#do NOT come to me how the narrative pushes them to take on responsibility and trauma beyond their years

[kurishiri]

alfons v.s. ring . . . ring schwartz epilogue 💍

— this translation may not be 100% accurate or contain creative liberties due to characterization or narrative flow purposes. if you enjoy, please consider reblogging, but don’t repost these or claim these as your own!

— cw: suggestive undertones.

Kate: If it’s come to this... then let’s do it! I mean, pretending to do naughty things!

Ring: Y-yeah, I do know that’s our only choice here, but... there’s no way I could do it.

R: Um, those kinds of things... I’ve never actually done them before!

R: But... s-since you’re really cute... I’m sure you have plenty of experience and whatnot...!

Kate: W-what do you mean, ‘plenty,’ there’s no way I have that much experience! Anyway, forget about that, we need to do something about this...

K: Ring, you go shake and push on the bed to make it creak!

K: And I’ll listen in on the other room and make sounds to match!

Ring: ...That seems more doable.

Ring went atop the bed and started to jump on it.

The bed did start creaking, to be sure, but it also was making some jarring noises that made me think the bed was really about to break down.

Kate: Could you be a bit more gentle though, Ring? It’s too much...!

Ring: Oh, umm, then... how about this!?

He briskly stepped off the bed before he put both hands on the bed and started to push down.

By doing so, he could create a good creaking sound that didn’t go too far.

Woman’s voice: The bed from the room next door has started creaking.

Man’s voice: In that case, they’re probably just a pair of lovebirds. Guess we were worrying ourselves over nothing.

Woman’s voice: ...That said, don’t you think it’s strange that there’s not a peep from the other side?

(Oh, that’s right! I have to make noise too.)

Kate: Ah, ahh... ahhn...

Ring: H-hey, um. I can’t say I’ve heard others doing you-know-what before, so I may be wrong, but...

R: When women do, you know, the deed, do they really sound this monotone...?

Kate: I mean, we’re not actually doing it, so that makes it harder...

Woman’s voice: The panting from the room next door sounds a bit strange, wouldn’t you say?

Man’s voice: It sounds real flat...

(First Ring, and now the two in the next room over are doubting me too...! At times like these, then...!)

Kate: I-I’m really, really sorry! I’ve been told by a lot of partners that my panting sounds suuuper flat!

At this point, I decided to play into the role of ‘a woman whose pants sound flat’ as I raised my voice.

Ring: N-no matter how you are, I won’t mind at aaalll!

While continuing to push down on the bed, Ring returned a fitting line in response.

...Very monotonously, may I add, for the both of us.

Woman’s voice: ...Huh, I guess they really are just one odd couple.

Man’s voice: I mean, seeing as they’re using a room of a strange manor like this, that would be a given, probably.

Kate: Oh, thank goodness, it seems they’ve bought the act...! Let’s keep this up then!

Ring: Alright... but, sorry, I’m a bit hot, so I’ll take my jacket off.

Seeing as the bed is hard, having to push down hard enough to make sounds continuously must have taken a considerable amount of stamina.

With that, Ring casually took off his top layer and put it aside.

(...)

Maybe because of the way his clothes fit his body so well, his well-trained muscles were brought to the surface.

The sweat that came from shaking the bed moved traced the back of his neck, making him quite sexy.

Ring: ...Kate? Is there something wrong?

Kate: N-no, not at all! It’s nothing——

Taken aback at having become more conscious of Ring, my legs buckled suddenly,

and, preparing for the impact, I closed my eyes then and there.

Kate: ...!

(Hm? Wait, it doesn’t hurt...?)

Ring: Are you okay?

When I slowly opened my eyes, there Ring was, nearby, as he asked with a touch of worry in his voice.

(So Ring is the one who saved me and stopped the fall...)

Our bodies were touching, and I could feel his body was a bit warmer than mine, and he gave off a pleasant, earthy scent.

(Even though he’s holding me in his arms, he seems completely unperturbed... his appearance hardly betrays the fact he must be training regularly.)

(...Wait, what in the world are you looking at, Kate!?)

Kate: T-thank you for saving me. I’ll let go now.

Ring: ...Wait.

Kate: Huh...

When his earnest voice stopped me stiff, Ring’s hand gently slid to my cheek.

(W-what the...!?)

Ring: Your face is all red. Did you hit it somewhere?

(Oh... so he was worried for me.)

Kate: N-no, I didn’t. I’m fine.

Ring: But...

Kate: It’s just... we’re so close together that I’m a bit nervous... is all...

Ring showed no sign of pulling away himself, so I opted to give him an honest answer then. And when I did, Ring also turned red, as though it had moved over from me to him.

Ring: I-I see... then, umm, I’m glad if you’re okay.

R: Sorry for keeping you like that. ...And should we continue then? What we were doing before, I mean.

After that, we continued our act of panting and shaking the bed until we exited the room.

Ring looked exhausted as we exited the room, and there was Alfons, waiting out in the hallway.

Alfons: Thank you for your hard work. Now then, were you able to listen in for what we needed?

Kate: Yes, all of it and everything...

Alfons: My word, is that a hoarse voice I hear? And not only that...

A: I see Ring has stripped his outer layer off and is positively sweaty as well.

A: Would it be safe to assume... you two have gone aaall the way, by any chance?

Ring & Kate: “No!” “Absolutely not!”

Fin.

will vs darius jude vs nica alfons vs ring

← prev fin

END NOTES: this story was so silly and makes me smile whenever i read it, haha. ring seems to be the most popular of the vogel trio, seeing he has gotten a dark mafia design, and it’s not hard to see why. his charm is in his innocence, and it’s like a breath of fresh air in this game, and i hope i could capture it too.

i’m overall curious about all the vogel members and feel this story event is a strong debut for all three. thank you for reading, and hope you enjoyed! i’d love to hear your thoughts as well ♡

full masterlist 🪞💍

[catofoldstones]

I love how in every chapter since asos sansa and arya both say “I’m a woman grown” or “I’m 11, a woman now” or “I’m a woman flowered”. Like you’re both severe minors, haven’t even broken the eggshells of the eggs from which you’re yet to hatch 😭😭 calm down there, buckos

[flippinpancakes64]

Hello! I love your stuff and I wanted to request their response to:

Reader: Let me take care of you.

Them: It's rotten work...

Reader: Not to me...not if it's you.

Keep writing! You're amazing! (And I need something to read while I stay up)

Taking care of the Cullens

Ok ngl this ask has me giggling and kicking my feet

Jasper let me take care of you 😡😭❤️

Uhm and remember in my request rules thing where I said I don’t do narratives… i might be a big fat liar cause that’s what I did here… don’t come for me

And thank you so much for the kind words! Thank you for requesting and I hope you enjoy!

Edward:

We all know he has a bit of a complex when it comes to his worth and his humanity

He tends to get in his own head a lot

Especially when it comes to you and your relationship

He doesn’t really get jealous in the normal sense

He just sort of gets sad when he sees you with other people

It’s one day after school and Edward seems to be avoiding you. You’re sitting at the table with Emmett, Alice, Esme, and Jasper playing a card game.

Only Edward is nowhere to be found.

The game finishes, Alice winning and Emmett immediately going into ranting mode about how it’s rigged. You excuse yourself to go check on him.

You find him upstairs in the piano room, plunking away on the keys mindlessly. If he wasn’t a vampire and you didn’t know better, you would say he didn’t even notice you enter the room.

You stood behind him for a while, watching as his fingers danced over the ivory keys.

“It sounds beautiful” you say.

He doesn’t respond.

“Edward, what’s the matter? You’ve hardly spoken to me all day.”

“Do you ever wish I was human?”

The question catches you off guard.

“To wish for you to be human would be to change you, and I happen to love you just the way you are.”

He huffs, his fingers halting.

“But don’t you wish I was warm? Don’t you wish I could eat the foods you like, actually sleep next to you at night, grow old with you?”

You sit down next to him at the stool and take his hands in your own.

“What were you like when you were human?”

The change of subject seems to catch him off guard, his face twists slightly as he thinks. He pauses for a beat before answering.

“I was a bit of a troublemaker. My mom always said I was giving her grey hairs way too early. I didn’t do any of my schoolwork, I just wanted to go and be free.”

“Hm, sounds like the you that could sleep, eat, and grow old was a bit of a wild card. Not really my type. You know I prefer the sophisticated, musical type.”

He laughs at that, hanging his head down to press a kiss to your joined hands.

“So what you’re saying is you like the version of me without a soul better,” he says bitterly. You frown at that.

“No, I’m saying I like the you that I have now. I love you, Edward. I would never trade you for anyone else in the world whether they have a pulse or not.”

He’s quiet for a moment.

“You know this is how it will always be, right? I’ll always be here, trying some new way to push you away from me. To make you realize that you deserve better.”

“And I’ll always be here to take care of you and make sure you know that my mind will never change.”

“Taking care of me for the rest of your life… talk about the worst job you could get.”

“Only it won’t be a job. Not for me. Not when it’s for you.”

He looks at you then, finally. His big, black eyes staring into yours.

You’ve wished it before, but in this moment you wish you were the one who could read his mind instead of the other way around.

“You’re so stupid,” he smiles, and leans in for a kiss.

Maybe one day he’ll fully believe you.

Alice:

Alice has a tendency to shut down whenever there’s too much going on

Too many people are on the cusp of making decisions that could change their lives

It seems that every person she meets on the street has a vision attached

She can’t take it anymore

You find her curled up in a ball in her room, the TV playing a program you don’t think she’s watching.

Around her are scattered sketchbook pages, each one hastily ripped from the pad and thrown to the floor.

On these pages are drawings of buildings, people, animals, and tragedies. You catch the face of a woman who’s screaming as a bullet heads straight for her face. In another is an open room with a small grenade in the center.

No wonder she’s been so upset.

None of the pages show joy, every single one a warning of a disaster that’s just waiting to happen.

In front of her, there’s a stack of drawings that she’s flipping through. On one of them you catch what looks like your face, only it’s contorted in a scream. In another you see Jasper, but you can’t make out what’s around him.

“Alice,” you call out, and her head whips up. Maybe she hadn’t heard you like you thought she did. “What’s wrong?”

She looks at you like a deer in headlights for a moment, before her eyes glance back down to the papers in front of her.

“There’s nothing wrong. Not yet, at least.”

Her tone is grave. You can hear the desperation for an answer, or at least a break.

You sigh, and move to sit next to her. You reach to take the stack of papers from her, meeting no resistance. If she wanted to keep them from you, she could. But she knew now that fighting you was always going to be useless.

“Alice, I know you can’t control the fact that you see these visions. But you can control how much you obsess over them. This isn’t healthy.”

“I don’t need to be healthy. I can’t die or get sick.”

You sigh again. “That’s not what I mean and you know it. You can’t keep withering away in here obsessing over what might happen.”

“But-“

“No buts.” You say, throwing the stack of papers to the side. “How long ago did you have these visions?”

She thinks for a moment.

“Yesterday, I think.”

“Alright. Have they happened yet?”

“Well, no…”

“From what you saw, are they still a possibility now?”

“…they are… a very low possibility…”

You could see her reluctantly piecing together your words, clearly not wanting to admit her mistake out loud.

“Look, Alice, you know that I’m always touched by you looking out for me, but in moments like this I need to look out for you too.”

She looks into your eyes, then hangs her head again.

“But that’s not how it’s supposed to be. My gift, I should be the one taking care of you-“

“No. There is no ‘supposed to’ anything. Humans aren’t ‘supposed to’ be with vampires and yet here we are. So please just come with me and watch a movie or cuddle or something?”

She looks at you again, then. Staring into your eyes, then glancing around her room, at all of the papers, then back to you. She smiles slightly and floats up to her feet.

“Fine. But I’m picking the movie.”

Jasper:

This is a man who needs some serious love and reassurance

He’s always on edge around you, even if he plays it off like he isn’t

He’s just always so scared of hurting you or doing something wrong

And a lot of the time that manifests as him isolating himself to try and get you to leave him

It was gonna be one of those nights again.

A night that you would spend alone in the bed you were supposed to be sharing with the love of your life, Jasper.

But no. On a night like this, he’s out in the woods, far, far away. Stewing in his feelings and brooding.

You don’t even remember anything happening this time. Sometimes something can set him off; a jab from someone at school, a hug he gave you that ended up being WAY too tight, anything really. Anything that reminds him of how he’s not supposed to be with you.

But right about now, you’re sick of it.

The Cullens have taken to being quieter at night since you’ve started sleeping over a lot more, but you know they’re all here- all except for the one you want.

So it being 2 am won’t bother any of the other residents of the house. You roll out of bed and march your way over to the door, throwing it open (politely) and stomping down the steps.

Emmett is the first one you see, and you decide he’ll be perfect for the job anyway.

“What’s got you going, firecracker?” He asks.

“I need you to go find Jasper and bring him to me. Now. I need to talk to him,” you couldn’t help the anger and frustration that seeped into your voice. Lack of sleep will do that to you.

Emmett stood up straight and gave a stupid salute, “One loner coming right up, boss.”

And with that he was out of the door, and you trudged back upstairs to wait for your boyfriend.

You were laying in the bed, still trying desperately to go to sleep when you heard a light knock on the door. Your eyes flicked open to see Jasper standing in the doorway, looking completely out of place and uncomfortable.

All of your anger left instantly, all you saw was the sweet man who was far too worried for his own good.

You sighed and scooted over, patting the spot next to you.

“Come here, Jasper.”

A look of what could only be described as fear flashed across his face before he shook his head and muttered a small, “i can’t.”

You sighed again and stood up, making your way over to him. When you reached him, you stretched your arms out to take his face in your hands, his eyes wouldn’t meet yours.

“Look, Jas, I don’t know what you’re thinking, but I have a pretty damn good idea. You’re not gonna hurt me.”

“You don’t know that,” he says, looking into your eyes, something about the black made him look more human, more scared. “Vampires are already dangerous, but I’m the worst of the worst. You’ve found yourself a faulty cannon amongst rifles, darling.”

You frowned at his analogy, squeezing his perfect face in your hands.

“You are NOT faulty, you hear me? You are perfect. Perfect for me, at least.”

“The perfect man for you wouldn’t be tearing himself up inside trying not to kill you.”

“And a lesser man would have already done it.” He was shocked at that, stunned into silence. He hung his head slightly, not meeting your eyes once more.

“And what if I do hurt you one day? Would you ever forgive me? Could I ever forgive myself?”

“I don’t think you will. But if you do, Carlisle will put me back together and I’ll jump right back into your arms.”

His eyes bore into your soul as he stared at you like you were crazy.

“Why the hell would you do that? Come running right back to me?”

“To make sure you don’t hate yourself for too long. Now come on, I’m tired and I can’t sleep without my personal AC unit.”

He looked at you with disbelief. You knew he didn’t believe you, you don’t know if he ever will.

But that’s okay. You’ll keep him right here, and pull him back to you every time he runs away.

Eventually, he’ll understand that you love him.

Rosalie:

The topic of kids has always been a very touchy one for Rosalie

It’s all she’s ever wanted, and all that she still wants

Most days, the pain is not too much of an issue

But some days, it just gets to be too much

You and Rosalie were walking down the street, hand in hand as you strolled by the different shops and food stands.

The city was busy today, many young couples out and about, shopping, talking, kissing far too passionately to be in public, the usual.

“Rose, do you mind if we sit down for a bit? These shoes Alice chose for me look really nice, but they are so uncomfortable.”

She giggled, but nodded and led you both to a bench. You sat down with a heavy sigh, finally getting off of your feet after what felt like forever (even though it was only about an hour).

Across the way in the little park you’ve both found yourself in, a young couple is sitting on a bench.

The woman has long, flowing, blonde hair that frames her face in loose curls. She’s wearing a gorgeous floral-patterned dress, and on her left hand is quite possibly the biggest, gaudiest ring you have ever seen.

To her right, a man sits, one who bears a striking resemblance to you, regardless of gender.

And in the middle, a little baby. A perfect mix of the two, her hair and his eyes, her nose and his jawline, all swaddled in a cute little onesie.

You’re about to turn to Rosalie to point out the cute baby (she always loves to look and maybe go touch it if the parents allow her to) when you see that she’s already looking.

Her face is grave, like she’s looking at her own headstone. Her face is twisted in grief, and she looks on the verge of tears.

It takes you a second to connect the dots, but once you do, your heart clenches for her.

That woman looks like her, reminds Rosalie of herself. And the man looks like you. And that baby is what she wants, all she’s ever wanted. What she can’t have.

Babies are always hard for her, but this struck a deep chord.

“Rose… do you wanna go home?” You ask softly, not wanting to come off as pushy.

“…”

“Come on, let’s go,” you grab her arm to pull her up, she goes with you, but keeps her head craned back to the young couple the whole time.

Once you’re far away, she breaks down. You’ve never seen a vampire cry, and that’s probably because they can’t. But if they could, Rosalie would be sobbing.

You know it’s bad because she doesn’t even care that she falls to the floor in this dirty, nasty alleyway. Normal Rosalie would rather die 100 times over than get her clothes dirty, especially here.

You sit down next to her, letting her dry heave and gasp into your shoulder, her wails breaking your heart.

You’re helpless here. Cause what can you really do? You can’t give her a kid, she can’t give you one either. You can’t go back in time and stop her from being killed. And you can’t go back and steal that baby from that couple (even though you kind of really want to).

So you just hold her.

You run her hair, pat her back, kiss her head, and whisper into her ear. How much you love her, how she’s perfect, how it’s okay, how you don’t think less of her.

Once she’s calmed down and her breathing has slowed, she looks up at you.

“I’m so sorry. You shouldn’t be seeing this side of me.”

“What? I want to be here for you, Rose. I know I can’t fix this for you, but at least I can-“

“Fix it? Darling, don’t worry about fixing me. I’m already completely broken, there’s nothing to fix.”

With that you just take a moment to look at her. Her face screams that she is broken. In her soul, at least. Her and Edward are a lot more similar than they like to think.

“Rosalie. You are not broken. There is nothing wrong with you.”

She scoffs at that. “I’m not human. I’d say that’s pretty wrong. Not to mention the fact that I can’t even look at a couple with a baby and not want to violently kill someone.”

“And that’s okay.”

She scoffs again.

“No, really, Rose. I mean it. I’m never ever going to think less of you for something like this. You went through something I can never even imagine and now you’re left to pick up the pieces. Just let me help you.”

She looks at you, her eyes staring into yours. The grief that she’s feeling is evident. But deep in her eyes, you see a touch of something else. Trust, maybe.

“You know, you’re gonna be picking up pieces for the rest of your life.”

“That’s okay, I don’t mind. Not if it’s you.”

Emmett:

He likes to pretend to be all big and bad all of the time

But in reality, he's still a person

He just has a hard time remembering that sometimes

You don't know where he got all of that energy from.

I mean, realistically, you know that he can never get tired.

But really, even for a vampire this was unnatural.

Some nobody in school had challenged him to an arm wrestle. Of course, he can never resist. He grabbed the guy's hand and prepared to pummel him, only to flinch and have his hand thrown down against the wood of the desk.

The guy had one of those fake shock things in his hand, and as soon as Emmett clamped down it vibrated like crazy.

To say he was pissed would be an understatement.

And now he was taking all of that anger out on the trees around the Cullen house.

"That-" punch "fucking-" punch "ASSHOLE!" punch punch punch

It had been days. And you were honestly getting worried. He hadn't hunted in those days, much less came inside the house. You're surprised the park ranger hasn't come knocking yet.

You heard a hollowed cracking sound and looked to see Emmett standing triumphantly as a rather large oak tree fell to the ground, followed by a guttural roar from the man.

"Emmett," you called, barely above a whisper. But you know he heard you. "Come over here please."

He looks at you with a slightly guilty look, the anger from before fading away as he hangs his head and trudges over to you. He stops just a few feet in front of you, lamely kicking the rocks beneath his toes as he avoids your eyes.

“What’s wrong?”

“It’s that stupid fucking guy-“

“No,” you stop him, putting your hand up to silence him. “What’s actually wrong? Don’t tell me you’re seriously this pissed about losing an arm wrestling match with some nobody.”

He just stood there in silence for a second. You took this chance to stand up and grab his face in your hands, instantly he leaned in, perching his head on your palms.

“I just… need to be strong. That’s what I am, I need to be strong,” he whispered, his voice coming out shy and meek.

You just smiled at him sadly and rubbed his cheek.

“I can be strong too you know. So every once in a while you can let me take care of you instead.”

He laughed at that.

“You, strong? As if. I could fold you in half!”

You punched him lightly in the arm.

“You jerk! I’m trying to be sentimental!”

He laughed again and grabbed your hands, bringing them back up to their previous spot cradling his face.

“Ok ok, serious sentimental time.”

You just laughed and kissed him.

Esme:

She has a bad habit of overreacting

Just a dash of anxiety

So when something-anything happens to you, she freaks out

This is bad.

Like really, really bad.

You were supposed to be driving to go see Esme at the Cullen house, but of course your piece-of-shit car decided that now would be a perfect time to break down.

Too far away from home to walk back, too far away from the Cullens to walk there, and the nearest anything was also too far.

Not to mention the snow covering the ground didn’t really entice you to get out of your still-warm car.

So you tried calling someone to come get you.

Only, of course there’s no service out here because why would there be.

Just your luck.

You weigh your options, and decide that walking is just gonna have to do.

You didn’t pack a winter coat because you didn’t think you’d be outside for this long, but you had a blanket stored in your backseat and it was better than nothing.

So off you trekked through the freezing cold winter storm to the Cullen house.

Inside, Esme was (in)patiently waiting.

Your favorite meal was waiting for you, already plated and getting colder by the second on the dining room table.

You said you were on your way 30 minutes ago. It takes about 30 minutes to get from your house to their house.

So where were you?

Her ears perked at the sound of a slowly beating heart coming from down the driveway.

It didn’t sound like one of the foxes or deer that roam around this time of year. No, it sounded a bit bigger, a bit more human.

She was out the door in a flash. Before anyone had the chance to ask what she was doing she was by your side.

“Oh my god, honey, why are you out here?!”

“An angel…” and then you collapsed.

Cue Esme absolutely freaking the fuck out.

She has you in front of a lit fireplace, a heating blanket rested over your shoulders and a warm towel on your head.

She’s pacing back and forth in front of you. She wants to hold you so bad, to kiss you, cuddle you, protect you. But she can’t. She’ll just make the shivers wracking your body even worse.

“Es…” you croak, your eyes blinking open finally.

“Oh my god! Are you okay? How are you feeling? Why were you out there? Where’s your car? Why didn’t you call me?”

“Shhhh,” you whisper, bringing your finger up to shush her. “Just come here.”

You open up your blanket in an invitation to her.

“Are you out of your mind? I can’t cuddle with you right now, I’ll freeze you!”

“Please, you deserve to be taken care of too.”

She crumbles at that, you can see the resolve leaving her face. And then she figures that you won’t get too cold with the heated blanket and everything.

She cuddles up next to you, wrapping her arms around your waist and ducking her head into your neck.

“I’m so sorry, I should have been there. And least of all I shouldn’t be such a mess right now.”

“It’s okay to be a mess, I’ll always be here to hold you.”

Carlisle:

No one really talks about the stress of being a pretend father for a bunch of eternal teenagers

Really, it’s a blessing that he doesn’t need sleep and isn’t affected by long hours

But despite that, he still gets so worn out

Today had been a long day for Carlisle.

It was student-teacher conference day. And while that’s not usually an issue since he always tells the kids to behave, Emmett decided it was necessary to punch a kid last week.

To be honest, Carlisle didn’t really care if the kid was a bully or not, all he viewed it as was something more drawing attention to them.

On top of that, the cattiness between Edward and Rosalie seemed to be especially bad today.

They were at each other’s throats for the better part of the day, and nothing would get them to separate.

At work, at least a dozen new patients showed up. A factory that was close by had a gas leak, very minor. None of the people were harmed at all, but many still insisted on going to the clinic.

Carlisle’s not one to discourage people from getting checked out, but he is one to tell people to go home when they’re fine, which everyone was.

But these people kept insisting something was wrong. A boy with a broken arm had to wait for three hours for a room to open up because the factory workers refused to leave.

By the time he got home, he was exhausted, you could tell. His eyes were heavy, as were his footsteps. His hair was disheveled, he had clearly been running his fingers through it all day from the stress.

He looked like a mess. But even then, he greeted you with a smile and a kiss on the cheek.

He always takes such good care of you, whether you’re sick or not, he’s always there with whatever you want.

Now it’s your turn.

“Carlisle, are you busy?” You ask, peeking into his home office. Even after the super long day, he’s a man of habit.

“Not particularly,” he turns to look at you, setting his pen down, “why?”

“Follow me.”

You lead him to the bathroom, where a nice, warm back is drawn. Complete with lilac scented bath oil and two candles lit on the sink.

“The bath looks beautiful, darling. I’m sure the lavender will be great for your skin.”

“Oh, it’s not for me,” you quip. All he does is raise an eyebrow. “It’s for you. I know you’ve had a long day, so go relax and meet me in the bedroom when you’re done.”

You don’t give him a chance to argue before you leave, shutting the door tightly behind you.

He emerges about 30 minutes later, still toweling his hair off.

“Ok now come on over here,” you pat the bed next to you, motioning him to sit there. Again, all he does is quirk and eyebrow but he obliges.

You take the remote to the TV in yours and Carlisle’s room, turning on his favorite movie. A classic one from the silent film era.

“But this… I haven’t seen this movie in years… how did you get it?”

“That’s the beauty of streaming platforms.”

You both sit in silence for a while, Carlisle seemingly happy to just watch his favorite movie after so long. Eventually, he turns to look at you with an inquisitive expression.

“So, what’s all this for?”

“What, am I not allowed to take care of you from time to time?”

He laughs slightly at that.

“A human taking care of a vampire, how twisted.”

You grab his face between your hands at that, drawing him close and looking deep into his yellow eyes.

“It’s not if I want to do it, and I would move the Earth for you.”

“Hopeless romantic,” and with that he kisses you.

Vampire! Bella:

She tends to… shut down

We all know how she was when she couldn’t be with Edward

That translates over

It really wasn’t supposed to be that big of a deal.

Your Spanish class was going to be taking a two week trip to Spain.

Only, Bella wasn’t in Spanish. This time around, she chose to take French. Which was all fine and good, until it meant that she couldn’t go with you.

Cue two weeks of endless calls and texts.

On the phone with you , she sounds fine. But from your calls with Alice, she’s not doing too hot.

She hasn’t been hunting since you’ve been gone, she’s completely stopped going to class, and she also hasn’t talked to anyone in the house.

It’s the last night of your trip, you’re in your hotel room, the girl you’re sharing with is sound asleep in the other bed, but you know one girl who’s never asleep.

You call Bella’s number, and she answers instantly, like she’s been waiting all day for you to call. In all honesty, she probably has.

“Hey, what are you up to?” You can hear the attempt to be nonchalant in her voice, but her eagerness gives her away.

“Oh nothing, I just got off the phone with Alice… wanna tell me why you didn’t leave our room today? Or yesterday? Or the day before?”

You can hear her pause on the line, like she’s trying to come up with a convincing lie, but eventually she sighs.

“I just… I’ve just been missing you a lot, is all. I want you here next to me, I feel incomplete without you.”

Yowch. Right through the heart.

You decide then to help in some way, you don’t know how immediately, but you have to do something.

So you start to hum.

Whenever you have a bad day, Bella hums the song her mom used to sing to her. You always ask her to, and even though she says she isn’t a great singer, she indulges you anyway.

Sometimes it’s the only thing that can stop you from a panic attack or calm you enough to go back to sleep after a nightmare.

You hear her gasp slightly before y he sound of sheets rustling, presumably her laying her head down.

You go through the whole song twice over, Bella never telling you to stop or joining you.

After your voice fades out and the line stays dead for a moment, you swear you can hear Bella overthinking.

“You know, you didn’t have to do that. I’m an apex predator. I shouldn’t be so upset whenever you leave for a little bit.”

You laugh lightly at that, and you can hear her scoff across the line.

“I don’t mind. Especially when it’s you. Bella, I love you and I would do anything for you.”

“Even if I’m a beautiful monster who was designed to kill you?”

“Even if you did kill me, I would hope that my blood nourishes you for months on end.”

[anneapocalypse]

On Wuk Lamat's Role in the Back Half of Dawntrail

(Note: You do not have to like Wuk Lamat, you do not have to like any character, that is your business; however this post is not an invitation to expound to me on why you hate her, so if you aren't open to discussing her positively, please move along.)

Wuk Lamat is vital to the back half of Dawntrail. Her presence in the story there is both narratively and thematically important and its lack would render her character arc incomplete.

For context, I have seen some comments that there should have been less Wuk Lamat in the back half of Dawntrail. I truly don't see how that would have been possible or made sense without throwing out most of what was set up in the first half, or simply writing an entirely different story. Regardless of whether you personally vibe with her, Wuk Lamat is the main character of Dawntrail; this is her story, and it's themes and narrative beats are inextricably interwoven with her character arc.

First of all, can you imagine what people (in-universe and out) would say about her if after the attack on her people and the appearance of the dome she just... stayed in Tuliyollal with Koana and let other people do all the work? She's the Vow of Resolve. Of course she's going to be at the forefront of the action. The whole point of her choosing Koana to rule with her in a new interpretation of the tradition of blessed siblings is that they have complementary strengths, and they have a benefit that blessed siblings don't: they can be in two places at once!

Second, a big part of Wuk Lamat's journey is learning about the cultures of Tural so that she can fairly preside over them all, and in Alexandria we get to see her bring that lesson to bear in a big way when she learns about the regulators and the processing of souls. She's rattled by it but pushes past that personal reaction to say, as the Dawnservant, "Please teach me of your history and culture so that I can understand the importance of this practice." In doing so she learns critical information about the situation. This is a culture so far removed from the Turali peoples Wuk Lamat knows, and they're also a separate kingdom not technically under her rule at all, but that doesn't actually change her response. She still reaches out with curiosity and compassion, always seeking to learn and understand.

As she comes to understand Alexandria's history, she also learns the context she'll need to understand Sphene when her true motivations are revealed later. Moreover, Sphene is a very clear foil for Wuk Lamat. The Dawnservant characterized by her love for her people and her desire for their peace and happiness vs. the Endless Queen whose love for her people has been twisted into something destructive and terrible.

And then there's the narrative beats about family, and particularly the loss of parents in different ways: Wuk Lamat earning the trust of her brother's abandoned son and taking him in as family, and her being there for Erenville as he struggles to come to terms with the death of a parent (something Wuk Lamat has also experienced very recently).

And that's to say nothing of how personal Zoraal Ja's betrayal is to Wuk Lamat; of course she has confront him personally. It couldn't be anyone else (except maybe Koana, and they both seem to agree that it should be her).

The Rite of Succession is not Wuk Lamat's whole character arc; it's only the first half. It's after Wuk Lamat comes into her own as Dawnservant alongside her brother that she truly shines. It is in the back half of the story, when the stakes are dramatically raised, that all the lessons she's learned in her journey will be tested, when the peace she seeks to preserve is so brutally disrupted. We get to see her struggle emotionally with the shock of that in Tuliyollal, then rise to the challenge of leadership. How she responds to all of that is her character. It is the culmination of everything the first half of the story has set up. This is still her story.

And personally, I think it's wonderful to see a female character not only featured so prominently in the story but getting so much character development and such a complete character arc.

[fuckyeahisawthat]

thank you so much for that excellent chani post. i've seen some annoying takes on twitter about how not making her totally devoted and subservient to paul makes her 'unlikeable' and i'm like. buddy. i think that speaks more to how you see women. than anything about her. this chani is very dynamic and interesting to me.

i'll be honest and say i've not read the books. this is me speaking from what i've seen of summaries, but i think giving her a real cause to fight for yet also genuinely loving paul gives her an interesting struggle, and also plays into how the portrayal of the fremen (seems to me to be) more diverse and nuanced. as in, the fremen themselves seem to have more of a push-and-pull to them. the clarification of how different fremen believe differently (the south being more fundamentalist) is a very important thing to include in a movie where you can run into the danger of saying that all adherents to a foreign, islam-adjacent (in coding) religion are all fundamentalists. that can (in less nuanced hands) be a pretty irresponsible thing. so showing that there's also more secular/pragmatic/less dogmatic sectors of the culture seems a pretty good counterweight.

so yeah. this is how i processed it as a movie-goer. and having chani represent that aspect (believing in people over prophecy, action over religion) and having stilgar as the humanized face of the southern peoples (showing that yknow, regardless of being fundamenist beliefs, theyre still PEOPLE with the capacity for love, friendship, honor) makes total logical sense. you're not just "telling" us that there's different aspects to fremen culture, you're SHOWING us by showing different characters who represent those aspects, without demonizing either or turning either into a one-note stereotype.

Thank you! I'm not someone who was a long-term fan of the books before the movie came out (I tried reading Dune as a teenager when I was reading a lot of classic sci-fi but found it too boring) but I did read Dune and Dune Messiah after the first movie came out, both because I wanted to know what happened next and because I wanted to have an opinion on how the movies worked as adaptations.

(book and movie spoilers below and also I basically ended up writing a whole essay in response to this)

My single biggest frustration with the book is that after they arrive at Sietch Tabr and Jessica drinks the Water of Life and becomes Reverend Mother...the book up and skips two years of the story and when we next see Paul he's already got Fremen followers who are ready to die for him and he's in an established relationship with Chani. Oh I was SO MAD when I got to this part. I was like FRANK. FRANK!!!! Did you seriously just skip two years of the most interesting part of your own story???

The thing is, even though I know that Frank Herbert's intention was to write a critique of the idea that oppressed people need an enlightened external (white) savior to liberate them...if you don't provide an alternate explanation for what's happening then you end up falling into some Orientalist tropes anyway. And because, in the book, we don't see the process of how your average background fedaykin comes to trust Paul as a military and political leader, there is nothing in the text to counter the idea that the Fremen are a bunch of unquestioning religious fanatics easily swayed to do violence by belief in a prophecy.

My second biggest frustration with the book is that we're given no reason at all why Chani would fall in love with Paul. While she has some memorable scenes, she doesn't have a lot to do as a character in the book, and she's missing from a whole chunk of the end...because she's in the south...because she and Paul have a baby, Leto II, who's then killed off-page when the sardaukar attack the south. (I'm honestly really glad they cut this from the film, because it never seemed to be given the narrative weight it deserved in the book.)

So you can imagine how happy I was when the Villeneuve movies figured out how to address both these frustrations by tying them together. The fedaykin don't just blindly accept Paul because of some prophecy. They come to trust him because he proves himself as a fighter, and because he starts out from a place of genuine solidarity and humility--which it is possible for him to do because he has no structural power over them at that point. And Chani falls in love with him for the same reason, in that heady environment of fighting side by side for a political cause, and maybe for the first time in a while starting to believe that you can win.

I think the Villeneuve movies improve a lot on what's in the book in terms of how the Fremen are portrayed...when we're with the fedaykin and/or Chani and Stilgar. There we see political debates and discussion and the fact that not all the Fremen think the same way. And we also see little humanizing moments of folks just hanging out, celebrating after a victory in battle and just shooting the shit and being friends.

I do wish the movie had extended this to more parts of Fremen society. If there's one thing I could have added, it would be seeing more of daily life in Sietch Tabr. It makes sense that when we're seeing things from Jessica's POV, she is more distant from and suspicious of the Fremen, seeing them as a force to be manipulated, but I wish we had even one or two scenes of people just being people in the sietch. It felt kind of weirdly empty and not particularly lived-in as a place, and I think they could've easily countered this, with scenes from Chani, Stilgar or Paul's POV, and that would have made it hit even harder when the sietch is attacked.

If there were two things I could have added, I wanted more exploration of the people of the south. Why are they more fundamentalist than the Fremen who live in the north? (We get one line about how "nothing can survive [in the south] without faith" but I wanted more than that.) While I think the movie did a fantastic job of humanizing and differentiating the Fremen we see around Paul, when we get to the south it does backslide a little into "undifferentiated mass of fanatics." Surely the people of the south also have some diversity of political views.

I think there are some interesting threads they could have pulled on in terms of how proximity to direct colonial violence shapes people's ideology. Sietch Tabr is one of the closest Fremen communities to Arrakeen, the seat of colonial control. They have probably had to mount some kind of armed resistance for generations just to keep from being wiped out. I can see that producing skepticism of the prophecy ("well I can't sit around waiting for a messiah but I do have this rocket launcher") as well as resentment at the idea of someone swooping in and taking credit for a struggle that you've put your life on the line for, and probably a lot of people you know have died for. There seem to be some generational differences, too, where young people of Chani's generation put less stock in the prophecy, while the true believers are mostly older. I can see faith in the prophecy coming out of despair--when you've been fighting for decades with no change, maybe you draw the conclusion that only an outside power coming to your aid will make a difference. While the people of the south are still under colonial rule, maybe being generally outside the reach of direct Harkonnen violence (the Harkonnens don't even know they're there) makes the concepts of both oppression and liberation feel more abstract and more receptive to being filled in with Bene Gesserit mysticism. It seems absurd to want more from a movie that's nearly three hours long already...but I wanted more of this.

Still, I do think they managed to improve on a lot of things that frustrated me or are simply dated about the book, while keeping the political thriller/war drama/epic tragedy elements that I think are the heart of the story, and in some cases drawing them out more clearly and effectively than the book did. The best kind of book-to-film adaptation imo is one that has a strong point of view in terms of what the story is About, on a large-scale thematic level, and is not afraid to change individual elements of canon in service of telling that story the most effective way possible in a cinematic medium. While there are always things I want more of, I feel like Denis Villeneuve really, really understood the assignment in terms of the overarching themes of the the story and he delivered so fucking well.

[a-star-that-burns-brightly]

I'm not gonna lie, it doesn't really make a lot of sense to me when people say that Eden being the culprit doesn't make sense from a narrative/story perspective, or that they "don't see her killing someone" I mean to-each-their-own obviously, but like, at the same time...the entire theme of this chapter is that not everything is as it seems. Your preconceived notions of the people around you based on the parts of themself they present to you are bound to be contradicted by an action they take, or a side of themselves that's kept hidden away. This theme was set up in the first episode of Chapter 2 with J's secret, which I elaborate more on in this post, where she is revealed to have a completely different identity that nobody in the cast was aware of, and that identity of hers is met with spectacle and admiration when J's life is really nothing to admire. Another thing that sets up this narrative is also just the secrets motive in general. From a meta standpoint, I think the secrets motive is meant to challenge us the audience and the preconceived notions we have about these characters, what we believe they are capable of doing to others, to themselves, and in general who they are as people. I remember back when the episodes were still being released seeing paragraphs of defenses in comment sections in regards to David, how he wasn't a manipulator because of this that and the third, how he was only trying to help and that he couldn't had been malicious in his intention. And I can attest to that, because I was one of those people lmao. And as we know now, David did end up being the one with the manipulator secret and showing a much more ugly side of himself that many didn't take kindly to, because it contradicted what we knew about who he was, or more accurately, what we wanted to believe he was. And I use David as an example here, because this pattern can be seen with multiple characters throughout the chapter. Arei, who up until this point had been portrayed as nothing more than a mean, merciless bully, had her past and true-feelings spilled out on full display, leading to her allowing herself the chance to become a better person. This is almost the exact opposite of what happened to Nico, who was portrayed as a timid, defenseless individual constantly catching the brunt of Ace's assault, only to show that they are a much more nefarious person than you would first assume, more than willing to tie a wire around Ace's neck if pushed to their boiling point. And the funny thing about these two examples is that even after these sides of their characters were revealed to us, people still allowed their established notions of the characters to overrule it. People theorized that Arei was lying, or just putting on another manipulative show again. People theorized that actually Nico was just trying to take the wire off of Ace's neck, that Ace actually killed himself and was just pinning it on Nico, or that Hu was somehow responsible and that she was manipulating Nico into doing it, or was just straight-up the one who tried to kill Ace. And there's nothing wrong with any of these theories in the moment, even though I'd say with present information that all of them have been de-confirmed. The reason I'm mentioning them is that it goes to show that if you have a certain view of a character that you have become attached to, and something comes along and contradicts that view, your brain searches for ways to justify the previous view you had. Even in the case of Arei and Nico where, to be fair, the previous perspective wasn't entirely wrong, people still feel strange when they see something that contradicts it.

All of this brings us to David, who as I mentioned previously, was continuously defended in the weeks before CH2-11 dropped because people didn't want to believe he was as manipulative as a lot of the fandom made him out to be. And then CH2-11 actually dropped, and possibly the most unsavory side of David was revealed to us in full display. And despite the fact that the legitimacy of how much of David's true colors is being shown is still a big question mark to this day, and the fact that this side of himself gets approximately seventeen minutes of screen-time, a lot of people were incredibly quick, and I mean quick, to immediately dismiss it as bad writing. Instead of actually thinking for a moment about why this writing decision would be made, they wrote off David as a one-dimensional bad guy to the point of even calling him a cartoon villain. It's hard to believe now considering how much effort the community has put into the past year to dissect every aspect of this blueberry-haired motherfucker, but there were people who were genuinely pissed when CH2-11 dropped. "Hey, this is all well and good but uh...I thought this post was about Eden? Why are you bringing up all these other characters?" Well I'm glad you asked, voice that I made up in my head to transition cleanly to my next point. The thing that all three of these characters, Arei Nico and David have in common, is that they all serve to challenge what we know about these characters and introduce a side of them that goes against our current knowledge, and it's up to us as an audience to either accept this as part of who they are as a person, or deny it in favor of the narrative we've grown comfortable with. And I really do think that is an intentional part of the story being told within Chapter 2, especially when characters like Hu also exemplify these tendencies in how she defends David and tries to see the good within him, deflecting away from the uncomfortable truth that he is not all he presents himself to be. All that glitters is not gold, not everyone is as they appear to be. Which brings us, finally, to Eden Tobisa. And how a lot of the arguments against the theory that she is the one who killed Arei greatly confuse me, and why I think a lot of it falls along this line of thinking.

I see quite a few people implying that the idea of Eden being the CH2 culprit is inherently, as a concept, bad writing, how it doesn't fit with her character, and other things along those lines. It's actually very similar arguments that I saw used to deny the idea that David was manipulative. But I do not see this to be the case. In fact, I think out of everyone currently alive in the cast, Eden being the culprit is what would fit the best with the narrative and story that has been established. This chapter, as I've mentioned previously, has challenged our perspectives of these characters and what we know about them, emphasizing that what we see of them might not be the full-picture of who they are as people. So quite frankly, why wouldn't the culprit be the most positive, seemingly hopeful girl in the entire killing game cracking under it's pressure and resorting to murder? An aspect of Eden's character that I think goes overlooked quite often is that, though she is not by any means naive and her optimism is genuine, her positivity can definitely seep into toxic positivity on more than one occasion. Specifically when applying it towards herself.

(x) Teruko: You seem quite chipper this morning, even though you were distraught last night. Eden: ...Yeah, I know. I'm really sorry about yesterday. Eden: I was in a new, scary situation, and I let myself get too upset. But that was a mistake, I'm not going to let myself be weak like that anymore. Eden: I'll do my best to encourage everyone from now on!

(x) Levi: I suppose I could say the same for you, can't I? Today you're just as cheerful as you've ever been. Eden: I'm glad you think so. I'm wearing my brave face, see? Eden: Everyone is probably going to be sad for a while. For their sake, and for mine, I'll put on a happy smile!

(x) Eden: [Sniff] Whit: There, there. Pat pat. Do you want to sit down somewhere else? Eden: ....... Eden: I'm fine! I just... needed a second to deal with it. Eden: I'm super ready to investigate! I'll do whatever I can to help find Arei's killer.

I want you to pay attention to the third scene I linked especially, because I think it re-contextualizes the other two scenes mentioned. I hope this does not need to be spoonfed, but just to be clear: I am not at all saying that Eden's positivity is fake or fabricated, I think her optimism is a very real aspect of her. That being said, despite her believing that the best way to make it through this killing game is to express grief and rely on others and how she does acknowledge the severity of the situation on multiple occasions, she has never really allowed herself to grieve her current situation. She refers to her very reasonable response to the death game as a weakness, and she outright admits to Levi that she is putting on a brave face for herself and the others. And in the third clip, it's not even being hidden from the audience anymore, especially with how the line is voiced. It's like Eden's VA was specifically instructed to sound as if she were forcing a smile. What this all means, to me anyway, is that there is a lot of stress, fear, and sadness bubbling under Eden's skin that she's purposefully keeping hidden, for herself but especially for the others. That doesn't mean she is good at it, mind you, as Eden at the end of the day is still someone who's feelings are practically sewn into her sleeve, but she is trying. And it's clear it is having an impact on her. Couple that with the fact that Eden very clearly wants to escape really fucking badly, if her constant attempts to find a solution to end the killing game are anything to go by. Especially in Chapter 2. (credit to @/venus-is-thinking for pointing this out in their post)

(x) Eden: So uh... I've been spending a lot of time investigating around, looking for a potential exit

(x) Veronika: You know, Eden once thought of an interesting plan to end the killing game. Based on everything we know, it could theoretically work.

(x) Hu: Eden and I have a continuous alibi from 7 PM to 10 PM. It has become a bit of a tradition for the two of us to clean up after dinner together Hu: And after we were done, we talked for quite some time, brainstorming ways to deal with the motive.

Eden has been more obsessed than anyone else over the prospect of ending, dealing with, or escaping the death game. (just as a side note cause it goes outside the scope of this post, this is also why it doesn't make sense when I see people say that Eden doesn't have a motive to kill, because...she does? Fuck if anything she is probably the person who currently wants to escape this death game the most. I understand if that doesn't sound like a satisfying motive to you, but she does have a motive.) Also couple all of this with the constant arguing of the rest of the cast, and her literally witnessing Nico try to kill Ace in front of her eyes, all the while she is trying to put on a positive smile for everyone else and herself. I really do not see why it is so unbelievable that she would break and try to commit murder. And really, I do think it's primarily because of how the fandom as a whole views Eden, which is why I spent a large majority of this post talking about the themes of Chapter 2 and how they interact with how the audience sees the characters. Another theme that has been explored in this chapter is the idea of a Good Person. Specifically, what makes someone a good person, and the desire to become one. And how is this theme introduced into the chapter?

(x) Levi: Perhaps I messed up yesterday. But I want to move on. I want to keep trying to be a 'good person,' like you, Eden.

Through the existence of Eden. With every other character in the DRDT cast, there is at least one attribute about them or action they take, that would reasonably warrant them being disliked, or seen as not the best person. Even other characters serve a similar role in the narrative, like Whit and Hu, have things about them that could result in this opinion. Like Whit's insensitivity and uncaring behavior towards the dead, and Hu using other people to make herself feel useful. But Eden is viewed, both within the story and outside it, as an undeniable good person. There's a reason why you basically never see a genuine Eden hater in a wild because...well, what is there to dislike her for? She's kind, she's caring, she's helpful, and she tries her best for everyone around her. In the midst of a story where the characters are constantly being pushed to the brink and fucking up, Eden has done literally nothing wrong. She has been a victim of circumstance or other people victimizing her. And the one time she is antagonized in the story it's by a character who, up until a few minutes after, we have basically only seen as a mean bully. Eden has done nothing wrong. Eden is the picture-perfect presentation of a good person. But I think by the end of Chapter, as a climax to both of the themes that permeate it's narrative

That will no longer be the truth.

[kismet-cat]

Something I’ve been thinking about a lot is how Jowd and Yomiel are parallel to each other. They’re both so stuck in worldviews that are blatantly wrong- Jowd thinking everything is his fault, and Yomiel thinking everything is the fault of everyone BUT him. To an outside observer, both these views are totally stupid, but the two of them feel like they HAVE to believe it or else everything they’re doing will be for nothing. If jowd is wrong, that means kamila did it, and he can’t let himself believe his kid could do that, it would destroy him. He’s so willing to take on the guilt because he feels responsible for not stopping the tragedy- even when it was literally impossible for him to foresee or stop. If Yomiel is wrong, then it means that literally everything he’s been doing since dying is useless and he’s the one responsible for the deaths of both Sissels, and he can’t believe that or he’ll sink even further down. So the two of them both push on, warping the truth until it suits their narratives, both of which are steeped in self-hatred. It’s a good thing they never met up before their respective character developments- like Yomiel said, Jowd would have loved to be executed by his own daughter. Sorry for talking so much I just think they’re fascinating!!! I love ghost trick!!!

No need to apologize, I love hearing other people's Ghost Trick takes/analysis! Especially along these lines!

This specific parallel is def one I've thought about too, and you put it very well! For me, it all comes back to the set of questions I posed in this post as being at the core of Ghost Trick's story:

1. When something terrible happens to you, what do you do with that trauma? 2. When you do something terrible, when you make a terrible mistake, what do you do with that guilt?

Like you said, Jowd is a person who, in response to both questions, internalizes all the blame; whereas Yomiel, in response to both (pre Chapter 17), externalizes all his hatred. And yes, from an outside perspective they're kind of ridiculous — just look at how many chatters in the secret sleepover society streams (and other lps I've watched) have been reacting to Jowd as a character.

But one of the things fiction arguably exists for is to present characters that take such ideas to such extremes for the sake of exploring those questions and making a greater point; it's the premise "What if there was guy who ___? Wouldn't that be fucked up or what?". And for me (and a lot of people, clearly) Ghost Trick succeeds in getting you to take those characters seriously, because they and the people around them take their own stakes seriously, while ultimately making it clear that their responses were irrational.

...And hey, while I'm here:

Cabanela's answer to the second question is to bury all evidence of it, to Not Think About It, to become (or at least project the image of) a person who would never make that kind of mistake. Meanwhile, his answer to the first question, if we say the terrible thing in question is his best friend confessing to killing his wife and asking to be executed, is to dedicate himself to trying to undo it, to set things right, everything else in his life be damned.

These answers are "better" than Jowd's and Yomiel's — they certainly cause less extreme collateral damage — but they still aren't ideal. After all, Ghost Trick is a game that highly values the forging/maintaining of bonds with others and being honest/open with them as the key to both parties' success. It's what saves the day in the end. Without Sissel, all Cabanela's efforts to save Jowd and protect Lynne would have amounted to nothing.

No, the person with the "correct" answer is Lynne. She doesn't really have to grapple with the second question (which is maybe my personal biggest disappointment with her character), but her answer to the first question is clear: Become the kind of person who prevents such things from happening to others, or who can be the one to help them when it does. Always believe in people, and in the ability of things to turn out right.

Now, it must be said: the reason she comes to this answer is not because she was born a perfect idealist. It's because, in that worst moment of her life, someone was there to save and then reassure her; to inspire her. Jowd.

It's her truth, but it's not, say, Yomiel's.

But. It's a truth that inspires the rest of the cast (Sissel and Jowd primarily). And, because of her insistence in it, they're able to go back, defy fate, and make it The Truth of the narrative.

(Sissel similarly only has to really deal with the first question because Reasons, and his answer evolves over the course of the game, from "focus on the wrong that was done to you and what you can do to make yourself feel better about it above everything and everyone else" (doesn't that sound familiar?) to be more aligned with Lynne: "use what you learned/gained from that unfortunate occurrence to help others". And Missile is basically on the "right" wavelength the whole time, which is why everyone agrees he's the Bestest Boy.)

[seikilos-stele]

Izzy, Ed, and Saying “I’m Sorry”

I saw a post recently that said Ed’s apology (“sorry about your leg”) was fine actually, because that’s just how Ed and Izzy are, it’s just how they talk.

So I wanted to stress: that’s how Ed is. That’s not how Izzy is.

When Izzy apologizes, it’s: “I said some things I regret last night. I don’t think you’re a shell of a man or a twat.” And: “Ed, I’m sorry. I’ve been terrible to you. I fed your darkness. Blackbeard. For years I egged him on even though I knew you’d outgrown him.”

In S1 and S2 we see how izzy apologizes. He acknowledges his wrongdoing in specific “I” statements — “I did THIS, and I regret it,” “I did THIS, and it was a terrible thing to do.” When Ed apologizes it’s “Sorry about your leg.” Not “Sorry for what I did to your leg,” and no eye contact.

Some people think that Izzy’s response, “Fuck off,” is evidence that he doesn’t accept Ed’s apology, but I disagree — I do think Izzy accepted. I think it’s the most he’s ever gotten from Ed and he knows he’s not going to get anything better. Ed himself says he’s never apologized before, and only does it (not to Izzy but to the crew) when Stede makes him.

It’s worth analyzing how the two apologies are treated by the narrative as well. When Ed apologizes, all is forgiven; he gets his crew (“Ed, they love you”), he gets his lover and his happy ending. For Izzy, the narrative isn’t so kind. In one case, his apology is met with deceit from Ed — to prevent Izzy from further apologizing (by leaving the ship) Blackbeard lies to Izzy and says he plans to kill Stede, then maneuvers Izzy into doing it for him. Only to let Izzy be banished, because he never really wanted Stede dead in the first place. To recap, Izzy is mean to Ed in private; he gives a sincere, unprompted apology the next morning and tries to repent by leaving the ship; he is narratively punished with a humiliating duel and banishment.

In S2, Izzy apologizes to the crew by protecting them from the Kraken, and he IS narratively rewarded for this. His wordless apology results in love from the crew, acceptance, and support. It’s worth noting that we never see Ed make the same concerted effort to change his behavior. Stede tries to push Ed into it, but Ed resists — he rolls his eyes, he treats it as a joke, and he tries to convince his crew that they actually enjoyed being tortured. This is very different from Izzy, who quietly changes his ways without being forced or prompted.

In the finale, Izzy apologizes for feeding Ed’s darkness and absolves Ed for the way he mutilated Izzy in the S1 finale and first two episodes of S2. These mutilations are physical acts including multiple amputations and forced auto-cannibalism; Izzy still bears the scar from his suicide attempt following the final and most severe amputation. Izzy gives a high-quality apology for his mean words (“namby pamby in a silk gown pining for his boyfriend,” “I serve Blackbeard, not Edward. Edward better watch his step.”) Ed doesn’t apologize for choking Izzy, for cutting off his toes and feeding them to him, for shooting him or for goading him into suicide; he certainly doesn’t apologize for lying to him back in S1 about Stede. As we all know, while Izzy dies, Ed doesn’t apologize at all. Izzy gets only one apology from Ed in S2. It’s a low-quality apology vaguely referencing Izzy’s leg, without taking responsibility for it. Ed’s apology is the same distant statement of pity that we might hear from Lucius or Black Pete upon noticing that Izzy is disabled. “Sorry about your leg” — not as in “I’m sorry for what I did,” but as in, “Wow, it sucks that that happened to you. And it has nothing to do with me.”

It’s made worse by the fact that Ed can’t just apologize to Izzy. It’s Izzy who approaches Ed, awkwardly extending the olive branch. Ed rebukes Izzy for avoiding him and makes a judgmental comment about Izzy’s recent uptick in drinking, then seeks out Izzy’s reassurance/comfort (“It feels like a storm’s coming…”). Izzy refuses to give Ed the comfort he seeks, and it’s clear that this bothers Ed; it’s a departure from their usual dynamic.

Ed has to work up to an apology over the course of a brief conversation where the first thing he does is subtly reprimands Izzy for avoiding him. Ed’s priority is not to say he’s sorry; it’s to make sure Izzy knows Ed is upset about the silent treatment and then to seek comfort for Ed’s own emotional turmoil. Contrast this with both Izzy’s apologies: in S1, when Ed approaches him, Izzy squares his shoulders and apologizes right away. There’s no waffling about it; it’s clearly been weighing on his mind, and he needs to say he’s sorry before the conversation veers elsewhere. In S2, Izzy is literally dying; he asks Ed to stay with him, and then launches directly into his apology. There are no insults; there’s no cattiness; he doesn’t try to make Ed feel bad for being hurt.

Conclusion:

There’s a world of difference between Izzy’s apologies and Ed’s. The first difference is in the quality. The second difference is in how the narrative treats them. Ed’s low-quality apologies are rewarded. Izzy’s higher-quality apologies are punished with banishment and death.

[lurkingshan]

Fermat's Cuisine is an Intergenerational Trauma Narrative

When @troubled-mind pitched Fermat's Cuisine to me, I knew I'd be watching it soon, and I went in expecting it to be a kind of classic high stakes restaurant drama with a twist, about a math prodigy slash newbie chef learning the ropes from an intense mentor, figuring out how to translate his special skill and function as part of a well-oiled cooperative team, and taking the restaurant world by storm.

And it was that, partly (until it wasn't). But the core narrative in this drama is not really about food or math or a classic success through adversity arc at all. Instead, it's about the intergenerational trauma passed down through a lineage of abusive haute cuisine chefs, the deep psychological damage they do to each other, and the way our protagonist and his mentor ultimately come together to break the cycle. Obviously, because I am me, this revelation was a goddamn delight and a very welcome surprise. I'm going to dig in on how this theme defined the narrative, so spoilers ahead, folks!

There are many dramas that touch on how extremely high stress restaurant environments are as workplaces and how rampant abuse can get in kitchens. It's quite a common theme explored in most stories about professional chefs. But this drama didn't simply nod to these elements or include them as an added tension point, it doubled down on them and built in an additional layer by centering its story on a lineage of chefs (Shibuya->Kai->Gaku) who explicitly took their protégés into their homes as parent figures.

Shibuya found Kai when he was an unhoused and orphaned child and raised him, bringing him home to live with him and providing him with shelter and material support and a chosen career path. And then he proceeded to mentor him in such an emotionally abusive way that it's kind of a miracle Kai still had any humanity left in him by the time he found Gaku and began to repeat the cycle. Shibuya taught Kai that his entire worth as a human being was dependent on his ability to cook, not just well, but at a level that few in the world can ever hope to achieve. He raised him to strive to "surpass God" with his food and to feel worthless if he couldn't continually top himself. And he raised him to think there was only glory in this achievement if he did it alone, without relying on bonds with other people to support him.

This is deeply fucked up stuff, and it predictably fucked Kai up, especially once he developed an illness that impacted his ability to taste, and therefore, his ability to cook. He found Gaku and repeated the patterns he learned in his childhood to try to quickly mold him into the same kind of chef he feared he could no longer be, and then abandoned him alone with all the same impossible expectations he was raised with, turning him quickly from a sweet kid with a genuine love for learning how to master his job into an abusive tyrant in his own right. Gaku was just a kid, however, no matter how talented, and he couldn't sustain these responsibilities Kai put on him, so it all came crashing down rather quickly, pushing Gaku to go in search of his wayward mentor and pulling them back together in their shared failure. And ultimately, they decided that their only option left was to try working together to achieve their dream in defiance of Shibuya's teachings.

Which led to one of the best scenes in the drama and the one that clinched this story for me, when after cooking a meal for him together, Gaku directly confronted Shibuya on Kai's behalf and demanded that he acknowledge Kai in the way he deserves, giving Kai the catharsis he has been desperately needing for years. Did Shibuya suddenly change his perspective and apologize for his wrongs? Of course not. But the drama showed us how wrong he was by bringing Gaku and Kai together, with the support of their colleagues, to defy his teachings and make beautiful food together their way. And Shibuya was forced to relinquish his hold on Kai, finally giving him the approval he was so desperate for and releasing him from his expectations. Kai broke the cycle with Gaku's help, and thus began to heal. And in helping Kai, Gaku saved himself, as well.

Now, can I claim the execution of this arc in the show was perfect? No, I definitely cannot. This drama is extremely watchable, has a great cast, and was built around a fantastic main idea, but it also has some pretty significant flaws in how it all came together. There were serious pacing problems in this story--some character information was withheld for too long, some narrative beats were rushed to the point that they barely landed, and some character turns were simply not well grounded enough to feel believable. I have a whole reef of notes about how to rearrange the story elements to make it all work on a higher level. But the core of this story is solid and the ending rings true, despite some bumps on the journey to get there.

I highly recommend y'all check this drama out for something a little different and very refreshing. And hey, it's not often that Japan puts their content on major western streaming services and gives us all easy access to enjoy their work, so we should encourage the practice.

[aihoshiino]

Oshi no Ko 145: A Story Without 「アイ」

The question of how exactly Aqua and Ruby were reborn is something that floats around vaguely in the early stages of the Oshi no Ko, teased as a mystery that will exist in the background as opposed to one actively pursued for resolution. My theory is that this element of the story was likely more prominent in the version of Oshi no Ko that was originally conceptualized (i.e, the one that did not involve Ai's death) but the abrupt change to the story's dramatic tone and intensity pushed it into the background. As it stands, Aqua's wishy-washy statement that he'll figure it out once he's done enjoying Baby Mode about matches the weight this is given is the narrative, at least to begin with.

Even with the turn in tone and focus the manga takes, we do ultimately circle back to addressing and answering this question via the presence of Crow Girl/Tsukuyomi who seems to be the one responsible for facilitating their reincarnation in some way or another. Admittedly, this reveal in 145 comes a bit abruptly and the implied motivations it ascribes to Tsukuyomi don't… really line up with the things she says and does prior to the Movie Arc. But what really left me a little cold with this reveal is that it does not involve Ai whatsoever. Her name and even her image are not even once mentioned, not even in passing by GRSR.

This made me feel pretty uncomfortable for a variety of reasons I'll get into later but it wasn't until I started going through the manga to look more into how the reincarnation had been discussed before that I realized just why this felt so jarring - it simply wasn't consistent with what came beforehand. While the current explanation excludes Ai entirely, prior discussion of GRSR's reincarnation centers her to an equal and opposite degree.

Both Gorou and Sarina are thinking of Ai as they die, with both of them also (even if only symbolically) hearing her voice in their final moments. Gorou hears her singing as his ringtone plays and Ruby says Ai was "singing in [her] head" up to the very end. Ai's face is implicitly the first thing either of them see after being reborn and Aqua even speculates, as his first guess as to the nature of their rebirth, that it was this strength of feeling all focused on specifically Ai that caused it to happen.

Not only that, but Ai is even centered in the "fake" story of their rebirth that the twins sell Miyako to get her on board.

Perception of this bit in the fandom seems to vary from "it's just a joke" to "Jokes Are The Deepest Lore" and beyond. I myself don't put a massive amount of weight on it. However, in discussions where this is taken even semi-seriously as foreshadowing then it is flatly disingenuous to cherrypick the AQRB crumbs while not giving the same weight to the (imo, equally loaded) implication that Gorou and Sarina were reborn as Ai's children because she herself was favoured by the gods.

As the murder mystery elements of the story take prominence, this question is left unanswered but resurfaces towards the end of the Private arc with the arrival of Tsukuyomi. Here, too, we see Ai being centered as a key figure in Gorou and Sarina's reincarnation - the chapter is even named 'Mother and Mother', in reference to both of Aqua's mothers for each of his lives.

Most tellingly of all to me, however, is Tsukuyomi's appearance at the end of the chapter. Literally her first speaking line is commenting on how kind the gods must be to bring the Hoshinos together - describing them as (paraphrased) two motherless children and a childless mother and ascribing a great deal of weight to their togetherness.

Even if you disagree that the manga is centering Ai in this context, it is undeniable that the togetherness of the Hoshinos as a trio and specifically as a mother and children is what Tsukuyomi is highlighting as being meaningful here.

We even see a repeat of this in chapter 118 and her first on-screen conversation with Aqua.

I've seen people take this to mean, in the context of future chapter hindsight, that she is claiming the 'meaning' of his rebirth is his connection to Ruby. But if you go back and follow the thread that leads to this mic drop... it's a conversation that's about Ai. And specifically, Aqua is told to consider what it means that his soul was reborn in that body (emphasis mine): i.e, what does it mean that he was reborn specifically as Ai Hoshino's son?

With all this laid out, I really don't think it's a stretch to say that Ai, both as an idol and a person, is treated as a more or less equal part of the GRSR -> AQRB reincarnation as the two people being reborn. Which, like… she should be! She's their mother. But when we do finally get around to concretely answering this question..

Zip. Zilch. Nada. It had nothing to do with her. The closest we get to an acknowledgement that she even exists full stop is her goofy ass bunny mascot's face on (presumably) Sarina's snowman.

As I've said before, the basic beats of this as an answer to 'why reincarnation' are not inherently bad or unworkable. An animal repaying human kindness in some supernatural way is a tale as old as tales and given the ways in which Oshi no Ko plays around with mythological and folkloric ideas, making the reincarnation the result of a Tsuru no Ongaeshi-esque repayment of selfless kindness suits it quite well. The issue here is not one of an inherently broken idea, but flawed execution.

If this is the final word on the hows and whys of Gorou and Sarina's reincarnation - and I feel more or less settled that it is - then Ai has been entirely excluded from the birth of her own children. The sheer amount of weight placed on her role, specifically, as Aqua and Ruby's mother has vanished because after all the build up of why? the answer seems to be just that she happened to be pregnant.

I don't think I need to overexplain why it feels gross for Ai to be reduced to a convenient walking uterus in this regard. This was the element of this answer that made me so uncomfortable when from the get go: Ai's arc is so overwhelmingly about her being denied the right to agency over her own body and sexuality and her giving birth to Aqua and Ruby is, in part, a reclamation of it. It wasn't just an act of love performed for her children but also one for herself - she risked everything in order to give herself the family she had longed for her entire life.

If this incongruity was intentional, I think I would be interested in it as an element of Ai's tragedy - the idea that even the birth of her own children was hijacked by forces beyond her control and warped into something that existed to serve her fans. But I really don't get the sense that this was considered at all and honestly… that's kind of equally sad.

I was wordvomiting a much less articulate version of all the above in the Oshi no Brainrot Discord server and @penguinkyun said a few things that I think really nailed the heart of the issue here:

"theres barely anything of ai here when shes such a central character […] removing ai's own emotional stake in the matter and rounding it up to "crow girl felt bad for gorou and sarina because they helped her that one time and then reincarnated them" just…doesnt hold the same impact."

This is, I think, key to what made this reveal fall so flat for me and highlights this chapter's place in a much broader trend of Ai's place in the twins' lives being downplayed and favour of amping up the intensity of the GRSR relationship. To once again quote Lace because I think she sums it up quite neatly:

"[...] akasaka is absolutely ramping up the soap operaness of grsr with ai as collateral."

And that just kind of bums me out. :(

[snailsdraw]

[Start ID: 4 pages of HLVRAI narrative doodles following the Science Team's reaction to Gordon in the Mark V HEV Suit, AKA the one with the orange hip pieces.

Gordon pushes Benrey's head away from him and holds him at arm's length in tired response to Benrey's continuous prodding at the hip pieces on his HEV suit. This interaction is from a later part in the timeline as implied by Gordon already having a gun-arm. Gordon sighs: "Quit touchin' it, man." Benrey, sitting on the floor, resumes his prodding undeterred with a grin. Next to this is the start of the narrative doodles from an earlier part in the timeline, when the team enters the Black Mesa Locker Room. Benrey speaks as he's walking away from Gordon and towards the further end of the room: "why're you, why're you runnin' around with your hips accentuated like that? that's a workplace violation." He then shoots a pigeon perched on a locker room bench. Gordon holds a palm up facing Benrey in a "stop" sign, silent for a moment in disbelief before saying: "Don't look at me if you're gonna be having those thoughts."

Tommy walks up next to Gordon, saying: "But Mr Freeman, you're not- It says "no revealing clothing" in the labs dress code." Gordon gives him a confused look: "…I am in the HEV suit. Tommy, I am-" Gordon grabs Tommy by the arm, startling the taller man and continues: "There's barely any part of me that is exposed!" "Oh dear," Dr Coomer says, a hand to his chest, "Gordon, that is no way to dress in this facility. It'd do you good to change into something more appropriate."

"Wuh- HOW IS THIS MY FAULT? You're objectifying me!!" Gordon yells, arms spread in exasperation. Tommy clarifies: "It's lab safety!" Gordon ignores him, voice overlapping: "I am- this is LITERALLY the company suit, the one DESIGNED for me to do MY JOB! Take your qualms up with the designers or something!" Behind them, Benrey opens a locker door labelled with the name "Roswell" on it and looks in, remarking: "oh yo, they've got pictures in here." Gordon composes himself a bit: "Look, if I told a co-worker that her…" he stutters, stalling, "I dunno! That her skirt was too short or…something, and I told her to go change, you would chew me out for it." Dr Coomer cuts in, displeased with Gordon's behaviour in the made-up scenario: "Gordon, that is uncalled for." Gordon turns back to him, jabbing a hand in his direction: "SEE?! Yeah, like that! Why am I different??"

Dr Coomer tuts at Gordon, wagging a finger: "Now now, Gordon, that's no way to treat a co-worker. Clothing comes secondary to the good work we all do here. Do try to be more professional." Gordon is nearly at the end of his rope: "It. That was an EXAMPLE. Of what y'all were doing to me." He throws his arms up in the air, exclaiming: "Coomer, you said so yourself! Don't put words into my mouth-" Tommy interjects, rubbing his hands in discomfort: "Mr Freeman, that's against the Code of Conduct. I'm gonna have to report you to HR, uh, for workplace harassment." Gordon lets out a strained wheeze of laughter, dropping his head into his hands. He looks back up and gasps for air, letting a hand slide down his face. He mutters, on the verge of hysterics: "I'm being framed. I'm being framed for something I didn't do." "Oh, I DO love a good frame!" Dr Coomer reponds, obliviously chipper. A string of calm blue sweet voice floats in from off-screen and pelts Gordon in the shoulder. /End ID.]

Happy HLVRAI Youtube release day (falls into a hole, yelling)

[lo-toh-takes]

I know this is most definitely not related to Lily’s Owl House takes. But since many have brought it up, Lily is absolutely trying to push narratives that keep people in abusive situations.

It’s why she claims Hunter is an idiot for not realizing Belos is evil and doesn’t deserve redemption. It’s why Luz having complex feelings is “torture porn” and yet she deserves an unhappy ending.

And most recently with her new godawful video, Lily made the bold claim that Fifty Shades of Grey isn’t harmful- because abusers, misogynists, and creeps aren’t attractive like Christian Grey.

It’s outright disgusting how blatantly she pushes narratives that would actively keep victims away from speaking out, asking for help, or even just feeling emotions. Because Lily clearly doesn’t think victims deserve such things.

It’s also why she always pushes this narrative of killing abusers being the only way to escape. A task that is traumatic and in some cases outright impossible for victims, as it could more likely get them killed.

I just hate her so much that it brings me to actual tears hearing her repeat the same mantra as so many abusers I’ve seen.

Lily’s takes on abuse being terrible doesn’t surprise me in the slightest considering that she is an abuser herself. It’s gross how Lily treats Hunter and Luz’s traumas as if they are something they should get over quickly, rather than permanent scars that don’t easily fade away.

People have commonly told me how Lily’s takes on these two directly reflect how she sees victims of trauma and abuse, how she sees her own victims. And I completely believe it.

Something that became especially disturbing with this in mind is when in the Luz section of her fandom torture video, where, she directly lists an experience she had with a past girlfriend who acted like Luz, constantly shutting herself out and always acting miserable no matter how hard Lily tried to support her…and, Lily broke up with that girlfriend despite the mental turmoil she KNEW she was going through, because she saw her being toxic to not only herself but to Lily.

Given Lily’s own takes on Luz’s trauma and how she sees Luz during her depression arc, you can probably imagine how ABSOLUTELY disgusting of Lily this comes across as, to just abandon someone while they are going through intense emotional turmoil and in need of a support system because supporting them became “too hard” for you. Fuck. Off.

And before anyone tells me “Lily is not responsible for anyone’s happiness” first of all, she was probably the last thing resembling a support system this person had, as a girlfriend she should try to support this person when they are going through some shit, second of all, Lily could have at the very least tried to help this person by suggesting they talk with a professional about their issues like therapist or some shit. But no. She abounded this person because she didn’t want to support them any more.

And she wanted Amity to do the same thing to Luz. Because she sees Luz the same way she saw that past girlfriend. Now first there’s the first question of is this person was even real or not since Lily has made shit up about her real life before, and since this person would have spoken up about their experiences with Lily by now…but I have a theory for why they might have not done that….

….Lily once made a post on her old blog answering an ask about what to do when someone is going to commit suicide, and Lily’s response just boiled down to “just let it happen, you can’t stop it”…..

….you can probably guess what Lily’s past date probably did after Lily’s break up with her by that alone.

EDIT: Ok I think I might have been very disrespectful here for making a theory about the girlfriend committing suicide. I do sincerely apologize for that. I have received an ask that confirmed that the girlfriend is in fact alive. Sonya, I’m sorry for that.

[fryday]

Im so confused… how did that video where there was zero mention of them being romantically involved give u the impression it was a huge step? they actively tried to push away from that narrative the whole video, multiple times...Not trying to come across rude but im genuinely confused :/ thanks for ur time🙏🏻😊

Sorry for the late response! Been super busy of late. For those reading, this ask is in reference to the date night video.

In answer to your question, anon, I do think that when it comes to Dan and Phil, the progress they make and steps they take towards a hard launch or at least a more open and transparent place with their audience is often (a) in the unsaids as much as the saids - eg vibe and insinuation rather than outright declarations, and (b) has to be seen *relative* to their past behaviour. It's safe to say they've never been gayer or more affectionate towards each other than they are now, excepting the 2009/2010 period before they had any idea their relationship would matter to anyone. The way they were behaving in the date night video, the fact that they DID the date night video at all, is HUGE in the broader context of DnP's lore. So even though they were still referring to each other as best friends etc., the context and implications surrounding the same words were wildly different. And I personally viewed it through that lens.

But it's all fun and games here, and you're entitled to see it how you want! This is just how it comes across to me.

[sloppy-rants]

Rottmnt Rant #2

(Leonardo centered)

One thing I adore about rise is that if you pay attention there are no character traits that ever come out of the blue. They have always been present within the show, they just don’t have any spotlights on them.

One example of this is Leo’s martyr complex, as well as his habit of making jokes out of serious situations. These traits are very present in the movie, and are even main plot points that push the narrative forward. These traits have always been present in the show, however one episode that I think contains multiple examples of these is the episode “Flushed but Never Forgotten.”

⚠️SPOILERS AHEAD FOR THE EPISODE AND THE MOVIE⚠️

In the episode Flushed but Never Forgotten, the boys accidentally flush their dad’s pet fish, Piebald. They decide to cover it up, lying to their dad and replacing piebald with a ‘perfect’ replica (a rock with googly eyes glued on). After about a year, Mikey starts to feel guilt over the loss of piebald, and tells the rest of his brothers about writing on the walls and voices he’s heard that he thinks are coming from her.

We find out that Piebald has returned, and is now a mutant capable of talking and possessing abilities such as turning invisible/camouflaging with her surroundings. Upon initial discovery, the boys are terrified. All of them except Leo.

Leo responds to seeing piebald with “Okay so she’s a mutant.” While the others are obviously scared shitless. This only lasts for a moment, but it demonstrates his true nature, as in this moment he hasn’t had enough time to lie and come up with some sort of fake or funny reaction. He uses one of his coping mechanisms, humor, to deal with the situation. Now of course, after this he goes right back to being scared with all of his brothers, as one would do, but I find it interesting that his initial reaction was to tone down the situation and after that he showed fear, rather than the other way round. Moments like this are sprinkled through the whole show, but I decided to focus on this one simply because of how small and fast it is. It would have been so easy to have Leo just scream along with all the others, but the writers decided to add this bit in. You might think of this as just a joke the writers added in for shits and giggles, but he does this multiple times in the series. A rather popular example of this being his line “Soo.. you guys from Jersey?” in the very first episode.

Now his Martyr complex, I know is a very popular topic for Leo. It provides juicy angst, and it’s a wonderful topic to use for drawings, fan fictions, and rants such as I’m doing now. But usually, those are all centered around the movie. The movie’s climax features Leo locking himself in the prison dimension with Krang prime, sacrificing himself for those he cares about. What I don’t think people talk about enough is that this isn’t the only time Leo does this. This is another reason why I decided to focus on this episode specifically.

Later in the episode, Piebald ends up taking Leo’s entire family. His brothers, his dad, even the paper foot ninja they took in. Initially, he has a plan to gain the upper hand against Piebald. He uses her own trick against her, camouflaging with his surroundings to use the element of surprise against her. Once this fails, however, he finds himself backed into a corner. His family is tied together, hanging behind him as they dangle over a large whirlpool of sewer water, about to be flushed as they had done to Piebald so long ago. In one last desperate attempt to save his family, he pleads with Piebald to let his family go, and take him instead.

He says, “flush me and let my family go.” Clearly stating the he wishes to sacrifice himself for those he cares about. He’s been running this whole episode. Running from the monster, running from the responsibility of Piebald’s “death”, and running from telling the truth to his dad. Now, as the only one left, he knows it’s him who has to save his family, and when given no other choice, he chooses himself as the sacrifice. It’s not even suggested to him that he sacrifice himself, he came up with that on his own. He doesn’t know what will happen to him, he just wants his family to be safe.

Sadly, this moment is short lived as immediately after he says this Piebald cuts the rope to drop the others into the whirlpool, which is where the whole thing is revealed to be a ruse made up by Splinter and Piebald to teach the boys a lesson. But I still think this moment should be talked about more. It’s so interesting to me.

It’s one thing that I think people get wrong a lot. A popular trope I see with Leo is that in any danger whatsoever he will deliberately go out of his way to sacrifice himself first. It’s his first and only plan, and he truly believes it will 100% work out. Watching the show though, this just isn’t true. Leo is a good leader, and he knows what his brothers are capable of. He’s able to use their skills to come up with a clever plan that almost always works when he really puts thought into it. It’s when he’s backed into a corner, stuck between a rock and a hard place that he resorts to his final plan. His last chance to keep everyone he loves safe and more importantly alive. If it comes down to it, he will use himself as the scapegoat willingly, even if the others don’t want it. I love Leo angst so much, and I love it even better when it’s done right. Leo is a smart guy, he knows when he can find an easy way out of things. That’s what makes it even more devastating when he resorts to his martyr complex, because it’s always either a last resort, or a split second decision. I think what people try to do is make it his first instinct, which I can agree with if written to be believable.

Moments that represent these traits come and go quickly, but I think that’s part of why Rise is so well written. The creators trust their viewers, and are aware that things don’t need to be spelled out in order for us to understand them. This show is honest to god just so amazing, and a wonderful example of when artists put out a work that they really care about for others to enjoy.

[damianbugs]

thoughts on bruce x jack drake?

hello anon apologies for the late reply but when i first received this ask i immediately assumed there was a leak in mine and @plutoslvr messages because we were literally talking about it about two seconds beforehand. i could barely sleep that night.

my thoughts are that old man yaoi is so enjoyable when it's just slightly ridiculous and entirely impossible. there are three ideal sections of the brujack ship (enjoyed by population NO ONE, apparently, but with our combined efforts i imagine we can spark this flame):

rivals to lovers

bruce wayne vs wanting to bone people who want him dead

doomed by the narrative

1. rivals to lovers.

bruce and jack competing in the worlds most intense "who is the best average-leaning-towards-okay dad" battle. trying to outperform in casual "okay dad" actions to win "okay dad" points from tim, something that is totally normal and entirely possible (jack is always in the lead and bruce has not yet realised that he will never overtake him).

this one is so fucking funny to me. silly events such as them fighting on who gets to take tim to his school events, comprising on taking turns (for tim's sake, not because they want to) or attending them together (the pta now think bruce wayne and jack drake are in a relationship). jacks like im taking tim to the skate park and bruce is like well i told tim i'd take him to lunch — now it's bruce and jack taking their kid to the park then lunch together and the paparazzi have no idea how to headline this.

i imagine eventually tim can't handle this truly bizarre tension filled dynamic anymore so he cancels last minute and bruce and jack are like, well, we've already booked a table at this super expensive restaurant AND that cool movie afterwards, so we might as well make use of them.

at some point the "i HAVE to one up the other guy to impress my son" becomes "i HAVE to one up the other guy to impress our son AND so he realises how i'm obviously a catch"

i imagine eventually when they form some sort of established relationship ("do not call me your damn boyfriend, bruce, are we fifteen?") the rivalry doesn't really stop, but it's far more fond and well, tim's just glad he doesn't need to set aside two days a week to make sure he spends time with each of them.

2. bruce wayne vs wanting to bone people who want him dead

now we all know bruce's ideal type is someone who is either a) actively a danger to his life or b) was at some point more inclined to being a danger in his life or a secret third thing that is c) would become a danger to his life if pushed slightly in that direction. we've no time to psychoanalyse this but it's hardly a point that needs to be explained after taking a look at his long list of exes.

now, after this, is it truly out of the realm of possibility that after jack drake finds out that bruce wayne is the fucking batman and is to partly blame for tim's dangerous life choices he stomps over to the man's house and threatens to SHOOT HIM, that bruce wants him carnally. my exact words when reading this scene was "rather reservedly, i imagine this level of foolish and almost stupid bravery impressed bruce, regardless if it it was for entirely unselfish reasons on jack's part or if it was genuinely out of care for tim" i then say "i also think this would have moved bruce, emotionally, figuratively, poetically, sexually WOAH"

we all know that canonically when bruce falls in love or becomes even slightly interested in someone, he goes STUPID and impulsive. he's sending jack rare artefacts and really specific gifts and throwing galas with the sole purpose of inviting jack all without even considering that is actually not a normal response to have after someone threatens to kill you. perhaps he doesn't even realise this is something more than just paranoid obsession, and he tries to rationalise it like "i'm only trying to convince him to come with me to the museum so i can work out what kind of person he is in casual date settings and also to kiss him WAIT"

this one is funny if jack is just not interested at all and he's like okay what the fuck what kind of mind games is this guy trying to pull. tim is your mentor trying to tell me something through the purchase of these front seat opera house tickets and tim is like i can't believe this is real life i hope this is all a nightmare this can't be happening to me. bruce is hopelessly infatuated and jack is like don't think i won't file a restraining order against you BATMAN.

or it can get funnier if jack is like I WONT FALL FOR YOUR SEDUCTION TECHNIQUES BATMAN (proceeds to fall for batman's seduction techniques).

bonus alfred is actively praying on jacks downfall (canon) and is experiencing war flashbacks when bruce begins to display lovesick behaviour

3. doomed by the narrative

now as you may have noticed most of these work before the bright red alarm that is JACK DRAKE'S TRAGIC DEATH. his death in and of itself is already so sad, because he was changing, he was better and tim was so close to having everything he wanted, and jack was truly hopeful to be present and good to his son.

if we now throw in the mix of this shortlived romance, wherein canon bruce is already swamped with guilt about janet's death and feels as though he OWES it to tim to save jack as well, it becomes all the more heartbreaking. i would actually change nothing about how it happened in canon. jack still leaves that phone call for tim, tim and bruce still race to get to him, tim still finds his father's dead body and bruce still holds tim away from the corpse.

because the best part about this potential relationship is that it is born from the shared want to look after tim. it's what connects them and what causes any sort of interaction between them. so even at this point, bruce's first priority is tim, because it will always be tim first, but also because that is what jack would have wanted from him.

just another love for bruce to hide in his heart, let it consume and damage him, let it make him colder and harder to approach, another layer on this already unbreakable foundation. it probably causes problems between tim and bruce, for the sake of mourning but not reacting and simply because loss can make people very unkind. bruce's guilt is now more than just what he already feels for somehow failing tim, but also for not being able to save someone he loves, again.

OR jack lives au and bruce is even MORE obsessed and insufferable about it and tim literally has to help his own dad break out of the manor because batman is holding jack hostage (bedrest for almost dying).

or we have our obligatory bruce wayne "I almost lost you, so now im going to push you away for both our sake" arc to which Jack drake probably threatens to shoot bruce again and then they do it silly HAPPY ENDING EVERYONE GO HOME

[gffa]

I saw you used to dislike Obi/Ani but you don't anymore.

I'm not an anti idm what you ship I'm just curious how it happened

Hi! It's pretty much just, "I watched The Clone Wars and got smacked in the face with how they did not act like I thought they would." When I first stumbled back into Star Wars, it had been a very long time since I'd been into it, probably since a bit before AOTC came out, and so I was originally a Qui-Gon/Obi-Wan shipper. You could pretty much go down the line of Hot Takes Of SW Fandom and I bought into all of them--the Jedi were stagnant and brought about their own downfall, Anakin was kind of abused by them and not responsible for his own actions, Obi-Wan was Anakin's dad, the prequels were bad movies, Hayden Christensen's acting was terrible, etc. I was on all those trains. Then I just. Watch The Clone Wars. "Huh," I thought. "Obi-Wan's actually kind of trying to help Anakin here and Anakin's not listening." I watched some more. "Wow," I thought. "That is some very flirty dialogue they have going there. 'Study the bottom of my boot!' and 'Two steps forward and you'd be kissing it.' really??" I watched even more. "Wait," I thought. "The Jedi seem like they're actually right about a lot of this stuff, the Force and politics and the Separatists are actually going to kill everyone if they don't fight back and the Force really does need you to be calm and the dark side is in all of us but it's something you have to let go of." And then I started watching George Lucas interviews. "Ohhhhh," I thought. "The Jedi ARE right about 97% of everything and Anakin DID have help offered and chose to push them away because he was too afraid and didn't want to live a life that accepted things were transient and impermanent." Ultimately, it just comes down to that I never had any moral or ethical objection to Obikin, I just didn't feel the chemistry was right for me. But I watched more of The Clone Wars, I went back to the movies and saw ohhhhh no those two do not feel like they see each other as father and son to me, however, I do feel that from Qui-Gon and Obi-Wan now (ehhhh sort of), so that one's squicky to me now, personally, but I get Obikin. (And I still have no moral or ethical objection to Q/O, I get why people ship it, they see it differently than I do. I get why people are squicked by Obikin, they see it differently than I do! Both are are valid positions to have.) It helped that the Obikin part of fandom was very fun and there's a lot to be made of the Mustafar fight feeling like a big, dramatic divorce, that there are moments from official creators (like Stover's novelization or Gillard's interviews or even some of the things Lucas says about their narrative roles in the bigger story) that just sort of all helped ease the way further, but primarily it was just: Man, those two flirted in TCW and it tickled my brain chemistry real good.