re all going to survive, because BSD is not trauma porn, for lack of a better term. It’s a story about how a group of people fight against the absurdity of their reality, even when everything seems completely and utterly hopeless. 

There’s a lot of theories circulating about how things could work out, especially Dazai’s “death,” and I’m not here to repeat all of them, but I will say that a lot of them have credence, especially because Asagiri isn’t the type of author to make mistakes, every single detail has a distinct reason. 

So even though I don't know how things are going to work out, I have full faith that they will, including Dazai's current situation. None of these characters are done just yet, they've got too much fight left in them to just give up.

[original twt thread]

[ophelian-darling]

𝐁𝐥𝐞𝐬𝐬𝐢𝐧𝐠.

Yandere Suguru Geto x Female reader.

Summary : Blessings form in different shapes and bright in different colors; Love being the fairest and liveliest one.

TW : Obsession, minor character death, discrimination, pregnancy, manipulation.

enjoy ♡

It is divine to think how hell would be regarded into grotesquely crimson images within the human imagination: Sufferance is too common, wounds as a thorn prick and lasts as a heart's ache, Yet consider this when we think of heaven: purity- innocence of Eden in its prime, everything that sources its beauty and continence from a glass sphere no soul ever stepped on, farthest from the nearest paradise which we -so far- know of. Every now and then, the glass sphere's page of the sky would rain glossy drops, bright in the charm of a moon's haze, kissing earth's soil ever so gently after a long fall through the dark space. The drop; a seed of everything that derives all good in this life, either blooms into flowers, little joys that are worth living for, or even people- lost angels on devil's land. 

Suguru believes he has an eye for perfection: the images of others reflect on his irises and pass, be a fragment of a forgotten dream and ghost in a corner within his anamnesis. life ought to be lived as a sort of a sweven, destined to be erased once the reaper sinks in its teeth; Not like you have much of an option as a sorcerer, you just keep fantasizing and drawing rose-colored glasses about a life you know you can't have, sighing when conjuring a dear friend's lineaments, feeling a warmth under an eyelid when a beloved's smile flickers through a faint image of cogitation. a needle of duty had sewed up every passage to his heart; there was no horizon to look up to, except that one of exorcising curses to no end, saving that little part of happiness that was rightfully his to others who already had a fair share of it.

Suguru would burn the candles of thought and wander around a series of scenarios: what would it be like to love? What color is romance and what taste are kisses? There must be a reason why the moon was put on a pedestal of artistry, or a color of blood to abridge all tongues and words of ardor. There had to be a reason why someone was so eager and willing to hand their hearts on a platter to someone else, someone who was looked upon as the apple of eye. It seemed absurd: humans are merely products of vice, planted to sin and harvested to destroy, every letter and word they utter weighs nothing heavier than a lie, So why would such a morbid creature empty the jar of heart on another morbid creature? It is a wounding, shameless lie.

Cease to feel and halt to sense, there was no meaning in draining the amphora of emotion on someone, a one who can't taste curses to know how much of a grace it's devouring. it's pointless to break the glass of heart over a bod that ignores your agony to indulge in its little world of pink lies. He just wishes- Only if, if he slices that part of him that screamed of humanity everyday, the part that made him extend a wing to shield the helpless from their demise… He hated having a heart. 

Once during a green summer, one that had a breeze of May and the pink warmth of Valentine's day, The sphere wrapped a blessing in a curse's fabric; a gift so pristine it competed with the glimpses of eternity with a smile and tore the horizon's edge with a kiss, a form of life that its existence on this cursed land was the vilest injustice ever committed towards its chastity. The Angel; now blossoming from the sphere's seed into a human with flesh and blood, nerves and bones, eyes and a beating heart, is left to be stained and tarnished, munched and swallowed by the imperfect- the bad seeds, the swirl of everything evil. a tear of a curse could lace a sea of blessings, and you had to be protected: from the serpents, the devils, the flawed, or anyone else that wasn't him.

"Y'know, Suguru, sometimes when I look through your eyes, I can see you fighting yourself, as if you were your own worst enemy" You started the conversation like this, so casually, with no hint or intention of digging too deep into his psyche.

July, casting blazing rays and nearly melting the shadows outside, while the pair of you decided to remain in class for no obvious purpose. Suguru didn't mind having you around, aware that you weren't going to engage in tittle-tattling, leaving him with the room to think. It's been a long year. 

With a strike of sudden concern, and maybe a little suspicion, He directs his whole posture towards you, noticing your relaxed position on the seat beside his. a silence of something that was about to begin stretched before he asked "What do you mean?" 

a Winter night smile drew itself on your lips. In a movement of Bonnie Parker leaning on her motorcycle, you faced his confused comportment, rolling your eyes playfully before replying "You thought that no one would notice? That's cute. but I must admit, you're so good at hiding it, even Satoru wasn't able to see it, I'm surprised!" something brightened in your expression, contradicting the words you just said. As if you were Suguru's Anima; you spoke so confidently, insisting on extracting a part you didn't like of him.

And that confidence stirred a certain sentiment within him. something he would see as… vulnerability?

He stared. 

Another silence, silence of an absurd play, one that the audience certainly didn't need to absorb the scene. 

You continued "Amanai was a human like any other, someone with dreams and hopes, fears and triggers, and a family- and a lot of friends. she lived her life to the fullest… Well, maybe not completely, but at least she had some taste of blessing before her death. people aspire to horizons, living enough to reach it and sometimes not, savoring both sweet and bitter times before kicking the bucket. But that's not what we're talking about here" 

His eyes couldn't get any wider, the images played slowly and vividly while the cassette of that memory didn't seem to stop.

"She's a vessel that can be replaced. Lord Tengen wasn't in that need for her anyway. But are we sorcerers any better? no. we're replaceable as well, unless you are Satoru, which we aren't. Yes, we are strong, but still replaceable. The Jujutsu world needs to continue existing or else cursed spirits will blow everything to bits, and of course, we're the only ones who can keep it going and exorcise these creatures." 

Your fingers twiddled with your necklace, rolling it slowly as your tongue flowed. "I wanted to go everywhere too, I wanted to have a lot of friends to love without worrying that they'll die at any second. I wanted to wander around and behold flowers and snow without seeing an ugly cursed spirit…" 

His tongue wouldn't unwrap, au contraire to his thoughts. his mind moved as fast as forgetfulness would spell, drinking in all of your heart's tears. Perhaps, after all, he wasn't the only one who awakened to a harsh knowledge. 

You, are special.

"It's not fair… why should I be the one who gives up on their happiness to save people who know nothing of my sacrifices…" 

"I-.." your rant comes to a halt, a veil of guilt slides down your expression. 

"Sorry… I didn't mean to remind you of… back then, I talked too mu-" 

"No." He interrupts, his usual resting face painted over. 

"You can continue, I understand you…" Suguru smiles.

Ever since the curtain on your heart was pulled, you seemed to confide in him more; drifting away from Satoru and Shoko slowly and subtly. He didn't want to think of it, yet these pages of poems and lines of serenades whispered something to him everytime he looked through you. She must be unhappy too, Unhappy people are sensitive to the unhappiness of others¹. and to confess, it balmed a little comfort on his soul to see that misery brought you together. Day by day, both of you would speak for hours, crafting an imaginary horizon where everything was a haven for a winsome world, goodwills falling like spring rain. Night by night, He who becomes the one to count the nights, scripting his nightdreams and rehearsing his hopes to a shadow of you that lingered in the corners, only for every word to blend into space once the daybreak spills through the clouds. 

Your voice; it is the voice of his mind now. The shadow of you is melodizing his thoughts and troubles of the heart, lulling his reveries and caroling his visions. The pages of romance flip like petals in the wind: as the silk of your vocal cords tailors the letters with red and pink, he is finally allowed to relish the true colors of so-called love. Yozo² is no longer fool in Suguru's thinking, for wanting to die alongside the one he loved, which Suguru Geto himself now, secretly, hopes to achieve with you.

"Have you ever thought about death?" Green-colored smile, surely wasn't grayed by anything. Suguru just thought, what did you think? Did you want to be with him no matter the place? 

The roles have been reversed. now you're the silent one; you were sure that you did talk too much that day, pouring your wounds into him that now they're his wounds. Guilt stinged your heart, only if you remained silent back then. 

"Um- yes, I'm already accepting it, we're sorcerers after all…" you struggled to compose a thought he'd like, it came out as what a child attempting wisdom would say. speaking to your friend has become a difficult task lately, you didn't want to lose the thread of thinking you shared together, and he seemed quite pleased to talk to you. 

He chuckled. 

"Never thought of making it better for yourself at least?" 

What…

"I used to think so too. But slowly, I'm finally able to see what I was too blinded to see. Remember when you said that you wanted to have a lot of friends and go everywhere? that's rightful of you to ask- but you can't get it whether you plead for it or not. I'm telling you; I know it very well when I say you can have everything you want if you step up and take control." stated he.

As if looking for any other person who seems to notice that there's something odd, you glanced around. nothing was in sight except the trees and grass of the long forest line. 

His face didn't move when he continued "You see, we forgot that we were stronger, smarter and more skilled than the ordinary, say evolution theory: creatures go through a long process of development to become advanced in brain and muscle. some reach the highest stage of development and become a human, while others simply stop in the middle or never start, thus remaining monkeys" 

For some reason, you imagined yourself operating on his brain: cleaving the front of his skull with a sharp scalpel, lifting up his scalp in a way a box of chocolates would be opened, unwrapping and milling his brain convolutions, looking through his memory and mind's eye to see when and where these ideas have crossed his mind so you can uproot them- it is your fault, you filled him with so much tangles for a sweetly simple soul as him.

"...And since monkeys can't survive on their own, we were the ones who would acquire and use their talents to establish Jujutsu and save them, doing it out of kindness and altruism, they give us curses and we cure them in response, continually and with no recognition of our merit…"  

Something in his eyes twitched; he sounded as if he was letting go of an ancient burden, the Messiah's cross thrown off by his back.

"... You, me, Satoru or anyone who uses Jujutsu is the purest form of life on this earth, we're destined to rule as much as we were to protect, to punish as we were to love. we sorcerers are chosen by the heavens…" 

"...Monkeys must die." the corners of his mouth were altered to a frantic excitement, seeming like he'd seen after years of being dim sighted.

It is a blessing to be ignorant. 

It started out subtly. Suguru would continue smiling- the line and twist on his face metamorphosed into one you have no knowledge of: it was strange, uncannily simple and eerily sweet, more of looking at a portrait of a goner and less of seeing a friend. His compassion faded, a mock-lively kindness replaced it, by the nature a moonlight would mimic a sunray's warmth. it is not change, nor epiphany; your friend was dying with no hearse set or heart settled- Suguru slept to no awakening so the priest in Gojo-gesa can breathe to every aspect of life. 

Eyes that used to behold the blessings in everything are now glaring with violence, gnashing its teeth to whoever and whatever didn't wield any cursed energy. it is visible for you to only see, all of the ink and blood jarred behind his eyes, masked perfectly and contained in a patient smile he wore to his subjects— our subjects darling! he would say, giving you a saddened look, as if his gift of a thousand obedient monkey wasn't enough to thrill you as much as it did to him.

“You know how much I love you, right?” he murmured, holding your hand. your eyes pierced the reflection on the vanity glass: a husband and a wife sharing an intimate moment, scenery of a devoted Genji holding a torn Fujitsubo³ and kissing away all of her distress. you switched your sight towards his hand, the one that stroked yours, the one that had on its ring finger a silver band twirled.

“And I'm willing to offer you everything I have, anything you want” He placed a kiss on the crown of your head, billing and cooing in his words “I just ask for a little smile in return, or a little ‘thank you’ for everything I do to us”

“You're taking advantage of innocent people, Suguru”

He scoffs “Are they really that innocent?! All they do is cause destruction and corruption. you're too kind to even call them people” the last word dropped like a glob of mercury, heavy and tarnishing. he's annoyed for sure that you ruined the romantic mood by mentioning monkeys yet again. 

“You're murdering people who came to you for help, Suguru…”

You saw it without looking at it, the flash of rage and loathing, with all its redness and heat a fire had less or more of. you hoped in despair ,maybe there's still the lingering blush of compassion in his heart; the comity of your dear friend Suguru, not the hatred of your husband the monk. His fist flew in front of your face, grabbing your chin and rotating your skull to his penetrating eyes. for a second, a thread was pulled in your chest, cutting your heart with a feeling of fear, was he about to strike you?

“I told you thousands of times… those you cry for so much are. not. people. Do you understand me?!” He pressed on each word, heavy breath fanning your face. you could only look back and try not to recoil under his gaze.

“They ruin our lives, they kill us, they cause suffering and they taint this earth with their filthy emotions… if it wasn't me who gets rid of them and cleans their trash, only heaven knew how much time left for us to live…” he digs his nails into your flesh, gritting his teeth at you “They made you unhappy, they tried to kill me while I was risking my life to save them everyday!” he raised his hands in the air, snarling with full volume. you're sure that Nanako and Mimiko are in another room hearing, and utterly aware of their agreement and devotion to Suguru. 

Frantically, he unwrapped his Gojo-gesa and threw it on the floor, shooting you a glare while he freed himself from the sleeves of his haori. his stare kept lining yours, and when he stripped from the white hada-juban, you've seen it, as if at first sight.

“Shouldn't a wife support her husband?! Why do I feel like everything else except for me matters to you?!” He yelled. it is not the first time you see the scar on his chest, in fact, you've seen it too many times that its lines were as familiar as the dimness of your eyelids. 

“Whom am I doing this all for?! for us! for our family! they're just like us, they've been belittled and cursed by monkeys and they had their happiness snatched brutally from their hands… all just because they were sorcerers” he calmed, yet not eased judging by how sharp his expression was. He dropped his arms to his side, reaching to cup your face and force you to see his eyes “You were hurt too… you begged me to save you years ago… you do remember the day we sat together in class and talked”

You do remember. 

The echo of that hour reverberated through his eyes. in their dark shade, you watched a reflection of yourself, helpless and gray, sew the first threads of his insanity. you wished if life had been a little more cruel and tore off your tongue before you ever got the chance to speak with him.

It's you who chiseled the priest.

He feathered a finger across your cheek, crooning honey “And you remember our dates too, all the kisses and embraces, our wedding and our nights together…” serene as a sea in spring, animating the past into a sweet lull. his eyes smiled to you, cording your heart when continuing “You love me, you love our family, our paradise— and him” His palm spidered to your stomach, stroking the node of flesh “You would never abandon him, would you?”

Can you even? He sojourned far in, tethered to you through a wall of flesh with a string stretching inside of him. the memory of his existence would carve lines in both of your bodies even after his birth.

“You're so selfless, that's why I fell for you darling” whispered he, drinking your silence in taste of obedience. Was there any release from the cuffs you wrapped around your own wrists? Suguru wasn't an imprisoner, he just smelted a bracelet you wished to wear, eager to please and in hunger for your praise, while you, in words and smiles, altered his brain to see in dark color.

“Why don't you say you love me?”  he coated demand with love, pouring foam on your ears in a whisper.

Your skin felt light underneath, like you could walk out of it as a coat. In times like these, when he gave affection and demanded it back, you could only say one thing, unlike a full colored prism of flirtation he can murmur to you.

“I love you so much, Suguru…” at first, saying it was like uprooting a rotting tooth, but as time passed and your tongue knew the taste of lying, it became like picking a fruit.

He smiled “Good girl…” 

His eyes glinted in red “...I love you too…”

[msmk11]

Five More Minutes

Finnick Odair x fem!reader

WC: 1.5k

CW: Fluff, angst, the games, illusions to death

Summary: Five more minutes. A phrase you say often but only now really mean.

Day 16 of mk’s mad dash

The cold waves crash against your legs as you run through the water away from Finnick. Two person tag is pointless, really, but at the young age of eight, practicality is not an important thing on your mind. You’re still at the age where you’re similar in height and strength to the blonde, so you pretty easily outrun his attempts at tagging you.

“Wah, wah, you can’t catch me Finny!” You tease, sticking your tongue out.

“I told you not to call me that!” he yells, a pout growing on his face.

By the way his brows furrow in concentration, you can tell that your best friend is more determined than ever to catch you.

You run back up onto the shore, your feet sinking into the wet sand beneath you.

“Hey guys!” A voice shouts distantly.

You stop running and look up to see Finnick’s mother at the back door.

“It’s time to come inside my loves, dinner is ready!”

Just when you’re about to respond, a cold wet hand presses your arm.

“Tag, you’re it!”

Finnick stands beside you, golden hair windblown and wearing a big smirk.

“Not fair!” You shout back, betrayal written all over your face, “the game was obviously paused.”

“Never said so,” Finnick answers, arms crossed bossily.

“I’m gonna get you!”

You look back at Finnick’s mom, “five more minutes!”

*****

“Five more minutes.”

You look up at Mrs. Odair standing next to you, arms crossed and an anxious expression on her face that she absolutely cannot hide from you.

“Five more minutes,” you agree, reaching out and squeezing her arm gently.

Five more minutes. Five more minutes until Finnick would finally arrive home from the Capitol.

Finnick. Your Finny. The Capitol’s newest Victor. The youngest too, winning at the young age of only fourteen.

After being gone for weeks, you’d finally get to see him again. You’d finally be able to rest easy, knowing that he’s alive, safe, and within walking distance.

You hear it before you see it- the horn of the large, silver train warning everyone to back away from the railway. As it glides smoothly into the station, your stomach erupts in anxious butterflies, equal parts eager and nervous to see Finnick after all this time.

The train door slides open and the first person to step out is Finnick’s mentor, Mags. But then, there he comes, your best friend.

It seems the entirety of District Four is crammed into the small train station awaiting Finnick’s return, so the whole platform erupts into cheers at the sight of him exiting the train.

Finnick, ever the charmer, immediately puts on his best smile, waving to the crowd. Though you know a lot of it is an act, you can tell a part of him is genuinely happy to be home surrounded by his neighbors and friends.

His smile turns fully genuine, however, when he sees his parents and you waiting for him near the front of the platform. Finnick runs straight into his mother’s arms. Though he already towers over her, he looks so small at this moment, relieved to be back with his mama after all the trauma he had faced. When he pulls away, he gives his dad a hug too and then turns to you. If possible, his smile grows even wider and he opens his arms to you. You run straight into his arms at full force and he catches you, barely even stumbling under your weight.

You bury your face in his neck, “Welcome back, Finny.”

*****

You’re already ready to kill someone and the games haven’t even started yet. Interviews, in front of millions of people, are starting soon, and you’ve never felt more uncomfortable. You aren’t against dressing nice, but as a sixteen year old girl from the districts, you’re certainly against dressing uncomfortably and so lavishly. The big, poofy, blue gown you’re wearing is supposed to resemble the ocean, but you’re sure your stylist has gotten it all wrong. One is pleasant and good and makes you happy, the other is a stupid-ass dress with itchy fabric.

Luckily, your team has at least given you a few minutes alone before your interviews to collect yourself.

There’s a soft knock on the door and before you can even respond, it’s opening and closing quickly. Finnick is upon you in a second, arms wrapped around your waist and his chest flush against yours.

“Finnick,” you sigh, “what’re you doing here? I thought mentors weren’t allowed to be back here before the interviews?”

He pulls away a little and gives you a wink, “perks of being the Capitol’s Darling.”

You roll your eyes and scoff at him, but secretly you’re grateful for his status in the Capitol. Without his unwavering support at your side every second of your games journey so far, you certainly would’ve cracked. You’re not sure how you’re gonna fare in the arena.

Finnick looks you up and down, “you look….”

“Like an idiot?”

“No,” the blonde says, suddenly very serious, “You look beautiful, really. Though I suppose you always are.”

“Finn-“

You’re interrupted by the door opening. A backstage assistant peeks their head in the room, “you’re on in ten.”

When the door shuts, Finnick squeezes your waist gently, “okay, we should probably go.”

You stop him before he can pull away, “wait! Five more minutes, please.”

Finnick nods and pulls you impossibly tighter, resting his forehead against yours. As you stare into his seafoam colored eyes, a wave of calm overcomes you.

You’re so close that your breaths intermingle, and your stomach does a flip.

“Finnick-“

But you don’t need to say anything else, because his lips are already on yours.

*****

Even though Finnick never has to work another day in his life if he doesn’t want to, he’s still up and off to the docks every day before the sun even rises. It’s a habit of his you used to admire, maybe selfishly so, because he always showed up on your doorstep after a morning on the water with some sort of gift or breakfast in hand. But now, now that you and Finnick live together, you hate it. Even though you’re happy he’s doing something he enjoys, you, again, selfishly, want to keep him in bed a little longer.

When you feel him start to stir next to you, you instantly whine into his bare chest.

“Where are you going?”

Finnick’s strong arms squeeze you tightly, “gotta get up and head to the docks, sweetheart, you know this.”

“No,” you moan tiredly, “stay here.”

Your boyfriend places a soft kiss to the crown of your head and mumbles into your hair, “you know I can’t. Gotta work.”

You open your heavy eyes and look up at him, chin still resting on his muscled chest, “but you don’t have to. You could stay here and lay with me.”

Finnick sighs and you know he feels bad, but you also know you won’t change his mind. You find his stubbornness endearing, even if it works against you sometimes.

“Sweetheart, I’ll be back before you know it, okay?”

You huff dejectedly, “fine. But will you at least lay with me for five more minutes?”

The blonde pushes a strand of hair out of your face, “okay, pretty girl, five more minutes.”

The squeal of delight that escapes you makes your boyfriend chuckle, and you wrap yourself around him like a baby koala bear.

You look up at his pretty smile and long, soft eyelashes and place a soft kiss to his jaw, “Thank you, my love.”

*****

Much like all the mornings before, you cling to your husband tightly as you two lay in bed, preparing to face the day ahead.

But nothing about this morning is typical.

Instead of contentment you feel fear, instead of rested you feel restless, and instead of Finnick being eager to start his day, he clings to you just as tightly, head buried in your chest listening to the beating of your heart.

You mindlessly run your fingers through your lover’s curls, the only thing keeping you from completely breaking down.

Today is the day of the quarter quell. A day you never thought would come- when you have to enter the arena again. Even worse- when Finnick has to enter the arena again.

You’re still in shock over it all, and you can’t help the bitterness you feel towards the “girl on fire” for putting you and Finnick in this position again. Still, you try to keep your husband’s words in mind- it’s all for the revolution.

Only time will tell if you two would make it out alive.

Finnick’s rustling startles you from your daze and you look down at him, watching as he glances towards the clock on the nightstand.

“We probably should-“

“No.”

You pull Finnick towards your face, “just five more minutes, okay?”

Five more minutes. A phrase you’ve said countless times, but only now really mean in the face of death.

Five more minutes to hold your husband. To kiss him. To love him in the security of your bed. To pretend that the world doesn’t wait outside your door.

*****

Oh what you’d do for five more minutes.

[demodraws0606]

Hello, I'm a Whit fan and I'm about to shoot myself in the foot

I'm gonna sound extremely hypocritical but I find it very funny how a lot of people have placed expectations on what Whit's character is based on previous fictionnal experiences (Happy/Joking character is secretly holding back their sadness).

Even though, I'd argue, Whit is the character we know the least about.

I'm not just saying that as like what we know personally about him but I also mean behavioral wise.

Whit is heavily analysed to have a facade, and I believe that too, even though the arguments on what is behind that facade is up for debate. However we don't actually know what Whit's feelings actually are.

(The reason why I believe Eden and I don't believe Whit, is, unlike him, she has shown no signs of being fake or have any contradicting behavior)

Whit's reactions are very very often contradictory like him caring for people and want to make them smile but also having the most tame reaction to death in this killing game (there is more but this is just an exemple)

Which is why he's the most likely pick to be the mastermind by a lot of people, me included. Because unlike him, other popular pick like Rose, J and Eden have already kind of established a "true character" for themselves that would be harmed in the case of a mastermind plottwist.

Basically those picks, in my opinion, would have character moments that would be ruined and feel pointless if they were the mastermind

Whit however doesn't have much to sacrifice if he is the mastermind mainly because he's already tied up in a bunch of character contradictions unlike other picks. These contradictions can be explained without him being the mastermind but he's really the only one who has those contradictions without having been called out yet (like David).

Also, hot take abound, I don't know why people tie the theme grief so much to Whit's character when actually the main thing that's really been brought up so far with him is idolization.

In fact his secret quote, a thing that seems to incapsulate a character's most important moment, is not about his grief but about him idolizing his mom.

I'm not saying Whit's grief isn't an issue for him, it definitely is, but I mostly mean that people are already posting theories ahead of chapter 2 about how charles will die so that Whit will be able to process his grief properly.

Which I feel is a bit too stereotypical ? It definitely feels like the most obvious path for Whit's archetype.

People associate him rejecting negative emotions as him not wanting to deal with grief but I think it's more likely that he's created a persona tied to his mother that he doesn't want to shatter.

In fact in the David music video thing, the words highlighted in pink is brainwashed and degraded copy. Almost as if he got rid of his personality and replaced it with something else.

Really the only time we've got hints at Whit and grief, is him never talking about his mom dying and also his response to Teruko's grieving response.