#give them the complex stories and personalities they deserve

[beauty-and-passion]

Did you see Thomas Sanders' YouTube community post about his plans for videos, including Sanders Sides?

... well, it looks like something happened in the SaSi fandom. Jeez, I cannot leave for a couple months to celebrate the Gravity Falls renaissance, that Mr. Sanders decides to pull up some stunts while I wasn't looking :P

Maybe he hoped I wouldn't notice. That I was gone. Well, unfortunately for him, I am always around - and if I lose something, there are always nice people ready to give me a heads-up. So here I am again, ready to give my unrequested two cents about the latest updates.

A lot of things happened since dear anon wrote me this ask, so I will not talk about one single post (also because I have no idea what post the anon was referring to :P) but I will briefly talk about the latest info taken straight from the ts_criticism tag, which is always the most updated place regarding SaSi.

No, Mr. Sanders' updates do not count, considering they're non-existent.

_____________

Season 2 finale: to watch or not to watch?

There was a survey going on in the criticism tag regarding the season 2 finale and whether people would watch it on YouTube, another platform, or just ignore it.

Now we can tell ourselves all the stories we want, but at the end of the day, we know everyone will watch it - no matter if on Thomas' YouTube page or somewhere else.

And even though we already know it will never be worth the years of waiting, I am sure everyone will still give it a chance. The view count will be high.

But if that's true for part one, who knows what will happen for all other parts? What if part 1 is not worth the wait? Will people still be willing to give a try to the other parts? Will they be willing to wait who knows how long for them?

_____________

The hilariously bad Brei Grace situation

Is it so surprising, that Thomas lost another person working for him? It's basically a constant, considering people keep being laid off, disappearing or not getting paid enough. By now, you would think this man learned something from the past but hey, it looks like I overestimated his intelligence.

What I find incredibly funny about this situation is not that Brei herself had to tell the truth to the public because Thomas, as always, refuses to be honest about anything. It's about this specific part of his post regarding Roleslaying with Roman:

Oh my god, this is so bad it's hilarious.

So Thomas laid his last writer off, but apparently he wasn't clever enough to find a proper replacement before doing it and he openly admitted in a post, to his fans (including his investors) that he has no writer to replace Brei and will have to keep following/begging her to get more of the script, because there's no one else who can develop the story in her place.

Do I really have to explain why everything about this is so stupid? Do I? Okay, then:

Thomas was apparently very quick at firing Brei, but not quick enough in finding another writer before doing it. That's not how any competent person works: when I left my last job, my boss asked me to stay for a couple more days, just enough to get a replacement. But hey, I suppose "finding a replacement" and "not leaving a vacant position" were too complex, too difficult thoughts for Mr. Sanders.

Mr. Sanders showed his investors he's so disorganized and impulsive, he fired someone with no backup plan and, as a result, had to put the series on hold. One of the series people are paying him to produce. If I were still paying him, I would stop immediately after this: if you're this unprofessional, you don't deserve money.

After laying Brei off, Thomas still wants to reach her for details regarding the story. The same story he fired her from. If he was so desperate for more of her work, he should've found a way to keep her around, not laid her off, then waste more time trying to find a way to get more of her.

If I were Brei, I would ignore Thomas forever and refuse to write even one more word regarding Roleslaying. But I'm a cold, heartless person, so I don't count. Still hope Brei will have some self-respect and refuse to share her work for free just because he's begging.

Or, at least, I hope she will ask for pre-payments first.

Thomas thought it was a great idea to show how unprofessional and disorganized he is via Twitter post. And refused to say the whole truth too. And no one was in the room to tell him: "Hey, what if you get a replacement first, so at least you won't have to admit you are dropping a series because you have no writer left?".

That's so stupid it doesn't even make me mad. It simply goes all the way around and becomes pure genius.

It also (involuntarily?) reconfirms a thought I had long ago, when Joan left. When I watched the goodbye video, I expected Thomas and/or Joan to tell us: "Hey, Joan is leaving, but here is the person who will replace them!".

But nope, no introduction of a new writer, no update post. Literally nothing. Joan left and no one came in. Only vague mentions of other people and names, but mostly Thomas confirming he was the main SaSi writer.

Thomas. Who is not a writer - let alone a competent one.

That's so stupid it's hilarious.

So, since now Thomas got rid of his last writer, what will he do? Learn how to become one? Considering his lack of progress in general, I suppose not.

So what? Will he hire another one of his friends? Will he think he can do anything and write RwR himself? Or will he keep trying on SaSi, a series that is so difficult to handle and with so many stakes, that even a competent writer would have problems with?

The incompetence has just reached a new level and I can't wait to see how deeper we can go.

_____________

The spoilers for the next SaSi episode

Thanks to @t-slanders, who appeared out of nowhere and decided to feed us something more than the absolute nothing Thomas gave us for years, we know what the next SaSi episode will be about.

And look, it's a plot in which:

The main topic of discussion is Thomas and Nico's relationship

Roman is ready to push things further

Janus and Virgil are not

Virgil is hiding he's on Janus' side

Wow. Wow. That's what Thomas came up with, this is what he's working on for 4+ years and hasn't finished writing yet.

Now, I'm not saying he should've created another plot: that's the only possible plot he could've developed. The only one that made sense, considering how WTIT ended and what was hinted during the 5 year anniversary special.

Why am I so sure of that? Because those are the exact same plot points for the season 2 finale - part 1 I came up with: in my version, Thomas was questioning if he was ready to have a relationship with Nico, Roman wanted to push things further, Janus wanted Thomas to be more cautious, Virgil was siding with Janus but refused to admit it.

Sure, some elements are different of course, but the plot points are the same. The biggest difference is that it took me a few months to develop them into a plot, not 4+ years.

And since those are the plot points, I already know how they will develop too. And not because I'm a genius but, again, they can only go in one direction: Thomas will eventually agree with Janus, it will become obvious Virgil is siding with him, Roman will feel betrayed and his arc will start in the next parts. It's already all written here, it can only go this way. The time travel idea is an "embellishment", but the plot can only go one way.

However, that doesn't mean the season finale will be automatically bad. A lot of stories I can predict end up being great anyway. So no, I won't judge it for its predictability. I will judge it for the production time and the characters' personalities.

And speaking of personalities...

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The tweet video

I watched it at 2x speed, because didn't want to waste too much time on it.

It was... okay. Just okay. The characters' personalities are just okay. Everything is just okay.

Sigh. I'm tired of everything being "just okay".

And no, I cannot shake the feeling that Thomas pulled out this video in 0.2 seconds, only because he had a sponsorship to do.

One last thing I want to tell now, so consider it a warning: if the next episode and/or eventual season finale part 1 are "just okay", I will consider it negatively. From a canonical episode, I expect more than to feel "meh" while watching it.

_____________

And now?

We do the same thing we do every night, my dears: we wait forever for Mr. Sanders to finally decide to update us, to work on SaSi, or to do some stupid shit worthy of a discussion.

Of course, that doesn't mean we should burn him at the stake or cancel SaSi: we are all adults here, so we will simply highlight the shit Thomas does, because if you do stupid shit, you deserve to be criticized. That's not a personal attack, that's just being objective. I hope, one day, he will learn that too.

And maybe, who knows? He will also learn from his mistakes, hire someone competent, pay them properly and not lay them off without finding a replacement first.

Or, maybe, he will just find the perfect excuse to drop SaSi/put the finale on hold forever, so he will be finally free from the burden he clearly feels. When that day comes, I wish him to find a series he will be truly passionate enough, to keep it on until the end.

And sure, of course I will be around when the supposed next episode will supposedly come out: one part of me hopes it will be good, while the other part loves shooting a fish in a barrel. So... well, at least I will be satisfied either way ;P

[llilychen]

it’s really sad that i always looked forward to rhaenyra and/or alicent scenes last season but i now feel the urge to fast forward every time one of them comes on screen

- every alicent scene is her looking sad or crying or her with cole but nothing she does adds anything of value to the plot

- we get the same black council scene in which the men are undermining rhaenyra twice per episode and still nothing is done (i do believe she will make some progress in the next episodes but it’s just so boring to watch her have the same scene over and over again)

cersei and dany i miss you both so much

[dalekofchaos]

Doctor Doom gets ruined AND WHITEWASHED AGAIN!

4 attempts to get Doctor Doom right

4

And we STILL can’t get this right

A master of magic and science. A man who rivals Doctor Strange and Reed Richards as the most powerful sorcerer and the smartest man alive. He rules an entire country with an army of Doombots. Considered to be one of the greatest Marvel villains. And they still can't get him right. They have to make him a fucking Tony Stark variant. Tony Stark is not Victor Von Doom and Doom is above Tony Stark.

Victor wearing the mask always is integral to his appeal and aura like Vader's mask. It not only hides his vain scars he caused due to his failures, but it closes him off from humanity and makes him believe he’s beyond it.

As far as I'm concerned Marvel Ultimate Alliance and EMH are the only good adaptations of Doom

Doctor Doom being a romani man with a background CENTERING his family's racial persecution. with his ethnicity at the forefront of his motivations and his tragedy. and they really just brought back Robert Downey Jr.

Being romani is INTEGRAL to doom’s character and without that he’s not doom. he NEEDS to be romani and played by a romani character. full stop, don't believe me? Read Book Of Dooms.

Since 1964 Victor von Doom has been established as a Romani character. His childhood was filled with antiziganism and his parents deaths were caused by it. This later led him to become Doctor Doom and overthrow the Latverian government to protect his people

I am so fucking sick and tired of this whitewashing bullshit and the ethnoerasure of Marvel characters.

The Maximoff Twins, The Ancient One, Moon Knight and now fucking Doom.

God fucking forbid an actual Romani actor PLAYS A ROMANI CHARACTER.

But no they pulled another fucking multiverse shit all so RDJ could return and it all feels like blackface from Tropic Thunder

I DON'T GIVE A FUCKING SHIT ABOUT ANTHONY STARK FROM EARTH-11029 OR INFAMOUS IRON MAN

If you wanted evil Iron Man so fucking bad, why didn't you just do Superior Iron Man?

The LAZIEST, DUMBEST, most CONTRIVED BULLSHIT casting ever, Marvel continues to not beat the whitewashing allegations. Doctor Doom deserved better.

Romani actor Charlie Clapman was right fucking there AND HE ENDORSED IT!

I'd even suggest Romani actor Óscar Jaenada as Doom. Again another Roma actor who's actively interested in playing Doom

And you know what? As bad as the 1994 movie was, Joseph Culp the first actor to play Doom in the Fantastic Four (1994) movie by Oley Sassone & Richard Corman. Culp was also white but he very clearly cared for the comics background of Victor von Doom

and you also know damn well they're going to erase everything about Magneto too that makes him who he is… which is his entire fucking background. how horrible of a person do you have to be to repeatedly disrespect the minorities who created these stories?

Doctor Doom is Roma Romani. He is not white. The MCU loves to whitewash its Roma and Jewish characters and it’s time we called them out for it. Dr Doom is not a white man, he is Roma!

They will never nail down the complexity of Victor Von Doom

Every year Doom goes to hell to fight Mephisto to rescue the soul of his mother. He finally won her soul with the help of Doctor Strange only for her to reject him.

No evil Stark replicant will ever fucking match the complexity of Victor Von Doom.

I don't care if this is a one time thing for RDJ. They specifically chose to do this when the fans were begging for a fucking Romani actor. It also doesn't fucking help that Marvel has erased nearly EVERY fucking ethnic character has been whitewashed.

Scarlet Witch & Quicksilver: Erased Romani heritage and whitewashed. Moon Knight & Wiccan: Casted non-Jewish actors. Sabra: Featured in anything at all, and actress is an IDF soldier to make matters worse.

The MCU is full of ethnic erasure, military propaganda & racism. it’s disgusting this is continuing with Dr Doom’s casting. remember to continue to boycott marvel, because of the genocide they support by casting an iof solider to play a character from the zionist terrorist occupation

Dr Doom is one of those villains that it should be IMPOSSIBLE to fuck up but wasting him on a cheap Iron Man nostalgia casting pop might be the way

[valtsv]

i love revenge tragedies so so much because they have so much potential to explore such a nuanced and complex topic and give it the consideration and care it deserves. revenge and revenger characters are such powerful narrative tools, both of catharsis and self reflection. a good revenge tragedy will not tell you that "revenge is bad, seeking revenge makes you just as bad as the people you're seeking vengeance against, and nonviolence and forgiveness are the only paths to building a better world". a good revenge tragedy will present you with a really difficult and complicated situation, even something absolutely unforgivable, and ask you to consider questions like "will this really help anyone?" "am i doing the right thing, or am i just doing what feels good?" "how far can you go before your quest for self-empowerment and personal satisfaction becomes perpetrating the same violence that you claim to be fighting against?" "what else could i do to help build a better future for myself and others, to ensure that the cycle of violence doesn't continue after justice is served?" "what went wrong here? how did something that seemed so right go so wrong?" and "what would i do in this situation?"

sayings like "those who live by the sword will die by the sword" and "those who fight monsters should take care they don't become monsters themselves" often get oversimplified, misinterpreted, and used to criticize people from feeling justifiably angry at their mistreatment and oppression, and discourage them from seeking the restitution they're owed. but when used correctly, a good revenge tragedy will employ these ideas as tools of teaching and learning, of questioning and discussion, of analysis and communication, and as a reminder to think critically and to think for yourself, not as a moral lesson. and those stories are so incredibly and important and valuable to me, and i believe that they have a very necessary place in the world.

[dippedinmelancholy]

I have such weird, complex feelings about Elain. I feel like they might get me some hate but, I need to spit them out, the brain worms are trying to devour me. My thoughts on her are sort of two fold. What I get from canon!elain and what you get from the fandom. Canon Elain is soft and feminine, but so deeply selfish it actually drives me insane. ACOSF makes it clear she's always seen Nesta. Always perceptive enough to pick up on what is happening around her. She buys Feyre paint, she sees Nesta being abused by her mother, and she sees the hatred the IC holds for Nesta. Yet for all her perception, she never bothers to help even in the smallest manner. She is deeply catered to by her sisters. She even points this out when Feyre and the IC shows up to use their house when she's still human. She says she didn't do anything, she takes part of the blame for the first time in her life. Yet, nothing more comes of it. When she is suddenly fae, and could possibly help or have expectations placed on her, she turns catatonic. This only serves to infantilize Elain as little more than a child all over again. In ACOSF, she pushes and pushes Nesta until Nesta snaps. After what, a week? A couple weeks? Of being trapped in the HoW, after Elain didn't even have the spine to face her sister, only pack up her things and agree to imprisoning the one person who had ALWAYS had her side, who fought so violently for her, Elain runs crying that Nesta isn't any different. This doesn't make me hate Elain. It makes her complex. But it does make it hard for me to connect with her, as she seems to hide behind her softness, and it makes her seem so much more manipulative than Nesta ever was. But fandom Elain . . . ugh. I think in general, a lot of women reading ACOTAR are traditionally feminine. We're soft, we see ourselves as sweet, ect. And for some, it seems they SUPER project onto Elain and see her as an angel who deserves the "Shadow Daddy" who has never done any wrong, and see she finally sees how perfect Feyre is and has turned away from cruel Nesta. A huge argument I've seen is that Elain's the most powerful, her story is all about choice, and that's why she deserves Azriel. That she's never ever had a choice, and choosing Azriel will finally give that to her. I think there's so much potential in Elain, but are you fucking kidding me? Elain has had the MOST softness and choice out of all of the sisters. She was pampered even when they were at their poorest. Even their mother afforded Elain the chance to marry for happiness, where she abused both Feyre and Nesta. Nesta was groomed and physically abused, Feyre was neglected and forced to take on too much. After Feyre is taken by Tamlin, Elain INSTANTLY finds a love match that Nesta supports, Nesta fights only so Elain can be safe and happy. The Cauldren was GENTLE with her, it turned on the King because of how it felt about Elain. The Cauldron BRUTALIZED Nesta. It's just so exhausting to see this complex sister, who's just as bad as both Feyre and Nesta, rewritten into this self insert, flawless and soft creature who has nothing to answer for, only awaiting her Shadow Daddy smut. Especially since SJM does not know how to write traditionally soft women in a leading role. She has no idea how to portray strength without violence.

[prodigal-explorer]

how to write children's personalities

(this is part of my series, how to write children in fanfiction! feel free to check it out if you want more info like this!)

this is the main aspect of writing children that i see people mess up so often, especially in the fandoms i'm in (sanders sides and undertale). children are not adorable little noodles with no brains and no concept besides being cute and silly and crying. children are beings that are just as complex as adults, and they deserve personalities to match. this will make them way more interesting to read about! let's get started!

since there are so many aspects to personality to talk about and i don't want to sit here typing for ten years, we're going to do this guide a little differently. i'm going to divide these issues into archetypes, write a short description, and then make a list of do's and don't's for each one!

archetype one: the cute little baby

okay. babies are cute. we all know this, and i'm not saying it's a bad thing to make your babies cute. a lot of people love reading about moments with adorable little babies. but here are some ways to step this kind of thing up, and some things to avoid if you want to improve upon writing this archetype.

do's:

give the child character another archetype besides this one. though "cute" is the foundation for a lot of child characters, it's not a personality. and if a character is vital to your story, then it needs a personality. that's just a rule. you will read more about other archetypes further along in this post!

make the moments symbolic. though it doesn't seem like it from an outsider's perspective, basically everything a baby does is for a reason, and every action a baby makes can say something about their personality. if you want this baby's personality to be energetic and curious, have them crawl around and explore things, and laugh a lot, and babble. if you want this baby to be more sullen and shy, have them cry quietly instead of wailing, or have them squirm when being held by new people.

make the actions of the baby's guardians affect the mannerisms of the baby. babies act differently depending on how the people taking care of them act and react. for instance, if the baby's guardians are very busy people, then maybe have the baby cry very loudly whenever they want something, since they know that it's the only way to get the attention of their guardians. stuff like that can add depth to a character and to a general story.

don't's:

decide that the baby is cute and call it a day. sweet little babies are cool and all, but they get very boring to read about after a while. this can barely even be considered an archetype because of how bland it is when it's by itself.

keep this archetype around for too long. as babies turn into toddlers and then children, they don't act even remotely the same way. it's strange and off-putting to read about a seven year old acting like a two-year old, unless it's a very clear character choice that is a result of explicit actions and events.

make the baby know that it's cute. realistically, children don't understand the concept of cuteness until they're around toddler age. if then, you want to make the kid be like "i get what i want when i'm cute, so i'll act cute!", then sure, that's hilarious. but when they're two months old, they're not batting their eyelashes because that's their personality. they're batting their eyelashes because they got something in their eye. the main thing that makes a baby cute is that they don't know they're cute. they're just figuring out how to do ordinary things.

make everything a cute moment. while babies are awesome, raising them isn't always sunshine and rainbows. make the baby do something wildly chaotic, because babies do wildly chaotic things all the time. not only does this make things more realistic, but it makes things very interesting!

archetype two: the shy kid

as a former shy kid, i know good and well that these types of children exist, and they are very real and valid. however, there are certain ways i've seen them written that are just terrible because once again, this archetype cannot be considered a full personality on its own. let's get into the do's and don't's.

do's:

make their shyness a deliberate choice. kids aren't usually naturally shy. kids are usually more curious than cautious. is there a reason why the kid is shy? there doesn't have to be a reason why the kid is shy, but there could be a reason why the child is NOT outgoing/curious. try and give something like this some deliberate cause, instead of just making them shy so they can seem more precious and infantilized.

make their shyness manifest in diverse ways. not all shy kids cling to their guardian's leg and sit alone during recess. there are different ways to be shy. you can be aggressively shy, or fearfully shy, or shy due to general unwillingness to change.

make their shyness have realistic consequences. someone who's shy is probably not going to have many friends, if any. not all shy kids magically meet an extrovert who adopts them. someone who's shy probably has underdeveloped social skills, which can lead to them being less emotionally intelligent down the line. this makes the shy kid archetype a lot more three-dimensional than just a wet noodle of fear.

don't's:

infantilize shyness or treat it like it makes the kid some sweet, precious angel. not only is this very uncomfortable for shy people to read, but it's generally unrealistic. shyness doesn't affect how good or bad somebody is - it's a neutral trait.

use shyness as a tool to make characters seem younger. shyness does not indicate age. fear manifests in many different ways, and shyness is not the only way.

rely on cliches. not all shy people have the same journey, and the idea that a shy person becoming more outgoing is the "goal" is not only a bit offensive, but it's very cliche. shyness is not always an obstacle to be overcome.

archetype three: the happy-go-lucky kid

oftentimes, the reason why children characters are written into stories in the first place is to give a little bit of lightheartedness and innocence. to add a unique voice among all the cranky, stingy, burdened adults. but you have to be careful when writing this archetype. i personally really dislike this archetype as a whole, but i'm going to put personal feelings towards it aside because honestly, there's no valid reason to dislike it besides opinion.

do's:

give the kid a trademark. maybe this kid makes a lot of little jokes, or maybe they always see the best in a situation. give the kid one thing that makes them happy-go-lucky instead of just giving them everything because nobody is endlessly happy all the time in every way.

go deeper. while happiness is very often genuine, sometimes, it's a mask that hides something else. this can be an interesting way to sort of spice up your happy-go-lucky kid character. maybe the kid is hiding a big secret behind all those jokes.

don't's:

make the character always happy. while children tend to have simpler thoughts, they don't have simpler minds. this child needs to have thoughts, real, genuine thoughts that aren't just happy things.

see happy-go-lucky as a trait that is exclusive to children. comparing happiness to childhood and viewing them as the only places where the other can exist is just wrong, and it's kind of depressing. maybe give happy-go-lucky kid a happy-go-lucky adult to exchange jokes with!

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those are the archetypes that i see a lot. but now, i'm going to suggest a few child character archetypes that i LOVE that i don't see enough in fics! feel free to use any of these that you like. alter them, combine them! these are, in my opinion, some of the most fun child character personalities!

the spoiled brat: "i want this, and that, and that, and- why aren't you giving it to me?? if you don't give me what i want, i'll tell on you!". spoiled brats are so fun to read and write about, especially when they have absolutely no reason to be spoiled given the current situation (think riches to rags). they've got everything, humor, angst, and best of all, lots of pockets for personality. think about why the child is spoiled. were they enabled by their guardians? did they grow up rich, with access to everything they wanted? think about whether you want the child to stay spoiled. does something change? do they learn how to improve their materialistic and selfish tendencies? there are so many opportunities to play with the personality of this child!

the know-it-all kid: while i do see a lot of know-it-all kids in media, oftentimes, they don't actually have personality besides bossiness and intelligence. i love know-it-all kids who have depth to them. kids who are constantly spouting information because of their sheer love to learn. kids who have one specific thing that they know everything about, so they never stop talking about it. kids who tell people what to do and act like they know best because they don't have a lot of control over anything at home, so they grasp at whatever control they can find elsewhere. i think this archetype could open up a lot of ideas for personality further down the line. it also has a lot of variety with humor and angst, and general depth.

the serious child: this is an archetype that i cannot get enough of. i love a child that doesn't think they're an adult, per se, and still enjoys kid things, but just has such a calm and regal air about them that isn't learned. it's just natural. think of the kid that doesn't really get excited about things conventionally, but you can tell they're happy by their faint smile. the kid that seems to live in slow motion, and doesn't mind this fact at all. the kid that sits alone at recess just because other kids scare the birds away, and they want to see how a bird acts when it doesn't think its being watched. i love kids who have poignant thoughts, because their thoughts are so creative and different from adult thoughts.

the adult-ified child: now this is another archetype i can't get enough of, but it's for a different reason. this child, on the other hand, does think that they're an adult for one reason or another. maybe their guardians forced them to grow up too quickly. maybe they just wanted to grow up quickly by themselves. but this child has thoughts that are too big for their little bodies. they explore things that aren't meant to be explored when their brains are still so small. they do everything too quickly, they stumble through life as if a clock is ticking somewhere. to me, they're just haunting to read about. it feels wrong and dangerous to just watch them do things that hurt them because they don't know any better, but they're on a page. nobody can stop them. it's just so tragic, i'm obsessed.

the prodigal child: this archetype isn't really as deep or detailed as the others, but i do appreciate it. this archetype is for a child who knew who they wanted to be from an early age. a child who wanders into a ballet class and finds out they're better than the ten year olds by the time they're five. this archetype often pairs really well with the know-it-all kid or the adult-ified child because usually, children don't experience what it's like to be the best at something until they're a lot older. this is just a really cool archetype when you aren't quite sure what to do with that main character's little sister.

the chaotic child: this archetype is so much fun to read and write, to be honest. this is a child that just does as they please, whether it's out of curiosity or for pure enjoyment. think of the crazy stories that your guardians have about you or your siblings being absolutely insane. scribbling in a book and then demanding that the library publish their version. trying to ride the dog like a horse. cutting up clothes in an attempt to be a fashion designer. this one is just plain fun!

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now, there are so many more archetypes out there, but those are just my spotlights and recommendations! i hope after reading this, you feel more equipt to write child characters that have real, engaging, interesting personalities!

[lakesbian]

i have had like 10 friends rec worm to me but nobody’s given me a good like, gist of its vibe and what its abt because ‘its best blind’, could u please give a like brief summary and vibe check of it 😭 it’s so long i dont wanna try and invest that much time without knowing much abt it

so, worm is a 1.7 million word long webserial written in 2010. 1.7 million words seems like a lot, but it was also written over a relatively short period of time, which means the writing style is very easy to parse--the ideas aren't without complexity, but the language itself isn't intimidatingly dense. you can get through it at a very decent pace. i agree with your friends that there are vast portions of worm that hit best when you're unspoiled, but the thing is that worm is long enough that giving you the basic plot pitch is in no way spoilers for any of the things that i wouldn't want to see spoiled for someone. i'm actually kind of baffled they're not telling you Any Thing, because it is in my estimation one of the best books i've ever read, but it also Needs a briefing before you get into it for like five different reasons. which i will now provide. i swear to god this is brief by my standards it's just that i am very thorough

worm is a story about superheroes and supervillains, set in a world where superpowers are traumagenic--rather than appearing randomly or innately, some people gain powers after a traumatizing event happens to them. the protagonist is taylor hebert, a 15yo girl who has the power to control insects and desperately wants to be a superhero. and then accidentally finds herself scouted by a team of teenage villains instead. who's to say how she's going to react to all that!

one of the most compelling things about worm is that the superpowers in it serve as visceral, hyper-literal metaphors for the trauma and traumatized coping mechanisms of the characters with those powers. each power is incredibly specific and thematically relevant to the person who has it, and it's incredibly interesting and evocative. it feels so natural and well-done that it comes off like how superpowers are just meant to be written.

the fact that superpowers stem from trauma also means that worm is fundamentally a narrative about trauma. specifically, about traumatized teenagers and the relationships they form as they cling together while struggling through growing up traumatized & mutually coping with an increasingly intriguing, intense, and far-reaching escalating plot. worm's depictions of trauma + mental illness--including unpalatable trauma responses, including traumatized characters who are allowed to be complicated and nuanced and messy while still receiving narrative respect--are deeply real-feeling and impactful, and they're placed in the context of a well-spun + engaging story.

i really do have to stress how excellent the character writing is. worm is fully deserving of being as long as it is. over the course of 1.7 million words of character development, the average reader's reaction to the main characters goes from "sorta interesting" to "okay, i want to see where this goes" to "augh...really likable" to "i am now on hands and knees crying and these characters are going to stick around in my brain forever." wildbow has incredible talent for efficiently conveying complicated, real-feeling, and viscerally evocative characterization. many of the interlude chapters (chapters written from the perspective of different characters other than taylor) are so interesting, fleshed-out, and emotionally affecting that they make you wish you could read an entire novel about just the side character being featured. with that level of characterization for just the side cast, it's not surprising that taylor (& co) are genuinely just downright iconic. and i do not say that lightly--taylor is truly one of the best-written protagonists i've seen in anything. ever.

the other main pitch-point for worm is that it's a fascinating deconstruction/reconstruction/examination of the conceits of the superhero genre. it answers the question of--what would the world have to be like, for people with superpowers to act the way they do in classic cape media? and it does this well enough that it's interesting even if you have only a passing familiarity with cape media. i am not a big superhero media fan, but worm addresses virtually every aspect of cape media that was under the sun around 2010 in a way that's so interesting i still find it incredibly engaging. the approach it takes makes the narrative very accessible even to people who aren't usually cape media fans.

and speaking of the narrative: the end of the story is coherent and satisfying and deeply thematically resonant*. the way worm follows through on all of its main mysteries & plot threads is excellent. you don't have to worry about getting thru 1.7 million words and being dissatisfied by the author shitting the bed at the end, or anything like that. he does an amazing job of weaving together plot events in a way that makes each successive one feel rationally, thematically, and emotionally connected to what came before. there's really only one part where i feel the story stumbles a bit, but i think it was the best option he had for the narrative, and it's by no means a dealbreaker. it's in fact really impressive how cohesive and satisfying worm is for such a long webserial released over such a brief period of time.

*this is subjective ive seen some people who didnt love it but ive never seen anyone who downright Hated it who didnt also demonstrate egregious misunderstanding of literally everything worm is about. so thats a good sign

as for the downsides of worm/things that might put you off:

there is a very long list of trigger warnings for it. if you have any trigger warnings you want you should ask your friends to let you know about the relevant parts, because the fact that it's About Trauma (& about typical cape media circumstances presented very seriously) means that traumatic and violent things & their realistic aftermath are constantly happening and/or being discussed. i would not classify worm as needlessly dark or spiteful to the audience by any means, but it is intense and covers a lot of heavy topics. i do assume if your friends are all recommending it to you, they think none of the material would be too much for you, though!

worm was written in 2010 by a white cishet guy from canada. it's typical levels of 2010-era bigoted, it has a deeply lesbophobic stereotype character, it has some atrociously racist stereotype characters, the author really hates addicts, It's Got Blind Spots. i think worm is generally fully worth reading despite these, but very fair warning that it can get bad. i think what exacerbates this is that worm is generally extremely nuanced & sympathetic regarding ideas such as "crime is a result of systematic circumstance vs people just being inherently evil" and "mentally ill people who are traumatized in unpalatable ways are still deserving of fundamental respect as human beings" and so on and so forth, so it's extra noticeable and insufferable when you get to a topic the author has unexamined biases on and all that nuance drops out. the worst part is that a lot of this is most concentrated in the early arcs, so you have to get through them without being super attached to any of the characters yet. it is worth it though.

worm like. Does have a central straight relationship in it. and it's a very well written straight relationship for the most part and i like it quite a lot. but worm also passes the bechdel test with such flying colors that it enters 'unintentionally homoerotic' territory. which means a lot of people were shipping the main character ms taylor hebert with her female friends while the story was being released. which caused the author to get so mad he 1. posted a word of god to a forum loudly insisting that all of the girls are straight and 2. inserted a few deeply awkward and obvious and out of character scenes where he finds an excuse for the girls to more or less turn to the camera and go "i'm not gay, btw. this is platonic." This is fucking insufferable, and will piss you off immensely, but then you will get to any of the number of deeply emotionally affecting scenes between them, and at that point you will be too busy sniffling piteously and perhaps crytyping an analysis post on tumblr to be mad about all that other shit. also they're only a couple tiny portions out of an entire overall fantastic novel

overall: if those points don't sound like dealbreakers (i hope they aren't they're really massively outstripped by the amount of devastatingly good moments in worm, worm still has a thriving fandom over a decade later for a reason), you should absolutely give it a shot and see what you think. my final note is that you have to read up until the end of arc 8 to really see where what makes worm Worm kicks in, so aim for at least there to see how you feel about it if you're just thinking about dipping your toes in vs fully committing. i hope that was helpful and not too long :)

oh and don't go in the comments section on wordpress if you don't want spoilers. or anywhere else in the fandom at all. you will be spoiled. quite possibly for things you could not even have imagined were topics to be spoiled on.

[crooked-wasteland]

An SA Survivor's Reading of Stolitz

I don't believe that creators should be confined to telling one type of story. The beauty of fiction is to explore worlds, emotions and scenarios that are by definition unreal. It gives a safe space to interact with extremes that we would never necessarily wish to experience in our real lives with the ultimate safeword of no longer engaging with the material.

That being said, as creators, there is an ethical awareness that must be maintained in order to tell stories of things like trauma and abuse. Being alone in a cabin in the woods with a killer, that scenario is not a pervasive subculture in our society. Whereas cases of child abuse, sexual and domestic abuse are not only real, but common. And the complexities of psychological damage that perseveres long after the traumatic events are necessary aspects to telling these stories.

If you are not consciously aware and attentive to the lasting impact these events have, you run up against the horrific possibility of retraumatizing an individual unprepared for the callous invalidation of their experience.

No one should ever be shamed for engaging with media that depicts trauma they themselves may have experienced. For many, engaging in the fiction of it is a way of processing and validating their experience. Frankly saying, if you wish to write about trauma at all, you should be writing for that audience in specific. Otherwise you are simply exploiting the horrors that real people live through and struggle with every day for some cheap drama at the risk of triggering someone whose story you are inadvertently telling.

And much like most therapy speak, the term Triggered has become appropriated and misused to the point of losing all meaning in the lexicon. According to the University of North Carolina, "A trigger is a stimulus that elicits a reaction. In the context of mental illness, "trigger" is often used to mean something that brings on or worsens symptoms. This often happens to people with a history of trauma or who are recovering from mental illness, self-harm, addiction, and/or eating disorders."

The university breaks down the types of triggers as well and gives examples as to what those subcategories mean. I highly recommend that even if you are not the sort to follow up on references, I do recommend going over the article. It offers coping suggestions as well for those who are at risk of becoming triggered and helps refocus the sense of control back to the individual.

With that said, this is where I came across the inspiration for this essay. I completely removed all information for this user because the last thing someone needs when expressing how the misappropriation of abuse triggers them is how it is their fault for being triggered. These are the original tweets this response was in reference to.

As such, I feel the empathetic need to write this essay as a sympathetic reading to this person and others who have experienced SA who find that Stolitz resonates in an undesirable and even harmful way. I think this person deserves to feel seen.

To make the argument that the relationship between Stolas and Blitz isn't fundamentally abusive requires an author-intent reading of the series. It necessitates massive leaps to fill in gaping plot holes that never clarify the story Medrano is intending to tell. This is plainly just a reading of the series as is with all the context that has been physically, actually, shown in the series and that alone.

Throughout the series, Blitz is depicted as emotionally volatile and unpredictable with low self-esteem and crippling loneliness. He is constantly hounding his employees through sexual harassment from a sense of envy over their loving relationship, and infantalizes his twenty-two year old adopted daughter through an abusive dynamic where she ranges from rude to outrightly cruel while he consistently sacrifices any personal boundaries and self-respect.

The relationship between Loona and Blitz in specific feels like a masochistic self-hatred on Blitz's part where he allows himself to be used and abused by a parasitic family member to feel wanted, showing a pure desperation to be desired by someone in any way. Loona is verbally and physically abusive to her adopted father, using terms of endearment like "Dad" as a tactic to control Blitz's behavior, rewarding him when he does something for her benefit and taking it away when she deems him embarrassing or unwanted.

Blitz's tie to Stolas in the main story comes when he is called in a vulnerable time. Hiding from Martha who is hunting him down, he explicitly tells Stolas that now is not a good time to call. Stolas, who has a visual of Blitz's situation, ignores all of it. He is unconcerned about the danger Blitz is in, instead viewing Blitz solely as a sexual object as he offers the trade of the book for sex.

Stolas is more keenly aware of Blitz's situation than even Blitz is aware of. He not only is told that the current moment is not a good time, and Blitz's tense tone portrays a sense of anxiety, but he can physically see Blitz. It exists entirely within reason that he chose this specific moment to call while he knew Blitz was in a difficult position, using the tension to leverage a quick response that would get Stolas his way without needing to intimidate Blitz himself. Using the threat of a third party to pressure compliance from Blitz.

Come Loo Loo Land, the interactions between Blitz and Stolas are simply outright hostile. Blitz actively does not want to have a sexual encounter with Stolas and is even so untrusting of the Goetia that he is repeatedly asserting the boundary that he is not at all interested in sex, which Stolas explicitly mocks by being openly sexually suggestive to him. Everything Stolas has to say to Blitz is steeped in objectified sexuality as Blitz asserts his person, dehumanizing him to the point that Blitz is first and foremost an object of gratification. Even to the point of neglecting and humiliating his daughter, Stolas uses the excuse of spending time with her as a means of leering on Blitz.

In this episode we see Blitz has a history of being overlooked and unappreciated. His act in Loo Loo Land went nowhere and we see the first hints of his failed performance career. Over the course of the series, this hint towards a crippling lack of self esteem masked by an extroverted exterior is reinforced.

In Harvest Moon, Blitz is genuinely flustered when given recognition by Striker. He is quick to devalue his relationship with Stolas because there genuinely isn't a relationship at this point.

After having gone missing for two episodes, Stolas returns, being slightly less sexual and slightly more affectionate. It is a sudden recharacterization, but it is only for this scene. The rest of the episode once again shows how Stolas values Blitz physically in a sexualized manner and claims Blitz through the use of a pet name he repeatedly requests not to be called. In the opening scene, Blitz vocalizes that he "doesn't mind" their arrangement for the book, which could be taken at face value in regards to the first season. He does have the option to reject the agreement at any time and return the book in the context of this episode. It's why, despite still being an abuse of power dynamics overall, the relationship itself doesn't tip over into abuse. Blitz has the same amount of autonomy as Stolas at this time, before the context of season two, he has just as much power to end the agreement.

With the addition of The Circus, this retroactively is a situation of placating one's abuser. Blitz assuring Stolas that he doesn't mind the sex would be a way of asserting Stolas' complete control over the relationship and that Blitz isn't necessarily threatening the status quo by his question.

They don't actually know anything about each other, they aren't friends and don't spend time together outside of their forced meetings. Blitz doesn't know anything about Stolas and questioning the need Stolas has for his book could very well be read as a means of interrogating the agreement as a whole and figuring out why this was the arrangement.

(The argument that Blitz had any opportunity to negotiate things comes from an audience bias. It is probably the dumbest thing I have ever seen put into writing. Blitz doesn't know that he has any leverage in the relationship at all. He doesn't actually know Stolas has any feelings for him. That's kind of the whole point of the hot and cold romance slant that Medrano is trying to replicate.)

This is because the book is not the reason the relationship exists.

Blitz does not instigate sexual conduct, Stolas does by leading Blitz into a private room and locking them both inside with the impression Blitz would have sex with him. Blitz has no choice in the location or the isolation. He was caught trying to illegally break into the home for the explicit purpose of stealing the book. He was caught and is effectively at Stolas' mercy in every sense of the word. Not only is he still alive due to Stolas' whimsy, but if he tries to escape now after being shown this grace he could risk having the guards hunt him down and the second time will most likely not be so kind.

He literally does not know Stolas. They met for a day as a playdate and Blitz spent the whole time manipulating Stolas into facilitating his own robbery. There is no trust between them, there isn't even a relationship. While the doe-eyed pink vignette animated around Blitz shows that Stolas has an attraction to him, Blitz is entirely in the dark about this. Stolas' behavior is merely unpredictable and precarious from his position and limited knowledge.

(Just a side note, the argument that because someone decides to do something must mean they are not afraid is just asinine. Generally speaking, most people who commit crimes are in a state of fight or flight, it is more akin to gambling your actual life. Its a rewards and risks assessment, not a case of being sociopathically unafraid.)

It isn't until Stolas dramatically announces his desire for sex that Blitz realizes he has something that can be used to distract the Prince while he steals the book. And that's the issue with the argument that Blitz is the one willingly escalating the situation: it's not sincere. Throughout the entire sequence, Blitz isn't once sincerely interested in Stolas. He leans into the pretense to gain control of the situation, of which, might I remind you, he has had zero control over up to this point. Not only is he not interested in Stolas, but this is a bid for control from the position of helplessness. This way he is not relying on Stolas' unpredictable behavior, he is reclaiming power in the dynamic by playing into Stolas' desire.

("But Stolas says nevermind and Blitz keeps going!!"

Yeah, because he needs to maintain control of the situation. This is what power dynamics actually look like; there is a two-way push and pull. The only way he has any power is through the lens of sexuality. He needs to keep Stolas interested in him to keep his position. But throughout the scene, he is explicitly depicted as being put off by Stolas. In fact the entire reason he ties Stolas up is because he was becoming too into the act. He is shown to not be sensually performing bondage, he is trying to remove a problem.

And side-side note, I know I said I wouldn't lean into Medrano's intention or explicit dictation on how she demands her show be interpreted, but she was the one who said that The Circus and Loo Loo Land are connected in the timeline and Blitz's hostility in Loo Loo Land reads far more like a man who feels used and taken advantage of. So even the argument that Blitz was an enthusiastic participant is disproven by Medrano's own metacommentary and character interactions.)

And ultimately, it all boils down to that last moment scene. Between willingly having sex with Stolas when he is tied up or the book, Blitz makes for the door to leave. He doesn’t willingly engage in sex with Stolas. Either you can read the scene as a form of pity sex, which in the context of Medrano’s timeline and Loo Loo Land, shows Blitz was not enamored with the encounter or you have to read this as being manipulatively pressured into it. There is no way to argue Blitz has any leverage in the situation and no grounds to argue that it was mutually enjoyed.

That doesn’t even start to cover the fact that all the way to Ozzie’s, Blitz is repulsed by Stolas. When calling, he openly shows that this is something he would rather not be doing. He doesn’t have feelings for Stolas and despite just using the man who is using him, just having to deal with Stolas is distressing for him.

This is not an equal or fair relationship dynamic. It is not a mutual relationship. This is a relationship of self-preservation and coercion. And the fact is, it could have worked with very small changes to The Circus. Having the dynamic be actually mutual would have been a great start, but just properly addressing the actual dynamic and having Stolas take ownership of what he's done, and validating the fact that coercion is sexual abuse. Because out of all the sweeping changes, retcons and inconsistencies, the one aspect that has persevered throughout the show is just how trapped Blitz feels.

In Truth Seekers, Blitz’s hallucination is contradictory in its attempt to be visceral, and that is not inherently a problem. Trying to be abstract, it is normal for people to experience contradictory emotions over something. It makes sense in that way, but it needs reinforcement in the expanded narrative to tell it's story. As such I am just going to give my reading on the sequence based on my narrative and state it as fact.

The clown costume shows that Blitz sees himself as a joke, feeding into his low self-worth that no matter what he does, he is always the clown being laughed at. The murky wasteland is a reflection of his life. Devoid of anything bright or good, it is populated by dead trees and the ground is a quicksand like sludge, showing how he devours the good and extinguishes it in his own life. He kills his own happiness. Moxxie exists as a critical voice Blitz hears, telling him how stupid and awful he is to everyone around him. Blitz rejects his own self-criticism, reaffirming his self destructive victim mentality that appears when faced with the consequences of his own actions.

It's when the characters of Fizzarolli, Verosika and Striker appear that Blitz gives his regrets, insecurities and resentments voice, poorly impersonating the voices of those who saw the real him. Striker mocking Blitz’s need for companionship, how he lies to himself constantly and presents himself as independent and assured when really he sees himself as needy and pathetic.

Fizzarolli adds to it, pointing out Blitz’s failures to make it on his own, however this portion of the series should probably be considered non-canon as the newest episodes established that Fizzarolli and Blitz have not had any contact with each other since the accident. The more important line Fizzarolli says “You're going to die alone”, have been written out of the show. There would have been no time or place for Fizz to have ever spoken this to Blitz.

Then there is Verosika, who brings up Blitz’s self destructive tendencies, showing Blitz’s own abusive behaviors towards characters like Moxxie. It also suggests an explanation to why Blitz tolerates Loona, because her constant rejection of him contradicts his reactionary need to push others away, as well as feeds his self-flagillation.

It is when he endeavors to flee the reflections of the worst parts of himself that he runs into Stolas. Perched atop a pristine staircase of gold, being fanned by two silhouettes of Blitz. This shows the power imbalance in every way. Blitz doesn't even walk up the stairs, but crawls. Himself just a faceless accessory to Stolas’ desires, but everything he has intrinsically tied to the power Stolas' exerts over him. This is shown explicitly by the chains around his hands and neck, Stolas' reeling him in as he bears a grimace of reluctance. It is the most explicit representation of being trapped between two bad decisions. Either he is just the joke, the failure, the asshole, the stupid piece of shit, or he is the pet, the object, the toy. Stolas mentioning Blitz being "afraid to love" is less a suggestion that Blitz has any feelings for Stolas, but instead his psyche convincing himself that the relationship is not so exploitive. That he is not being dehumanized and abused, but on some messed up level he is being wanted and desired, which is better than the wastes below.

Maybe one could say that Blitz is being elevated out of his situation for how the feathers removed the costume and sludge, essentially wiping him clean of his worst self, providing a sense of safety. But he only has this opportunity because of Stolas, and it isn't free as shown by the feathers also becoming the chains binding him. Because at the end of the day, Stolas isn't the prize at the end of the climb to self actualization, the stairs belonged to him in the first place. To escape the horror-filled wasteland below, Blitz has to play by the rules of the owner of the stairs.

And ultimately, that isn't a story that is off-limits.

The Stolas apologist argument is why the depiction of this dynamic is triggering and harmful, not the fact that it exists in the media. Just owning the scenario and having Stolas acknowledge that he has sexually abused Blitz would have gone a long way. Instead, Medrano and the fandom have insistently represented this victim-blaming interpretation where Blitz is responsible for his own abuse. And that will never be okay. This goes all the way back to my "Not All Victims are Survivors" post. Blitz is the victim in this and his bad behaviour and own abusive actions directly correspond to the fact that he is a victim with a victim mindset. He actively lives in the middle of his abuse and has formed maladaptive strategies through manipulation, harassment, verbal abuse, and self harm. These do not remove his victim status. There is no such thing as a "Perfect Victim". And he should not have to be any sort of way in order to have that experience validated. And the issue that is at the heart of this show is that the narrative and the fanbase require a victim to be framed as delicate and hapless to circumstance with a soft and gentle personality to be a victim. To come out of abuse aggressive and harsh with sharp edges is framed as being less valid. But this outcome is normal and it's a difficult battle to work on oneself to feel safe again. It's absolutely a story worth telling.

But you first have to be interested in telling a story.

[flower-boi16]

Adam Is A Pure Straw Character

I've talked about before how Charlie's mentality is never challenged and when it is the person opposing it is portrayed as in the wrong but I think the biggest example of this is Adam. Adam is a boring, one-dimensional antagonist with little personality or depth beyond "asshole who swears a lot".

Adam directly opposes Charlie's ideals and is clearly intended to be the exact opposite of her; an asshole who believes sinners can't be redeemed and deserve depth (Which is the only actually interesting thing about Adam as a character tbh). But the show never gives Adam much depth or nuance as a character beyond that BECAUSE he's meant to strawman who solely exists to be torn down by the story.

Charlie is completely 100% right that everyone can be redeemed and since Adam doesn't think so, he's automatically a one-dimensional asshole who has to proven wrong. Sure, Adam's mentality that sinners can't be redeemed is black and white, not to mention false, but Charlie's everyone can be redeemed mentality is equally as lacking in nuance. They are both extremes leaning into opposite directions, yet the extreme that our protagonist leans into is the one presented as correct.

Really, both extremes are incorrect, not everyone can be redeemed but saying that bad people will always be bad people is also wrong. Redemption is more complex than that and it would have been cool to see the show explore that, but as I've talked about before, Hazbin never explores its themes beyond very surface-level stuff.

Adam can't have a point about how sometimes, some sinners can't be redeemed because then Charlie's ideals would have actual flaws to them and the show can't have that, now would it? He needs to be a one-dimensional asshole with little depth so the show could tear him down and portray Charlie as the one in the right. Adam is fully in the wrong and Charlie is fully in the right, no more nuance than that.

(There's a really good post that talks more about this here, but you probably get my point by now)

[mxtxfanatic]

Just for the record, I actually don’t hate any mdzs character. Mxtx’s stories are so well-crafted that I love the roles that every character plays. I love the chills and digust that Jin Guangyao inspires in me. I loved the hatred that Xue Yang causes to flare up in me when I reread the Yi City arc. I love the amusement I get every time Jiang Cheng lives up to his failed-hero role, doubly so when I remember that he is also a failed-villain because Xue Yang is actually the better version of him lmao. I love dissecting Nie Mingjue’s hypocrisy in what it means when Wei Wuxian thinks of him as an “upholder of morality.” I love the pity that I feel for Lan Xichen such that I struggle to commit to how I view him just like how he struggles with how to view those he loves. And the complexity and diversity of each character’s life experiences and autonomous choices is the icing on the cake that makes fans’ (me included) obsessions over them wholly understandable.

What I hate is feeling coerced into liking a character how fandom wants me to like them, especially if the “evidence” supporting liking said character is just popular fanon that the fandom has taken as gospel truth. The more I feel pressured into ignoring a character’s canon personality to adopt a fanfic version of them whose only similarity is that they share a name, the harsher I want to be with my critique of them. Don’t give me morally righteous!Nie Mingjue who totally would’ve defended the Wen and I won’t give you hypocrite!Nie Mingjue who deserved to be cut into pieces, just not by the person who did it. Don’t give me best brother, best jiujiu!Jiang Cheng and I won’t give you pathetic manbaby!Jiang Cheng who deserved to have Wei Wuxian’s golden core removed from him the hard way for his ungratefulness and for his sister to come back to life to bitch slap him for how he treats her son. Don’t give me best bro wangxian shipper!Lan Xichen and I won’t give you morally weak!Lan Xichen who deserved every bit of the psychological torture Nie Huaisang put him through for his inability to truly stand by any of his brothers, biological or sworn.

Don’t give me some “everyone is secretly good with no flaws” bullshit and I won’t feel the need to balance it out by listing every single one of their sins and nailing it to the door like Martin Luther. I like these characters. Don’t turn me into a hater, cause if you think I’m mean now? Lol

[miraculouslbcnreactions]

“Also because I want [Nino] to be more narratively important but that is a rant for another day.” And will that day be someday soon? Wink wink nudge nudge :3c

I am happy to give Nino some love, but before we do, we need to talk about how badly canon has failed him. The reason we need to have that talk is that the love I'm going to give is far more headcanon-y than I usually go in these analysis posts. For most characters, I can give a strong canon-based argument for a core characterization. For Nino? Well, I am pulling this stuff from canon, but I wouldn't exactly label it a "strong" argument. There are even elements of my take on Nino that you could label "grasping at straws".

And I'm happy to own that! I delight in giving Nino all the love he deserves even if it doesn't perfectly match canon, but that means that my Nino is less me leaning into the best parts of canon and more me shifting through canon, grabbing a few shinny bits, and weaving them into something that you may not agree with because my vision for Nino is to elevate him to match Alya in terms of narrative importance because I want the team show season two promised me even if I have to make it myself!

And if you don't want that? Then that's fine! I'm not arguing that everyone should adopt this take. My version of Nino is about as close to an OC as I get when writing fanfic. So let's get into it and talk about why I had to do that. (Also note that I have nothing against OCs. It's just that, when it comes to my own writing, I try to reserve them for original fiction or for very minor roles that no canon character could fill. Totally a matter of personal preference and not some sort of judgement.)

The Many Ways that Canon has Done Nino Dirty

If we look at what is arguably the main group of friends - Alya, Marinette, Adrien, and Nino - then we can see a clear base concept for the first three. Alya is the plucky reporter. Marinette is the headstrong leader. Adrien is the sweet goofball. Nino is... Alya's boyfriend? Adrien's best friend? Chris' older brother?

This is the problem that I was referring to above. Alya, Adrien, and Marinette have clear roles that you could pick out by just watching Origins. Nino doesn't. He doesn't even speak in part one and part two gives him all of six lines. These lines establish him as a nice guy since they're all about him being kind to Adrien, but that's about it. Here's one of them as an example:

Miss Bustier: Agreste, Adrien? Nino: (quietly to Adrien) You say "present". Adrien: (jumps up with his hand raised) Uh, present!

This is a cute moment for sure, but when I look at it, I can't tell you who Nino is supposed to be other than a nice guy, which isn't much to go on. Nice guys can fit a lot of roles.

This isn't necessarily a flaw. Some characters have roles that are immediately obvious and some characters don't. This second class of character usually just has a more complex role that will be discovered and defined based on their actions as the story goes on. However, because Miraculous' writing is all over the place, Nino gets screwed. Instead of his actions defining his nebulous role, his actions make his role impossible to pin down! Here are a few examples:

Nino the Protector:

Season two was big on the idea that miraculous had to be suited to their holders. That's why Chloe kept getting the bee as we saw in Malediktator:

Marinette: I must choose someone who's not impressed by people in power. Who can help me trap Malediktator. Huh?! Of course! That's it. (reaches for the Miraculous of the Bee)

And why did Nino get the turtle in Anansi?

Marinette: I need a protective Miraculous. (gasps, and points at the Turtle Miraculous Master Fu is wearing) That's the one I need, Master! (Master Fu gasps) Uh, if it's okay with you. Master Fu: (smiles at Wayzz, who nods to him) Do you have someone in mind, Marinette?  Marinette: Actually, I think I found just the right person.

Okay, cool, we finally have a strong defining trait for Nino! He's a protector! Or, at least, he was here. Other episodes go directly against this role such as this nonsense from Illusion:

Nino: What's up is Ladybug and Cat Noir don't have us to help them anymore. Alya: (nervously) Um, um— uh— what do you mean, "us"? Nino: Well, us, you Rena Rouge, me Carapace! (Alya kicks his leg underneath the table) Ouch! What's the big deal? We can tell Marinette and Adrien we used to be superheroes.

This first issue with this episode is that we see Nino out his and Alya's secret identities without her permission even though the resistance did NOT require an identity reveal to be a thing. In other words, our supposed protector is taking a big risk for no reason. Then he goes and does this:

Nino: Hence my plan. We're gonna film an akumatization. Alya: And how are you, Comrade Ketchup, gonna be in the know when and where this akumatization takes place? Nino: Easy, Comrade Beurre Maître d'Hôtel. I'm gonna make it happen.

Which leads to the four friends antagonizing Gabriel even though Nino knows how complex Adrien and Gabriel's relationship is. A move that makes no sense for a supposed protector because Gabriel was far from their only option. Nino could have picked anyone, but he went with the riskiest candidate possible, exposing his best friend to a potentially massive backlash.

Nino also doesn't even try to contact Ladybug and Chat Noir prior to this insane plan, thereby putting the whole city at unnecessary risk! What kind of protector purposely causes an akuma without also coming up with mitigation strategies to minimize the resulting damage?

Everything Nino does in this episode should disqualify him from ever holding the turtle again or, at the very least, he should have to redeem himself before holding the turtle again. This is especially true since he never apologizes for anything he did in Illusion and this is just one example of the issue. It's actually kind of hard to find moments where Nino acts as a protector even though he holds the miraculous of Protection. So is he supposed to be a protector? Who knows!

Nino, The Empath:

That first example was long, so we'll pick two quicker ones to flesh this out. The first one is how Nino and Adrien's relationship is defined. In Origins and the New York Special Nino is written as a kind and sensitive guy who is acting as Adrien's guide to dating and other elements of the real world:

Nino: Yup. I love Adrien, but he's like a baby chick that's just started cracking out of his egg. He has a hard time understanding the signals people send him. Alya: What signals? Marinette isn't exactly sending them clearly. I mean, look! What is she doing with her arms? Telling him what to do in case of an emergency landing or something? Nino:(sighs) If only this trip could help Adrien finally come out of his shell.

But then you have episodes like Animan where Adrien is Nino's guide to dating:

Nino: Shhh! You know I'm no good with the ladies, especially this one all of a sudden. I mean, dude, do I go up to her and crack her a joke? Shoot her a compliment? Invite her to the zoo? Play it serious? Adrien: Nino, you're way over-thinking this. "Invite her to the zoo", you serious? Nino: Well, they have this really cool new exhibit there. Adrien: Listen, just be yourself, man.

And episodes like Illusion (discussed above) and Psycomedian (see below) where Adrien is deeply uncomfortable and Nino doesn't notice:

Nino: See, dude? I told you! Hilarious, right? Adrien: Uh... (laughs nervously) Right! Really funny, Nino. Nino: I gotta show you his other sketches. It's insane that you don't know Harry Clown! (laughs)

Which might work if these episodes were about Nino learning a lesson, but they're not. Nino learns nothing, so is he generally in tune with others or is he kind of oblivious to other peoples' feelings? And why did Nino ever think that Adrien was a good source of romantic advice if he also thinks that Adrien is "a baby chick"? Pick a lane people!

Nino's Hobbies

Our final source of confusion is trying to define what Nino even enjoys doing. Horrificator and Queen Banana have him playing around as an amature film maker, but we also see him acting as an amature DJ with the wiki even claiming that he's the head of the school's radio station. So which of these things is his passion? Movies or music?

To be clear, I think it's fine to have multiple passions, but this is a story. You want to keep your characters' non-story-relevant hobbies kind of simple, especially when the character in question is a relatively minor side character who rarely gets much screen time. It's why Alix is only really into roller skating and why Nathaniel is only really into art. You don't want them to be more complex than that.

Even the main characters get this "keep it simple" treatment with Marinette only really being into fashion and Alya only really being into her blog. The girls don't need two demanding passions that would eat up all of their free time, but that's what Nino gets! Film and music are both incredibly demanding passions and it's hard to balance a character who is into both who is also an active superhero. That's a lot for one dude to do well!

I've actually seen fics that cast Nino as wanting to be a director and fics that make him want to be a professional DJ because canon really isn't clear about this pretty basic aspect of his character, but you do need to pick a lane when writing anything that gives Nino a career and so people seem to pick a passion at random.

My Version of Nino

By now, we're hopefully in agreement that canon has made a mess of Nino's character to the point where it's near impossible to say "this is who Nino is supposed to be." However, if you want to write Nino, then you do kind of have to pick a characterization to go with, so here's what I've come up with. Feel free to embrace it or reject it, but know that you will pry my version of Nino out of my cold dead hands because I utterly adore him.

Since Nino is Carapace, I base everything about him around the concept of "protect and defend" because he needs to feel like he deserves his heroic alter ego. I do not want to make canon's mistake of giving him a miraculous that massively contradicts his writing. Especially when that writing makes him feel interchangeable with other characters. At this point, no one from canon screams "turtle miraculous" unless you want to give it to Adrien since he's Ladybug's defender.

I also designed Nino around Alya and Adrien as those will arguably be his most important relationships. He should feel like a perfect fit for boyfriend and best friend respectively. I also took Marinette into consideration because he's going to be part of her team/friend group, so he should work with her, too.

What all that means is that I basically said "okay, this is where Nino is supposed to fit in the story and this is the dumpster fire that canon gave us, how do I pull pieces from the fire and paste them together to make a character that fits who Nino should have been?"

To really get into my version of Nino, I'd almost have to give you a fic to read, but that's way too much for a Tumblr post, so let's keep this high-level and just look at some of my notes on Nino from my lore Bible:

Nino is a major audiophile. He loves listening to music and watching movies/TV shows to study how they play with sound. He wants to be an audio engineer when he's older, but he also has a general passion for all things music and film. He’ll listen to any genre and watch almost any movie or show. He loves to take charge of the music at events so that the music really fits the crowd (and so it sounds good). It isn’t unheard of for him to go see an unknown band or an odd indie film on his own. This will become a major bonding point for Nino and Adrien because of the influence of Adrien's mother. Nino has seen all of Emilie's films and loves them. It will also bond him and Alya as his knowledge of film making will allow him to help her learn the art of filming now that she's doing complex things like actions shots and editing together multiple recordings.

Nino is generally pretty laid back and likes to hear people out. His reaction to confrontation is to try to calm everyone down so that they can get to the heart of the issue. He wants everyone to get along, but he's also not going to let someone take the blame when they shouldn't. Nino protects the innocent.

Nino is incredibly protective of the people he loves. If someone he cares about is in danger, his peaceful nature goes straight out the window. He’s the kind of person who would happily take a bullet for his friends and family. This will lead to him following Alya around once the hero stuff starts because he wants to keep her safe. Never let Alya go out alone if Nino is around or even just aware that a fight is happening. Alya thinks "scoop" and Nino thinks "my Alya sense is tingling." He's NOT there to stop her from doing what she loves, he's just there to be her spotter who lets her focus on filming while he watches for danger, though that will initially be a struggle for him. Treat this as his audition/training for Carapace where he learns to balance protective instincts with getting the job done so that he's ready to perfectly take on his miraculous.

When Nino’s folks split up, his mother insisted that the kids should go to therapy to help process things. They had individual and family counseling. Nino was actually pretty cool with the divorce as he’d seen it coming, but his brother was really affected by it, so Nino spent his time working on ways to help Chris (and being told that he was a brother, not a parent, but he still wanted to help). He learned a lot from going through it and it’s why he’s so good at dealing with emotional issues. He’s also good at not taking those burdens on himself. He wants to help, but knows that it's your battle. Marinette often looks to Nino for guidance on emotional issues because she knows that she's terrible at navigating them. She has given him full permission to stop her when she's too focused on solutions over support. All of the friends will help Adrien figure out social situations, but Nino will be the main guide as he's the one with the strongest skills in that area. Plus Adrien makes Nino's protective big brother instincts go crazy.

Nino’s a bit of a loner by choice. He has "weird" hobbies that easily lend themselves to being done alone and he doesn't have any interest in "forcing" his hobbies on someone who doesn't actually enjoy them, so he spends a lot of time by himself and rarely invites others to share in his interests. He only does that when he thinks that they'll actually enjoy what he's sharing. He doesn’t mind this, but he’s also a very welcoming individual who doesn’t like to see people left out, so he’ll come out of his shell when he sees someone who needs a friend. This usually leads to him making friends who soon become closer with others, but still view him as a casual friend. He’s cool with that. He's just happy that they found their people. Adrien will be the first friend who really stays Nino’s due to an understanding of Nino’s “weird” hobbies. After all, Adrien’s the son of an actress. He’s used to weird indie films and discussions of cinematography. I'd even say that he revels in it and realizes that he has missed it desperately since his mom got too sick to do that kind of thing. Basically, Nino will fill a spot in Adrien's heart that Adrien didn't even know was empty. Adrien can listen to Nino talk about cinematography for hours and never get bored. Before Adrien, no one knew that Nino was this talkative!

If anyone wants more insights into this topic, feel free to send an ask, but I think we'll call this post done now because it's SUPER long.

[manicpixiefelix]

head, heart, hand. {Felix Catton/Reader/Oliver Quick}

Part 14.

Summary: Our second look through Oliver's eyes as he thinks back on the night he and Felix get champagne drunk on the bridge, and then when he gets to Saltburn. Looking around both Y/N and Felix's rooms, he gets to know more about them, and finally he meets the Catton Family.

{ masterpost }

Need to Know: They/Them. Explicitly NB Reader. FWB!Reader/Felix. Reader is from a well off family but has pretty much been adopted by the Cattons.

Warnings: suggestive themes, reader is said/implied to be high for some of the chapter (based on my experiences & understanding of weed)

A/N: 8506 words. you have all deserved a good feed and i am here to provide. sorry it's been a week, the dam broke, things are looking good in my personal life which is nice, and i am BACK on main fic nonsense. we get another Ollie POV, please let me know what you think, im so excited to have everyone at the estate and hanging out!! got big plans going forward!! excited to be setting it all up!! yeah please feedback, my darling friends!!

TAGLIST IN COMMENTS!! // TAGLIST ALWAYS OPEN ! (just message or comment to be added)

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Sometimes Oliver feels like he was put on this Earth solely to exist in Felix Catton's affectionate gaze. Everything else in life is just filler.

That night on the bridge, he and Felix in suits, drunk on champagne and bathed in the twilight of the evening, will haunt him, he's sure. He welcomes it with open arms, surfacing when his mind is idle and elsewhere. Felix smiling at him, Felix trying to bring him closure even if he doesn't really need it, Felix hanging on his every word, ever story he would fabricate to keep Felix's eyes fixed on him and only him. Felix so close, Felix with his arm around Ollie, Felix's thigh pressed up against his as they sat alone on the edge of the bridge.

Felix, Felix, Felix.

Oliver feels dwarfed by him, never more so than these moments where Felix insists on occupying Oliver's personal space, and then some. But he'll never complain; Felix's affection is intoxicating, addicting even. To be so wrapped up in it, in him, it's bliss, though Oliver never wanted to seem needy for such affection, that's why he waits for these moments, for Felix to make first contact. He wonders if Felix had realised the way you so quickly had in the beginning.

Everyone reaches out for Felix, everyone else appears so desperate. Its why Oliver's always held back from touching him, always waited and let Felix make the first move. Felix was made to be wanted, he basks in it; Oliver gives him the chance to want. Isn't there a thrill in that? A novelty?

And to be wanted by Felix... That was a gift in itself too.

Oliver had, admittedly, been worried that he'd lost his chance at that. After sleeping with you, Felix holding him at arm's length, he could feel his grip slipping. Plucking at the strings of Felix's clear saviour complex was enough to claw back into his life, but he now knew his place was precarious, and most tentative of all was everything about you.

So he'd held back from you. On purpose. Often distinctly, even when you'd give these confused, disheartened looks. He tried not to look at you in those moments; his focus was Felix, Felix seemed harder won.

But when he'd tried to apologise on the bridge - at first he wasn't going to bring it up, but it was dark and he was reasonably drunk and the only person who's ever smiled like Felix had been smiling at him in that moment had been you - Felix had, at first, laughed him off. No, he can feel it now, weighing on him; he needs to balance the scales. He wants Felix so bad it aches in his bones, but Oliver knows his want goes beyond just the beautiful boy by his side. Every part of you, how you interact with the world, interact with him, the way you exist and exude confidence and love, drew Oliver in like a moth to a flame. If Felix is the hook, you were the line. The bait, and the trap. The sun, and it's warmth. He wants to always be the focus of your loving, attentive gaze. Always wants you to want him too.

Oliver is the helpless fly in the web you and Felix have woven, to be so lovingly obsessed with you both as you are, and yet still drawn further in, to love the love you share. He feels trapped and utterly helpless against his feelings for you both.

So he has to make it right. Has to make it... even? Was that how to make it right?

But Felix is different on the bridge. Different to the jealous creature he tried so clearly to hide in the weeks before. Something had changed.

"You never need to apologise for making them happy," he says easily, affectionately. Oliver tries to be insistent, that he never meant to get between the two of you. He's rambling and tipsy, but not enough to miss the faint choked noise of what Oliver could have sworn was intrigue that Felix makes at that, but he knows better than to dwell or comment on it. Instead, Felix claps him on the back; "you wanna make it up to me we can say you owe me one," he says far too easily.

"Owe you one what?" Oliver frowns, playing oblivious for a moment as he takes a sip of the champagne before Felix gives him a cheeky wink and a grin.

"Shag, of course."

Oliver does a spit take with surprise, not having thought Felix would be so casual and genuine about it, almost falling off of the bridge in the moment. Felix catches him, arm around him as he laughs through an apology.

"Oh my god, I'm so sorry mate," he wheezes, carefully clapping Ollie on the shoulder, "also I apologise for assuming, poor form, sometimes I forget people can be weird about these things- not saying you'd be weird, we've just never spoken about this kind of thing."

It speaks to how much he must genuinely trust Oliver, considering how light the conversation remains. Or perhaps it's the bubbly. Still, Oliver has a little bit of an inkling about what this kind of thing may be. But part of him needs Felix to say it, to confirm his suspicions, to keep stringing him along with further crumbs of hope.

"Assuming what?"

There's a single moment, the way in which Felix looks at Oliver out of the corner of his eyes, smile briefly frozen on his face as he must be considering the weight of what he's about to say. Its in the moment that follows, when Felix laughs almost self consciously and withdraws his hand that Oliver wonders how out Felix is. Oliver had always just kind of assumed - hoped - on the basis of his relationship with Y/N, but it occurs to him that the general perception of Felix, the talk and rumours and gossip that surrounded him, never really entertained the idea that he was actually queer. Felix's affection towards everyone in his life was simply a by-product of who he was, and you're his best friend - and his cousin, according to Farleigh - so of course you don't count, and otherwise Felix Catton was a known lady's man, right?

Not quite, it seemed.

"That you'd even be into guys like that," it sounds so easy when Felix says it, like Oliver can't see the tension in his shoulders as he reaches over, taking the bottle of champagne back. Its almost empty. Oliver doesn't mind if he finishes it.

Felix looks at the sky, at the stars.

Oliver thinks about the VHS tape of Maurice that he stole from a rental store after looking at the back cover. He'd kept it stashed in his sock drawer and watched every week under the cover of absolute darkness until it literally became unplayable. Yes, Oliver liked guys, and spent his teen years having just as many lewd fantasies about boys with posh accents, and charmingly youthful features, and floppy, brown hair, as he did about girls with big, dark eyes, and high, perfect cheek bones, in bright red wedding dresses. His sisters hated Beetlejuice, thought it was gross, but he and his mother would watch it together on occasion, sharing a blanket his gran had crocheted, and a bowl of popcorn. She'd get all giggly over Alec Baldwin, while Oliver couldn't help but fall for Winona Ryder for the duration of the film, every time.

For a moment, he thinks of the sunlit kitchen he grew up in, and his mother cooking Sunday lunch with a record playing. The last Sunday before he left for Oxford. In the yard, he can hear his father mowing the lawn, and he's sure Emily is in her room packing for her own journey back to her third year of studying. But Oliver comes out of his room just as Jump in Line (Shake Senora) begins to play. Serendipity. Already excited by the song, his mother looks up from the dishes, and practically lights up at the sight of her son. She's going to ask him to dance. He's going to say yes. They're both going to love this moment; she says it's their song, and Oliver dances along to their song. When it's over, Oliver won't admit that he's disappointed it had to end, but he tells his mother he'll miss her too when she hugs him especially tightly. For that one moment he hadn't ached to leave the way he'd been for months, for years.

Looking now at the rock in the rubbish that represented his father, there's a momentary pang of guilt for lying so dramatically about him he hadn't been expecting. So he pushes it out of his mind.

Felix finishes the bottle, and Oliver watches him wipe his mouth with the back of his hand. Effortlessly beauty.

Oliver wants to focus on his future, not his past.

"Haven't got too much experience with 'em, but that doesn't stop me from liking them well enough," feeling especially bold, he levels a sly smile at Felix, "so if it's all good with you, maybe we do say I owe you one."

Felix blushes the most beautiful scarlet as he barks a loud, pleased laugh. But most importantly, he relaxes.

"It's not that hard," he offers so nonchalantly, amending with a sheepish grin, "well it is, that's part of the point -" but Oliver can't help himself.

"I said I didn't have a lot of experience, didn't say I was completely inexperienced."

"No, I know," Felix's voice turns all smug and teasing, and Oliver can feel his face beginning to heat up as he realised the implications of Felix's tone, "I've heard rave reviews." Oliver had taken the time to have his fun, to have a few hook ups here and there in the past year, usually with girls or guys from town or other campuses who had no idea who he was otherwise. There's only one person who'd be giving him rave reviews, as Felix had called them.

Huh. It's quite the compliment; he had gone out of his way to give you the kind of attention he suspected few people ever bestowed upon you, but rave reviews? What had you actually told Felix?

Instead, considering that this still feels like potentially rocky territory, he tries to bring it back.

"It's one of the few ways I ever really learned how to make people feel appreciated," his gaze drops with his tone, and hopes that Felix takes the bait. The threads that tie back to the story of his unfortunate upbringing, but also perhaps the threads that subconsciously tie his attitude and behaviour to you in Felix's mind. Even if you don't say it, he knows it's part of how you operate, and he's willing to bet that Felix had picked up on that too.

It works. Felix wraps an arm around him, assuring him that he has so much to offer the world. God, he sounds so sincere when he says it; if Oliver hadn't knowingly baited him into the compliment, he would have believed him entirely. At the very least he basks in how good it is to hear Felix say.

They talk through the night, Oliver tentatively feeling his way towards his goal, the opportunity to spend Summer with Felix too, to make sure this connection doesn't wither in the interim. Of course he plays at being humble, at refusing the offer despite how clearly uninhabitable the sob story home he'd made up for himself was, but just as he'd predicted, Felix, ever the saviour, refuses to take no for an answer. Apparently his mother has people stay for months at a time anyhow. Oliver wonders idly if that's where Felix got it from.

"Y/N will be so pleased, I can tell you that," Felix mentioned with fondness. Of course Oliver had anticipated that you would probably be spending at least some of your Summer with them, but he's surprised that when he enquires further, Felix admits, "yeah they live with me at Saltburn when we're not at school, have for ages now."

"What, all the time? They really are a ward of the Saltburn Estate?"

Felix wears a strange little smile that doesn't quite reach his eyes; there's an unfamiliar kind of melancholy that doesn't look quite right on him, Oliver thinks, as Felix shrugs again.

"Some people's parents just aren't meant to be parents."

For a split second Oliver feels a rush of guilt as he comes to realise he may have fabricated a life for himself that you had actually lived. In the moment, however, he dips his head, a sign that he understands, that he agrees.

"Then we're lucky to have you."

Felix throws an arm around his shoulders, pulls him in tightly and presses a kiss to the side of his head, assuring him it's no trouble at all.

"What are friends for?"

Yes, this moment would be burned into his brain; Felix so warm beside him, Felix smiling against his temple, Felix champagne drunk and willing to share his life, if only for six weeks. Every fibre of Oliver's being is willing it to work out, willing it to be more than just these six weeks -

Felix, Felix, Felix.

Except the minute he knocks on the doors of the house that looms so large he feels like he's about to be swallowed whole by it, he feels like he's failed a test. The look in the terrifying doorman's eyes, his tone of voice, the unflinching scrutiny when faced with Oliver's continual awkwardness and questions, makes him feel like he's failed several more in rapid succession.

Oliver's actually pretty sure he's never been quite so glad to see Felix as the exact moment he calls out to Oliver with absolute joy. Which is saying something. It's never felt like Felix is judging him, at least not in a way he can't pass. Thank fuck. Felix, in this moment, is the only one who matters, he tells himself.

That being said, Oliver had been expecting you to be by Felix's side when he'd come bounding in to save him from Duncan's scrutiny. That's generally where he's come to expect you. Not that he wasn't grateful for Felix giving the tour, it was just... unexpected.

Honestly, when you appear from a door on the other side of the long gallery, opposite Felix's bedroom, Oliver's surprised by how relieved he is to see you. The room you've exited seems to be themed in pale purple from the brief glimpse Oliver sees, and you've got a leather bound folder in your arms, but neither of those is nearly so interesting as the look in your eyes. Looking back, Oliver sees Felix lounging in his doorframe, looking between you both with patient amusement.

"Ollie!"

Oliver's pretty sure no-one in his life has ever sounded this excited to see him. The only person who comes closes would be Felix, five minutes ago.

"Ollie, oh Ollie - Fi, hold this," you pass off your folder to Felix, who of course takes it without argument, before Oliver's swept up in a tight hug, "you're early, you smell nice," you hug him so enthusiastically the two of you spin for a moment, before pulling back, holding him at arm's length like you're assessing the state of him. Instead, you beam, holding his hands as you turned to Felix, "Fi, Ollie's here! We love Ollie!"

This time when you meet Oliver's gaze, he's surprised to see not just love, but want. You'd worn that look in the weeks before the two of you had fucked, like all you could think about was how you'd once begged him to want you, and how he of course admitted he did. When had he started missing this look in your eyes? All he can think about is that night in the warmth of your bed, the way you'd sounded so fucking certain and needy - of course I want you - and how he can see it in your eyes again now. For a moment his mind and resolve is fuzzy; why had he ever stopped reaching out for you?

"We do love Ollie," Felix agreed with further amusement, and that's when he remembers. Except... this isn't the jealous version of Felix that had shown up in the aftermath. This was the Felix who'd brushed off Oliver's apologies about the whole ordeal on the bridge and proceeded to overtly, if jokingly, flirt with him. Already he feels just a touch more relaxed in this new dynamic that was being set up for the Summer.

Actually, Oliver, for just a second, thinks he may have died and gone to heaven.

"Fuck, Ollie, look at your nails," he hears next, however, and it immediately shatters the illusion as he pulls his hands away from you and your judgemental eyes.

"Don't be mean," Felix chides, and you look up with surprised, as if you hadn't realised your own less than complimentary tone. Looking between Oliver and Felix, there's apology in your eyes.

"Sorry Ollie," you're quick to offer, and he awkwardly tries to act like he's not embarrassed, "I'll give you a manicure, I can paint your nails; we can match!" You smiled brightly, hands pressed flat and warm to his chest all of a sudden, "I match Fi's shirt today; Farleigh painted my nails -" your eyes go wide as if you'd just remembered; "Farleigh; shit."

You run for the door to the blue room. Oliver, deeply confused, watches you go. Then, he hears Felix sigh with fond exasperation, holding out the leather folder. A moment later you burst through the door again.

"Documents. Shit. Thanks, Fi!"

And you're off again.

"Is this... how they normally are just at Saltburn?" Oliver finally asks with faint concern, looking from the door to Felix in the darkened doorframe.

"My lovely cousin is an atrocious influence on our dear Y/N," Felix said with incredible diplomacy. But Oliver's mind momentarily catches on the wording.

Our Y/N.

Just like before, a strange thrill, a rush; he remembers the look in your eyes when he'd first said 'Our Felix' to you. An exclusive kind of possessive, one you'd willingly share with Oliver. He liked this dynamic, he wondered how hard he'd have to push it to get beyond the simple semantics.

We love Ollie!

We do love Ollie.

Perhaps it wouldn't be too difficult at all.

"What do you mean?" He asks instead, and Felix turns to him with that same amused smile.

"They're fine, don't worry mate, they're just high is all," clearly Felix's feelings are mixed on the subject; Oliver knows he has no problems with getting high himself, so he suspects Felix cares more about Oliver's first impressions of his home and his family than he was wanting to let on. You were his right hand after all. There's something endearing about how much he seems to want Oliver to want to be here. Which he does, for the record.

"So this is your room?" Oliver enquires, shooting for brightness, despite the momentary awkwardness. He watches the tension leave Felix's shoulders. It's enough for Oliver, and his gaze drifts, roams around and tries to catalogue every single piece of Felix he can glean from the clutter. Even with an army of servants there's something unkempt about how he decorates the otherwise old and ornate space. CDs he'll spend time poring over, stacks of books, and trinkets, and tchotchkes. Felix even has a balcony; stone railings and enough decorative chairs, and even a lounge and small table, for company.

Here and there in the room itself, however, a few things seem out of place; shoes that didn't look like Felix's sitting neatly by the door, two dressing gowns, one maroon and tossed over the bed, the other in navy and draped more deliberately over the end of the bed. Two glasses of water, one on either side of the bed. Tell-tale signs that clue Oliver in before Felix even confirms it -

"Mine and Y/N's, yeah," he says it so easily, so nonchalantly, no bothering with pretence here at Saltburn, "you'll be staying just next door," Felix continues on with a wide, easy smile over his shoulder as he continued to flit through the rooms, catching light, voice echoing amongst the decorative walls.

"Bathroom," he offers, before turning, adding, "we're going to be sharing a bathroom, by the way, I hope you don't mind," and Oliver finds himself drawn to the sight of the ornate bath, as if on purposeful display in the middle of the room, "otherwise you'd be miles away on the other end of the house," Felix explains, continuing on without even considering his words as he says them. No, of course Oliver didn't mind.

All Oliver can think of is everything that simple sentence implied. Closeness. Implicit want. A sudden flash in Oliver's mind as Felix continues through to the dressing room, of sweat beading along skin and hands clutching desperately at the cool, porcelain edge of the tub, of water sloshing and spilling and overflowing, and the sound of breathless moaning -

He tries to focus, tries to simply watch Felix's hands as he taps idly on the red walls of the dressing room as he lead into what Oliver can only assume to be his room. He stays out of his head, leans into the moment, and lets himself relax as Felix gestures broadly, brightly, grinning from ear to ear.

"Your room!"

It's bright, all wide, open windows looking over the beautiful grounds of Saltburn, honey coloured wood and lamps that glow in such a way that he was reminded of Oxford. Already someone's brought his suitcase up, set it out at the end of the bed; he'd get to unpacking that later tonight, for now he took his time relaxing into the space. Felix had already sat himself down, seemingly at home in the old, wooden rocking chair, watching Oliver, almost like he was trying to hide his nervous anticipation.

"I'm really glad you're here, mate," for just a moment, Felix sounds more honest than he'd been since Oliver had arrived. There's something in his eyes that Oliver hadn't been anticipating, in the brief moment in which their gazes meet. There's a kind of arrogance, Oliver thinks, to calling even a sliver of it something like love, but it's adoration and appreciation nonetheless. It's gone in a flash, too brief to be anything serious, he thinks once more as Felix stands, "right, I will, er... I'll leave you to it."

And Oliver is quiet. It's a kind of reverence, or perhaps it reads like shock and awe at the whole place, but he listens quietly as Felix tells him about his mother's aversion to stubble and ugliness and piercings and -

"Anything else I should know about?" Finally he asks, sensing Felix was close to rambling on a nervous tangent. Thankfully, Felix actually seems relieved by the interruption, assuring him that there was nothing else to worry about.

Felix tells Oliver that he just needs to be himself, that his family will love him. That it's relaxed. Oliver loves Felix dearly, but doubts he, a man who rarely seems to be anything but relaxed, would be the best judge of that. Especially in a place like this. Still, Oliver smiles like he believes him, and watches the way Felix hangs himself back from the door on his heels, almost like a little kid, telling Oliver that his family will be in the library when he's ready.

Library?

His mental image of Saltburn grows with each moment. Soon it will overwhelm him, he's sure.

So he tries, just for the moment, to get acquainted with the room he's been given. His own, honey-coloured piece of Saltburn, if only for the Summer. Hopefully beyond, that dreamy little voice of want whispers in the back of his mind. Another flash of desire runs through him, the image of a quiet evening on Felix's balcony, a purple sky and a glass of scotch, book in one hand and Felix's head in his lap. He'd be too big for the little sofa, legs hanging off the edge, but he's comfortably fallen asleep with Oliver's fingers carding through his hair; when you drape yourself over Oliver's shoulders, there's loving affection in the way you call them 'your boys' -

God he'd been entertaining these fantasies for months, sure, almost since he'd met you and Felix, but never this vivid, never so detailed or hard to push away, to pretend like he'd never had them when he next tries to look you both in the eyes.

Yeah, me and Y/N's room. You're right next door. We'll be sharing a bathroom.

This is either going to be a dream, or the hardest Summer of his life. Pun entirely intended.

The room itself is rather charming, once Oliver finally breaks free of his own fantasies. Charming in a different way to the rest of the house, but in a way that was hard to put his finger on at first. Saltburn was like if a place could put on a performance of itself, none of it felt lived in, or at least, not for a very long time. Except Felix's room, it had his youth and carelessness that gave it a feeling of home, as, for some reason, did Oliver's.

Except then he sees them. Then he understands. There's space stickers on the top drawer of what he can only assume is the otherwise expensive bedside table. Some are peeled off, some even leaving the ugly, half-peeled, paper residue of planets and stars and little cartoon astronauts. The second of the two drawers is in much the same state, but depicting a faded sea creature theme. It's so unexpectedly, joyfully childish. There's two books in the top drawer, a collection of Edgar Allen Poe's short stories, and a copy of Emma. Oliver swallows hard, trying not to wonder what you must mean by that. Otherwise the drawers are empty, almost hotel-like in it's severe starkness.

There's other little things, however. Fairy lights curled up and around the headboard that glow a comforting, warm white once he finds their switch. A digital clock at odds with the rest of the room's aesthetics, red numbers glowing in the afternoon light. The painting on the wall above the bookshelf that looks far more modern than anything else he'd seen so far on the walls, a rich, blue night sky glittering with stars, and a dreamy silhouette of a figure with a cigarette almost glowing orange against the darkness. Despite the vagueness of the figure, there's a comfort, a kind of love with which they'd been captured that Oliver can somehow feel in his chest when he looks at it.

The little bookshelf itself in the corner is filled with titles he can imagine you specifically enjoying, but a few anomalies here and there - books on botany and Edwardian flower code stick out in particular. It's completed with a small stack of CDs and a CD player gathering dust on top. When he crouches down, however, he's surprised to see an old, portable cassette deck taking up space on the bottom row of the bookshelf, mostly hidden behind several stacks of what appeared to be blank cassette tapes, crammed into the very corner, almost out of sight.

How strange. How... human.

There is an echo of someone else in this room, but to his relief, it feels like you. For the barest moment, he almost feels like he's already home.

It's a short-lived feeling, however, as Felix's words come back to him once more. His reflection in the bathroom mirror as he carefully rids himself of even the barest traces of stubble, doesn't meet the standards he's sure the mother of Felix Catton must hold.

Oliver's never considered himself particularly beautiful, nor did pretty much anyone else, it had always seemed. His mother was of course biased, Felix was filled with too much affection to be considered anywhere near reliable about that sort of things, and you - something inside Oliver squirms almost with embarrassment for even thinking so poorly of himself in the past few moments. Maybe a face like his would make Felix's mum happy, if the look in your eyes meant anything, every time you saw him.

Oliver chooses to leave the way he was brought in, taking a long few moments in Felix's room, leaving it untouched, undisturbed, but treating it like a museum to his best friend, clues about his life he couldn't glean from conversation alone. Felix's bookshelves were bigger than yours, stacked with comics amid countless fantasy and adventure books, but a surprising number of cowboy and western titles, though it's not as if there appears to be any kind of sorting system. There's a ceramic bowl that looks hand made, full of faded wristbands for events all over the world for the past five years. There's a shoebox that apparently used to hold a pair of lady's runners, now sitting at the end of one row that now has 'A Stupid Box For Feefs Stupid Rocks <3' sharpied on top in handwriting he doesn't recognise. A thick textbook about space on the bottom shelf with a cracked, worn spine and sticky tabs seeming to note various pages, various guitar tab books for different, popular bands that Felix would definitely be interested in. Four decks of cards stacked on top of each other, boxes looking so worn and used they were practically falling apart.

For a very long time, Oliver finds himself caught, looking at the little cork board full of photos leaning on top of the bookshelf. Countless photos of Felix, Farleigh, Venetia, and Y/N throughout the years. He hadn't realised just how long you and Felix had even known each other. How long you'd practically been a fixture at Saltburn in the Summer. There's a photo of the four of you all in your bathers, laying asleep on the grass beside the lake, all next to each other on brightly coloured towels, none of you could have been older than twelve; you fit right in along with the rest of them.

There's a photo strip, the kind taken in a booth at a mall or a museum, that Oliver thinks he recognises, but it takes him a long moment of staring at it to figure out why. It's you and Felix, and the strip itself says it's from an aquarium. Smiling. Laughing. You blurry, covering your laughter as Felix looks particularly goofy and pleased with himself, as if he'd just told a stupid joke. The last one has been ripped off.

Oh. Right. He'd seen it while snooping through Felix's wallet a few months ago; the photo had been the reason he'd put the wallet back at all. The way the two of you were kissing in the final photo, so wrapped up in each other, and love, and joy, had made Oliver feel almost physically sick with both want and jealousy.

God, he has to leave, has to stop snooping again and actually find this library and the rest of the Cattons.

Walking through Saltburn's many rooms alone makes Oliver feel like he's constantly out of bounds at a museum. There's hints of life throughout the building, but they're few and far between compared to the ornamental, carefully curated decorations of each room. Even the hints of the Cattons themselves seemed... too purposeful. The little, animated 'Catton Family Players' puppet show is the kind of thing only rich, whimsical weirdos could ever think was charming, and not just bizarre, vain, and haunting in the same way that porcelain dolls were.

But then he hears laughter, and warm chatter from down a hall, and the tinny, purposeful shouting from what could only be a movie or TV show. It sounds so much like his own family's living room on a cheerful evening that it's almost relaxing. Almost.

Because as he's approaching, he realises they're talking about him. They're picking apart the life he'd fed Felix as if it were mere gossip, speaking so airily, their sentiment so clearly out of touch that he'd probably find it amusing if he didn't have to pretend to be living it. Briefly, he wonders if they spoke like this about your life, or if the novelty of you had worn off in the years before. Perhaps you were just glad they could focus their pity and unapologetic classicism on someone else for a change; he couldn't hear you in there, which surprised him. Maybe part of him had expected you to defend him the way you had back at Oxford. Maybe you don't feel like you can at Saltburn. At least Felix sounds embarrassed, irritated as he admonishes Farleigh for having told the rest of the family.

Before he enters the library where the rest of the family has gathered, Oliver pauses by the door, both to get a better idea of what they're already thinking about him, but also because he'd spotted someone watching him from one of the adjacent rooms.

Bleach blonde hair, stars clinging to the tights on her legs, she's reading a book that Oliver can't quite see the cover of. Venetia was written on the collar of the little, blonde puppet in the Catton Family Players; Oliver suspects this is her. Oliver thinks she could be considered very beautiful, if she didn't seem quite so sharp. The way she huffs a laugh and wears a dangerously amused smile after she'd taken her own time in analysing him seems to prove as much. That being said, Oliver's not sure if she's laughing at something about him, or about the fact that they can both clearly hear her family's disparaging remarks about his apparent upbringing.

"Farleigh seems to think he's ghastly," Oliver hears a woman say as his hand comes to rest on the door handle, "why are you and our dear pet even friends with him, darling?"

"Dirt poor, not attractive, and his parents are drug addicts," a second woman's voice seems to surmise as Oliver lets himself into the room, "I can't actually -" but Felix makes a noise as he sees the door opening, and the woman goes quiet as Oliver peers in.

"And here he is now," Farleigh sounds as thrilled as he ever was to see Oliver, "we were just talking about you," like he's trying his best to make Oliver feel as unwelcome as possible. It's... kind of working. Bastard. However looking over at him does solve one mystery; you and Farleigh are sharing a sofa at the back of the room that's only just big enough for the both of you as long as you're tucked up against him, his arm slung over the back of the chair behind you.

And you're fast asleep against him.

The blonde woman on the sofa who shares Felix's elegant, effortless beauty admonishes Farleigh, even though Oliver can tell from her voice she was one of the ones very much talking about him only moments before. Oliver has the grace to pretend like he hadn't heard, though is still glad for the vaguely embarrassed, apologetic look Felix is already giving him.

This has to be Felix's mother, the blonde with the airy voice who immediately gets up to greet him, to assess him.

"Oh, what beautiful eyes," oh thank god, "oh, how wonderful!" There's genuine surprise and adoration in the way Felix's mother regards him, and Oliver can't help but feel relieved, like he's finally passed the first of what he's sure will be many tests during his life at the Saltburn estate.

"Yeah, we told you he wasn't a minger," Felix pointed out when his mother turns to him.

"Oh, but darling, you and pet are kind about everyone; neither of you can be trusted about those you're fond of." Pet? Does she mean Y/N? Suddenly Farleigh's comments over the months make a strange amount of sense. At the very least Oliver's heart begins to sing at the idea of you and Felix speaking so kindly of him to the others that they know you're both especially fond of him... And you both seem to think he's beautiful enough that you mention it when he's not around. Huh.

But yes, the moment the woman explains her aborrance of ugliness Oliver knows he's talking to Felix's mother. At least she seems to like him well enough, going so far as to ask if he'd seen Venetia yet, that even she'd been dying to see him, but had chosen to drape herself around the house as if laying in wait for him. Indeed that's how it had seemed when he'd spotted her earlier, but none of them have let Oliver get a word in edgewise.

Felix's father is the next to introduce himself, all long limbs and warm handshake to match his smile, just like his son. When he asks Oliver about his trip to the estate, Oliver finally breathes, can finally respond.

"Oh, God, don't with the 'sirs'," Felix's mother waves him over to sit down, insisting, "no, no, no, we can't stand anything like that here," though her outburst seems to have been enough to rouse you. As Oliver sits, he hears, syrupy and warm with sleep from behind him -

"Ollie!" As you had each time since he's arrived, you sound so genuinely delightful. Farleigh makes a noise in the back of his throat. Oliver turns in time to see you elbow Farleigh in the ribs.

"I liked you better when you were asleep."

"Fars," your voice drops low, like a warning, and Oliver's surprised by how sharply Farleigh looks away, jaw clenching tightly, "be good." Oliver almost thinks Farleigh might be angry, but then he sees the gentle way Farleigh's holding your shoulder, thumb rubbing circles against your upper arm; from what Oliver can see, he realises Farleigh's expression is almost embarrassed -

"Children, stop bickering," Felix's mother orders brightly, and your expression returns to unbothered and chipper as you refocus on Oliver.

"Hi Ollie," again, then as more of an offer to the rest of the room, "isn't he just lovely?" Oliver flushes, but gives you a fond smile, even as you settle back against Farleigh. Even though Farleigh persists with glaring at him, when he turns back, he rests his cheek against your head, oozing malevolence as he seemingly tucks himself against you too. But he does indeed remain quiet.

After the altercation passes, Oliver gets a brief introduction to one of the other house guests at Saltburn, Pamela, brief being the operative word as she's quickly sent away to ask about tea from one of the staff members at Felix's mother's insistence. Pamela herself doesn't exactly seem confident in the task, but that's once again when you speak up. Much to Oliver's surprise, you give a detailed physical description of the woman - Annie - and succinct directions to the kitchen itself, following it up with a yawn and -

"The Irish one, a bit mousy, might have trouble meeting your gaze but she's nice enough."

Pamela looks far more confident thanks to your directions. Oliver's genuinely shocked at your level of detail and knowledge, but everyone else seems to be so casually used to it.

"She is a bit like that, isn't she?" Felix's mother muses with an idle air, and when Oliver glances back at you, you still have your eyes closed, as if close to falling back asleep, while Farleigh has his faint, fond laughter pressed against your temple.

Before Oliver can even reckon with the moment that had just come to pass, Felix's mother is regaling him with all of Pamela's dirty laundry, before she dives right into pitying Oliver himself, and the sob story of his life and most recent 'tragedy' she's heard.

She looks at him just the same way Felix had. He think of the moment he'd decided to commit to this Dickensian kayfabe, that day in the pub when Felix's eyes were fixed on him, all pity and desire and a desperate need to fix, to save, to be a light in Oliver's life. The way this woman speaks, the way she looks at him in this moment, makes Felix Catton make total and complete sense. Something inside Oliver relaxes; she would not be hard won.

As they circle back around to the tragedy of poor Pamela, however, something about what Farleigh says, pointing out that the tragedy of her was the only interesting thing about her, sticks in the back of Oliver's mind.

Being beautiful and tragic would only ever get him so far, would only ever make him a novelty. It takes another glance back at you for him to realise a little more of why you behaved the way you did; tragic and beautiful and useful. That's the thought that turns over in his mind, even as Felix's mother starts her line of questioning about the sordid details of his upbringing, and Venetia joins them only to stare at him like a bug, and Farleigh only seems to be holding himself back from outright contempt at your behest. You are once again asleep. At least Felix makes a token effort to reprimand his mother, not that it appears to make much of a difference.

Oliver offers what little he can get away with, and feels only relief when Felix insists they start getting ready for dinner. Oliver practically bolts, he doesn't even wait for Felix like he probably should have, just desperately hoping he's got the right door to his own room. Clearly he has, swearing when he's finally in his little piece of sanctuary, but after a beat he realises that even that has been breached.

His suitcase is no longer at the foot of his bed.

In another moment, the door that connects his room to the bathroom squeaks open and there's two more people in his room without bothering to even knock. At least Felix is apologising for his mother. Part of Oliver thinks he should have expected the Cattons to be exactly as out of touch as this house implied, that he should have braced himself better, that it's not Felix's fault, but the apology is still nice.

Also he's rather distracted by the fact that all of his clothes have been organised neatly in the old, wooden cupboard.

"Did someone unpack my suitcase?" Oliver hears himself ask distractedly. Looking back when Felix makes a noise of guilt, he sees Felix sitting on the edge of his bed with an apologetic smile, and you next to him, laying back on the bed and looking at the ceiling.

"Uh, shit, yes, I should have told you," Felix admits, "they do that kind of thing here." Rich, whimsical weirdos, the lot of them, "the maids all report back to mum, by the way," Felix informs him, while you're just quietly swinging your legs off the edge of the bed. Felix's tone turns teasing, however, "so I hope you didn't pack anything scandalous." Oliver leans on the wooden foot of the bed, into Felix's space with an amused smile at the thought - pushing his luck, pushing into Felix's space to play off of the idea of scandal, so close to Felix and his mischievous smile. Felix leans back, the tease, giving Oliver space to quietly say -

"Just my old boxers."

You snicker. Felix grins.

"No, they're used to that, don't worry," but then Felix is up again, almost too close, looking at Oliver like he knows this is all some kind of joke, like he know - like he wants Oliver to keep looking at him, at his teasing smile, at his lips like that, "Duncan will be thrilled." Like this is all a game. Oliver snorts a laugh.

But the moment doesn't last, and Felix is moving again, getting up, telling Oliver a new rule - ahead of time this time. Dinner at Saltburn is an event you dress for, with the kind of dress code that requires a dinner jacket and cuff links and - Oliver would be properly embarrassed if it didn't mean he got to wear Felix's spare jacket. Felix seems almost embarrassed by it all, his casual nature clearly butting heads with the formality of his heritage. In this moment he almost seems childish, it's rather sweet. Judging by your smile, you're endeared by his behaviour without even having to see it; you hadn't even thought to sit up; your eyes have fallen closed, as if basking in this moment.

Oliver watches you, the way you radiate contentment. You were not born into Saltburn, but you'd made it your home. You'd won the love of Felix Catton, and a place in his life, that no-one else had managed to achieve. Hope was a beautiful thing, and you were both in this moment.

"I'm really happy you're here, Ol," Felix finally murmured, and finally Oliver believes him, "I'm sorry everything's so... old fashioned."

"No," Oliver's voice is soft, "it's wonderful."

The pleased smile Felix wears as he heads through to his own room makes everything about this strange, ritualistic, obsessive, critical world worth it. Over his shoulder, he asks if you'll be coming through too, and you tell him you'll catch up in a second. Felix closes the door over quietly, and after a moment, Oliver joins you, laying back on the bed.

"I like your room," Oliver breaks the silence after a moment. After a moment, a hum that's more like a contented laugh escapes you. You mumble a thanks; it's been a few hours since he'd seen you initially, your chatter had died down considerably, it seemed like you'd sobered up a good deal in the afternoon that had just passed.

There's a million things Oliver wants to say in this moment, things he wants to do, questions he has about you, about Felix, about Saltburn.

"It's not-" he finally starts, voice so soft as he finally turns to you, "it wasn't your fault, by the way."

When you turn to meet his gaze, there's surprise and confusion in your eyes, clearly not sure what he was referring to. Its been a long time now since he'd deliberately reached out for you, since you'd slept together, since Felix had first started giving him resentful looks. Things are better now. Much better.

"What?"

All it takes is a deliberate, gentle touch, his hand taking yours, apology in his eyes. Its enough to acknowledge that he'd spent time pulled away from you, that you weren't crazy to think that, and that you weren't at fault.

Oliver's always liked watching you process things, at least when you allow the world to see it happen on your face, not making an effort to hide it. You look down at his hand on yours, grip loose like more of a reassurance; raising your joined hands like you can't quite believe the sight, he takes the opportunity to link your fingers. It wasn't your fault.

Looking deliberately back at the ceiling, he gives you the time and space to process this development without feeling so watched.

"Oh," you mumble quietly, finally, "it's..." you give his hand a squeeze, "thanks?" Oliver smiles, and knows you see it, can see in his peripheries the way you're watching him now, but when he goes to withdraw his hand, you hold him tighter for just a beat, as if on instinct, before you let him go.

"Can I be bold for a moment?" He breaks the moment, breaks the tension, voice light and inquisitive.

"I like your boldness, Ollie, you know that," you respond automatically, matching his energy easily. Sitting up, Oliver turns to fix you with a scrutinising look for a long moment, and you wait, you watch him with eyebrows raised and an amused smile painted across your lips.

"You're sleeping with Farleigh," it's not a question. Your smile grows wider and far more smug.

"Ollie - Oliver - look at me," you prop yourself up on one elbow, gesturing down at your body, "look at where we are," you gesture around at the bedroom itself, "how many Summers do you think unrelated teenagers in close proximity, growing steadily more attractive with each passing year, can get through without ending up deciding to fuck to pass the time?"

Oliver, charmed by your blunt confidence, can't help but laugh, while also being able to connect enough dots to the implication that he should expect you to be just as close to Felix's sister too. You join him in his laughter, finally sitting yourself up. Oliver knocks his knee with yours, deliberate, and watches with a kind of fondness as you immediately focus on the moment of brief contact. You'd missed him, just as he'd anticipated.

But the laughter dies down, and you finally stand, sighing that you should probably get yourself ready for dinner too. Before stepping away, you lean back down with a wide, goofy smile that reminds Oliver a bit of Felix, and gently grasp his chin, pressing a quick kiss to the corner of his mouth. Oliver, a little startled by the gesture but welcoming it nonetheless, feels want burn through his veins momentarily as he watches you head to the door.

"Oh, Ollie, there's some stuff under the sink for you," you yawned and stretched and Oliver tried desperately not to stare at the way your shirt rode up, "shampoo, toothpaste, contacts; junk like that, you know, just in case." Wait, what was that last one?

"Contacts?"

"Yeah," like it was perfectly fucking reasonable, your hand on the door, "in case you didn't bring any or you ran out - there's actually a spare pair of glasses as well, if you'd prefer. Same frames as yours, I wasn't sure-"

"You know my prescription?"

"Yeah?"

"How...?"

You go quiet. You shrug. Its not a real answer.

Right; a magician never reveals their secrets. Its not particularly reassuring for a man lying about a large portion of his life.

For now Oliver just tries to remind himself of the way you look at him, the way you want him, the way he loves you, for who you are, for all you can do.

"Thank you," he says quietly, gives you a smile and hopes you believe it, "you're good to me." He's not sure what about that surprises you, but he catalogues this in the back of his mind. There's something beautiful and, he suspects, rare, about catching you off guard. But your next words are enough to return the favour, have his heartbeat in his ears, hopeful and quick as a humming bird right before you leave.

"Of course I am, Ollie, I love you."

And he's not sure why, but he believes you.

[beauty-and-passion]

Why you should listen to Chonny's Charming Chaos Compendium

I didn't expect to truly write a post about this album.

Anons introduced me to its genesis, production and themes and they seemed interesting... but was there enough food for thought?

I had no idea. My expectations were positive, so I imagined I would listen to something good: I just didn't know if this album had enough for me to talk about and say something new - considering that the CCCC fans already did a great job analyzing every detail of the songs.

But when I listened to them (and read more theories/explanations), I noticed some interesting things. Things that stirred my brain and made me think. Things I wanted to talk about.

So here I am, writing a post about Chonny's Charming Chaos Compendium Volume 1. I am not pretending to explain the lore or the songs in detail and I don't want to bother you with an extremely long post. All I want is to give you some material to decide if CCCC is worth a try.

And, if you've never heard about it before, I hope my words will spark your interest, because this album deserves more attention.

One last thing: please be aware I will talk about all sorts of themes, from love to suicide, because those are also the themes of the album.

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A simple plot

I can hear you, fans who have listened to the whole album: simple story?! It's complicated! It's open to interpretations!

And yes, you're right. But if we consider the core foundation on which the songs are built... well, that's quite straightforward. With this album, Chonny Jash is telling us about his struggles and how they led to a psychological split inside him into Mind, Heart and Soul. Then these three parts start fighting, until they find a way to reunite again.

And yes, we can also add that this is a time loop and things are destined to repeat themselves, but the structure is still simple, clear and concise. As clear as the tripartition of the album into Calamity, Cacophony and Concord, three parts that correspond to the story's three main points: the split, the fight, the reunion.

And this simplicity isn't a bad thing, oh absolutely not. This is perfect.

There's a common misconception that a good story should be complicated. The plot should be complex and convoluted and the more complex and convoluted it is, the better the story will be. I made this conceptual mistake too and it took me years to realize how wrong it was: the better stories are not the most complicated ones, but the simpler ones.

Why?, you may ask. Isn't a simple story proof of amateur writing - or even worse, lack of creativity?

Actually, it's quite the opposite and there are four reasons why:

If a story has a simple, clear foundation, it will be easier to build on it: a simple foundation is stable and strong, it won't break down too easily. You can add layers and metaphors and hide your plot points behind different interpretations, but your public won't get lost, because the foundation would still be clear: there are three figures, they fight, they reunite. Everyone can understand it.

If everyone can understand your foundation, your story is universal. Everyone can approach and experience it, from an old person to a child, and everyone will find something inside: a message, a feeling, a piece of advice, anything.

If your story is universal and the foundation clear, your vision is also clear. And if your vision is clear, you know what you're doing. And if you know what you're doing, your story will be much more organized too: there won't be dull/useless parts, filler, or moments in which you're just dilly-dallying, waiting for the right idea to strike.

Since your story will be more organized, the flow will be better too and the events will make sense, the public will be more prone to welcome the suspension of disbelief and immerse themselves in the story. People aren't stupid, they can subconsciously feel when an artist is confident and the story is strong. And once they feel it, you win. The public is yours now, you can guide it into your world and show your vision as you intended. And people will let you do it, because they know they're in good hands.

This is what I experienced too, the more I progressed with my listening. There was a lot of care behind every word, the lyrics kept explaining and expanding the plot and everything showed the confidence of an author who knows what he is doing and how to do it.

And there's nothing better for a story, than a confident author.

_______________________________

Clear elements despite the ambiguity

Even if the foundation of CCCC is very simple, the story is enriched by a ton of ambiguities and things purposely left very vague. They may be better explained when/if Volume 2 comes out in the future, they may be left open to interpretation forever. It doesn't really matter: having a full understanding is good, but leaving everything behind a veil of mystery is a good choice as well. It depends on Mr. Jash's choice - and if my previous point wasn't clear enough, I trust this guy's choices.

However, despite the ambiguity, I also really appreciated how there are a lot of extremely clear elements in this story, starting from some events, to specific details of the main characters involved.

Some examples?

Heart tried to shoot/kill/destroy Mind

Heart's breakdown is due to something love-related

The whole series of events is stuck in a loop

Mr. Jash threatens suicide if the parts of himself don't reconcile

Mr. Jash frequently talks about how he keeps making covers of songs others made before him

And what about the details? For example, we know that every character has a specific set of elements associated with them:

an object: a blindfold (Heart), a crown (Mind), a trident (Soul)

a name: Artemis/the moon/Juno (Heart), Apollo/the sun (Mind), Atlas (Soul)

a color: black+purple (Heart), blue+white (Mind), gray+red (Soul)

And those are all elements we get from the songs and they get stuck with you, while you progress with your listening.

Again, this is a very clever choice: considering everything is open to interpretation, having some clear elements serves as "anchor points" in a sea of ambiguities. By doing that, the listeners won't get lost in a maelstrom of possibilities, but they will keep being guided down a clear path - the one traced by the main points of the album (breakdown, fight, reunion).

Also, having some fixed elements keeps everyone's attention too: some people might like to get lost in pure ambiguity, but most lose interest in a too-vague story. Even if the author had a clear plan, if everything is too obscure, people will inevitably think: "It's incomprehensible, so the author had no idea what they were doing" and ditch the story entirely.

Mr. Jash handled the ambiguity aspect very well, by balancing the obscurities with the clear elements. And this proved, once again, how clear, strong and detailed his vision is.

_______________________________

Favorite character?

Ooof, that's hard.

Each character has a specific personality and that alone proves how carefully Mr. Jash planned every element related to them.

Heart is sad, desperate, apathetic, prone to self-pity, sick and tired of everything. But he's also strong enough to try and oppose Mind out of fear of what he could do. He tried to attack someone as powerful as him and take him down, just to preserve the Soul and save their vessel.

And that proves he's not weak at all: he's a lot more powerful than he seems. And, as he said, he's not a child: he felt Mind could've been a threat, so he took the matter into his own hands and tried to find a solution.

And it makes sense his solution was so drastic, because it was dictated by feelings. Because the Heart is influenced by feelings. It's perfectly coherent with the kind of character he is.

Same goes for Mind: he's cold, harsh, a threatening figure because of his design/nature. He takes control of the situation, he appoints himself as the new leader, he wants to react, do something, move forward and ignore the element he sees as the weak link.

And he definitely doesn't hold a grudge towards Heart, nope nope: my bro spent a whole song saying "Look at Heart, he's an idiot". And then, if this isn't enough, he ended his song, by calling Heart "akaryocyte": which is a cell without a nucleus. Hence, a virus.

I'll admit it: this sick burn is the sickest burn that ever burned and probably the most clever insult I've ever read and that made Mind top #1 best character of the album - sorry Heart, but Mind is too sick. (Also, I am a cold logical person too, so I ended up thinking the guy wasn't so bad after all.)

Last but not least, we have Soul. And Soul is basically shut down all the time by these two motherfuckers arguing, to the point he looks more like a shadow, rather than a real character... until he decides that you know what, time to show how confident he actually is:

You must be so arrogant to think that either of you Can control The Soul so wholly When to be one whole you can't hold solely

One song was enough to show Soul's true colors. He's stronger than the other two, he's more in control than them and he's the only one able to draw a line and make an actual threat: if they do not find a way to reunite, he will kill them both.

A couple words and Soul's picture got flipped: he's not just a background voice anymore, he's the leading figure now. And if he is sick and tired, then these three are facing the real shit.

But just like the other two, Soul isn't just that and we see it in The Bidding.

Here happens something incredibly beautiful: once Heart and Mind find a way to harmonize, Soul immediately rejoices: with the impatience of a child, he asks them to do it again, "One more time, go again/No, this can't be the end". Soul, this powerful figure who threatened suicide one second ago, begs them to try again, to do it "for me", because they can finally harmonize, because "I don't know how much more I can take".

Once again, with a couple sentences, we learn how heavy this whole situation has been on Soul and how eager he is to try again, once the other two find a possible harmony.

This doesn't just show how deeply Soul has been affected by the whole situation, but also (on a higher level) how strong hope is.

Soul was ready to commit suicide: a few verses before he said this was the day "we'll tie the rope". But one small step in the right direction, despite being flawed and made out of spite and resentment, was all he needed to change his mind and drop the idea of suicide entirely.

That also proves how human Soul is. Because this is what humans feel too, especially when they play with the idea of suicide. Most of the time, this idea is the result of desperation and inability to find a way out of a situation that seems impossible to overcome. But once these people find even a teeny tiny fragment of hope, the will to live overcomes desperation and people latch to said hope, no matter how small it is. And, just like Soul did here, they try to have it again, to repeat it, to feel that spark again.

Because the will to live is always much, much stronger than the desperation that leads to suicide.

_______________________________

The choice of a time loop

These three characters are stuck in a time loop: things are destined to repeat themselves. And believe it or not, but this is extremely human too - and a clever choice as well.

From a psychological perspective, Mr. Jash can "break" again anytime. Life is full of stuff and events, so... who knows? Maybe in the future, he will face another heartbreak and his Whole will break down into three once more. Or maybe it won't be because of a heartbreak: maybe something else will happen and lead to a new split, a new fight and a new reconciliation. Maybe even the lack of confidence that starts to shine in Concord is proof of a future split.

But if we think about it, the time loop works from another perspective too: a meta one.

Every time you listen to the whole album, every time to replay the songs, you are relieving the split. Every time you listen to them, Whole splits into Heart, Mind and Soul. Every time you trace their history, they split, fight and reconcile.

In other words: every replay is a new loop, a loop in which these characters are stuck - not just because of their humanity, but because they're characters and this is their story. They cannot escape from it, because that's their entire world.

I don't know if Mr. Jash thought about that while making this album... but he gave me this thought and that's just another proof of what I said at the beginning of this post: if a story is very well made, everyone can find a message inside it. And I'm sure you will find something too.

EDIT: You will find the whole analysis of CCCC Vol. 1 starting from HERE

(How about a coffee? ☕)

_______________________________

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[correlance]

I don't see this topic discussed very often, but Alastor is such a great foil and antagonist for Charlie, and a catalyst for her character arc.

In any narrative, a foil is a character who contrasts with another character, typically, a character who contrasts with the protagonist, in order to better highlight or differentiate certain qualities of the protagonist. A foil to the protagonist may also be the antagonist of the plot. [...] A protagonist is the story's main character, whose actions help propel the plot forward. An antagonist, while often a secondary character, is pivotal in creating compelling narratives by introducing challenges and conflicts for the protagonist to overcome. These two characters are seen as opposing forces serve as the driving forces behind the plot; with the protagonist representing the hero or central figure of the story, and the antagonist acting as the main adversary. Together, they create a dynamic, and often complex, relationship that draws readers and audiences into the narrative, leaving them invested in the outcome of the conflict between the two. [...] The protagonist's journey often involves some sort of personal growth or transformation, as they learn important lessons or face significant challenges [from the antagonist] that shape their character.

When we look at Alastor and Charlie as separate characters, they couldn't be more opposite from one another. Whereas Charlie is sincere, genuinely friendly, innocent, naïve, trusting, believes that there is good in everyone, finds hope in redemption, and is one of the most pure-hearted souls in Hell, Alastor is steeped in sin. He is a remorseless narcissist and sociopath who enjoys torturing and killing others; in life, he was a serial killer who targeted the "scum of the Earth" - abusers, rapists, murderers, etc. - for amusement, entertainment, and to enact his brand of "divine justice" on the guilty.

He is someone who is unapologetic, or even gleeful, about giving others the comeuppance that he believes that they deserve. Alastor thinks that "there is no undoing what is done", and that sinners in Hell - himself included - deserve eternal punishment, whereas Charlie wants sinners to be redeemed, and find eternal happiness, peace, and bliss in Heaven. There two couldn't have more opposing views that clash with one another; and, yet, Alastor and Charlie usually get along quite well, and are well-matched in other personality aspects, such as enjoying music, dancing, and working as business partners.

Alastor's character traits also balance out Charlie's traits well. Whereas Charlie is innocence, Alastor is experience; whereas Charlie is naïve and trusting, Alastor is shrewd, calculating, and mistrusting; and, when Charlie needs assistance in her darkest hour, Alastor appears to help her, serving a role as both her friend (i.e. shared interests) and her antagonist (i.e. having conflicting goals and beliefs), with the latter role being important in Charlie's character development in Season 2 and beyond. Without Alastor, there is no development for Charlie.

The entire purpose of the antagonist in a story is to shape, mold - or "guide", as Alastor puts it - the protagonist (Charlie), and serve as a catalyst for character growth. In Charlie's case, we have a classic case of what the Germans call a blindungsroman, or "a story that focuses on the psychological and moral growth of the protagonist from childhood to adulthood". From a character standpoint, Charlie is still in the "childhood" stage, but Alastor wants to help transition Charlie from "childhood" into "adulthood", and from "innocence" into "experience", in what one writer termed "the crucible of youth".

"The German word 'Bildung' is both a thing and a process, originally referring in a Medieval Christian context to how God actively transforms the passive soul of the believer. If sin deforms the believer, the sinner must passively prepare to receive God's grace, and this passive reception is a kind of molding by God to prepare the sinner's soul for redemption. From the very beginning of the idea of Bildung, the word identifies how people become who they are, and it has always assumed that 'becoming' is never simply an act of the individual will. [...] A universal truth seems constant...reaching maturity is often achieved at great cost, and only after severe heartbreak."

[cupcakeslushie]

Bro

So I’ve been cooking on what to say about your KendraTello fic for a couple months now and I think I finally have some sort of semblance of thought that is shareable. First off, my friend once said that any form of media that makes you feel something is considered good media. And Broski, lemme tell ya. Your KendraTello AU makes me F e E l T h I n G s.

I have so much to say but for the instance of this comment, I see myself as Mikey in this situation. I have ridiculously high empathy and I’m studying to become a counselor while currently being in counseling myself. While I never had to deal with the struggles and the complete hell of being in an EXTREMELY toxic relationship like that, I do struggle with overcoming my own insecurities and crushing rescuer/complex. AKA I feel like I gotta save/be helpful to everybody or else I have no value.

So reading this little story has me like gripping my blanket in horror because it is just so well written that not only can I see the implications, but I can FEEL how the rewiring would have felt for Donnie. Like…*shudders* I get it. A bit. And trying to overcome that? To grow and learn how to trust people, especially those you considered to have hurt you? The brothers relearning how to love their traumatized brother and realizing nothing, nothing is ever going to be the same way again? It makes me want to cry and cradle Donnie and all of them so tightly. I get it, honey, I get it from both sides, and I am so so so sorry.

*holds up hands* Now I’m not trying to share this in any negative or trauma dumbing manner at ALL. If it came across as such, my sincerest apologies. I genuinely just wanted to commend you in your storytelling abilities for they truly are impelling on multiple accounts. I hope this message finds you well and is a reminder that you are leaving an impact in this world. You’re making a difference and I think that you’re honestly incredible. Sending my love and support to both you and your Donnie ✨🫂🧡🙏🏼

Sorry this took so long to reply back, I have a few asks in my inbox that I just like to scroll back through and ponder on, and this has been one of the ones I’ve been holding onto.

Thank you for being so open and honest, and real, I think that will really help in your own journey to become a counselor for others, because all of that helps people feel like their concerns and issues are actually being heard. I’m also on the highly empathetic spectrum, and it’s taken many years to come to terms with knowing when to put my needs and happiness on the forefront, instead of exhausting myself in trying to fix everyone else’s problems.

Every day we are bombarded with people all around the world that are struggling, and in need of help. We have so much more access than any other generation before us, and that can give us so much anxiety and helplessness, and make it feel like we aren’t doing enough to make things better. If you need to take a break from listening to the problems of your friends and family, or take a break from doomscrolling, because it’s all making you feel like you’re the worst, for not helping every single person that comes across your feed, then take a break, please. Trust that someone else is doing their part as well, and breathe.

It’s a delicate balance sometimes, but please remember that you always have worth, even if you’re only doing your best to exist and be healthy. You deserve rest and love too, and those are never things you should have to earn!