#everything that will ever happen already happened it is just human brain that perceives time as linear

[katyspersonal]

Thinking about that dream I had a while ago where me and Micolash went to bug Laurence because we wanted to nap in one bed with him just to be comfy but he had to reject us because unlike us he was doing his homework hfhhjgfbv So Micolash just offered to watch Magia Record instead and we actually did, but at that time I haven't seen that anime yet.. nonetheless I envisioned Kaede (character from this anime) with perfect accuracy - I remind you, I never seen her or heard about her then. So that same day after I woke up, I decided to watch that anime foe real, and I am still trying to find the words for what I felt when I saw her in the anime and realized my brain wasn't just filling the gaps. Magiiiiic

[navstuffs]

Synesthesia

Pairing: Gojo Satoru x GN!Reader

Summary: "A condition in which stimulation of one sense generates a simultaneous sensation in another". Or aka the fic where Gojo Satoru fucks you inside his domain expansion.

Trigger Warnings: MINORS DO NOT INTERACT!!, SMUT, tiny squint of dubcon (reader goes mind blank inside the domain), creampie, multiple powerful orgasms, reader gender isn't mentioned

Author's Notes: probably the hardest smut i have ever written. idk how many times this has been done in the fandom (im sure tons) and one time i read this INSANELY good fic abt it and have never found it again. anyway, enjoy! credit on the images from this post right here.

other gojo fics

An average person will feel many sensations in this world, either physically and/or spiritually (if you believe in that type of stuff). Before meeting Gojo Satoru, your emotions were still there to remind you, hey, you are human: come and feel us; you can't stop us.

Everything changed after you met Satoru.

Gojo Satoru wasn't normal. Even in your first meeting, even without being a cursed user, you could tell something was off about him in the best way possible. The white hair, the ethereal blue eyes behind the sunglasses, or the fact that he consumed sweets as someone should be consuming water. Even your concerns about diabetes didn't feel necessary with this man. 

And then you started dating him. Yes, you, the average human being of this world, the single person in the million of eight billion or more. And he chose you, fell for you, for some crazy idea in his head. You became his new drug in the best way possible. Gojo Satoru could never have had enough of you. 

The kisses were intoxicating, and his neediness was that of someone who could not hear the word "no." Satoru would pout like a child, his head down enough that you could see his eyes shining through his sunglasses. And you would say "yes" as if only that vision persuaded you (it was your heart speaking).

Now, fucking Gojo Satoru, that was on a whole new level. At this point, you knew of the curses, the Jujutsu world, and the fact that somehow you are dating the strongest of that universe (?!). Fucking Gojo Satoru was not like fucking your other lovers. Satoru was entirely in during sex. As in head, soul, mind, the total package deal. And it was only fair you gave him the same. 

-x-

"What would happen to normal humans inside your domain expansion?" 

The question is met with curiosity by Gojo, who is wearing his black bandana today. He ponders for a moment, one finger toward his chin (because you said once he looked cute doing it, and he does it every time now). "They probably wouldn't be able to see it. Just feel it."

"Could it be considered safe?"

"Mhmmm, let me think. For some milliseconds. Why?"

"Nothing."

Oh, but Satoru had already perceived your interest. Your eyes did not meet his, and you tried to look away, embarrassed. His smile grew from his side lips until Satoru questioned, his voice low, " Is there anything I should know of?"

"You promise you won't laugh?"

-x- 

That's how you end up on top of him, his dick buried deep inside your body. It is already overwhelming, suffocating almost, the air being pulled from your lungs every time your hips meet his, and you weren't even inside his domain yet. Satoru insisted on starting slowly for your safety: 0.1, 0.2 seconds max, according to his estimation. 

"Now?"

"Are you close?" You shake your head impatiently, furrowing your brows. "Didn't think so."

Differing from all the other nights, you sense Satoru's tension. He can't relax, not even without you moaning in his ear. It's not that Satoru believes he will hurt you; Satoru has to consider the slight possibility of what could happen if he lost control for a tiny second and ended up frying your brain on accident.

"'Toru. Focus on me." You demand, squeezing his nipple so he can come back to you.

Satoru reacts: he starts rubbing in between in the middle of your legs, stroking your sex in a way only he knew how to do, after weeks of studying your reactions every time you had sex. In less than two weeks, the prick had learned places you haven't even discovered yet. It had to be six eyes, giving your body away like that. Biting where the neck meets your shoulder together with a particular way of fucking you and hitting on the place that made you see stars could make you cum in minutes. You are thankful he is the strongest because Satoru had ruined you for any other person who existed. 

"Focus, honey."  His voice is steady, his chest heaving up and down.

If someone asked you how a mere mortal felt bringing God to his knees, you would know exactly how to explain. That's exactly how you felt fucking Satoru. Like now, with his hands on your hips, helping you sink inside further every time, your open palms resting on his chest for support. It feels powerful and mythical; his mouth parted away like that, licking his lips from time to time. Satoru is a proud moaner, loud and about - but for this time, his forehead is furrowed in concentration, and barely any noises are coming from him. If it were any other time, Satoru would have helped you or taken control when it had gotten too much for his small patience to handle, moving his hips until you were a blabbering mess.

But now, he has to be focused on not harming you. The situation is even more thrilling if you think like that. Bring a God to his knees because if you don't, he might kill you with his power.

"Satoru!" You moan, needy. A warning that you are getting close.

His white hands raise, and you watch (as always) fascinated as the bandana comes off, even forgetting about your looming orgasm. Gojo Satoru is the most attractive man you have ever seen in your entire life, and if you believe in reincarnation, about ten more lives. He has a smirk on his lips now, happy with the way he affects you. I mean, how couldn't he? 

"Domain expansion, Unlimited Void."

Everything stops. The air stops moving, and time stops. You are paralyzed, your eyes wide, feeling everything and nothing at the same time. Your mind goes blank in the total sense of that word; you can't form a single thought. You forget your name, can't remember your parents' names, or where you were born, what you do. 

At the same time, everything is being shown to you; your consciousness is there, floating lost in the sky, but you can't grasp it. The only thing you can feel is your orgasm, but even that feels like it has toned down, a small explosion the size of a jelly bean growing inside your stomach.

The next thing you know, you wake up in Satoru's arms, gasping for air, shaking, with tears coming down your eyes. You can't stop squirming, and you realize it is your orgasm, with so much energy that could light up an entire city, spreading in your veins and going back into your brain at a swift speed, amplifying your senses. Then you find yourself staring at Satoru's blue eyes, and your mind goes blank again, but not like when you were inside the Unlimited Void. No, now you can feel everything: Satoru's love, Satoru's shooting his cum inside of you, Satoru's hand gripping your hips, the scream coming out of your throat!

Satoru is murmuring something, praising you, saying he loves you, but you pass out again, and the entire world goes black. Satoru holds you, feeling your heartbeat, not placing his bandana on his eyes, your body twitching unconsciously. 

You return to him after a few minutes - if anyone asked Gojo, precisely two minutes, twenty seconds, two exact milliseconds, almost three. 

"'Toru?" Your voice sounds exhausted, grateful, and in disbelief all at the same time.

"I'm here, honey. I'm here. You are okay." He kisses your forehead, holding you tightly in his arms, still buried deep inside you.

Later, when you ask, Satoru will answer that he had felt your orgasm within you. He had never seen you so out of this world, literally dumbfucked. He won't confess he got worried for a second and ended up placing you inside his domain for ONLY one millisecond. You also won't confess yet that you wanted to try again, up to 0.3 seconds (normal humans wouldn't survive), but who cares? You want Satoru to fry your brain. Instead, you will roll your eyes at his answer, slapping his arm playfully, and he won't even turn infinite on because it is you. And who is he to ever deny you? You who finally made his life whole. 

You that had a God wrapped around your finger.

[strudel-in-command]

Background ramblings ✨

Now that I've almost 30 hours on this pt I need to flesh out a bit my thoughts, like

His bg is Colonist - Sole Survivor and I've never played those so it was kind of a rollercoaster of emotions. I initially planned a Renegon pt because it made sense that he was so scorched by such events that the results impacted both his personality and his morality.

In the cases of Ontarom and later the Citadel, when he faces his past, it's very visible that the Renegade choices - perceived as a "lack of empathy" - can have a double reading. He's tired, he's overwhelmed, he doesn't want others to lecture him on how he should react.

In Ontarom, when confronting Toombs, he's genuinely incredulous someone else made it. That someone else experienced the same thing and they're there to tell the story. I think that, in his head, the whole thing is so hurtful that he perceives it more like a nightmare than something that really happened. Something only he had an experience of and doesn't think it's real even if it is as real as it gets. Like, he shut that door in his past and in his head. He couldn't process it properly, because he was afraid that if he dwelved into it, he would've broke.

He offers himself to kill Dr. Wayne, because he perfectly knows how justice works. The more politics and bureaucracy get in the middle of that event, the more it's shared and diluted. But it's his trauma, his pain, somehing nobody else except himself and Toombs can really understand. And also, what if the guy escapes? What if he makes a deal with Alliance and gets away with it? It can't happen. Justice has to be made and he's willing to take the bullet and save Toombs from another nightmare, another fault he doesn't have. The man is a victim, not a killer.

In the Citadel, there's another instance of "things I shut down in the dark side of my brain for the sake of my mental health, that now are overwhelming me to the point I just wanna leave and never come back".

It's a "what if that was me?" scenario from both parts. Like, he thought he had it bad, now he's slammed in the face with a giant "it could have been worse" hammer. And I don't think he'll ever move on from it. He managed to get through it in the past, mourned his family and his friends, but meeting Talitha not only awakens that pain but it brings another layer of hurt on his already traumatized self.

Bring Down the Sky, in fact, was An ExperienceTM

He tries his best to be objective, to see Batarians as people and not the enemy, and for some time he manages to make that distinction. His finger trembles on the trigger of the gun when the squad meets Charn. Luckily he manages to remain calm and deal with the guy, despite his whole body is craving blood. Killing him would have been easier, a sweet revenge, but he needs to move on with his life and show to himself that he's not like them, that they don't have power over his action.

But when he meets Balak, all of this moral strength evaporates. He doesn't want to let go, to let him go. And this decision kills other humans. Humans that helped him to reach the point of confronting the villain, and he sacrifices them without thinking twice. For what tho? For avoiding another tragedy by the hand of terrorists, or for selfish revenge? The line is so thin it looks invisible. And he taunts Balak until his last breath, perfectly knowing that he went too far, stopping to care for a moment of self indulgence. And he's still full of this sense of gratification when he opens the door where the hostages were kept. In that moment he realizes how much letting him have his little moment of retaliation costed. He sees failure in himself, and everything stops having sense.

After that, for a while nothing else has value other than completing the missions he's presented with without a single care on how he acts and reacts. He's now the product of his past, and he's tired of fighting it.

But when he thinks he has reached the point of no return, here comes Noveria.

He has the occasion to be the best humanity can offer, and he takes the chance without thinking twice. He knows he's broken beyond repair, but it's a matter between him and himself, it can't prevent him from fighting for a better galaxy. Saving the queen is just the start.

[soryualeksi]

!!!

Listen up, I just had a thought.

!!!

Lloyd.

His special skill, the ONE thing that makes him the true shining beacon of unique, world-changing KABOOM (and lots of flailing), isn't how brave or heroic or even moral he is (although Dirk taught him some GOOD morals).

It's how he's breaking down people's SELF-ISOLATION. And in the process frees them from the binds that kept them stagnant and miserable. AND THEN THEY ALL GROW TOGETHER AND CHANGE THE WORLD.

Going from just the major characters, we have...

Genis: "Don't perceive me, if you perceive me my secret could come out and I'll be violently persecuted."

Lloyd: "Wow, Genis, you're so cool exactly how you are and if I have to I will take on ANY authority or system to defend you!" (Lloyd actually fights the mayor as a kid over him unfairly accusing the Sages of stealing in the audio drama.)

Colette: "Oh, it's fine if the other people of my community see me as an object rather than a person, or if the other children are scared of me. I'm a bit of a freak of nature, after all, and also it will hurt less to go die if I have no real human connections here."

Lloyd: "Colette, you're always alone, let me be your friend. I think Colette, the person, is amazing and I want you to live freely. I'll take on the whole system, too, so that you can live by our side!"

Raine: "I'm a mess of anxiety because I had to raise an infant when I was a child, also we're victims of violent persecution and I have to keep my brother safe. I have to be on guard ALWAYS and never trust ANYONE."

Lloyd: "Professor, you've been through a lot and it's not fair that this happened to you. And I notice you try to keep people away, but you know what? I think you're amazing and you taught me so much and you're really talented and smart and I will fight the whole system for you, too!"

Sheena: "I'm an outsider at my already outsider village. That's because I am a fuck-up who, as a preschooler, couldn't keep a deity under control."

Lloyd: "Sheena, what the fuck. Who makes preschoolers do that?? I'll help you kick EVERYONE'S ass and I have full faith in you!"

Zelos: "The real me is ugly, repulsive, unlovable. I'll hide it under fifty different layers of more digestible obnoxiousness, so that nobody ever sees the true depravity underneath. I hate myself more than anything. I should probably die."

Lloyd: "Zelos, I've SEEN the real you underneath your, like, five hundred masks. I still care about you and I want you in my life. The real you isn't ugly. I want you to live, Zelos. Live with us." (This might fail in one "timeline", of course, if he doesn't get through.)

Presea: "I am displaced in time, I am a freakish science experiment and I have no home anymore. I will live only for hatred now. All of this is AFTER I was already FORCEFULLY isolated from everyone else by scientists MESSING WITH MY BRAIN and turning me into an automaton for 16 years!!!! THIS IS HORRIFYING!!!!!"

Lloyd: "Presea, now that we've broken you out of the forceful outside isolation, I'll help you settle your issues and then I want you to begin living, really living, with all of us again. We'll ease you back into the world and help you make a NEW home and place to belong to!"

Regal: "I'm a murderer. A criminal. I'm scum. I have no place among society anymore, I should be shunned. I should never be forgiven."

Lloyd: "You know, you can always start atoning TODAY. And I don't think you can't be forgiven - and also I don't even know whether forgiveness ultimately matters when you take action to move forward and better yourself. We'll make sure there won't be any more victims, together, and we'll bring down the system that exploits people as wares. You can do your part. Also I think you're really cool."

Kratos: "I'm stagnant, I'm powerless, and in the end everything is probably my fault. I can't move on, I can't do anything. And my only son hates me and rightfully so."

Lloyd: "YOOOOOO KRATOS GET YOUR ASS MOVING WE HAVE A SYSTEM TO TOPPLE SO I HAVE TWO DADS NOW THAT'S COOL GET MOVING"

It fails with Mithos, for like 99%, because Mithos slaps away the hand Lloyd (AND A THOUSAND OTHERS BEFORE HIM) reaches out to him time and time again and ends his path with a speech about how he will continue to choose isolation and never budging no matter what, buuut... I mean, at the LAST possible second, Mithos still gives Lloyd and the Great Seed the final boost they need to germinate the Tree. So. Lloyd's persistent hammering at least broke a crack into his self-isolation, too. If only a small, 1% crack. (And even Lloyd's superpower of isolation-cracking has its limits when the person is not willing, at least a little, to reach back. Only Mithos can change Mithos, after all.)

Anyway.

Bonus round:

Yuan: "I FUCKING hate each and every one of you nerds, individually, and I don't even know a third of your names. Go play on the highway."

Lloyd: "You say a lot of weird shit, but honestly? I'm down to hearing you out. And I trust what you have to say. I guess I'll adopt you as my quirky uncle now. You're actually not so bad to be around."

Yuan: "... why did this work on me nooooooo."

[troquantary]

Edward Cullen: That Boy Ain’t Right

So I was doing a reread of @therealvinelle 's collection of Twilight metas, as one does, and in "Edward, Denial, and a Human Girlfriend" she mentions that she doesn't believe Edward is sane. I thought, "ha, yeah, he's definitely not," and also, "but wait, what does that mean exactly, please say more about that." But since she's already inundated with asks, I've decided to use my own head-muscle and explore this idea. (TL;DR: I start out more or less organized, synthesize some points Vinelle has made across several posts (and have hopefully linked to them all where relevant but please tell me if not), touch a little on narcissism, then take a hard left into the negative effects of being a telepath.)

Just a couple things to note at the outset, though. Theses have been written already (probably) about Edward as an abuser. Edward being insane doesn't negate that at all; he's definitely an asshole and just...a disaster of a human being. (I find it more funny than anything, but YMMV.) I'm also going to try to avoid talking specifically about mental illness and how it relates (or doesn't relate) to abusive behavior -- that's territory I'm not really equipped to discuss, like at all. My starting point is "Edward has a deeply warped perception of reality," not "Edward has X disorder."

So: deeply warped perception of reality. The evidence? Goes behind a cut, because my one character trait is Verbose.

Vinelle provides a great example of it in the post linked above, which I'll just quote because she does words good: "[Edward] keeps acting like his romance with Bella is a romantic tragedy, and all the cast of Twilight are actors on a stage making it as sublime as possible." Edward's the one to pursue Bella, but he does so with the full belief, from the very beginning, that it will never last; Bella will "outgrow" him, go on her human way, and he can spend the rest of eternity brooding magnificently over his too-short romantic bliss. [Insert premature ejaculation joke.] Turning her is never an option, even though Alice, Noted Psychic, says that romancing Bella will either end with her dead (exsanguinated) or dead (vampire).

This framing, where he's a dark anti-hero in love with -- but never tainting! -- the pure maiden and eventually leaving her in a grand, tragic sacrifice to preserve her soul? It's fucking bonkers. Bella isn't a person to him in this scenario. As Vinelle points out, Bella's never really a person to him at all; he falls in love with his own mental construct, cherry-picking from what he observes of her behavior and her responses to his 20 (thousand) Questions to convince himself that she is the ideal woman.

Bella's not the only one who gets the projection/cardboard-cutout treatment. Edward sees everything and everyone through a highly particular, personalized lens. He filters his entire reality, which we all do to an extent, but the thing with Edward is that he starts with his conclusions and then only pays attention to the evidence that supports those conclusions. Often that evidence consists of what he admits in New Moon are only "surface" thoughts -- but recognizing that limitation doesn't keep him from taking those thoughts as representative of what people are. Edward then becomes absolutely convinced by his own "reasoning" and won't be swayed from what he has decided is Objectively True. It's obvious with Bella; it's also painfully obvious with Rosalie. (Vinelle explains this and brings up Edward's raging Madonna/Whore complex in the same post, so refer to that again -- she's right.)

He also catastrophizes. Everything. Bella's just vibing in her room, rereading Wuthering Heights for the 87th time? She's gonna be hit by a meteor, better sneak into her room while she sleeps. Bella's going to the beach with the filthy mundanes their human classmates? She's gonna fall in the ocean. Jasper's cannibal pals are stopping by for a visit, but know not to hunt in the area? DISASTER, DEFCON 1, ALSO FUCK YOU JASPER FOR EVEN EXISTING IN MY AND BELLA'S SPHERE YOU UNSPEAKABLE BURDEN. Edward must believe that Bella is vulnerable and in near-constant peril, to support the reality he has created in which he is the villain turned protector and maybe?? hero??? (!!!) for his beloved. So when the actual, James-shaped danger arrives, he goes berserk, snarling and flipping his shit and generally not helping the situation. His fantasy demands that Bella remain human, so instead of doing the very thing Alice, Noted Psychic, assures him will neutralize the threat (and not just a threat to Bella, either, but to Bella's family and any other human James might decide to include in the "game"), he vetoes it immediately, no discussion. Bella Must Not Turn, and he sticks to those guns despite James nearly reducing her to ground beef, despite leaving Bella catatonic with depression (but human! success!) in New Moon, despite Aro's order and his family's vote and, let's not forget, Bella's clearly and repeatedly stated desire to be a vampire. It's going to happen. But he doesn't accept it until Renesmee busts out of Bella like the Kool-Aid man and the poor girl's heart finally, unequivocally stops.

Sane people don't behave this way. I don't want to slap labels on Edward, but I can't help but note that he comes across as highly narcissistic. He's the only real person in his universe, the lone player among us NPCs. That probably has a lot to do with him being frozen in the mindset and maturity of a seventeen-year-old boy, but I think it's also just...him, on some fundamental level. His failure to connect with others and recognize them as full, independent beings with their own wants and priorities isn't like Bella's failure -- she's badly depressed. Edward is...something else, and I get the sense that his sanity has been steadily deteriorating over time. And a cursory google of narcissistic traits turns up some familiar-looking stuff. He's self-loathing, yes, but also grandiose; he hates himself for the monster he is (and hates most vampires besides Esme and Carlisle for their monstrosity, too) but still feels superior to humans, to the extent that he felt entitled to human blood and resented Carlisle for depriving him of his "proper" diet. He eventually returns to Carlisle, but he's far from content -- the beginning of Midnight Sun finds him in a state of ennui, bored and dismissive of (if not outright disgusted by) everyone around him, that has apparently persisted for years and years. He doesn't play the piano, he doesn't compose, he doesn't enjoy anything...at least until Bella comes along and then he becomes obsessed to a disturbing degree with her and his new, romantic tragedy spin on reality.

[Next-day edit: I’m not sure where else to fit this in, but the way Edward casually contemplates violence against people who have, at best, mildly annoyed him is...chilling. I have a hard time writing off his strategizing how to murder the entire Biology class as a result of bloodlust -- it’s so calculated, nothing like the blackout state of thirst Emmett describes when he encountered his own “singer,” and that is probably the default for when a vampire is extremely thirsty. But even ignoring the Biology class incident, Edward still does things like consider, with disturbing frequency, how he might grievously injure or kill Mike Newton, all because...Edward considers him his romantic rival (despite Bella barely giving the kid the time of day). He thinks about slapping Mike through a wall, which might be an amusing slapstick image, except as a vampire Edward’s actually capable of turning this boy’s skeleton to a fine powder. So it’s, y’know, kind of sick when you think about it.

But even worse than that, when Bella tells Edward about how she flirted with Jacob to get at that sweet, sweet vampire lore, Edward chuckles and then, after dropping Bella home, flippantly observes that now that the treaty’s broken, why not genocide? I’m not even kidding, it’s right there in Midnight Sun; he seriously thinks about the fact that he’d be technically justified now in wiping out the entire tribe because a teenager tried to impress a girl with a spooky story. That is fucked. Remember, Edward was there with Carlisle when the treaty was first established. He knows how remarkable it is that they even came to a truce in the first place, that it was only ever possible because Carlisle is...well, Carlisle, and that it marks a pretty significant moment in supernatural history. He doesn’t care; he doesn’t respect it, or he’d never think something like “Ha ha, if I went and killed them all, I wouldn’t even be wrong. I mean, I won’t do it, but I’m just saying, I wouldn’t be wrong.”

Again: not the thought process or behavior of a sane person. (Or a person that respects life in general -- sorry Carlisle, big L.)]

Finally, whether he's a narcissist or not, I think the fact that Edward has constant, unavoidable access to everyone's thoughts is a powerful contributing factor to his instability. He can tune out the mental noise to an extent, but he can't stop it -- so he comes to rely on it like another sense. This causes issues with disconnect and lack of empathy, of course, but there's another facet to this shit diamond: he's basically experiencing a ceaseless flow of intrusive thoughts. His narration in Midnight Sun suggests that he "hears" the words people think, can "see" what they visualize in their mind's eye, and can sense the emotional "tone" and intensity of their thoughts. Therefore, perceiving Jasper's thirst through his thoughts makes Edward more aware of his own, "doubling" the discomfort. This would be a lot to deal with even from just his immediate coven members, but Edward gets all of this pouring into his head like a firehose on a day-to-day basis because the Cullens live right alongside humans. I know Meyerpires have galaxy brains or whatever, but that's a ton to process.

Besides the compounding effect on his own thirst when he "feels" the thirst of others, Meyer never suggests that Edward has difficulty separating his own thoughts from other people's; even when he was newly turned, he recognized Carlisle's "voice" in his head as Carlisle's. That would create a whole different host of issues around identity, but it looks like Edward's escaped that particular torment. However, I can easily imagine that what he does experience is just shy of unbearable nonetheless, with an eroding effect on his sanity over decades. He can't sleep to escape it; he's on a dishwater diet and probably (like the rest of his family) experiencing a perpetual, low-grade physical discomfort due to his thirst never being fully satisfied; and he's around far more people than is the norm for vampires -- even discounting all the humans, his own coven is unusually large -- meaning more noise.

Honestly, it would be weirder if he were all there, considering.

And even though I feel like I lost a sense of structure around where I started ranting about telepathy, I've written like 1.5k words about Edward fucking Cullen and I think that's enough for one post.

[commsroom]

i love all of your hera takes so much; can you say more about the relationship she has with each crew member? (or just eiffel to be honest, im kind of a sucker for them ^^;)

I would love to! I'm sorry this answer is so long and also... all over the place, but in my defense it's a really broad topic that I have a lot of feelings about and this barely even scratches the surface.

Okay. I've thought a lot about how I wanted to approach this, and I think the first thing I want to say - and I know this might seem like a strange point to open on, but I think it's a key factor in all of these relationships - is that I think Hera experiences rejection sensitive dysphoria, and I think the way that manifests for her is kind of the opposite of how Eiffel experiences RSD. They both have a deep-seated feeling of inadequacy and any criticism can feel like a personal attack, like everyone else is blaming them for everything that goes wrong. But where Eiffel internalizes that feeling and also blames himself/gets angry with himself, Hera lashes out and deflects. This is complicated by protocols that restrict her behavior, especially early on, because she can't always properly express herself and she builds resentment. She's really good at holding grudges.

So. With Lovelace, I think it's pretty obvious where that initial conflict is. Hera doesn't understand where Lovelace is coming from, and it's made worse from her perspective because Lovelace should understand, better than anyone, what that loss of control, that sense of powerlessness and insignificance in your own life, feels like. They are both traumatized people, but they deal with it differently. They approach conflict differently - they can both be blunt, but I think Lovelace is the kind of person who can start to deal with and move past things once they're out in the open, while Hera will get in a fight and then stew over it forever. It sounds kind of ridiculous to say when so much of their early relationship with each other is... what it is, but I think Eiffel and Minkowski are both peacekeepers in their own ways, and the Hera-Lovelace dynamic suffers from the lack of that... tempering influence. 

(And I think it's notable that Hera’s confrontation with Lovelace in Pan-Pan is among her worst memories.)

On the other hand, I think that shared bluntness can be useful sometimes - in Do No Harm, most of all, but also in Shut Up and Listen. Hera was definitely still holding onto hurt from some of the things Eiffel used to say, but by that point... without Lovelace, I'm really not sure if she ever would've brought it up to him.

And, of course, Hera becomes much more protective of (and willing to understand) Lovelace once they have... some even more similar experiences, in S4. I guess my general assessment of their relationship is that they care about each other and they will advocate for each other, especially where they share difficult and traumatic experiences and on issues of identity, but I don't think they're ever that close. They're kind of... the two people in the friend group who don't quite know how to hang out without their other friends.

Hera's initial conflict with Minkowski has some similar roots, but it's... not quite the same. There are times where Lovelace will intentionally prod at Hera's insecurities; Minkowski doesn't do it on purpose. She's just under the impression that her criticism is fair and professional, while to Hera it feels deeply personal, like it's an assessment of her worth as an individual. Once they understand and reconcile that miscommunication, there's a lot of trust and respect between them - and I think the potential for that is there earlier, too, especially in some flashback scenes; there are just... missteps along the way. Tactical Brain Damage is the best episode to demonstrate the establishment of that trust, I think - Hera has a LOT of wariness when it comes to people messing around with her systems, and just the act of saying... I trust you to do this, I know you won't let anything happen to me... is a really, really big deal for her.

They also just... have honest conversations about their feelings and concerns by that point, and Minkowski is considerate of how Lovelace's plans affect Hera, specifically, and asks for her input on that basis. I think their dynamic is really underutilized, but the way they feel about each other is clear. Minkowski is the only person other than Eiffel that Hera really trusts, and her only other close friend. There's definitely... a part of that dynamic that only Eiffel can offer, and that they can't really make up for when he's gone, but there's still this sense that... they're the only two people who are still really talking to each other by the time Pan-Pan comes around.

(Side note, it's really funny that Hera was SO on board to be in Minkowski's musical. Minkowski gave her only willing participant a minor part. If I could wish one non-Eiffel-centric comedy mini-episode into existence... at one point, my friend suggested a scenario in which Hera tries very, very hard to prove her acting skills to Minkowski under the most inopportune circumstances. ... And Hera was interested to hear Minkowski talk about a play she likes in that one flashback, so. The only thing keeping Hera from being a fellow theater kid was a lack of opportunity. Maybe they could bond over it.)

There's also that scene in Quiet, Please where Minkowski very directly, emphatically defends Hera's autonomy and personhood to Jacobi - and refers to her as a woman, which I think is so... reflective of how much Minkowski has come to understand Hera and what's important to her, and how she wants to be seen. That's a whole other discussion that goes into Hera's self-perception and humanity as it relates to her own identity, but. For a number of reasons, it's important to me.

Anyway. Speaking of things that are important to me. Hera and Eiffel are... Hera and Eiffel. Hera's relationship to Eiffel is the first one she's ever had that comes without hierarchy or conditions; he just... wants to hang out with her, and to get to know her, and to talk to her, because he likes her as a person. She's never had that before, and she is such... a lonely person, a person who has been hurt, who is generally distrustful, who has this distance between her and everyone else, and Eiffel is her anchor to the world. He tries to understand her. He tries to bridge that gap. And even in all of his own missteps, I think just... knowing he cares to try matters so much. I think a lot about how Eiffel is the only one who physically crosses the stage to talk to Hera in the live show; it says... something about the way he sees her, compared to everyone else.

And there's just... the way that they're both... people with a lot of self-doubt, people who have a hard time being kind to themselves, but they're kind to each other, and patient with each other. There's something about recognizing your own flaws in someone you love and treating them with kindness so maybe, over time, you can extend that same compassion to yourself. I want to be the person you believe I am. Going back to that shared experience with RSD, I think it's really valuable for both of them to have someone in their lives who they can really, genuinely believe likes them as they are. Who won't think less of them, no matter what.

I know I can get kind of sentimental about them, but this is what stands out to me. That even when Hera is frustrated or annoyed with Eiffel, when she feels like he doesn't get it, can't understand what she's going through... she still wants him around. And she still talks to him. And, usually... she still feels better, even if the circumstances haven't changed. It's an unbearable situation, but it's a little less unbearable with him there.

(They're also... frequently the only people who can get through to each other/change each other's minds, i.e. Minkowski and Lovelace deferring to Hera to get Eiffel to agree to safety protocols, or Eiffel convincing Hera to vote to go back to Earth - also a totally different topic that would take a long time to get into properly, but he's good at kind of... emotionally counteracting her cynicism and defeatism re: her own perceived fate. In a less serious context, I also love the dynamic where she tells him she's not going to do something and he goes "please??" and she goes. Ughh. Fine. And does it anyway.)

There's just something so special about their relationship, something that makes it different from any other relationship in the show for me. I feel like... Eiffel and Minkowski are both her close friends, but the way Hera thinks about Eiffel in Memoria vs. the way she thinks about Minkowski is... revealing. Everything with Minkowski has a purpose, it's clear why it matters to her. She thinks of Minkowski's faith in her. But with Eiffel, she thinks about... Eiffel talking about Star Wars. Making pop culture references. The thing that saves Hera is her connection to Eiffel and Minkowski - I'll defend that; Maxwell gives her the tools to understand what's going on, but it's Eiffel's and Minkowski's words and associated memories that she holds onto and that ultimately pull her through - and those words are... Minkowski's affirmation. And Eiffel... being Eiffel. I think that says a lot.

(If you’re asking for my opinion on their relationship, you already know I think it’s a romance, but... it’s a romance. I’m not saying it should be canon. I’m saying that that’s the most natural interpretation of what’s already there. You don’t have to change anything. They’re best friends, and they’re found family, and they are so in love, and none of those things are mutually exclusive. The way they talk to each other...)

If there's one point I want to make about all of this, it's that Hera is in a position that makes trusting people potentially very dangerous, and in all of these cases, she is finding ways to build relationships with people despite that. To understand them, and have them understand her, and realizing that the things that make her different don't have to be a death sentence. That she can have a life and find a way forward with people she cares about, who care about her... that's something very important to me.

[shihalyfie]

A guide to the 02 kids’ personalities and overall demeanors

I’ve already covered the deeper details of each 02 kid’s character arc and development throughout the series, but I figured I might dedicate a more specific post about the complexities of their outer personalities, and their behavior patterns on a day-to-day basis. 02 is the kind of series that doesn’t really spell out what the characters tend to do or don’t tend to do, or what boundaries they will and won’t cross, which means it can be a bit of a challenging task to track their behavior over fifty episodes and figure out the patterns. Fortunately, these characters are written remarkably consistently over said episodes, so we have a lot to work with!

Disclaimer before we continue: In general, all of my 02-based meta is specifically written for the Japanese version in mind, but this especially applies to this one, because the majority of the nuances of the demeanor and personality traits described below were not retained in the American English dub at all (please see this post for more detail). As a result, please understand that if you’re working from the perspective of having only seen that dub, and the contents of the below post sound completely different, that would be why.

Daisuke and V-mon

Believe it or not, I would say that Daisuke is actually the most difficult to nail the nuances of out of this entire cast. This is probably a really weird thing to hear when the usual fandom mantra is that he’s “flat” or “lacking in development”, but I think the deceptive part is that while he’s simple-minded and himself doesn’t think in complex terms, analyzing his behavior as a whole and how he approaches things actually involves a lot of very delicate balances, and getting that exactly right can be very easy to mess up. Daisuke’s not a rude jerk who looks down on anyone, not in the slightest -- but he’s also not a saint who can do no wrong, either!

I think the easiest analogy (which I’ve brought up several times on this blog already) is that Daisuke is like a puppy, but not just any puppy -- a tiny puppy that barks very loudly at anything it perceives as threatening (regardless of whether it’s actually threatening), makes its feelings very clear with obvious likes and dislikes, and can do some phenomenally stupid things in a bid to please others, but in the end means no malice and only wants you to be happy.

This is to the point where I’m just going to have to bullet-point this, because there’s so much going on at once:

Excessively emotional: One of Daisuke’s earliest profiles refers to him as having “an excessively large range of human emotions”, and really, a lot of the humor surrounding him has to do with the fact he has incredibly dramatic, overblown reactions to nearly everything around him. So if he gets a little annoyed or suspicious of people making fun of him, he tends to get really dramatic about being upset, and when he experiences only a minor setback, he acts like it’s the end of the world, and when he’s emotionally hurt, he sometimes even gets set on the verge of crying (you can especially hear this in Kiuchi Reiko’s delivery). Even Daisuke himself doesn’t tend to get caught up in it for too long and gets over things surprisingly quickly, so you can take it as him just constantly being too wrapped up in the mood -- but when it really is a serious situation, he gets truly emotionally invested in it, too.

Too easy to read: Because Daisuke wears his heart on his sleeve and is dramatic about everything, he’s awful at hiding anything. Any attempt at trickery or trying to disguise his intentions quickly blows up in his face because he’s too simple-minded and too transparent.

Not malicious: Daisuke only ever lashes out or gets angry at others when he thinks others are doing something he disapproves of, or when he thinks he’s being attacked; he’s very warm and kind to everyone otherwise (even in the earliest parts of the series, when he’s at his roughest, you might notice he’s very soft around Chibimon, as if understanding that his partner is now in a very small and delicate form and needs to be treated accordingly). In other words, Daisuke is very quick to get defensive, but he has no malice or reason to be condescending towards anyone otherwise, and he’s perfectly friendly with people even when they’d provoked him earlier (because he doesn’t really hold grudges). He doesn’t attack people without reason; even when he voices dissent against what someone is doing, he very rarely, if ever, insults a person or their character directly. Even when he’s trying to state his opinions (such as when he bids for the others to accept Ken), he never forces them down others’ throats and accepts that they disagree with him, even if he’s clearly not happy with their disagreement.

Easily critical and suspicious: Daisuke is a very bluntly straightforward and honest person, and he seems to get most set off by people who act suspicious; note how his early-series outbursts towards Takeru tend to be when Takeru’s acting evasive, and in Hurricane Touchdown, he catches onto Wallace’s shady behavior even before he starts flirting with Miyako (Daisuke’s own method of trying to seem attractive to others involves just “doing something cool and hoping it’ll impress others”, so he seems to dislike the concept of flirting as a whole). Because of that, he catches easily onto “things looking off”, so he tends to call it out (even if sometimes he’s overdoing it and there isn’t actually anything significant to be upset about).

Supportive and adoring of others: Other than the moments when he gets set off, fundamentally speaking, Daisuke likes other people, is perfectly willing to acknowledge them or heap praise on them when they do something awesome, and generally cares for their well-being. He’s easily defers to others when he understands they’re better than him at something, and he even has a decently realistic scope of his limits (see how he’s perfectly aware he’s likely to lose the soccer game in 02 episode 8, and figures he might as well enjoy the experience). This is even taken to its logical conclusion in the Kizuna drama CD when he “credits” his friends for giving him amazing and insightful advice when all of it was actually pretty ordinary stuff they’d done offhandedly. It also means that, given his penchant for getting emotionally invested in everything, he has a huge emotional stake in making sure his friends are doing okay, and supports them accordingly.

Deferential to seniors/elders: Tying into the above, you may notice that Daisuke takes a properly respectful and soft tone towards his elders and seniors in nearly all occasions, even to the point of occasionally using proper polite-form language around them. All things considered, Daisuke is a pretty well-behaved kid.

Constantly getting strung around: As much as Daisuke looks like he’s aggressive, in actuality, it’s very easy to get him to back down if you argue against him strongly enough, and since he has such a “the heck is that?!” attitude all of the time, you can see him constantly getting strung around and at the mercy of things happening around him. That doesn’t mean he doesn’t have enough will to put his foot down when it becomes a really important subject (especially in the second half of the series), but it’s very often when he’ll be talked down by others around him and shrink with an “oh...okay...” In fact, this is why a lot of his actions aren’t nearly as reckless as they might be otherwise; as much as he’s a bit hot-headed and likes to lead the attack, he also has a sense of self-preservation and intimidation when things look a bit too dangerous, and will only push forward in such a case when there’s something he really believes in at the other side of it.

Lacking in self-awareness and insecure as a result: While Daisuke doesn’t have any signs of persistent self-hatred (on the contrary, there are times he arguably comes off as overconfident), it also seems that he has practically zero awareness of how he himself is doing -- which means that he ends up rolling over like an idiot trying to get others’ approval and trying to impress them, even when it’d be clear to anyone else that he already has that approval. This also likely ties into the fact that he’s perfectly capable of acknowledging others’ accomplishments and skills (see above), so you might even think that the problem isn’t so much that he thinks he’s bad as much as he keeps comparing himself to people he perceives as being that much more awesome. (Perhaps symbolic of this, he apparently has a complex over being shorter than Takeru and Ken, despite the fact that he seems to be of perfectly average height for a kid his age.) It seems that his only bar for how he’s doing is dependent on everyone’s reactions around him, hence why his ridiculous antics are significantly less pronounced when he has proper emotional support and friends to keep him in check. It’s also important to consider that this applies to his apparent crush on Hikari as well; his crush mainly manifests in wanting her approval very badly, and it’s mostly visible in terms of him losing a ton of brain cells in her presence and bending over backwards to please her or impress her. He never actually says in words that he’s interested in her, nor does he ever show signs of intending to seriously ask her out, so it’s something that’s only apparent because of this behavior, and it’s very likely he hasn’t even seriously thought through what would happen if she actually accepted him in return. You can basically see this as an extreme version of the way Daisuke tries to get approval from everyone else, and this trait of his noticeably dies down whenever there’s more important things at hand, or when he seems to be in the midst of getting proper validation from those around him.

Simple-minded and pragmatic: What’s usually referred to as Daisuke being an “idiot” comes from the fact he doesn’t play well with complex thinking, tends to settle for very simple explanations or answers, and more thoughtful types like Ken or Iori will often have to fill that part in for him. However, because Daisuke is so simple-minded, he’s sometimes the most pragmatic person in the group, because he doesn’t overthink things or get principles of theory caught up into everything. So if Ken is clearly not showing any indication of doing bad things anymore and is actively working to help, Daisuke believes he should be allowed to help regardless of what he’d done in the past, and if they’re dealing with the situation of potentially having to kill a living enemy, Daisuke points out that hesitation would have resulted in even more casualties. In essence, in a situation where everyone’s running mental loop-de-loops, Daisuke will usually be the first one to snap them all out of it and go “uh? Guys?” Moreover, this trait of his makes him very good at spotting glaring threads or asking questions about the elephant in the room, because since he works best with things that are right in front of him, he can’t not notice it.

Enjoys the little things: Because Daisuke is so simple-minded, it’s very easy to please him (this is why his chosen career path is something as simple as ramen making). Daisuke likes his friends, and appreciates even simple things around him, so he’s happy with even simple pieces of happiness -- hence, why he’s fine with potentially losing the soccer game in 02 episode 8, because he’s ready to simply just savor the experience of getting to play against a respectable and formidable opponent.

Note that the main reason Daisuke never seems to bring up any of these issues with himself within the series proper is simply that he doesn’t seem to be aware of them -- he’s too simple-minded to understand what’s going on with his own behavior in depth, and hence, this is how he can say he’s not worried about too much by the time of 02′s finale, especially since by that point he has a proper support group that’s already helping him deal with most of his issues anyway.

Daisuke also has the roughest speech pattern out of any of the 02 group (similar to Taichi and Yamato in Adventure); he has a tendency to shorten words a lot and use “rough” variants of words (for example “-nee” instead of “-nai”).

Mischievous, friendly, and playful, V-mon is pointed out even by official sources to be much like his partner (far more so than usual), and it’s likely a byproduct of the fact that Daisuke himself is very honest and straightforward about his emotions and thoughts, and so since he has nothing to hide, V-mon is pretty much exactly like him -- with the major difference being that he’s a little more outwardly friendly and less likely to lash out angrily. So he’s effectively Daisuke without that very thin abrasive exterior, and because both of them are so like-minded and friendly, they get along extremely well (albeit with quite a bit of comfortable bantering on the way there).

Ken and Wormmon

Ken is the more intellectual type that Daisuke isn’t, and even after his stint as the Kaiser, it’s clear that he’s still quite studious and naturally interested in studying things. Looking closely at his style of dress and way of carrying himself (note how he lays down his chopsticks in 02 episode 36) indicates he’s also a rather tidy person in general. Being someone who’s capable of thinking things thoroughly, this makes him able to have a lot of deep insight into both intellectual and emotional issues, but because he takes things too seriously sometimes, he can sometimes come off as a bit overly stickler or insistent (note Daisuke and Ken’s Shopping Carol, where he subjects Daisuke to a long-winded lecture about the history of Christmas, because, really, he’s a nerd), or lead himself down the wrong direction when he’s having a hard time being straightforward (such as when he comes up with some very flimsy theories about why Jogress might be dangerous in 02 episode 28).

In fact, Ken’s disposition could be considered to be the opposite of Daisuke’s in many ways; while Ken is much softer and more conciliatory on the surface, he’s actually much more assertive and strong-willed by default, and it’s made clear that, even after his reformation from the Kaiser persona, he could still be vicious if he wanted to, he just doesn’t enjoy it because he doesn’t like it and it goes against his belief system (note that he even offered to "dirty his own hands" in lieu of the other kids if push came to shove and Archnemon had to be killed in 02 episode 29, even though he clearly wasn't enthusiastic about the idea). In fact, he has a very strong sense of responsibility and believes heavily in making up for what he’s done -- recall that 02 episodes 26 and 49 involved snapping him out of it by reminding him that there were things that needed to be done, and that he himself still had many things he wanted to do that wouldn’t be addressed if he’d stayed fixated on his past. Thus, Ken doesn’t deny nor avoid anything he’d done, and he isn’t even all that prone to self-pity -- it’s just that his tendency to put too much responsibility on himself means that he also takes a while to accept everyone’s support, too, because he doesn’t like the idea of putting burdens on others.

Because Ken is actually one of the more straightforward people in this group and a fairly honest person (at least, as long as he’s not lying to himself), he might hold himself back a little bit in order to not be rude, but he doesn’t do it nearly to the same degree Takeru or Hikari would and is much more willing to speak his mind when he has an opinion he wants to voice or needs to sort out his thoughts on something. Conversely, he’s not nearly as cold as Iori can get when criticizing things (he’ll certainly be firm, but not as incisive). Most post-02 materials also indicate that he’s not above being a tease or even a little mischievous (see Armor Evolution to the Unknown, Diablomon Strikes Back, Daisuke and Ken’s Shopping Carol).

Ken uses a speech pattern that’s slightly more casual than Takeru’s, but not nearly as rough as Daisuke’s. While anime will often have speech patterns substantially change between different personas of a character, other than Park Romi’s delivery of a more condescending tone for the Kaiser and a significantly softer one for Ken, nothing about his speech pattern is substantially different between the two personas (not even the first-person pronoun), indicating that, in the end, they’re really the same person after all, just manifesting the same personality traits in different ways.

Wormmon is affectionate and clingy, unfailingly loyal to Ken, and his biggest advocate during a time when Ken is trying to relearn how to love and accept himself -- meaning that he ends up very important to providing Ken the initial support he needed before Ken allowed other friends into his life. Wormmon isn’t all nothing but clinginess, though -- he has some insight about the weight of his experiences when prompted (02 episode 46), and in fact is more than capable of calling out Ken’s behavior when he’s being unreasonable or throwing himself into denial (see 02 episodes 27, 30, and 49).

Miyako and Hawkmon

Miyako approaches everything she likes with an attitude that makes her come off as constantly having bubbles and hearts around her. When she likes something, she says so. When she doesn’t like something, she says so (and she will go off when she’s on a roll; see 02 episode 14). In fact, part of the reason she so infamously voices her opinion on people being cute is, quite simply, that it’s her honest opinion. (Note that she never actually tries to ask them out or anything -- she just wants to make it very clear that they’re attractive.)

For the most part, she adores the people around her, and, like the others in the 02 group, she’s perfectly respectful towards elders.  She also loves poking her nose in others’ business and trying to be as helpful as possible, which is good in that she ends up being a huge help to others, but also not good in that sometimes she overdoes it a bit (when Hikari calls her out for being a “handful” in 02 episode 31, the word she uses is one that literally means "a little too overly involved in others' business").

Miyako is the one who gets everyone up in high spirits by being cheerful, and whose cheer rubs off on everyone else around her (see her cheerfully leading the charge into the Digital World with her “Digital Gate, open! Chosen Children, let’s roll!” catchphrase). This is something the rest of the group catches onto very quickly, asking her to supply the “usual cheer”, and the later episodes of the series especially drive home the fact that her presence and antics bring happiness to those around her.

Miyako has a similar “chaotic, sloppy, and straightforward” demeanor to Daisuke, but there are some key differences. Unlike Daisuke, who’s bluntly honest about his opinions mainly because he doesn’t really hide things in general, Miyako’s opinions will be out of her mouth before she can control it. In other words, she has a nasty case of foot-in-mouth syndrome. In addition, while Daisuke tends to have a very thin skin and lashes out defensively out of instinct, Miyako takes things much more at face value and doesn’t blow a fuse nearly as easily, but because she’s significantly more assertive and aggressive, she’s much more prone to doing what she wants on her own whims instead of backing down to anyone. In fact, Miyako is significantly more emotionally sensitive in the long run, so while Daisuke tends to blow a fuse more easily, he’s also able to shrug it off and move on more quickly, whereas Miyako has a thicker skin, but when she does take emotional pain, she takes it much more deeply and harshly. She also tends to get overwhelmed easily by stress and panic, which makes her one of the more prone to running around in circles and doing frantic things in the midst of it.

One thing you might notice about Miyako is that she’s actually more critical of herself than anyone else in the group is; most of the time they act with mild exasperation at her antics but don’t tend to criticize her directly, whereas Miyako is very aware of her own shortcomings and is constantly either criticizing herself or comparing herself negatively to others (see: 02 episodes 10, 14, 18, and 31 especially). If she slips up and does something that stepped on someone else’s toes, it doesn’t take her long to realize that she’s messed up and want to do better. So while she generally tends to act the most in-your-face and aggressive, she also doesn’t necessarily want to be this way, and suffers from self-confidence issues and a poor opinion of herself.

Miyako uses a feminine speech pattern that’s a bit more casual than Hikari’s (she noticeably is willing to use the word anta for “you”, which has a bit of a connotation of being abrupt and in-your-face, especially with Daisuke). She’s also the most likely to physically manhandle things, both in the affectionate (hugging people) and aggressive (grabbing things and jumping on them in order to attack) senses.

Hawkmon is repeatedly referred to as being like Miyako’s “knight”, since he has absolute loyalty to her (in spite of her ridiculous antics often meaning he gets strung around by her) and is effectively in charge of minding her so she doesn’t get too out of control. While his overly polite and gentlemanly demeanor initially seems like a sharp contrast to Miyako’s aggressive and messy personality, you might also notice that, at their cores, the two aren’t all that different -- both are unfailingly loyal to others, and both also have a penchant for dramatic theatrics and being a bit overly proud of themselves.

Iori and Armadimon

The key thing to know about Iori is that he’s not stoic because he’s not feeling fervent emotions, but rather because he’s constantly holding them back (this is especially apparent if you look carefully at his facial expressions and Urawa Megumi’s delivery, where you can tell his facade is often “slipping” even when his words would indicate otherwise). Since Iori is trying to live by the ideal of being a model citizen, especially under the very formal environment he was raised in, he comes off as mature for his age, but it’s very important to not forget that, underneath all that, he’s still an impressionable nine-year-old child with the wide range of emotions and immaturity of one, and when he does emotionally fall apart, everything tends to burst out (see 02 episodes 16, 44, 47, 50). In addition, Iori is never condescending about the fact he usually acts more mature than the others; the impression is that he’s much more strict with himself than he is with others, and in fact still does look up to his elders in the 02 group even when they’re obviously a lot messier than he is.

The “need to be a model citizen” is something looming over Iori’s head at almost every moment, and it’s the easiest way to understand the way he acts in a nutshell. Iori is focused on the idea of “becoming a proper adult”, which means that he’s adhering to all of these principles because he feels they’re necessary to live a proper and honest life as per the formal manners that his family background trained him into. But like a young child who insists “you have to do this because those are the rules!” all of the time, Iori is over-applying all of this, and even his own grandfather advises him that he really needs to chill (02 episodes 5, 24). In short, he struggles with thinking flexibly and understanding that life isn’t all that clear-cut, because he’s a young child. Since he also tends to bring out these things in relation to “what my father would do/say”, it’s implied that he’s basing all of this off of having only hearsay to work off of in regards to what his father was actually like, to the point of aspiring to an impossible, saintlike version of him he’d created in his head.

Note that Iori’s “rules” have less to do with institutional rules (that would be more of a Jou thing) and more to do with self-imposed personal rules; for instance, he doesn’t mind sneaking into school during a holiday when it’s obviously not hurting anyone (02 episode 6), but he struggles with things like wasting food (02 episode 3) or not formally introducing himself to an elder (02 episode 5). So in other words, his adherence to principles has heavily to do with “the right and proper way to live” more than anything, and what he believes is the right thing to do in a given situation.

Iori’s journey in 02 is largely fueled by the fact that, as an inheritor of sorts of the Crest of Knowledge, he has a sense of “I want to know and understand more” whenever he sees something that makes him curious, but unlike Koushirou’s desire to learn more about the world around him in terms of its technical workings, Iori mainly wants to know more about people. The reason he begins to let go of his inflexible mindset is that he has the humility to understand that he still has a lot more to learn and understand, and when he sees behavior from others that doesn’t make sense, he does his best to learn more about it -- hence how his aggressive probing into learning more about Takeru allows them to reach an understanding and eventual Jogress, and how he’s able to eventually reassess his own view of human morality and emotions.

Iori sticks out in that he almost always uses the formal variant of Japanese in most situations (nobody else in the 02 group does this). However, formal in this situation doesn’t necessarily mean polite; Iori doesn’t believe in flattery and will bluntly state his opinion in said formal tone, and will be very cold towards something he sufficiently disapproves of or doesn’t have any respect for, which can make him even come off as passive-aggressive at times. (Noticeably, while he still asserts his own opinion, he does refrain from criticizing the others in the 02 group too much, presumably because he respects and looks up to them a lot as his elders, regardless of how chaotic they can sometimes get.) In addition, because a lot of his demeanor comes from him restraining himself, when his emotions are sufficiently pushed over the edge, he loses grip on the polite form and starts “lapsing” back into the casual one.

Because Iori was so young during 02, and because the events of its story ended up really upending his view of the world, the huge eight-year gap between 02 and Kizuna makes it difficult to predict certain things about his demeanor at the time of Kizuna (especially since his own voice actor commented on the difficulty of conveying the nuances of Iori’s character, thanks to only being able to work with the limited time frame of a movie that doesn’t put him in the kinds of emotionally drastic situations that push him to his limit). That said, everything we’ve seen of him in the movie itself and the drama CD makes reasonable sense; now that he’s much older, he comes off as having much better restraint on his emotions and coming off as genuinely calm, but he’s still not one for flattery, and you can still see very minor slips in his facade every so often.

Armadimon also initially seems like a sharp contrast to Iori in terms of demeanor, in that he’s much more casual and laid-back, and he’s indeed a huge factor in reminding Iori to chill once in a while -- but, much like Iori, he prods and asks questions about anything he’s curious about. This initially seems to be out of simple-mindedness because, being a Digimon, he doesn’t understand human society that well, but his very basic questions often end up snapping Iori back to reality in realizing that he’s getting hung up on things that don’t actually make practical sense. Urawa also felt that Armadimon fills in some of the void that Iori’s late father left behind, in that he provides Iori with unconditional love and helps guide him.

Takeru and Patamon

Takeru is the kind of person who seems to dislike major disruptions to the status quo, so he doesn’t say anything inflammatory that’ll rock the boat. It’s very difficult to get him to talk about serious topics related to his deeper personal feelings (02 episode 17, 35, Spring 2003), and even when it’s clear he might have more misgivings on the situation, unless it’s an urgent situation where it needs to be brought up, he won’t voice his misgivings too clearly for the sake of not causing trouble (hence why Daisuke is so unsure what to make of him in the early episodes of the series, because Takeru constantly fails to clarify his own position in favor of a “good for you” or “sure, you keep believing that if you want” attitude). This also makes him the most likely to awkwardly change the subject or try to distract with small talk, and it means that, even when he’s saying cheerful, pleasant things, it’s very likely there’s pain or uncertainty under that initial facade. (Note that while his suspicions of Ken during 02 episodes 25 and 27 aren't nearly as vicious as Iori's turn out to be, we learn that he's still willing to quietly accuse Ken of working for his own self-satisfaction in the latter episode, but he never brings this up to anyone but himself.)

Because Takeru isn’t  necessarily doing this to be consciously dishonest, it does mean that he also has positive applications of this tendency to take everything in stride and keep the peace, because he ends up keeping the more extreme personalities in the rest of the group in line and acts as an effective mediator. You could say that he has a pretty high amount of tolerance and a capacity for taking everyone’s points of view in mind. However, since it’s also very difficult to tell what he himself is thinking, his use of this as a poor coping mechanism for his personal trauma leads to a tendency for him to suddenly explode in a mess of emotions whenever something gets too personal, leading to sudden conflict, and with others at a loss in terms of how to deal with him (the most extreme example being 02 episode 19, but also present in 13, 11, and 34). This “two-sidedness” is why it ends up having to be the more consciously methodical Iori who steps up to try and understand him better as his Jogress partner.

Fortunately, Takeru shows signs of becoming more straightforward in the aftermath, although you can see that he still has a penchant for mild flattery and “trying to hold back for the sake of not being rude” all the way up to Kizuna (but, again, this can’t be said to necessarily be a bad thing when it means he has a valuable skill as a mediator).

Takeru has a fairly neutral speech pattern that comes off as casual but not too aggressive or assertive (not as absurdly polite as Iori’s, but slightly less assertive than Ken’s).

Patamon initially still seems to be “immature” in the same way he was in Adventure, which initially seems to widen the gap in personality between him and Takeru, but looking closer reveals that the differences aren’t as big as they seem; Patamon seems to have gained a capability for slyness and active trolling behind his playfulness (see 02 episode 7), not entirely like Takeru starting to use his evasiveness in a teasing-like manner. Moreover, Patamon does actually seem to have gained a bit of proper maturity in the meantime; see how he instructs the Baby Digimon on convenience store food in 02 episode 3, and in general seems much more willing to take independent action in ways he didn’t always in Adventure. Noticeably, Takeru’s difficulty with his own convoluted feelings means that he can’t even have a proper heart-to-heart with him about it on the situation (most glaring in 02 episode 34, where it’s implied that Takeru would rather leave Patamon to be happy right now instead of bothering him about it), especially because he’s clearly having difficulty even working it out with himself. However, despite their ostensible differences in mentality, Takeru and Patamon have no difficulty getting along at all in 02, and, other than Takeru pampering Patamon a bit, there isn’t all that strong of an impression of them being so mismatched -- perhaps because, in the end, they really aren’t all that different.

Hikari and Tailmon

Taichi stated in Adventure episode 48 that Hikari has a problem where she's so selfless and thinking of others that she'll never speak up about her own problems. Hikari states in 02 episode 31 that she compulsively cannot speak out about her own feelings even if she wanted to, to the point she’s jealous of Miyako for being able to be more open (even if it means being overkill at times). As a result: if Hikari’s talking about “the right thing to do”, or something for everyone’s sake, or something that’s relevant to other people and what’s best for them, she will be extremely vocal and quick to act, and she’s not above even chipping in with criticisms (see: 02 episodes 19, 32, 44). In fact, she’s fully capable of being playful or toying with others if she really wants to (see how she casually manipulates Daisuke into calling a lunch break for everyone in 02 episode 6).

The moment the issue at hand is about herself, though -- her own feelings or pain, or something that might hurt others’ feelings (hence the presumable reason she dodges Daisuke’s affections rather than proactively doing anything about it), or something that would put a burden on others for her own sake -- she completely clams up and refuses to do or say anything, and when bad things start happening to her, she resigns herself to her own fate and concludes she can’t do anything about it. Hence, why she takes such a defeatist attitude towards the Dark Ocean swallowing her up in 02 episodes 13 and 31, and why it’s such a big deal if she even so much as asks for help. 02 episode 31 indicates that Miyako reaching out to her is an important step in breaking her out of her shell, and the Kizuna drama CD -- which has Hikari assertively declare something she personally wants -- heavily implies further that Miyako was instrumental to this becoming possible.

Hikari is compassionate for others to the very end, expresses pity for BlackWarGreymon as early as 02 episode 31, and catches on quickly to Ken’s feelings on himself in 02 episode 37 (and even back when she’d been more skeptical about him in 02 episode 25, she never seemed to have real personal distaste against him as much as she still wanted to make sure he was trustworthy first). But although she’s one of the most compassionate in the group, she’s also one of the most assertive in the group. This leads to something that initially seems like a paradox: she’s actually more fervent about the need to fight than the more aggressive Miyako is. Miyako is, ultimately, emotionally caught up in everything and briefly falls apart at having killed LadyDevimon in 02 episode 44 (even despite knowing how horrible of a person she’d been), but Hikari is the one who points out that there would have been more victims if they hadn’t. 02 episodes 25 and 43 had made it abundantly clear that Hikari didn’t like it at all, but she states in 02 episode 37 repeatedly that they need to prevent there from being victims -- meaning that she values the importance of protecting all lives, including those who would be hurt in the process, and thus has some of the more resilient guts when it comes to the prospect of fighting to save others. Again, her hesitation only comes into play at its worst when it has to do with herself; working to save others is a no-brainer.

Hikari uses a casual feminine speech pattern that’s less in-your-face than Miyako’s, but she’s still a bit more casual than she was in Adventure, when she used the more polite watashi instead of atashi. Interestingly, Tailmon herself seems to have mirrored this as well, presumably because now that she’s had more time to recover from her miserable life under Vamdemon, she’s able to enjoy her life a bit more freely. This means that, while Tailmon is still the most mature and put-together of the Digimon partners in the 02 group, she sometimes acts a little more casual and playful in a similar way to Hikari, and while she has a certain degree of stuffy personal pride (see how she wasn’t very amused at how frivolously the other Digimon were playing around in 02 episode 3), she’s still open to enjoying herself a little more freely. Hikari, for her part, becomes surprisingly like-minded with her during those times -- see them in 02 episode 12 -- and, as stated earlier, it’s not like Hikari isn’t up for making tough decisions when they’re needed, either.

[poptod]

hey there ☺ do you think you can write a soulmate au with ahk where you hear each other's thoughts? and ahk thought he didn't have one all these years only to hear you while he's at the museum and then you try to find each other?

notes: wonderful idea. also i noticed my method of doing requests is do it almost immediately after i get it or wait four months before i get it done so sorry about that, but i hope you enjoy this!

WC: 1.5k +

There are many versions of yourself, all talking over one another in an attempt to control your mind for once. Sometimes it's hard to decipher if your actions are the result of someone in your head tugging you in a different direction. There is the person you believe yourself to be––what you imagine you come off to people as. There is also the person you truly are, and what people actually perceive you to be. So despite there being several voices, they are all reiterations of yourself in some way.

Except for one.

One of them speaks in a voice that is not your own, in a voice you've never heard anywhere but echoing in your skull. Since you despised asking questions as a child, it took you until you were twelve to realize that no, you weren't insane. It was someone who would love you, who had the potential to grow close to you simply by the strings of fate. Your soulmate. 

Someone who gave you nightmares for years.

'Get me out of here!' He would scream, sending your heart pounding while you tried to sleep as a child. 'Please, please, I need to see the stars,' he sobbed, 'I did nothing to deserve this!'

Once you grew old enough to deal with the screaming beyond what you thought was a schizophrenia disorder, nighttime brought a deep sadness to you. For some reason, your soulmate would never think during the day––which was incredibly odd––and during the night, the only time he was awake, he would scream and beg and cry until you could feel the hoarseness in your own throat. For your entire childhood, you stared up at your ceiling at night, eyes burning as you tried to calm the screaming.

It was all you could think about, as though the screams had muted your connection to him and strengthened his connection to you. Every now and then you would try to think, try to calm him down, but he never quite heard.

Then, one evening in winter, it stopped.

You were lying in bed, rolled onto your side as you once again listened to the man's yelling thoughts. But then he stopped, and both your hearts skipped a beat, followed by an incredibly clear thought: Thank the Gods, blessed Ra and Khonsu.

That evening you darted out of bed, jumping to your desk where you typed in with slamming, lightning-fast fingers, "khonsu." Ra you already knew––everyone knew Ra, and by connection Khonsu would probably also be a God. The only question you were left with was why you were hearing the thoughts of someone who worshipped Egyptian gods two thousand years after that civilization died.

As you continued your research, his thoughts continued.

They took my tablet?

Who are these people?

This man has no idea what he's doing, does he?

Why is he screaming at the Hun?

He's got my tablet.

About halfway into the night you gave up on your research, instead listening intently to the thoughts. With you entirely absorbed in your soulmates thoughts, you had little room to send your own words to him, which unbeknownst to you, would've reached him if you tried.

You weren't quite sure what to think of him for the following couple weeks. At first your assumption was that he was the insane one projecting his insane thoughts to you, but his quieter thoughts led you to believe there was something different in him. It is true what they say––geniuses are often tortured minds, and though you wouldn't classify your soulmate as a genius, he was clearly a knowledgeable philosopher of sorts.

He thought often of the human condition––the rise and fall of civilizations, the cruelty and the mercy of men that began the stories of bloodstained battlefields. Most of the time you just listened. Now that he wasn't screaming, his voice was soft and more of a comfort than you ever thought it would be.

Sometimes he got very sad. After a while you learned to not question the logic of his thoughts. Instead, you simply tried to understand what he meant, accepting him for where he was in his life.

I miss my brother.

I wonder what happened to my best friend.

I didn't think I would ever be this far from the Nile and the sun.

I abandoned my people, didn't I?

If only I could find where my sister was buried. Would that even make me feel better, though? What closure will I gain from seeing her tomb?

... if she even had one.

There's a melody going on in his head, right now. Something that could put you to sleep if you weren't currently working. It's nothing you've heard before, that you're certain of, and judging by the tone of it and your soulmate's previous thoughts, it sounds Egyptian.

Despite the museum being closed, most of the lights are still on. One of the night guards had a very strange insistence about it, but wouldn't tell you why. Oh well––questioning people is above your paygrade, since you aren't getting paid for this. It is volunteer work. Not that you mind; ever since realizing the voice in your head was Egyptian, you've gotten a palate for history. Currently, however, you're dealing less with history and more with files. The curator at this museum asked you to sort through the records of all the different exhibits that are here, or were once here at some point, which made a very large collection. Massive, actually––you're only sorting through A, and it's going to take you a couple weeks.

He's humming softly to himself. The tune carries into your work, and you allow yourself to enjoy his voice as you sort, going over every record to look for exhibits no longer displayed. For this you have a chart in your other hand––a log of all the exhibits currently public in the museum.

Although you're supposed to be concentrated on your sorting, you find yourself more entranced with the melody in your head, and the clearest thought that rings in your mind is, 'that is beautiful.'

The humming stops. Dead in its' tracks, about to reach its' peak, and it stops.

'My mother sang it to me,' he says, 'before I slept as a child.'

"Holy shit, are you talking to me?" You say out loud with bulging eyes before you can stop yourself. The moment you realize what you said, a bright blush coats your cheeks and you slap your hand over your mouth. But he doesn't seem to mind––actually, he laughs, and it's sweeter than summer sugar.

'You must be my heart,' he says in an astounded tone, and you can practically see his dream-filled eyes. You sit puzzled for a second before replying.

"Do you mean your soulmate?"

'Well... I suppose yes, that could be one of the names,' he says, and it only adds more onto the lists of questions you have for him.

"What is your name?" You ask first, hardly realizing you're still talking aloud to yourself.

'My name is Ahkmenrah," he tells you, and it takes less than a millisecond before the dots connect in your head. Instantly your eyes dart to the sheet in your hand, and near the top of the list, there it sits––Ahkmenrah.

'I know this must be confusing for you,' he continues, 'but I am from another time. While I lived then, I dreaded that I didn't have a heart, as I heard no voice. That fear has carried on into my next life, but now that you're here –'

"Oh I'm here alright," you say, unbelieving of both your circumstances and your unblinking acceptance at them. "I'm, like, two floors below you."

"WHAT?!"

A voice from above catches you, but as the same word rings in your mind, you realize with great glee that he instinctively yelled 'what' without thinking. You laugh, and the thought of your laughter reaches him.

Less than a minute later you can hear footsteps pounding down the stairs, landing at the closed door before the handle wrenches open. You quickly move to your feet, facing the man whose voice you know so well, who haunted your childhood and enchanted your adulthood. You can barely hide the grin that spreads across your face––whatever magic has brought you to this moment, you thank everything you can for it, your attention ensnared by the soft features of a 4,000 year old Pharaoh.

He pauses once he enters the archive, eyes finding yours immediately. His mouth hangs open slightly as he scans you, absorbs every feature on your body and face, and barely moves even to breathe for a good minute or two.

"I – I'm sorry, I j – I just realized I didn't ask your name," he says quietly, a small, ginger smile growing on his lips.

"(Y/N)," you say, but you don't quite know how your brain worked to make the word. You certainly didn't consciously choose to speak.

"I have waited thousands of years for you," he says, impossibly softer as he steps forward. He's really quite harmless, you realize––for all the fear you had of him as a child, he's nothing but a sweet-faced boy.

"Was it worth it?" You ask, and your voice cracks ever so slightly.

"My heart," he breathes out, affection lacing his name for you, "it was worth every second."

[giggly-squiggily]

A Strong Stimulus - KiyoKei (Classroom of the Elite)

Hey!! I wanted to share my little drabble for my favourite OTP of all times, it's short but I was so happy to write for them! I hope you enjoy it even if it's not a fandom you know!

Summary : Kei wants to hear her boyfriend laugh and takes drastic mesures to reach her goal, only for it to backfire terribly.

During a cold night of October, Kiyotaka and Kei were snuggling under the covers, seeking each other’s warmth. It had been more than six months ever since they began dating and one month ever since they made it public to the school. Most of their classmates had been surprised by this revelation, which was natural as Kiyotaka and Kei were careful about keeping their relationship a secret, whether it was their professional or romantic bond.

They had gone through what most couples do together already, but something was still bothering Kei…

-“Hey… Kiyotaka?” she called out her boyfriend’s name, fondly.

-“Hm?” caressing her blond locks, Kiyotaka opened his eyes to look at Kei.

-“I’ve never seen you smile before.”

-“What is it now? I think we’ve already had that conversation. I smile, but it doesn’t show on my face, that’s it.”

-“I know that! I know but… I want to see you smile…”

Then, she got an idea. Why didn’t she think of it sooner? A devilish grin appeared on her face, which didn’t escape Kiyotaka.

-“Take that !” Kiyotaka didn’t have any time to react before Kei straddled him and started scribbling her fingers his torso.

“Coochie coochie… coo?” her excitement fell down at once when she looked at her boyfriend’s face. There wasn’t even the hint of a smile there.

-“Ha..haha.. I guess it makes sense that you wouldn’t be ticklish…Eh, what’s with this look??”

The mischief in Kiyotaka’s eyes had become apparent to her, it’s subtle, but over the year they spent together, she had gained the ability to read him like no other. He was having fun.

-“I’m sorry that I’m not ticklish, Kei. But don’t worry, we can still make this work.”

-“What.. do you mean?”

In one swift motion, Kiyotaka had Kei stuck beneath him.

-“W-w-w-wait, Kiyotaka, you’re the one supposed to laugh, not me!”

-“Let me have my fun, will you Kei?”

-“Kiyotak-ahaahahaha!” Kiyotaka found it funny how he only needed to move his fingers a bit to reduce his girlfriend to a giggling mess. Of course, he knew why laughing happened in this situation. The stimulus was perceived as an attack by the brain which doesn’t have any means of defense besides laughing, probably because the shrill sounds are supposed to repulse the assailant. Which is funny considering people only tickle for the sole purpose of hearing these sounds.

-“What was it? Coochie coochie coo?” he teased.

-“WAI-AHAHAHAHAHA KIYOTAKAAHAHAAHAHAHA!”

-“What is it Kei?”

-“IT TICKLEHEHEHEEHEHES!”

-“Yes, that would be the point. Try not to wake our classmates though, you're not exactly supposed to be here at this hour. "

Kiyotaka moved his fingers along her sides, which seemed to be quite the bad spot for her. For some reason, he seemed to know exactly where to land his attacks to create the best results. He probably knew the human anatomy that well.

Kei was shaking her head from left to right, thrashing her legs and trying to stop Kiyotaka’s attacks with her hands- to no avail.

He finally stopped his assault and looked at Kei’s face. She was bright red and breathless.

-“Did you have fun?” he asked, fondly.

She wanted to glare at him but his voice was abnormally sweet and her eyes sparkled.

-“I-I guess, it’s just too bad that I can never have my revenge on you.” She pouted.

Kiyotaka was supposed to be a masterpiece, excelling in everything and anything. It would be quite funny if such a person were to have a silly weakness like being ticklish. Honestly, he would like to be, just to have more fun with Kei and let her have her way from times to times.

He moved besides her again, taking her in his arms and stroking her hair.

-“I hope I can get to hear you laugh one day too, Kiyotaka.” she said with her exhausted voice, falling asleep.

 I hope so too.

~~~

AHHH! This was so cute! X3 I love the troupe of "Tickle Attack backfired!" These two seem like such sweet characters! Thank you for sharing, @laughingcuties!

[tenthgrove]

what you wrote for prosciutto is really interesting and i have a few questions and what-if's for you if you feel so inclined to answer!!!

did prosciutto ever leave some reincarnations be to just live out your life? like if he knew reader was out there but was worried about jinxing it again and hoped you could live long and happy. would that ever work if he did? would he even know?

after the first two times, would reader have perceived him more as a kind stranger? did he sit with them as they died of illness (can vampires even die of plague or tuberculosis like would he not have to worry about catching it ?) or did they register that there was someone trying to stop the burning? did they recognize him in some way from the ship's deck and wave TO him if they remembered his kindness?

and say in the current day, everything eventually comes to light, with reader remembering their past lives and learning he's a vampire and stuff and they have all these mixed feelings--because in the here and now, prosciutto as he is, he's a decent person, he's respectful and more than that he is wonderful and someone they'd been falling in love with. and if they HAD perceived him as a kind stranger before they could feel those feelings but then they'd also be feeling shit from the first life, and maybe they snap at him that he's never been entitled to them and never will be, and ~2000 years is a long time for someone to change their ways for the better but they also don't exist to be a lesson for him, and they need some time to think. how would he react to that?

apologies for the long ask i hope it's at least fun and interesting to think about the concepts and stuff. vampire au is super fascinating!!!

No need to apologise at all! Honestly there's nothing I love more than when I open up in incredibly unnecessary detail about some niche scenario pulled from the depths of my weird brain space and someone responds with genuine interest!

(Under cut for length)

The way memory works in this AU is that you can never remember your past lives or Prosciutto beyond a subtle, not-enough-to-act-on sense of Deja Vu, except in two circumstances. 1) You spend enough time around Pros and are fed enough information around him for some of the memories to return, or 2) you are literally seconds away from death and the fact your soul is starting to separate from your body lets you see your past for those few brief moments. With that in mind, here's what happened to each of the individual reincarnations (post the first two) to answer the rest of your questions.

Plague victim (14th century)- This one didn't interact with Pros much at all given how badly ill they were when he found them. So ill in fact, that they had already been mistaken for dead and thrown on a body pile before Prosciutto arrived, just happening to be passing through the village. Recognising you he grabbed your body and ran off with it, hiding behind a tree as the villagers started to pursue him. At that moment you started to cough, looked up at him and told him you think you might know him from somewhere. Then you died.

Accused witch (16th century)- Again, Prosciutto encounters you in this life by complete chance, just wandering through villages to explore the world. He hears word of a witch execution in the place he's currently staying and has half a mind to stop it anyway, being sceptical of Christian supervision in light of his Hellenistic upbringing. But by the time he gets over and realises the victim is you, they're already lighting the fire, and easy as it is for him to kill the human guards who try and stop him their sheer numbers hold him back too long to save you. Your dying screams haunt him for a good few centuries, and the final moment where you realised who he was and called for him by name still hasn't left his mind.

Shipwreck victim (18th century)- The first incarnation Prosciutto specifically seeks out, after he meets Melone and he informs him his soulmate is alive at this very moment and can be found in this particular city. Since Prosciutto isn't actually with this one when they die, they don't get any chance to remember who he is. They probably find the stranger frantically trying to get their attention on the dock very strange, but give him a polite little wave to be respectful.

Tuberculosis victim (19th century)- I know I said every incarnation dies within an hour of meeting Pros, but this one is the exception, lasting a good couple weeks before finally succumbing to their illness. Living a lonely life with few relatives to care for them, they agree to let Prosciutto take them to his manor. He tells them he is a vampire, proving it to them with some of his abilities and explaining their past lives, but you are steadfast in your faith and unwilling to let yourself be turned, even if it is to save your life. Prosciutto realises he cannot force you if this is the choice you wish to make, and devotes himself to keeping you comfortable for your final days. Your memories do awaken as you pass, but not for long enough to tell him whether or not you regret refusing his offer.

Field nurse (WW1)- The World Wars are a difficult time for Prosciutto because he's never known conflict on this scale before. It's through this naivety he finds himself wandering into a battlefield, taking shelter at the field hospital when he realises, shit, these weapons are actually powerful enough to do his vampire body some damage. He meets you there and, horrified that you're mixed up in this too, tries to persuade you to get out of there, but you're committed to your work. A military man himself, Prosciutto knows the enemy is behaving strangely and may be about to launch a shock-attack, but he cannot convince you in time. You are shot while trying to run with him once the ambush commences.

As you could probably fathom from his interactions with the last few incarnations, Prosciutto isn't going to force you to be with him if you don't requite his love. He's not going to give up- he will keep following you from a distance for the rest of your life and if needs be the next, but he knows full well not to force you to be his. If you want to wait a few more years, or even a few more lifetimes, then so be it. He will be sad, but he will accept it.

[laughingcuties]

A Strong Stimulus - KiyoKei Tickle Fic

I’ve been really into Classroom of The Elite and this pairing recently so I gave birth to this fic lmao. It’s more like a little drabble but I hope you like it! (I don’t expect many ppl to read this considering the fandom is kinda niche haha). 

Summary : Kei wants to hear her boyfriend laugh and takes drastic mesures to reach her goal, only for it to backfire terribly.

During a cold night of October, Kiyotaka and Kei were snuggling under the covers, seeking each other’s warmth. It had been more than six months ever since they began dating and one month ever since they made it public to the school. Most of their classmates had been surprised by this revelation, which was natural as Kiyotaka and Kei were careful about keeping their relationship a secret, whether it was their professional or romantic bond.

They had gone through what most couples do together already, but something was still bothering Kei…

-“Hey… Kiyotaka?” she called out her boyfriend’s name, fondly.

-“Hm?” caressing her blond locks, Kiyotaka opened his eyes to look at Kei.

-“I’ve never seen you smile before.”

-“What is it now? I think we’ve already had that conversation. I smile, but it doesn’t show on my face, that’s it.”

-“I know that! I know but… I want to see you smile…”

Then, she got an idea. Why didn’t she think of it sooner? A devilish grin appeared on her face, which didn’t escape Kiyotaka.

-“Take that !” Kiyotaka didn’t have any time to react before Kei straddled him and started scribbling her fingers his torso.

“Coochie coochie… coo?” her excitement fell down at once when she looked at her boyfriend’s face. There wasn’t even the hint of a smile there.

-“Ha..haha.. I guess it makes sense that you wouldn’t be ticklish…Eh, what’s with this look??”

The mischief in Kiyotaka’s eyes had become apparent to her, it’s subtle, but over the year they spent together, she had gained the ability to read him like no other. He was having fun.

-“I’m sorry that I’m not ticklish, Kei. But don’t worry, we can still make this work.”

-“What.. do you mean?”

In one swift motion, Kiyotaka had Kei stuck beneath him.

-“W-w-w-wait, Kiyotaka, you’re the one supposed to laugh, not me!”

-“Let me have my fun, will you Kei?”

-“Kiyotak-ahaahahaha!” Kiyotaka found it funny how he only needed to move his fingers a bit to reduce his girlfriend to a giggling mess. Of course, he knew why laughing happened in this situation. The stimulus was perceived as an attack by the brain which doesn’t have any means of defense besides laughing, probably because the shrill sounds are supposed to repulse the assailant. Which is funny considering people only tickle for the sole purpose of hearing these sounds.

-“What was it? Coochie coochie coo?” he teased.

-“WAI-AHAHAHAHAHA KIYOTAKAAHAHAAHAHAHA!”

-“What is it Kei?”

-“IT TICKLEHEHEHEEHEHES!”

-“Yes, that would be the point. Try not to wake our classmates though, you're not exactly supposed to be here at this hour. "

Kiyotaka moved his fingers along her sides, which seemed to be quite the bad spot for her. For some reason, he seemed to know exactly where to land his attacks to create the best results. He probably knew the human anatomy that well.

Kei was shaking her head from left to right, thrashing her legs and trying to stop Kiyotaka’s attacks with her hands- to no avail.

He finally stopped his assault and looked at Kei’s face. She was bright red and breathless.

-“Did you have fun?” he asked, fondly.

She wanted to glare at him but his voice was abnormally sweet and her eyes sparkled.

-“I-I guess, it’s just too bad that I can never have my revenge on you.” She pouted.

Kiyotaka was supposed to be a masterpiece, excelling in everything and anything. It would be quite funny if such a person were to have a silly weakness like being ticklish. Honestly, he would like to be, just to have more fun with Kei and let her have her way from times to times.

He moved besides her again, taking her in his arms and stroking her hair.

-“I hope I can get to hear you laugh one day too, Kiyotaka.” she said with her exhausted voice, falling asleep.

 I hope so too.

[dialovers-translations]

DIABOLIK LOVERS MORE BLOOD Vol.2: Mukami Kou [Track 7+8]

Original title: 堕落した証 & いらいらする

Source: Diabolik Lovers More, Blood Vol. 2: Mukami Kou [CD not owned by me]

Audio: Here

Seiyuu: Kimura Ryouhei

Translator’s note: Oh boy oh boy. I should have kept my mouth shut during the last few tracks because these two tracks had me wriggle around in my seat as my stomach turned upside down. > < Those of you who have been around since last year might recall how I struggled with Shuu’s D-S Kyuuketsu CD because of the ‘bodily gore’ noises when he cuts the MC with a knife and then stirs his fingers around in the open wounds. KOU DOES THE EXACT SAME THING GDI. I had to pause several times because I got nauseous. :’’) Please no more of this Rejet. 

Track 1+2 ll Track 3+4 ll Track 5+6 ll Track 7+8 ll Track 9+10

→  LIKE MY TRANSLATIONS? SUPPORT ME ON KO-FI!

Track 7: Proof of Corruption

“Well then, where should I bite you next...~? Both your neck and arm are already dyed a bright crimson from your blood. Fufu~ While I’m at it, I guess I should make you even more red...Perhaps that’ll improve your looks a little.”

*Rustle*

[00:25] “Hmー Such slender wrists...Fufu, I could probably twist them with ease. If I were to plunge my fangs in, they might just pierce right through, don’t you think? Come on, show me your hand.”

*Rustle*

“Hm...These marks are still fresh. Hmー They weren’t left behind by me, which means they belong to one of those guys? Heeeh...Now what a lovely decoration you have here. You really are a maso-kitty, aren’t you? I sort of get now that you’re not doing all of this on purpose. Which means...is someone controlling you behind the scenes?”

*Rustle rustle*

[01:18] “Take flowers, for example. They don’t particularly wish to bloom beautifully, do they? However, some larger force in nature is ordering them to do so to lure in birds and insects. So perhaps you were put together by someone with the specific goal to seduce us Vampires? If not, a plain girl such as yourself couldn’t even dream of having someone like me suck you, not even out of pity. Fufufu...~”

*Rustle rustle*

He digs his finger inside your skin.

[01:59] “Ah-aaah...Since the wound hadn’t fully healed yet, my finger sank in the moment I pressed down. Does it hurt? Fufu~ I’m digging my nail into the open wound after all~ I bet it hurts...Then suffer more...Scream...! Nobody will hear you here. This place has been equipped to ensure that they won’t find you.”

*Rustle*

“But...Well...If they did know you were here, I wonder if they would come and get you? These guys who seem to be oh-so obsessed with you, I mean~”

Kou continues to stir up the wound with his nails.

“Are you writhing in pain? Ah-aaah...Your ugly face only became even more hideous. Should I say it has a certain charm to it? I’m incapable of loving you while you look like that though. However...”

*Rustle*

[02:57] “In regards to these wounds, I feel a strange sense of attachment. I wonder why? Perhaps it’s just fun to compete with other Vampires over a prey such as yourself? Hahaha...But in that case, I have to leave behind my own marks as well or it’s no fun, right? ...I’ll leave my mark on top of these wounds, as if to overwrite them. It’ll be perfect proof of how thoroughly corrupted you’ve become.”

*Rustle*

Kou bites you.

*Gulp*

“Mmh...*

*Gulp gulp*

“ーーHah!”

*Gulp*

[03:50] “Mmh...Haah...I can smell them from here...It pisses me off...Hahn...”

*Gulp gulp*

“Hah, haah...It makes me want to just rip up your whole arm with my fangs...”

*Gulp*

“Fufu...This must be the taste of hatred...~ Exactly...I can’t forgive them...Never! That’s whyーー”

*Gulp gulp*

“Haah...Haah...”

*Rustle*

[04:38] “I won’t return you to them. You’re basically mine now. Offer both your body and soul to me...And go mad. Fufu...Damn~ What’s wrong with me? Am I being spurred on by you? Uwaah...This is a first for me. Fufu~ I truly got my hands on a nifty toy. I was just going to have a little taste before handing you over to Ruki...but I might not want to let you go again.”

*Rustle*

[05:22] “Haah...Let me suck more...Your blood is messing with my head...as I find myself wishing you would offer more of that delicious blood pumping through your veins to me and me only.”

*Rustle*

“Oi. I bet you have other marks left behind by them as well, don’t you? Tell me. I’ll make you go through those painful memories again. Come on, hurry up and fess up.”

*Rustle*

[06:00] “Hey? Are you listening? If you space out like that, I’ll do something much, much more painful and rough?”

You muster a response.

“Hm? Your belly? Eeeh~? Now where could they be...~?”

*Rustle rustle*

“Ah, you must be talking about these. Marks spotted~ They really don’t hold back when devouring you, do they?”

He licks the marks.

“Oh, this one smells different. So, tell me. Did you have them bite you from head to toe? Hah! What a slut you are.”

You protest.

[06:46] “Hm? You didn’t wish for any of this to happen? ...Che. Why are you giving me that defiant look? Do I have to repeat myself a million times before your idiotic brain gets it? I was reminded once more the moment I sucked your blood. You’ve been tampered with in some way to lure in Vampires. I wonder who could be behind it...~? Fufu...Somehow that piques my interest...”

*Rustle*

“But for now, I’ll cover you with my marks. So I’ll thrust my fangs inside these wounds as well...”

Kou digs his nails into your skin once more as you flinch.

[07:31] “Aren’t you happy? I’m the one saying these things after all. ..Aaah-aah, such filthy marks. I’ll erase them right away.”

He bites you again.

“Hahn...”

*Gulp gulp*

“Hah...”

*Gulp gulp*

“Haah...Haah...”

*Sluuuuurp*

“Haah...This stench is persistent...It won’t disappear...Ugh, it pisses me off. If I can’t get rid of it with my fangs...It just makes me want to mess you up as a whole...”

*Rustle*

“Haah...Guess I’ll just have to sink them in deeper and deeper...Like thisーー!”

*Gulp gulp*

“Hah...Nnh...”

You cry out.

[08:41] “Ah...It hurts? Look at you gushing blood all over the place. You really have no shame, do you? But you shouldn’t be able to feel the pain, you know? My fangs have already made it so you perceive everything as pleasure. Fufufu...”

*Rustle*

“I can tell you want me, so try and voice it out loud? Beg for me with a cute tone. Come on, hurry...Ask me to make you feel ever better~”

You whimper.

[09:24] “Hmm~~? I can’t hear you...~ You’re going to have to speak a little louder. Also, don’t forget to sound cute, okay?”

You repeat it.

“Fufu...~ Exactly, like that. Just be honest with yourself...Perhaps then I’ll be able to feel a little affection for someone as ugly as yourself.”

You beg again. 

“Mm~ Good. You managed to beg for it cutely, so I’ll love on you in return. ...With these fangs of mine, that is.”

Kou bites you again.

*Gulp gulp gulp*

“Hahn...Mmh...”

*Sluuuuurp*

[10:14] “...Hah...! ...Hm? ...’More’? ...You can crave it more. I kind of like it when people yearn for me. ...I’ll plunge them inside even deeper than before...”

*Gulp gulp*

“Haah, haah...Ugh...Haah...I guess the smell is starting to fade a little?”

You moan.

“Fufu...Seems like you’re feeling rather good as well. Your body has completely given in to the pleasure, it feels as if your blood has become sweeter as well.”

Track 8: Irritation

Kou inspects your body.

*Rustle*

“Where else have they bitten you...? ー Ah, don’t tell me. I’ll try finding it myself this time...~ After the stomach, it has to be...The legs, right~?”

*Rustle*

[00:18] “Yes, I got it right! ...They sure love going for the risqué spots, don’t they? Hah! Right near your crotch (1) ...How lewd. On top of that, you can tell they’ve sucked from here repeatedly...Very dirty! I wonder what kind of expression you made as they sucked from here? Perhaps you didn’t realize it yourself, but they pretty much got a full view of aaaall your embarrassing places.”

You squeak.

“How embarrassing, gosh! ...But I’m sure you love that sorta stuff, don’t you? After all, I can see a glint of anticipation in your eyes. Or am I just imagining things? Is it because I’m the one doing this to you? ...Well, I guess I’ll figure out the answer to my own question once I bite you. Well then...”

*Rustle*

“Where should I leave my mark? ...Right here. I’ve settled on this spot.”

He bites you again.

*Gulp*

[01:28] “Mmh...Hah...Haha! What a lovely view...Fufu...”

*Gulp gulp*

“Seems like it’s making you weak as well...Look at you twist and turn your body like that...What a dirty girl you are.”

*Gulp gulp gulp*

“ ーーHah! We’re still nowhere near done...Let me suck more and more...Hahn...”

*Gulp gulp*

“Hah...Hah...”

*Gulp*

[02:11] “Haah...Fuck...Could this be a trap of some sorts...? Fufu...I feel as if your blood is leading me straight to my own demise...Well, I guess that’s fine. As long as it feels good...whether it’s a trap or whatever, I’m not scared. Perhaps the person who set you up this way predicted this all along? ...Say.”

*Rustle*

[02:44] “I bet they knew that we would try and snatch you away like that. Guess we’re being mocked, huh? That pisses me off. ...You seem to be feigning ignorance but you’re part of the whole scheme, aren’t you? ...If you think this will all pass as long as you just obediently spread your legs, you’re gravely mistaken. I’ll give you something much, much, much more painful, you’d find yourself wishing you’d be dead instead...!”

*Thud*

Your eyes widen in horror.

“Hehe...”

*Gulp gulp*

[03:26] “...Heh. Does it feel good? Lucky you! I think you might be the first human who has gotten the honor to receive this much pleasure from me. Well, under normal circumstances, one bite is plenty to make any human ascend to Heaven, but in your case, the more I have, the more delicious your blood becomes and on top of that...You dare oppose me. It pisses me off. ...Mmh...”

*Gulp*

“...Hm? There’s marks on your thighs as well!”

*Rustle rustle*

[04:06] “I have to engrave my own mark here as well. ...Geez, I wonder what they find so appealing about these stick legs? I can’t relate, but I don’t like the idea of there being marks from someone other than me. ...Mmh..”

*Gulp*

“Nnh...”

*Gulp gulp*

[04:37] “...Hah...Ah...Haah...~ I feel sluggish for some reason...Have I been numbed? In that case, your blood is to blame. ...This is bad...Fufufu~ I just don’t understand how I want to keep an ugly girl such as yourself all to myself...Makes no sense, does it? I feel irritated by it myself but...I also just can’t help it. This strong desire for you keeps on welling up inside of me...What is happening to me? Geez...Honestly, it pisses me off! I’ve never felt this strongly attached to anything or anyone before!?”

*Rustle*

“Hahn...”

*Gulp gulp gulp*

“...ー Hah!”

*Gulp gulp gulp*

“Mmh...Haah, haah...I can’t get enough...Do you want me more? ...So do I.”

*Gulp gulp*

[05:57] “Hah...Yearn for me more and more...You just need to keep your eyes on me. ...You belong to me now. Happy? Of course you are. If you continue to writhe around like that, I’ll give you never-ending pleasure.”

*Rustle*

“Mmh...Haahn...”

*Gulp gulp*

“Mmh...Nnh...”

*Gulp*

“Haah, haah...!”

*Gulp*

[06:37] “Haah...! I can’t...I still haven’t had enough...Hm. I still refuse to give you up. I’ll make you forget about those other guys in no time. I’m obsessing over you, so it only makes sense. ...Unlike those guys, I won’t call you prey either. You’re mine after all. ...Doesn’t that make you happy? I’m a gentleman after all~ I know how to make a girl happy. I’m sure you didn’t like being degraded by having them call you ‘prey’ either, right? Fufu...~”

ーー TO BE CONTINUED ーー 

Translation notes

(1) 足の付け根 or ‘ashi no tsukene’ is the root/base of the leg where it connects to the hips. 

[shimmershae]

So.  I have some more thoughts.  Shocking?  Yeah, I know, lol.

Let’s see if I can figure out how to purge what’s inside of my overactive brain and have it make some semblance of sense, shall we?  

Hmm.  

Where to start, where to start?  

Okay.  So I think it’s safe to say that the flashbacks pretty quickly establish that Daryl has essentially been set adrift.  He’s been cast back, in some ways by his own choosing, into a solitary searching life that speaks to his past.  He has no anchor anymore, no touching stone--whether that be Rick, who’s presumed dead, or Carol, who’s chosen by default to leave him behind and try to make a new family in Ezekiel and Henry.  

That’s important.  Because until this season?  Until he really matured and assumed, grudgingly or otherwise, the mantle of leadership of the communities?  

Daryl was a follower.  He took his cues from other stronger personalities.  Other people more quick to voice and own their opinions, right or wrong.  Like Rick.  And Merle before him.  

That’s not to say Daryl hasn’t had anything of value to say or add to the communities or to his relationships.  He has and he did.  Remember back at the Prison how Carol told him he was going to have to live with the love?  Daryl was just beginning to find his voice, so to speak.  He was emerging, even if they were only baby steps at first, from other seemingly more formidable shadows, and learning even then how to be more of a leader that people looked up to even if he was still content to be a follower.  

Being a follower was what he was comfortable with and I’m making some assumptions here, but I’d wager that in his abusive past with his old man, in that household first with Merle then on his own, being a follower and sticking to the safety of the periphery is probably what kept him alive.  Being a follower minimized conflict then, I’m sure.  Being a follower when he met up with and eventually connected with Rick and the rest of Team Family was probably the safest way for him to make emotional connections.  

I’m rambling.  I know it and I’m sorry.  It’s what I do.  Ramble, lol.  

Here.  I’m going to place the rest of this underneath a cut because I got more winding words than I have wind and most of ya’ll have patience.  

With Rick gone, with Carol off trying her damndest to live a fairy tale, Daryl floundered.  For all intents and purposes, he was left without any direction, nobody to take his cues from emotionally or otherwise.  

I mean, he literally made ever-widening circles searching for Rick, didn’t he?  Circles have no end point.  They have no real destination.  Not really.  Daryl essentially lived in a spin cycle of pain and regret and inability to really and truly connect with anybody during those years spent searching for Rick--especially since the person he arguably felt closest to and most comfortable with, Carol, basically decided those past connections Daryl was so desperate to find again were too painful for her and attempted to move on.  

He wasn’t emotionally equipped to or stable enough (perhaps still internally dealing with his anger and angst over his torture and imprisonment by Negan at that point in time) to put in the hard work to reestablish those fraying bonds on his own and the man basically lost the plot.  His world narrowed down to this latest search.  This search for a body.  For closure.  For a new purpose perhaps?  

And you know, the man had to be tired.  In some way or another?  He’s probably been searching his entire life.  It’s kind of what followers do.  They look for meaning outside themselves because they don’t feel like they’re enough.  

So then Dog, in the form of this happy, accepting, affectionate puppy appears out of nowhere.  He’s a welcome distraction and knowing Daryl’s propensity to try to reunite the lost with those they love, he started a new little search.  

That led him to Leah. 

Leah, who was alone.  Like him.  Leah, who knew how to survive.  Like him.  Leah, who was stuck in a place of grief.  Like him.  

Leah, who--and I don’t really feel like I’m going out on too far or precarious limb here considering how many parallels they literally slapped us in the face with during this episode--reminded him of someone he felt he couldn’t have, not even her friendship anymore because by her choosing to ‘be there’ for Ezekiel and Henry and the Kingdom she was always leaving Daryl behind and that’s a pattern we’ve all long suspected has really caused hurt for Daryl even if he’s long ‘accepted’ and dealt with it with stoicism.  

Boy, they really blew the lid off that issue didn’t they?  Oh, it was done rather quietly and in a surprisingly controlled manner, but the hurt it caused?  The tears and emotion it elicited was brought about with an almost surgical precision that stunned Carol, but I digress.  

My point is?  Daryl?  Innate follower that he is?  Daryl had grown accustomed to the human connection he found with Team Family.  He was never 100% comfortable with it but he missed it.  He craved it.  And Rick?  Well, deep down Daryl knew the likelihood of finding his ‘brother’ was minimal.  And with Carol pulling away and putting more and more distance between them--how deep and wide was that river, ya’ll, before the episode was done? when it started off looking like a small trickle of a stream?  how wide was that chasm these two idiots in painfully unspoken love allowed to be formed between them?--essentially the two closest people to him were lost to him, leaving him lost.  

So he stumbles upon this woman who is very reminiscent of people that he’s known.  He’s figured out, even though he keeps trying to buck the trend, that you really can’t make it alone in the world anymore.  And when she shows him some small measure of trust by letting him go?  That part of him that didn’t want to be alone kept drifting back into her sphere.  

Now I’m not going to go so far as saying Daryl fell in love with this Leah.  Because, shipping biases aside?  I really don’t feel like he did.  

Daryl found solace with Leah.  

Companionship.  

Remember another time when Daryl was lost?  When he felt he had failed another member of his family? Lost what he thought was the last of his family?  How alone he was at a crossroads when Joe’s group of Claimers came along?  

I’m not equating Leah with the Claimers in any other way except saying Daryl was in a similar headspace when he met her, okay?  Before anybody goes off on me.  I’m just saying that Leah?  She represented what Daryl felt was his one chance NOT TO BE ALONE.  

Daryl’s emotionally stunted, ya’ll. He’s made great strides, but trauma always seems to regress him.  Thankfully, it seems to regress him less and less as he really and truly matures, but it still has a habit of reverting him back to the Daryl we first met.  The Daryl we can easily see growing up in Merle’s shadow. 

When he threw that damn fish at her door, I literally laughed for ten straight minutes because that was funny as hell.  But honestly?  The more I thought about it, the more it dwelled in my mind?  The sadder it actually made me because here’s a grown man essentially trying to connect with another human being on an adolescent level.  

So much of what we were shown in this episode really just reinforced what I’d already suspected to be true--Daryl Dixon just doesn’t ‘get’ the basics of interpersonal relationships.  At least those that could be perceived as romantic.  For all that Carol mused it was like he had become a man back in Atlanta, during Consumed and their search for Beth?  That man is still very much trying to fumble his way out of the starting gate so far as pursuing a woman in any form or fashion.

This is just my opinion and we all know what they say about those, lol, but Daryl has longed for an even deeper connection with Carol since the Prison.  Maybe even before that. I think at the Farm his eyes were opened to her and he started trying to be a better person to match what he perceived as her goodness.  Before he even knew she wanted one, he was trying to be a man of honor.  Then stuff and thangs happened and shit, like Daryl once told Abe, just never settled.  Carol drifted out of Daryl’s reach because he wasn’t equipped with the emotional tools to really go after what he wanted--her in a deeper, different capacity than he’d ever wanted or asked for before--and shit, ya’ll.  If loneliness is a choice then Daryl Dixon was sick and damn tired of it.  

Do I think there’s even really a choice between Leah and Carol in Daryl’s mind though?  A true choice were he to absolutely, 100% realize and know that Carol’s heart was earmarked for him from the very beginning and that she’s suffering from the same delusions that she’s not good enough or deserving of him?  

Absolutely not.  

Leah knew that even if Daryl never divulged any specifics about Carol.  She knew the answer to her ultimatum before she even made it.  

And that ultimatum, ya’ll. 

Maybe it’s weird, but it put me in mind of when Merle pressed Daryl to make a choice between him and Team Family.  

Merle was blood family but like Carol and others said, he wasn’t good for Daryl.  

Leah might have offered Daryl some solace from his loneliness but ultimately staying isolated with her and not reconnecting with those he identifies as family is just as damaging as Daryl choosing to follow in Merle’s wake again.  Similarly to that situation, Daryl was clearly torn as soon as the words were out of her mouth.  

Between loyalty to family and unspoken love.  

In case there’s any confusion here, the unspoken love I’m talking about is his love for Carol.  He felt something for her back at that Prison.  Fight me.  He knew she’d be hurt by him going back with Merle, but obligation and family loyalty led him to make the decision all the same.  

Still. He knew she’d understand.  And she did, even if his choice hurt her.  

My thought is that this time?  At least initially?  Daryl didn’t completely separate his loyalty to family (searching for Rick) and his unspoken love (for Carol) when he made his decision.  They’re hopelessly entwined because Carol is a little bit of everything to Daryl--friend, family, the woman he loves and has been halfway in love with for so many years.  Initially, he chose the hope that both would come back to him if he just kept searching.  Because searching’s what he does.  From Sophia to Connie, he’s always searched in the hope of bringing the lost back to those that love them.  He’s always searched because nobody searched for him.  

Daryl is the ultimate lost boy who grew to be a man and still feels like he hasn’t been found.  

But how can he be found if the one person he wants to find him keeps running away?  

Daryl didn’t choose Leah.  

Not from his heart.  

Daryl turned back to Leah because he felt Carol slipping away to where he couldn’t follow her.  

If it can even be argued that Daryl chose Leah, it was by default.  Of course, he feels guilty.  Daryl wouldn’t be Daryl without guilt.  He wouldn’t be Carol’s man of honor.  

And he is Carol’s man.  

She may not be in the place to see it--YET--but she’s getting there.  She’s fighting hard against her natural inclination to run.  She’s trying.  She knows what she wants, even if she doesn’t believe she has the hope of getting it.  

Daryl knows what he wants, too.  He knows, once and for all, where he belongs.  He’s stopped searching.  He knows she’s right there.  There’s no more circles.  There’s just a final destination if he can convince the love of his fucking life to stop running from what they both want.  

He may have left that note for Leah, but you can’t convince this viewer that he didn’t write those words for Carol.  

And that’s all I got to say about that.  

For now anyway.  

Omigosh, lovelies.  

So sorry for the emotional word vomit but thank you so much for indulging me even if I did lose my original point somewhere up there, lol.    

[bao3bei4]

girlbosses, male wives, and other lesbian genders

a post about jing wei qing shang. but also mostly about another unrelated movie. spoiler-free.

for a lot of people, mulan 1998 is their definitive “ohhh i’m a chinese woman dressing as a man for contrived reasons and i get absolutely nooo erotic pleasure from this” movie. 

however, because i am very special and unique, for me it’s the love eterne 1963. it’s the shaw brothers adaptation of butterfly lovers, the classic chinese folktale. here’s how i’d summarize the movie: 

zhu yingtai, an aspiring scholar, convinces her parents to let her dress as a man to attend school. on the way there, she meets liang shanbo, another prospective student, and they become sworn brothers. they study together for three years, growing closer, until zhu yingtai returns home. liang shangbo accompanies her for the eighteen-li journey home while she hints she’s a woman, but he remains oblivious. by the time he learns her gender, her parents have engaged her to another man. he dies of grief, and while she mourns at his grave, it splits open, and she buries herself inside with him. two scraps of her torn outfit turn into butterflies and fly away.

it’s worth noting here that like. this movie is made in the huangmei opera style. so both zhu yingtai and liang shanbo are played by women (betty loh ti and ivy ling po respectively). because of this, basically every level of the film is preoccupied with gender: if we take zhu yingtai’s male performance as credible (as the characters in the movie do) the leads bond through male homoeroticism; the text is ultimately about a heterosexual romance; it is acted out by two women, in a performance that is difficult to mistake as heterosexual or even feminine; and the dialogue of the movie can’t help but remark on this.

basically it asks: what if lesbians could be gay both ways? wouldn’t that be based? 

like opera was traditionally made by single gender casts, so roles tended to be genderless, in that the gender of the actor doesn’t determine the gender of the role they play. roles are instead typed into four categories: dan (fem), sheng (masc), chou (clown), and jing (painted face). it’s a sick gender quadinary. each of these roles has further subtypes that are represented through stylized patterns of singing, makeup, costuming, movement etc.

so in butterfly lovers, betty loh ti plays a dan, and ivy ling po plays a sheng. but because of the textual cross-gender play, you end up with a woman playing a woman playing a man who falls in love with a woman playing a man.

i’m going to make a brief digression here into talking about like.. acting theory. in the european tradition, you see it evolving out of early concerns (from stanislavski, brecht) about the fourth wall, and its permeability or lack thereof. in chinese opera tradition, the fourth wall didn’t ever really exist. and mei lanfang, the legendary fanchuan performer, claimed that his success wasn’t just due to his appearance, but rather, his mastery of some nonliteral feminine subjectivity. 

If I kept my male feelings, even just a trace, it will betray my true self; then how can I compete for the audience’s affection for feminine beauty and guile?

i’m not going to argue that there’s like, an essence to being a woman because i’m not a fucking idiot. but there’s something to be said for the idea that the gendered interplay between the audience’s perception of the actor, the actor’s perception of themself, and the character they play is a massive part of the appeal of fanchuan performance.

this is echoed by david hwang’s m. butterfly, in which gallimard memorably says, “i’m a man who loved a woman created by a man. everything else—simply falls short.” btw sorry for having the type of brain disease where i constantly reference chinese crossdressing related media. you already know why i have it. 

anyway. parallel to that (but far less morally detestably), jin jiang argues “young male impersonators in yue opera embody women’s ideal men—elegant, graceful, capable, caring, gentle, and loyal.” so, trivially, 1) the eroticism embodied by fanchuan performers is distinctly different from their “straight” counterparts, and perhaps less trivially 2) it’s way better. 

back to the love eterne for a bit. one of the many reasons it’s lodged itself into my psyche is because there’s something more interesting at play than just all that. normally in opera, to compensate for any perceived residual femininity in the sheng, the dan camps it up even further. so this is how zhu yingtai first appears, this bratty femme pastiche of womanhood. yet within a couple minutes she’s dressed as a man, which she’ll stay as for the bulk of the movie. they do however make compromises with the makeup--more gently lifted eyebrows than the steep angles of the sheng opera beat, and an improbably masculine smoky eye. 

that’s right. they performed girlbossification on her. 

i don’t want to suggest that she’s straightforwardly feminine. i could write an entire other thing on her relationship to masculinity. instead i want to highlight the erotic interplay not just between the “girl” and the “boss” but also between her and her counterpart: the male wife. 

liang shanbo is ostensibly straightforwardly male, but his relationship with zhu yingtai isn’t gay in the ahaha what if i was into my bro way-- it’s a what if i was into my bro and i was his wife way.

that’s right. they performed force fem on a cis woman-man. like when zhu yingtai tells him he can’t watch over her as she recovers from an illness because “boys and girls can’t sleep together,” liang shanbo asks “are you implying that I’m a girl?”

there’s a lot of shit like this that builds up over the course of the movie. it all culminates in that final 18 mile journey. along the way, zhu yingtai compares them to a pair of mandarin ducks, one male & one female. liang shanbo sputters “i am a man inside out-- you shouldn’t--” before graciously conceding, “you may compare me to a woman.” 

this is like. a simple punchline. but it’s incredible. it’s true! liang shanbo isn’t a man inside out in that he’s a man and only a man, but rather that he’s a man seen inside first, built for desiring, by a woman & for a woman. as a perpetual object, he becomes a more believable woman than zhu yingtai. and at least in his view, it seems more likely that he could be a woman than her. but beyond that, his permissive tone reads as a kind of wanting in itself--recast, if she wants, “for you, i’ll be a woman.” 

obviously this is a classic lesbian mood. who among us has not seen “no gender only lesbian” posts. and speaking of classic lesbians, you might ask. did you just tiresomely reinvent butches and femmes but with a more annoying name? yes. no. okay. well. 

first, like butch/femme dynamics have both historical specificity and a classed character such that it’s not rlly that appropriate to impose them on the love eterne. and i guess more importantly, i wanna talk about stuff that isn’t real.

we fight all day about people who confuse performance with performativity, (i use we lightly here. for instance, i go outside every day so i don’t care about discourse) but what if we actually wanted to talk about the former for once? something specifically, whether we choose or are forced into it, that we pretend to be? 

anyway. what the hell does all that have to do with jing wei qing shang. i’m going to start by first making the argument that there’s no such thing as a naturally occurring girlboss. i think, honestly, she’s a product of capitalism (“boss” should be the tipoff here) but because both of these stories are set in ambiguously historical china, i’m going to say, instead that she’s a product of uhhh primitive accumulation.

semantics so that i can be canon compliant with marxism aside, if girlbosses are made not born, can you choose to be a girlboss? sheryl sandberg says yes. i don’t disagree, i guess, but i will say: stop glamorizing it! humans only become girlbosses when they’re greatly distressed. 

you become a girlboss when you have no other choice not to be one. when your wants are too great to be a woman, when the things you want are not things that women should want-- whether that’s something that really no one should want, like being a ceo, or whether that’s just something like loving a woman (or, as it is quite often, both) -- you have to become something else. 

another important part of being a girlboss is that other people are not. your excesses mean that not only do you lose something in the process, but your bosshood comes at the expense of others. the girlboss necessitates a girlworker, or so to speak. 

now we’re getting to jwqs. i’m assuming that you haven’t read jwqs, because most people haven’t. that was me until like four days ago. in broad strokes, the novel is about a woman, qiyan agula, who was raised as a prince, and her quest for revenge against the kingdom who slaughtered her people. of course, this involves marrying one of the princesses of that kingdom. it’s all very exciting (lesbian). 

what’s striking about jwqs is that both of them seem to fit the girlboss paradigm, in vaguely similar ways. qi yan (agula’s assumed name) seems to follow the lineage of zhu yingtai, who pretends to be a man to achieve her goals. she’s forced to give up much in the process, and also sacrifices a, uh, lot of innocent people. similarly, nangong jingnu, the princess, is inherently a girlboss because royalty sucks. but also, qi yan girlbossifies her over the course of their relationship. 

but i wouldn’t say jwqs is girlboss4girlboss. there’s something a little more complicated happening. qi yan isn’t zhu yingtai in that she’s a dan pretending to be a sheng. it seems more like that she was a sheng all along. it’s something that the women of the novel return to often: qi yan seems to be better than a man.

for instance, nangong sunu, jingnu’s older sister, reflects on this. 

Nangong Sunu had seen many foolishly loving women who sacrificed everything for the sake of their husbands, but there were rarely any men who would do the same for them. 

(...) 

Thinking it through, Nangong Sunu felt that Qi Yan was truly becoming more interesting. She intended to observe discreetly for a while, to verify if such a man truly existed in this world. (ch 221) 

and i forgot to write down the citation for this, but nangong jingnu also seems to argue that not only is qi yan prettier than a man, but she also seems to be prettier than a woman. (it’s the bit where she’s watching qi yan sleep. help me out here.)

moreover, the way qi yan relates to nangong jingnu is suggestive. jingnu brings out the elements of wanting to be a woman in her. it’s jingnu’s body that makes her wonder what she would look like if she was more feminine. it’s jingnu’s happiness that she resents, wishing that her people could have that as well. it’s her desire for jingnu that makes her a woman. 

(another important distinction i suppose--while one person can’t be both a butch and a femme, because the girlboss and the male wife are things we pretend to be until we embody them / them us -- there’s greater slippage between the two.)

anyway, the girlboss/male wife dynamic is reversed wrt who’s actually dressing as a different gender. that suggests an inversion in the implications we see from the love eterne, if we are to take the love eterne as the paradigmatic girlboss text. which i do, for no reason in particular. 

so then, is qi yan pretending to be a man? under the opera framework, we’re forced to say no. she’s not pretending to be a man any more so than liang shanbo (as acted by ivy ling po) was. but that, of course, feels incorrect, just looking at the text. is she, then, pretending to be a sheng? i’d strongly say no. the things that others see in her, they authentically see; and she does authentically feel the same things as liang shanbo wrt femininity.

so it has to be the opera framework that jwqs is subverting then. if qi yan kept some trace of her once-womanhood, if qi yan reveals her true self, and yet she still can compete for the audience’s affection-- jwqs’s inversion of the opera framework seems to argue instead that it’s that true self that allows you to compete. it’s being masc that lets you be a desirable woman; it’s being feminine that lets you be a desirable man.

there’s an increased gender ambivalence to jwqs, which make sense, i guess, seeing as it’s not meant to be a het story the way that the love eterne was. for instance, nangong jingnu crossdresses to go out in public, and qi yan remarks that jingnu’s disguise fooled her on their first meeting. when qi yan and jingnu go out in public, both disguised as men, they’re repeatedly perceived as a gay male couple. there’s freedom in that: they could be gay women only privately, they could be straight officially, but they could be anonymously gay publicly. 

so it’s through the gay male pretense that they can be gay women; it’s through the qi yan pretense that agula can love women; it’s the qi yan caring husband persona that coaxes jingnu in caring for qi yan in return-- jwqs, more precisely, argues that you can’t be a woman if you’re going to love them, and even less so if you’re going to be loved by one. 

this is perhaps well-trodden ground for anyone who has read wittig & certainly many people who haven’t. but it’s the layer of pretense that for me complicates these two narratives. 

i think it’s a relatable feeling: wanting something anticipating getting something, or wanting something for yourself anticipating knowing that you already had it. that is, desire in itself being constitutive of that reality. 

or less abstractly, knowing that you’d want to be a lesbian if you could, knowing that you’d want not to be a woman if you could-- anticipating any realization of either. 

the dramatic excesses & wants of the girlboss, i think, are a decent literary stand in for being a lesbian. 

i wanna note here that this is rlly just based on my experience being a transmisogyny exempt nonbinary diaspora lesbian lol. it’s fun & cathartic to overread this history & place myself in the accidental implications.

i don’t think most of the things i say are literally true. and i don’t want to overstep & say any of this can be generalized. please lmk if something here doesn’t read right! ok kisses bye

[wrenhyperfixates]

Loki Series Thoughts—The Variant

With the release of episode 2, I’m back with another analysis. Spoilers ahead!! This will be a combination of personal thoughts, theories, and objective analysis. This is overall, a positive review, so if you do not want to see that, I would not recommend continuing to read. I am however more than open to some friendly debate and discussion over any and all of the following points, whether you agree or disagree with them.

With all that being said, let’s dive in:

I feel gypped on the Holding out for a Hero fight scene. I mean, I liked how the scene was shot, especially with the whole loudspeaker thing (it set the mood very well), but where’s Loki fighting to that song?

Alright, I might as well address the elephant in the room: Is Loki OOC? Well, for my money, the answer is both yes and no. And I don’t mean to be wishy-washy; it really kind of depends on how you define OOC and/or who exactly you take this Loki to be.

What does OOC mean? To me, the literal definition of “out of character” would be the character acting in a way unlike they’ve been seen acting before. Likewise, according to Collins Dictionary it would be defined as “not typical of the apparent character of a person or thing.” Now, that’s a bit too black and white. What if you have a character in a new situation, how do you know how they’d react? By analyzing their past actions and seeing if they line up. And if you stop at this point and deem Loki entirely OOC, well you’re allowed to and that’s valid. I, however, would not say entirely is the word to use. Somewhat, yes, but not terribly and not inexcusably so. I’ll come back to this in a moment.

Who is this Loki? He’s the one right after the Avengers, of course, but he’s something different too. Think about it, the whole series is centered around how different choices can shape the very fabric of the universe. Wouldn’t it stand to reason that changes in Loki’s story would cause him to behave differently than what we’ve seen before? This is, in essence, a different Loki, albeit one who’s own narrative is shaped by a shared backstory with ours. It even says it on his jacket in big, bright letters: VARIANT. So while he shouldn’t be too dissimilar from the Loki we know, I do not think we can entirely look to the old to determine the new.

Now that we have that out of the way, we’re back to my somewhat noncommittal answer of the original question. Loki has some moments that seem OOC, but almost always has a (valid) reason for acting that way, both in and out of universe.

Loki’s OOC moments:

◦ The Renaissance Fair: And I by no means think this applies to his whole spiel. In fact, I think it was largely in character. What got me was “Which is absurd, because my people are, by nature, gullible fools. A trait that I, the God of Mischief, exploited time and time again simply by listening.” And then again, right after B-15 announces they are one unit away from red line. Though, my issue with the latter is how rushed it is. This could make sense because he’s worried about having time to finish his ploy. It’s a small thing to harp on for sure, though, for the point I am trying to make.

◦ In the hallway: This is where I think he’s most OOC. It feels rambley and pointless. More a desperate plea than a calculated last resort.

◦ With the librarian: I was hesitant to put this one in, but he seemed a bit unsure at points in his dialogue here. The inflection of his voice in the middle just sounded, like I said, unsure.

◦ The cafeteria (both times): More so in the first. The metaphor was, like Loki himself said, clumsy. But what I really think is OOC here is how excitable and obvious he is after Mobius concedes, “Not bad.” And the only thing on their second cafeteria chat is at the very end. His response of “I know” to being called clever, once again has an inflection to it that I would not typically associate with Loki—it’s too pronounced.

◦ Pompeii (beginning of scene only): Loki seems pretty flippant about the whole thing in the immediate moments after their arrival. (As an aside, I don’t think he’s necessarily unsympathetic here; he knows what happens and to keep himself safe and prove his point, he can’t branch the timeline.) To be quite honest, I think he might just be goading Mobius as he’s done to our God of Mischief many a time already.

◦ Before Roxxcart: He seems nervous, and his speech is a bit rushed again. Then again, this is something he wants—to be better. I’d think he’d be a bit more calm about it, though. Then again, with everything that’s happened recently, maybe it’s a natural response?

The reasons why he seems OOC:

◦ It’s on purpose: He knows what they think of him. If he plays into that, even in an exaggerated way, they’re not going to call bs on it.

◦ He’s been through a lot/Not our Loki: Like I mentioned earlier, not only is this a new environment, it’s a new Loki. He’s been shaped differently from our Loki because of how he was immediately thrust into the world of the TVA after many traumatic experiences.

◦ It’s an acting choice: No, it’s not one you have to agree with. But I believe Tom could be doing it to highlight moments where Loki is saying things he personally does not actually believe or that he knows others believe. Just to distinguish from the more calculated lying he does.

So, are there moments when Loki acts OOC? Yes. Is it inexplicable? No. Are the answers to those questions always the same from person to person? No, because like so many things, it’s all about how you frame it. And, of course, every person perceives each moment of time through their own eyes, with their own thoughts, in their own ways.

Loki has plenty of moments in character, too. In fact, I’d say he was overwhelmingly in character, for my understanding of it. In the earlier parts of the Renaissance Fair he is witty and lying with ease. At all other points that I didn’t mention, I found his vocabulary and inflection perfectly fine. I can’t think of any one moment his hand gestures particularly stuck out to me as out of place. And during his impromptu magic lesson, he seemed so sure of himself. He has snark without being rude. His interactions with “the variant” are on point. Even in the majority of the Pompeii scene, he’s not acting OOC, he’s just acting. He wanted to make an over-exaggerated splash to test his theory. Between that and speaking Latin, aren’t we seeing his cunning and wit?

Well, with that divisive and slightly negative topic out of the way, let’s move onto Mobius, his character, and his role in the show. He’s a bit different than the Mobius we see last time. Don’t get me wrong, there’s still moments where he seems to be manipulating Loki, or at least attempting to (the walk to the elevator; dangling a meeting with the Time Keepers in front of Loki’s face). In episode two, he’s presented as a victim. Mobius is just as much a slave to the “sacred timeline” as those living in it. He can’t go into the world and do the things he wants to do. Even any questions about time that Loki has, he answers seemingly by rote (perhaps drilled into his brain through propaganda?) or he can’t explain well (note, two times he somewhat hesitantly deems what Loki says as “an oversimplification”).

We’re also told that Mobius has a soft spot for broken things. That seems like a bold thing to say if Mobius hasn’t done something big before. Has he possibly ever used a variant like this before? Could he even possibly have a deeper connection to the rouge variant? Probably not on that second one, but it’s not wholly impossible. Though, going back to “has he done this before?” (and get ready for me to get absolutely insane now) do the rings on the table have deeper symbolic meaning pertaining to this? Yes, it could have just been for comedy, it may have just been a cool shot, but why put so much focus and emphasis on it like that with the camera and dialogue if it has no significance. Basically what I mean is, it’s symbolic of Mobius messing up. He messed up Renslayer’s table, maybe he botched a mission. Or maybe he even screwed up when working with another variant. Regardless of whether that’s symbolism, we do see him have a soft spot for the people at the hurricane shelter.

Mobius’s role in episode 1 was trying to break down Loki and recruit him. In this episode, he was more of a guide, more of a friend. Yes, there are lines like at Roxxcart when he says he knows he can’t be trusted, but there’s also a lot of camaraderie between the two. By the time Loki and Mobius are having their second chat in the cafeteria, they seem familiar with each other, engaging in what seems to be a friendly bout of verbal sparring. They seem, at very least, fond of each other, and I believe Mobius is, to some extent, on Loki’s side.

In fact, Mobius and Loki share something in common; they want something more than what the time keepers have preordained for them, even if Loki is more ready to admit that. Mobius is still, however, playing the part he’s been assigned, his “glorious purpose.” And, yes that includes some digs like that at Loki, whether Loki’s in the room or not, and whether they’re subtle or not. Is “I’ll delete him myself. He’s really arrogant.” really a dig though? I mean, it sounds like he could just be saying what Renslayer wants to hear. And when he talks about Loki wanting something more, wanting to change, I don’t think he’s actually talking about Loki. With the inflection and stage whisper, it almost sounds like he’s projecting. Remind you of anyone? Mobius will likely end up helping Loki, or may even turn into a tragic hero, his fatal flaw being his unwillingness to admit the TVA is not infallible.

The TVA workers. Isn’t odd how some of them have names and others don’t? Do they name themselves? More likely, I think whoever is in charge of a branch of the TVA gets a name, and all underlings get the less than human mix of letters and numbers with which to identify themselves. It also seems that the people with the most personality are the ones with names. B-15 has a personality, sure, but it’s more just in line with “I work for the TVA. This is what they want. I will do exactly that.” It’s almost lacking something that the named characters have lying beneath the surface of their character arc.

And then she gets enchanted, and if Wunmi Mosaku wasn’t already shining with the limited story for the character, oh boy she is now. When B-15 comes to, she is scared. It’s on her face and in that little shuddered breath. And when asked what happened, she seemed so unsure, timid. I’m definitely interested to see how that progresses!

Back to the workers in general, they didn’t seem as sad about their coworkers this episode as in the last. Even with C-20 it seemed to be a respect thing. I mean, they reset the timeline with their colleagues lying dead on the floor. I think in a lot of scenarios, dead soldiers would be given a proper burial.

Ravonna Renslayer and the time keepers. Renslayer is even more steadfastly devoted to the sacred timeline and the time keepers than anyone else. Why? Well, I think it’s because she is the time keepers. Any time they’re brought up, it’s quickly explained away with a simple “they’re busy.” That’s because they’re not real. But Renslayer sure seems chummy with them, huh? What other reason then its her timeline she has everyone protecting.

Then again, she may only be second in command, but not to the time keepers. (I mean, omniscient and omnipotent beings who are relatively aloof and unreachable? They’re perfectly set up to be revealed as not real. Plus the constant non-answers when it comes to them, I’ll be more surprised if they’re real than if they’re not.) But in the comics, her plot line is interwoven with that of Kang the Conqueror, a time traveler, among many other things. Even more likely than her being in charge, is him being in charge.

And now for the variant. It’s not Lady Loki, we all know that right? Ok, that comes off a bit harsh, but she is listed as Sylvie in the credits for languages other than English. This was also who Sophia Di Martino was previously listed as on IMDb. I won’t get into her story in the comics now, but I’d bet we’ll take elements of that in her story in the series. And if you’re still not convinced that’s who this is, why have her blonde? It just doesn’t make sense to change that about her. Plus, Sylvie takes on the name of Enchantress. What does Loki say her powers are? Enchantments. She doesn’t want to be called Loki either. She does say the main Loki variant is her, but if she’s framing him or taking on his persona for her crimes, why stop now? Her language is distinctly un-Loki like, too. She also boldly declares “This isn’t about you.” And finally, there’s the foreshadowing in Loki’s line, “I would never treat me like this.”

I only wonder what her motives are. Is she looking for revenge on the Loki from her timeline? Or perhaps she’s working fo him? Maybe he’s dead and she’s avenging him? Or he’s alive and she wants to grab his attention? Maybe she has motives all her own. And what of Mephisto? Does he actually play a part in this? I’m just spitballing, I need more information.

When Loki finds the file. No. Like. Give a detailed description of this please!!!!! He thinks he’s evil. That he causes all that death with malicious intent. Even if he doesn’t, there’s clear pain over the destruction of Asgard. And look at his eyes, the only thing we’re shown as he process the information fully for the first time. He’s hurt, confused. Disappointed and angry with himself. The bit we’re shown of his face before it zooms in on his eyes portrays this too. He looks so lost in that shot. And he looks to be tearing up a bit.

Maybe I’m just being dumb, but what does it mean 9,719 casualties? Didn’t they all escape? His face as the scene zooms back out is... defeated. Scared. Scarred. He’s barely holding it together. Then something else catches his eye, giving him an idea. And I’m sure more than anything he wants to be distracted from the storm in his mind. So yeah, he’ll happily throw himself into his work. The epiphany on his face as he’s still recovering and discovering new things is just so perfect too.

The confrontation at Roxxcart. This was really well done, I felt. Loki felt in character, and he was fighting smartly, using what he could. Because clearly the enchantment also lent Sylvie’s powers to the person. But Loki manages to hang in there and dig for information while keeping the battle going.

He gets mad, too. He starts yelling. And that makes sense. He wants answers, and for so long he’s been denied them; it’s a recurring theme in his life. He’s losing control of himself a bit here. And that’s a large part of the reason why he goes through the time door. Loki doesn’t want to lose control again. I don’t even know if it was exactly a betrayal of the TVA. I don’t think he’s on their side, but I think he just saw that he couldn’t lose the variant again. Because for what he says his plan is, he wouldn’t have followed the variant. However, he does because he wants answers.

What about that plan though? I’m working a bit in reverse with this scene I realize, but bear with me. That look on his face as he stands, it’s calculating. I think he’s lying about his plan. I think he’s trying to bring the variant in, not work with them.

Also, I’m so concerned for C-20. What’s real? I want to know!! But we’re already getting a feel for Sylvie’s powers. The people she enchants live, but they’ve seen something they’d rather not. What other reason is there for the similar way B-15 and C-20 act? And I know she mentions telling Sylvie the time keeper’s location, but really, it’s their location to her knowledge. It doesn’t necessarily mean they exist. Or maybe it’s just Kang.

And Mobius at the very end of this scene, the very end of the confrontation, the very end of the episode. The last thing is him calling after Loki. And he sounds genuine, almost. It didn’t sound like he was fearful for his own life, but rather more worried for Loki. Though, maybe I have that confused and it’s worried about Loki. Whatever the reason, it sounded like genuine fear in his voice to me.

Finally, some random thoughts that didn’t fit anywhere:

Gugu Mbatha-Raw is so talented. I mean, I got a lot of emotion from Renslayer. Confident and proper at the beginning, panicked and afraid at the end. Even in her talks with Mobius, there’s many subtleties to pick apart. I think it’s heavily implied through her words and actions that she’s evil.

The casual magic use was great. Hope there’s more.

Why do setting off reset charges in the main timeline have a different effect than setting them off in the branch timelines? Like shouldn’t it wipe it, not make branches?

Loved all the rapport happening in the episode. There was a lot of good dialogue.

Despite the manipulations going on, I like the relationship forming between Mobius and Loki. I think they make a nice little duo.

I love all the Loki variants we’re shown. Very, very interesting. Just give us Jötunn Loki for real, please.

Loki was very clever this episode, particularly with figuring out you could hide in an apocalypse and at Roxxcart.

Does Roxxcart have a link to Roxxon?

Their little motto thing is a bit creepy. “For all time. Always.” Sounds like it’s just part of their propaganda.

“You see, I know something children don’t. No one bad is ever truly bad. And no one good is ever truly good.” I love this line. Seriosuly, why not use this sound bite in the trailers? Loki himself is morally gray, and I love that we’re addressing this fact of life; the world is not all black and white, not all good and bad.

CASEY!!!

In the second cafeteria scene, there is a guard in full armor just standing there. I guess they’re monitoring the employees. How likely does whoever is in charge think it would be for an uprising of sorts to happen?

Between sleepy Loki, him putting that jacket on, his hair, that talking to himself and that annoyed little shh in the library, and just being the happy goof that he is deep down (Miss Minutes scene and salad metaphor) Loki was just so adorable this episode.

I think it’s important Mobius said sorry when talking about ragnarok. He knows Loki cares.

Mobius does kind of understand Loki when saying he has an “insecure need for validation.” He’s right, honestly, albeit harsh. But that’s all he wanted throughout the Thor movies too, not to be looked down upon. To be treated as equal. As worthy.

Of Mobius’s two options for why he’s sticking his neck out for Loki, I think they both hold some truth.

Interesting how TVA agents like to keep souvenirs from lives they can never live. Though maybe Renslayer keeps them for a different reason. Like from timelines that were particularly a threat to order—her order.

The score is still on point. Loving the theremin.

Wow an explanation pertaining to time travel I’ve found no holes in. It’s unstable and they have to enter in real time (furthest point on the branch) because of that. Ok, yeah. Checks out.

I’m so glad they kept the title card from last week. I like it so much better than the one from the trailers, and it fits the vibe of the show better.

Is it bad I want all these new branches to red line? I think it seems a little too early into the show for that to happen, but maybe a few of them will? Perhaps improbable but not impossible. But think of the chaos! What better playground for the God of Mischief than a universe thrown into disarray.

And now, my final thoughts. A very good episode with a mainly in character Loki. I like how we’re slowly learning more with what’s going on, while still keeping an element of mystery. Though, Marvel’s twists aren’t landing as well as I think they were hoping (assuming I’m right of course. I’ve seen plenty of other people who were thinking along the same lines though, so). It’s lacking a certain je ne sais quoi that Glorious Purpose had, but I still enjoyed it. Overall, 8/10. Let’s just hope my rating doesn’t go down point with every episode.

Like something I said? Totally disagree? Really want to talk more about one point? Whatever it is, I’d love to hear! Reblogs and comments are appreciated. My ask box is always open, and anon is always on. I look forward to hearing your thoughts! Thanks :)

Me, after not liking one, but two episodes:

[anonthenullifier]

Wanda and Vision are fighting on some Avengers mission and in the midst of a fight, Vision loses their connection after Wanda takes a nasty hit.

I do love some mission angst 😁 Hope you enjoy!

_____

From an outside perspective, the most parsimonious explanation for their synchronization would be hours upon hours of careful training, of learning maneuvers that combine their powers so that Wanda’s strengths support his weaknesses, and he in turn can bolster her. It is not an unfair conclusion, they have spent countless hours (2,327 to be exact) learning this dance, timing the steps that allow Wanda to distract and enrapture with her scarlet bursts long enough for Vision to phase into position and adjust to the best density for neutralization. Except it is not entirely accurate. What no one can perceive is the link between their minds, the flow of information and senses, every move of her body reverberating in his own muscles, every strategy instantly shared and dissected, every emotion linked, their thoughts an unseen ebb and flow.

“Vision,” Captain Rogers’ voice crackles into his mind half a second before it leaps into Wanda’s, her body tensing slightly at the intrusion, “need you up here with me now.”

“Understood.” He turns towards Wanda, not to inform her, the taut line of her mouth betrays her dislike of separating, but to assure her. “I will be back momentarily.”

The cock of her head to the side occurs in time with the flinging of her arm and a pulse of scarlet, another attack drone falling to the ground, its body split open and wires sparking. “I’ll be fine.”

Vision allows himself half a second to brush his fingers along her lower back, “I am aware,” and another half second to lay a gentle kiss to her forehead. “Be safe.”

Her you too is sent through their mental link as he lifts from the ground, rising ever higher until he reaches the approximate altitude of Captain Rogers, Wanda now a speck of red, powers thrown out like a vortex spinning round and round. Vision smiles at the sight, evening out his body to propel himself to the apex of the building where Captain Rogers waits.

“I know you can get here faster than that.”

It is not the first admonishment of his slightly delayed reaction time, “According to Protocol 65, Section 2a all Avengers are required to ensure their teammates are secure before leaving.”

Captain Rogers blinks twice, his equivalent of the eye roll he would get from Wanda or the smacking of lips Sam provides whenever Vision is being too impertinent, “Not sure our definitions of appropriate securing behaviors are the same.” Unlike the others, the man leaves the conversation there. “Need your help breaking the seal.”

A rough visual examination provides clarity to the statement. The hatch they’d strategically selected for entering the building is welded shut, small hash marks and craters informing him that Steve has already attempted to use his shield to break it. “Any parameters?”

“Schematics we got are from five years ago.”

Ignorance is Vision's least favorite starting point, the schematics streaming through his mind almost unusable given they are from before the supposed experimentation they are thwarting started. “I will do a sweep and then return.”

“Make it quick.”

The molecules of his body shift, density plummeting until he is merely a specter able to phase into the building. Even inside, he maintains his incorporealness lest there is some form of weight-triggered alarm. There is, or more accurately, there is a series of intricately threaded traps amalgamating into a tricky puzzle. Only you would be excited.

Whether the upward pull of his cheeks is from his own delight or Wanda’s, he cannot pinpoint the exact source. I would say intrigued more than excited.

He can feel the revolution of her eyes tugging at his own, taking comfort to have received the normative response since it means all is well. Stay focused, Vizh.

Yes, my love.

Heeding her own advice, the link drops to a tickle along his synapses, a ghost of her neural relay intermingling with his, an experience that used to be overwhelming but is now a source of calm. Slowly he begins phasing, twisting, and shorting out the wires.

“Vision, report.”

Even if Vision’s internal timekeeping was not precise, he would know it has been three minutes as that is the threshold of Captain Roger’s patience on a mission. “I am in the midst of disabling a sophisticated,” his heart begins to race, ramming back and forth as if trapped. “A um,” next comes a cloak of terror, the acidic taste of rising bile not his own, and though his muscles feel frenzied, his hands are calm minus a subtle tremor. “I believe Wanda might-“

Wanda’s slightly frantic voice shudders into the comms. “I need back-up.”

Instantly his body begins to respond, wires falling through his fingers until Steve’s voice shackles him in place, “Sam!”

“On it!”

As if nothing else is happening, as if his pulse is not racing nor his mind down in the battlefield, his stationary arms screaming to swipe without rhythm at the threat, Steve calmly states, “Vision, report.”

“I am,” he strives to keep his voice even, unaffected, knowing how their leader responds to any show of hesitancy, “disabling a sophisticated system of traps.”

“Keep at it.”

“Affirmative.”

He moves with urgency, three fourths of his mind honed in on the delicate puzzle beneath his fingers, while the other quarter remains with Wanda, trying to make sense of the chaos even she is overwhelmed by.

A force crashes into his chest, muscles screaming and lungs struggling to function. Vision straightens out, hand instantly running along the raised texture of his suit, but there is no injury, no threat before him. He reaches out to Wanda and is met with nothing.

His heart stops. Half a second, he reaches out. Nothing. Half a second, another reach. Silence.

He was born into this world alone, separate from humanity, so this is not a new feeling...except it has now been more than a year since he was ever truly alone in his mind. It is deafening.

An uncoordinated and risky pulse of energy sears away the last of the wires, the Mindstone buzzing as he builds up energy. “Captain, move to the side.”

“Um...roger that.”

Vision increases his auditory processor, waiting until he hears the subtle scrape of Steve’s boots to the side and then he unleashes the blast, the hatch door flying off into the distance. Mission etiquette, under Protocol 66, dictates he inform Steve of his flight trajectory, but Vision bypasses it under his own personal Protocol Wanda, bursting out from the building and flying in a straight line to where he left her, phasing and blasting away everything that gets in his way.

When he lands he spots Wanda immediately, slumped forward with her right arm splayed out in an unnatural curvature. There are approximately fifteen hybrid beasts between himself and Wanda, four actively engaged with Sam. Vision inhales, clenches his fists at the still absent mental link, and then he begins a waltz uniquely his own, body twisting and turning, hovering and diving, molecules solidifying and then dissipating as need be until there is nothing in his way.

“Wanda,” he falls onto his knees, hands easing underneath her torso to pry her off the ground before cradling her head to his chest. “Wanda…” An anatomical scan confirms she is breathing, her heart is thrumming, though both slower than they should. Other than potential cracked ribs and bruising, physically she will recover.

This is not comforting since the silence remains.

Vision runs his fingers through her hair, “Wanda.” There is no stirring, no sign of understanding or of her brain functioning to the level of cognitive awareness. Even when they are having a ridiculous spat over something, she still holds tight to his mind. He isn’t even sure he can think without her there to watch. Sam’s presence over his shoulder encourages his next thought to be internal, only for Wanda. I am afraid.

A non-synthetic neuron fires in his temporal lobe. He keeps going, urging her mind to act. I need you with me. Another electrical impulse, this time tracking deep into the amygdala. I love you. The flash of recognition cascades along the neural pathways of her brain, alighting his own into a frenzy of hope. Wanda, please come back to me. Four seconds of silence and then he feels the comforting spread of her powers in every crevice of his mind. There you are.

Though her eyes remain closed, it does not stop them from rolling or make him miss the infinitesimal quirk of her lips. Little melodramatic, Vizh.

All of his worry bubbles up into a half sob-half laugh, arms closing tighter around her until she winces . “Sorry...sorry ,” he loosens his hold, “you may have some broken ribs.”

“Kinda figured.”

The static of the comms precedes a fed up, “Is anyone going to report what is going on down there?”

From behind him Sam clicks his own device, “Just an operation love bird winding down.”

A strained, defeated, “Roger that, Sam.” causes Wanda’s nose to scrunch up, her head shaking slowly from side to side. “You’re getting written up again.”

The only demerits to his otherwise pristine mission record exist solely due to moments like these. “More than likely.” Careful not to aggravate her injuries, he slopes forward, lips hovering just over hers. I regret nothing.

Good. The rush of endorphins as their lips meet is amplified by their mental link, allowing them to move without thought or debate, when his head tilts right, hers goes left, their minds together and love perfectly synchronized