#i think it's good to make jokes and find people who are also suffering similarly we are clown to clown communicating rn | Explore Tumblr Posts and Blogs

everygame · 24 days

Text

Thank Goodness You’re Here!

Developed/Published by: Coal Supper / Panic Released: 1/08/2024 Completed: 7/08/2024 Completion: Finished it!

It seems contrarian for me to open this by saying this is definitely the best game of 2024 and it’s definitely going to be my favourite game of the year… but it’s true.

The thing, I suppose, that makes that kind of wild, declarative statement seem so difficult to declare is that… games are just so broad, aren’t they? Playing something like Thank Goodness You’re Here! is so unbelievably different from playing, say, my favourite game of last year, Hi-Fi Rush, that it doesn’t feel as easy to say as declaring one movie “the best film of the year.” I mean in that case, you still just sit there and watch a movie. There’s not quite the same… granularity of experience. I mean even if you were talking indie games, Balatro touches such a different part of my brain from Thank Goodness You’re Here! So how could I ever, really, compare them?

Well, you know what? Sometimes you gotta just stick your flag somewhere, and my flag goes in the top of a Yorkshire pudding, and when it unfurls it’s the flag… of Yorkshire. Which surprised me, because I’m Scottish, so normally it goes in the top of a Scotch pie, and it’s a Saltire, so I guess I really like Thank Goodness You’re Here!

To describe it, though, which is what you’ve paid for, Thank Goodness You’re Here is a non-evil Untitled Goose Game. You play, in some respects similarly, an agent of chaos in a small town: a tiny man with… jaundice(?) who has been sent to the town of Barnsworth to help the mayor, but end up in the tangle of everyone’s lives. You help them do things that sound explicitly rather simple like mowing a lawn to buying some soup… but it’s not simple at all.

Unlike Untitled Goose Game, your tiny man isn’t just a wee dick; you’re actually helping people, it just happens to be in a very anarchic fashion. You rise to the level of the town, rather than lowering it, so outside of a few smacky bum-bums, you never feel like you’re bullying anyone… well maybe that guy with the chimney. But the joke works.

It would be regressive to describe this game as “weird” or “crazy.” What it is, and what makes it so brilliant, is that it’s so British. If you love the era of British comedy that brought us things like Look Around You or Alan Partridge, you’ll feel right at home here, and I was genuinely laughing all the way through this. Mileage may vary: some jokes and sequences are unbelievably puerile, some are a little smutty; some are… disturbing, but there’s a joyful nature to this whole thing, and it’s all so rapid fire that if something falls flat, it’s not long before you’re laughing about something else.

I think also that the game has a near-perfect take on interactivity for this kind of story-based experience. Outside of special sequences basically all you can do is slap things or jump, but everything is reactive, and the level design is cleverly focused; your path through the game is a sequence of designed loops that you can’t deviate from, but as a result you don’t suffer from the kind of downtime you can struggle with in more open adventures and which can ruin immersion.

Here you’ll never return to an area and discover it static, how you left it, and have to waffle around trying to find X or Y; you’re always moving forward onto Z. I can hear the criticisms, but at least for me this never felt restrictive; the only issue I really had was feeling that I had to put the game down regularly lest I finish it too quickly–though it’s surprisingly lengthy for something featuring so much bespoke art and sequences, at almost five hours.

To be honest, the game manages something that I wish designers of interactive experiences–think your Meow Wolfs, your Sleep No Mores–would learn from, which is how to always be guiding your player forward through a space and yet still allow them to experience it at their own pace. Sure, it has the benefit of being able to lock doors behind you, and there aren’t 300 other tiny men with jaundice trying to do everything in it at the same time (though I’d love to see that?) but I couldn’t help but be impressed with the flow.

(This may relate to me seeing Sleep No More before it closes just before playing this, finding it a hard to navigate mess of meaningless rooms in a warehouse and thinking it was fucking rubbish.)

The reason, really, that this is my game of the year already is that it’s trying to do something specific and it’s doing it as unbelievably fucking well as anyone probably could. Your dexterity won’t be challenged, your brain won’t be taxed, but they don’t need to be. Sure it’s a funhouse mirror, but if someone was to ask me “What’s the UK like?” from now on, I’ll probably just say “Play Thank Goodness You’re Here!”

Will I ever play it again? Absolutely. Not for a long time, I think, but I didn’t technically see “everything” according to the achievements, and I’d like to.

Final Thought: For categorisation sake, I would like to mention that I do think that Thank Goodness You’re Here! is largely specifically English, and Northern English at that, but there are enough commonalities and it features a big role for Davey Swatpaz that I think it’s fair to think of it as extremely British anyway. And speaking of the excellent casting, Matt Berry is in this and as always he’s brilliant. There are few games where I’d say “I really hope you run out and buy this” but there are few things that are such polished diamonds, and even though this was funded by Panic, who apparently have enough money that they can piss it up on a wall on the world’s most niche handheld (hey, I still bought it) smaller games are having such a rough time of it that when they’re good we should really, you know, reward that. Don’t just do it for me; do it for Tiny Tom. Or Big Ron.*

*pie size preference depending.

Support Every Game I’ve Finished on ko-fi! You can pick up digital copies of exp., a zine featuring all-exclusive writing at my shop, or join as a supporter at just $1 a month and get articles like this a week early.

#gaming #video games #games #txt #text #review #coal supper #panic #thank goodness you're here #yorkshire #2024

16 notes · View notes

weirdgirlification · 4 months

Text

twin peaks, salò, and the human capacity for evil

i wanted to elaborate on how i think twin peaks and salò have similar things to say about the nature of evil and how it exists in society.

warning for discussion of csa, rape, incest, torture, murder

part one: fathers and daughters

both twin peaks and salò portray evil as something that often comes from those one is closest to, the people who have power over others who are meant to be “protecting” them but in reality are being enabled to do the opposite. there’s a specific focus on the father-daughter relationship and the idea of patriarchal incest, which more broadly represents the idea of men in high places (fathers) abusing the more vulnerable members of society (women, young people) because it’s so easy for them to get away with without others noticing.

twin peaks centers around the murder of laura by her father leland, who had been sexually abusing her for years previously. it also has audrey and ben and their interaction at one eyed jack’s, where he tries to have sex with her not knowing he's his daughter. laura’s working at one eyed jack’s as a result of the abuse she’s suffered at leland’s hands serves as a sort of exchange in which she is given from one man to another. this calls to mind the beginning of salò, in which the fascist libertines marry each other’s daughters, participating in a similar act of exchange, though all four men go on to torture, abuse, and kill all four women. blood makes no difference here the way it did with ben horne, who was horrified to find out it had been audrey at one eyed jack’s.

this abuse specifically happens to girls from “good” families, with ben being a wealthy businessman with a great deal of power in the town and leland being an upper middle class attorney. similarly, the daughters in salò all have fathers that hold positions of power, who remain unnamed throughout the film and are defined entirely by their titles. this suggests that no one is immune to such evil, that even those with seemingly comfortable lives, those lucky enough born into high places in society, can become victims.

part two: masking techniques

there’s often a tendency to portray evil as scary and menacing and serious, and both twin peaks and salò subvert this in similar ways, with some of the worst acts committed being juxtaposed with an unnatural lightness, a joke or a song.

leland palmer in particular is often associated with music, singing and playing records and dancing with laura’s picture in a scene so absurd it begins to become funny rather than sad. windom earle, the villain in the second half of season 2, loves to play games with his victims, and clearly sees cruelty as a source of entertainment. similarly, the libertines in salò enjoy making jokes. after the first occurrence of rape at dinner, they begin to sing. the torture is clearly being done for their amusement, and there’s a ridiculousness to it that would make it funny if it wasn’t so serious.

after leland kills maddy, he puts her body in the trunk of his car and begins to cheerfully drive around town humming “surrey with the fringe on top” from oklahoma! (i have a LOT i could say about this particular song choice, but i’ll leave it for another post). perhaps it’s the spirit of bob possessing him, but he is entirely unbothered by the murder he’s committed. to the audience, the singing feels wrong. how can he just go on like that?

similarly, salò ends with a musical moment closely following a scene of death. two teenage boys, accomplices in what has occurred, have just seen the victims be brutally murdered outside. seemingly unbothered, they put on a record, dance together, and indulge in casual conversation. there comes a point when evil has gotten deep enough inside someone that they feel no guilt. this is just like any other day. they can put on a song and enjoy it, forget what they’ve done entirely.

part three: the spread of evil

during one of the dinner conversations in salò, the magistrate says “there’s nothing more contagious than evil.” as the film continues, this is proven true. the storytellers are a notable example, as these women were victims initially, brought into prostitution as children, but in their adulthood they have become enablers and perpetrators of violence, perhaps influenced by the evil that took place around them. similarly, one of the victims is later chosen to join the guards, and we see him dance in the final scene, showing no sympathy for those whose plight he once shared, having fully accepted the evil around him.

in twin peaks, we see this contagious nature of evil portrayed through bob. leland speaks of being tormented by bob as a child, suggesting that he may have been a victim himself before he began to rape and abuse his daughter. bob wants to take control of laura as well, and she spends the majority of fire walk with me trying to avoid this fate. season two ends with bob finding a new host in dale cooper, a man who, until that point, had been one of the most unquestionably good characters in the show. his transformation suggests that the capacity for evil exists within all people, and no one is truly immune to its spread.

part four: death as resistance

if all people can become evil when exposed to it enough, what way is there to resist it other than death? in both works, death is the only form of true resistance the victims have against the abuse they face.

laura's death at the end of fire walk with me is a tragedy, but it is also a choice. her refusal to submit to bob, to allow herself to become the evil that has tormented her for her entire life, is the reason behind her death. if she can't resist him, she'll die, and exit to world in which he holds power, freeing herself. in the end, laura sees the angel, showing that she has finally escaped the world of evil and that by resisting in the only way she could, she has proven herself good.

salò's primary act of resistance also ends in death. a sequence at the beginning of the third act shows the victims turning on each other, revealing the forbidden things others have been doing in hopes of saving themselves. this ends with the reveal that ezio, one of the guards, has been having an affair with the maid. rather than attempt to justify his actions or expose someone else, he raises his fist in a socialist salute before being killed. this is the only moment in salò during which we see anything truly bother the fascists in power, and his resulting death is simple and fast rather than drawn out and torturous.

when faced with evil, if one is not willing to refuse completely, even risking death, the result is more drawn out suffering, or the potential of succumbing to it. because in both cases, evil does not come from any one person but rather from the world which condones it, ignores it, allows it to spread.

#twin peaks #salò #this isn't meant as a definitive analysis of either work #just ideas i personally found similar

17 notes · View notes

sofwrites · 3 years

Text

Each other's biggest ally

Polin Week Day 1: Favorite Quote

“No, his method of attack was a lazy smile, a well-timed joke. If Colin ever lost his temper...

Penelope shook her head slightly, unable even to fathom it. Colin would never lose his temper. At least not in front of her. He'd have to be really, truly—no, profoundly —upset to lose his temper. And that kind of fury could only be sparked by someone you really, truly, profoundly cared about.” - Romancing Mister Bridgerton, pg. 64

The one where Colin profoundly cared and had no choice but to lose his temper.

Type: One-shot, angst, sentimentalism, protective/mywife!Colin, protectective/myhusband!Penelope

Length: 3.3k

Read on ao3! Or continue under the cut

In the late months of the year 1825, Penelope Featherington Bridgerton published her debut novel titled The Wallflower. And in the early months of the year 1826, she relished in the praise of her work and suffered in the consequences of her now-public identity.

The response to her book was generally positive. Whether or not they were willing to admit it, the members of the ton were eager to uncover the scathing details surrounding Mrs. Bridgerton’s former pen name. They devoured the secrets hidden between the lines of the pages- forming their own conclusions and theories of what was fact and what was fiction.

It seemed that after many years of Penelope appearing to be invisible, the gravity of her voice was finally truly understood.

But as in all life, there were complications as well.

One gentleman in particular was quick to make his discontent known, and it was all due to just one short excerpt.

Although Beatrice did not befriend even half of the ton, she had made the acquaintance of nearly everyone at one point. And though they never realized, she scrutinized them almost as much as they disregarded her.

Even with her close examinations, she generally liked the people she met. There were bores, many in fact, as well as those with whom conversation could rarely be carried, but most were reasonably pleasant. There were exceptions, however, as there always are. One such exception was as follows:

It is an earlier season for Beatrice, one still full of wonder and disillusioned hope. She looks at the dancefloor with wistfulness in her eyes, dreaming, praying that her prince charming will notice her from across the room and ask her to take his arm.

He does not, of course. His mind is still focused fully on the small group that surrounds him, drawn to him like a shining star amongst the thinly veiled candlelight. Although the music is certainly too loud and the conversations too many, our heroine can perfectly hear his laughter through the crowded ballroom. She can hear it because she knows it better than she knows her own.

Later that evening, he’ll ask her to dance. He’ll remember her minuscule presence in his life, likely prodded by a sharp finger to his spine and a voice carrying a gentle reminder. And even though she knows why he will do so, knows that it is due to a kind sense of duty rather than true desire, she will cherish it all the same.

Right now, however, Beatrice remains at the edge of the dancefloor, her silent woes interrupted by the familiar voice of her mother.

“Beatrice, dear, this is Mr. Wetherden. Mr. Wetherden, I present to you my daughter, Beatrice Harpenton.”

Another bachelor, this one ranking second-tier rather than third. Her mother seems to have given her more credit this evening, Beatrice thinks as she looks at the familiar face.

The introduction is an unnecessary formality, of course, as are many of their rules; they were made acquaintances during her first season. Nonetheless, society calls for her to curtsy and give a gracious smile, and she obliges.

At the same time, he assesses her similarly to how he did so a few years before. And she sees it immediately, the dismissal that passes over his eyes even before he fully bends into his low bow.

Her mother leaves them to it- the stifled conversation in an even more stifling ballroom. The unfortunate girl in the canary-colored dress stands on the sidelines, trapped in conversation with yet another uninterested bachelor who is just as much forced upon her as she is on him.

He speaks endlessly, unquestionably more for his benefit than hers. He spends fourteen minutes explaining the difference between rugby and football. She suppresses three yawns and is interrupted twenty-six times throughout the topic, clearly expected to be an audience member rather than a participant.

At this time, she thinks this is Mr. Wetherden’s worst offense. Later on, when she is years older, Beatrice discovers that she was sorely mistaken in her youth. That without the cautionary lights of London (albeit often cloudy and forgiving), he is much worse.

She later on learns about his propensity to unwilling women. To frightened young housemaids who are often not given the options that women of a higher class are granted.

Our heroine also finds out later exactly how commonplace such a tendency is. And with it, her vision of social seasons- the one with balls and picnics and musicales- begins to splinter.

Penelope hadn’t named him, of course. She hadn’t named anyone directly.

She couldn’t publish a memoir, not really. Even though she was related to a fine variation of important characters in society, she couldn’t put such a strain on her family, and particularly not on her husband. Her husband, her lovely, amazing husband who supported her through the entire process even despite the fact that so much of their own private history was laid out in the pages of her novel. Penelope had written the truth, which hadn’t been entirely pretty. But Colin had agreed with her that the truth was more important than sheltering their secrets.

But even though she couldn’t publish a direct recounting of her life and experiences with the ton, she’d been unwilling to just hide behind fabricated stories.

Penelope’s telling of that night at the ball wasn’t completely factual. She did not know how many times Phillip Cavender interrupted her during their conversation, nor whether or not Colin had even been present that evening. But the details of the matter weren’t as important to her as shedding light on the entire situation.

She’d been young and naive during her first few seasons, believing that a few nasty comments and looks were really the worst of what society had to offer. Later on, she’d found out that she had been wrong, and that there was much worse than she’d ever known. And when her sister-in-law, Sophie, had recounted the night she and Benedict had met (well, met again), Penelope knew that she had to shed light on the matter. She had to make it clear what happened outside of the fancy dresses and giggling parties.

But as mentioned, such decisions did not come without their objections.

“Thank God, they’re leaving.”

The words came from just a few feet behind them, full of indignancy and bitterness. The couple had been walking together, arm-in-arm, towards the door, quite eager to return home for the evening.

They’d been attending an intimate house party at the request of the gentleman’s mother. She’d been unable to make her attendance that evening and had asked that her son and his wife go in her stead. They hadn’t been particularly excited about the prospect, but they’d agreed for her.

The party itself hadn’t been bad. The food was good, the music was pleasant, and almost everyone in attendance had offered the woman praise for her work. Though they hadn’t exactly been excited to attend, the evening hadn’t been at all poor.

That was, until they’d been nearing the exit and heard the troublesome remark behind them.

Colin glanced down at his wife, who grimaced, her nose scrunching as her eyes closed. They’d been met with a number of sneers and snide comments in the last few weeks, but they never became easier to hear.

With a small sigh, he turned them both around, looking directly at the man holding a glass of port too large and wearing a lip too curled.

Colin gave him a smile, the familiar one he used whenever he was looking at something that both irritated and mildly amused him. “Didn’t see you there, Cavender. So nice of you to offer us a sendoff.”

The opposing man’s mouth turned downwards, a stark contrast to the grin still on Colin’s face. Penelope swallowed, quickly cutting in. “We really must be getting home.”

With a pointed look directed towards her husband, she began pulling him back towards the door. Though Penelope would have loved to see Phillip Cavender get put into his place, she knew far better than to spar with a man holding a petty vendetta.

But before they’d even fully turned around, there was a mocking bark of laughter, followed by a slight slurring of words. “You do everything she tells you then? Follow her around like a lapdog?”

This time, Colin’s brow lifted ever so slightly, the same half-smile still imprinted on his lips. Penelope felt an uncomfortable heat rising up her neck as she reluctantly turned from the door again.

“If it means getting to share my life with this incredible woman,” Colin sent her a small wink before shrugging, “Then, by all means, call me a lapdog.”

There was some tittering around them by the small audience they’d attracted. With a quick glance, Penelope could see the angry lurch in Cavender’s throat, the narrowing of his eyes, the twitching of his fingers as they tightened around his glass.

Please, just let it go. Let us just leave and go home.

But he didn’t. Of course, he didn’t.

“I know what lies she’s spread about me.”

“Oh?” Colin’s face took on a thoughtful expression, one that might have been convincing in any other circumstance. “I don’t recall ever hearing my wife mentioning you.”

Cavender’s glare deepened. “In that bloody book of hers.”

Penelope cringed inwardly as she felt the twitch of Colin’s hand in hers. Her eyes darted around the room as an overwhelming sense of dread engulfed her. The ballroom was small and the guests were bored, and a public row was certainly enough to draw a crowd- one that was full of prying eyes and listening ears.

Colin’s face remained the picture of serenity even though Penelope could sense the angry heat rising from him. It was something she could feel in him that others always missed, a secret fire that he did so well in masking.

Looking at the other man, Colin let out a sigh, one that was forcibly tired, as though he were speaking down to an overly emotional child. “I can assure you that all the characters in my wife’s novel were fabricated. And if you saw yourself in one of the less attractive personages, then I’d venture to say that such is simply a reflection of your own self-image.”

The whispers around them grew, and Cavender sputtered for a moment, clearly caught off guard by the easy taunt. But his surprise only lasted a moment before he hardened once more.

A man with a petty vendetta did not often allow himself to be diverted.

His eyes flickered to Penelope before they returned to Colin and he sneered. “You realize that she’s made you out to be an ass, don’t you? You can act high and mighty, Bridgerton, but the wife you so proudly boast has fashioned you into the biggest fool in all of London.”

It was at this jab that Penelope frowned, feeling her own prickle of anger. And for the first time in the nasty exchange, she turned directly to their shared foe, a hard, determined look set on her face. “Excuse me, Mr. Cavender, but I must ask that you don’t speak to my husband that way.”

She could almost see his eyes flash in fury as they set themselves on her. But before he could give the biting retort that was no doubt resting on his tongue-

“And I’d suggest that you consult a dictionary to properly understand the concept of fiction.” Colin’s tone was relaxed, just a sprinkle of mocking mixed into it. But Penelope could feel the tension in him, the protective edge that mirrored her own.

Cavender’s gaze shifted back to Colin, his rage appearing a bit more controlled as they listened to the snickering that surrounded them. Slowly, his mouth thinned into a tight line, and he took a step closer to the couple. By instinct, Colin angled himself in front of Penelope as her grip on his hand tightened.

He was just a few feet away from them when he finally spoke, a voice so low that it was barely audible over the murmurs. “And I’d recommend that you consider taking yourself and that bitch of a wife,” his eyes darted to Penelope for a moment, “out of town.”

And it was this comment that wiped the smile completely off of Colin’s face, along with any attempt of levity.

It was as if a chill had passed over, one that was both icy and burning at the same time. He stiffened like a board, a wave of unmistakable anger coming over him. And when his words came, they were low and even, colder than anyone had ever thought possible from Colin Bridgerton.

“You would do well to avoid threatening my family, Cavender.”

Though there was a slight tinge of red on his face, Phillip Cavender did not retreat. Instead, he took another step forward. “And why is that, Bridgerton?”

Penelope could see the muscles in Colin’s jaw moving from where she was angled, could practically feel the heat radiating off of his body. She’d seen him angry before, furious even, but this was different. This was so much more.

She wasn’t frightened, not by Colin nor by the man standing across from them. Fright was not why she wanted this to stop.

She didn’t want her husband’s anger to be made into a form of entertainment at a party. For him to have to serve the role of gallant protector whenever she upset someone. So, she attempted to silently will him to calm down, running a featherlight thumb across the surface of his hand.

But Colin wanted to finish what they’d started and instead let go of her and took his own step forward, almost shielding her completely.

“I think we all know that I have more than enough relatives to run you out of town,” he said, eyes locked on Cavender.

There was a flash of worry that crossed his face, but it was quickly forced away by a snort. “Is that meant to scare me? The threat of a duke and a viscount?”

Colin didn’t falter. Instead, his head tilted as he considered the man, considered the shaking fingers and the smell of alcohol on his breath. He’d never been a violent man by nature, even having grown up with two older brothers. He preferred words when he fought, and they almost always gave him his victories. He wasn’t opposed to physical repercussions, but he knew that a private gathering was not the place or time.

He looked Cavender directly in the eyes, speaking in a low, clear voice. “I will ensure that you are ruined, that is a promise.”

And because he couldn’t help himself, “And if that is not enough, be rest assured that we will do worse. My only qualm in doing it myself is that my brother would be disappointed he wasn’t able to help.”

There was a silence in the room that followed as Cavender glowered at him. His eyes darkened in fury as his face reddened, trying to figure out how far Colin could really go.

But there was something in Colin’s threat that didn’t allow for any consideration that he might have been exaggerating. Perhaps it was the definitive and resolute tone in his voice, or the strength behind his gaze, or the tight set of his jaw.

Or perhaps it was because Colin Bridgerton wasn’t the type to quicken to anger. Wasn’t the type to have a temper or even hint at unpleasantry.

Whatever it was, it made Cavender finally break eye contact and step back. He turned away, taking another large swig of port.

Colin could hear the pounding in his ears as he looked at the pathetic man, anger still coursing through him. But then he felt a warm hand lace through his, and the red glare of the world began melting away. Penelope was whispering something, her voice calm and soothing. He squeezed her hand in understanding but kept his gaze on Cavender.

There was a familiar casualness when Colin spoke this time, but it was threaded with venom. “Do not forget what I’ve said.”

And with that, he turned to his wife and pressed a kiss into her hair.

“Good night,” Penelope nodded to the remainder of the crowd, who finally had the decency to look away.

A few minutes later, when they were finally in a carriage returning to their home, Penelope sighed. With her eyes glued to her skirts, she whispered, “I’m so sorry, Colin.”

He looked at her thoughtfully, taking in a deep inhale of breath.

He’d been scared after the reveal of her identity, terrified even. There were evenings where he’d lie awake in bed and imagine all of the awful things that could happen to the person who was his entire world. And though they never spoke of such worries aloud, he knew that she was just as aware as he was.

Italy had been like taking a deep breath after being underwater for too long. There, no one cared or knew, and the only threat they faced was the harsh sun.

And then Penelope was pregnant, and a new light was added to his life, one that shifted his fears elsewhere.

Then they became a family of three, and Colin was thrilled. He still worried, of course, but his joy outweighed everything else.

Old wounds had been reopened in the recent weeks, that was for certain. But it did not mean that he blamed Penelope for them.

So, Colin pulled her into his side and tucked her head under his chin. “You have nothing to apologize for. We both agreed that you did the right thing.”

For a few moments, she said nothing, just listened to the sound of his heartbeat and the wheels on cobblestones. And though he couldn’t see her, Colin could sense in the silence that she was crying. Wordlessly, he handed her a handkerchief.

Penelope dabbed at her eyes a few times before leaning back to look at him. “I didn’t want to force you into this position.”

He smiled and lifted a hand to stroke her cheek, feeling the familiar warmth of her skin. “I watch you every day with nothing but awe, Penelope. I love you, I’m proud of you. And I will gladly stand by you through anything.”

Her eyes moved slowly as they crossed his face, searching for any hesitance. There was none, not even a hint of resistance.

Instead, there was so much love that it overwhelmed her, struck her with the same shock that it had years before. It was a love that mirrored her own, a fierce desire to protect and support another with as much reverence as one did for themself. It was one that never faltered even in the most difficult of times.

Her eyes were glossy when her hand reached up to meet his, and the smile on her lips was weak but true. “I love you so much. And I can’t believe that I’ve become so lucky in my life to have you by my side.”

And with that, they settled into their drive home, sharing whispered conversations and watery chuckles.

They still had a long road ahead of them, of that they were sure. But they knew that they would cross it together.

83 notes · View notes

kantrips · 3 years

Text

Alistair & Celia Headcanon Collection

Some Amell x Alistair (largely fluff) headcanons! Includes some from Origins, Warden time at Amaranthine and the Inquisition-era. Some of these I have had since my first playthrough, but others I may have read elsewhere, loved and thusly absorbed so please let me know if I can link anyone!

Origins

The first time they meet at Ostagar, Celia thinks Alistair is the most fascinating person she has ever encountered because no one in the Circle had a particularly boisterous sense of humour. Alistair is oblivious to her heart eyes, and also holds back because he’s worried she won’t survive the Joining.

Even after the Joining, Alistair tries very hard not to ~feel feelings~ despite the clear signals Celia is hurling at him because he assumes she won’t like him once she gets to know him more/she will get bored of him/ she will leave like everyone else i.e. the boy is hecking damaged.

Celia laughs obnoxiously hard at all Alistair’s jokes because a) she finds them unexpected, and b) because, like a dork, she wants to prove she gets the punch line. Alistair is perplexed by her reactions at first, and cautiously wonders if she is mocking him. Once he realises she is genuinely amused, it bolsters his ego significantly.

Celia has no concept of personal space and sits and walks very close to everyone. There wasn’t a lot of room at the Circle so she forgets she can spread out. Morrigan makes it clear she needs to back off (Celia doesn’t need telling twice) but Alistair is more relaxed and gets used to it quickly after the confusion of the first night when she blithely sets up her bedroll right next to his. Alistair assumes she is a bit scared of sleeping in the forest but really she is just accustomed to the need to cram as many apprentice bunks into a room as possible.

In a way, Alistair is also used to sharing small spaces (Chantry and Wardens) so it doesn’t bother him at all when Celia chooses to sit pressed against his side, walks so their arms bump together, or unconsciously brushes an eyelash from his cheek. He quickly grows to like her overfamiliarity (for some reason…).

Similarly, Alistair eats Celia’s leftover food if she can’t finish it or doesn’t like it, even before they’re a couple. She just offers one day and after that it becomes a given. The others side-eye them but they are happily oblivious.

Celia gets in trouble from the rest of the party for getting distracted yelling encouragement and cheering Alistair during combat. In turn, Alistair gets in trouble for turning around mid-battle to thank her when she buffs or heals him. Morrigan advises that if they are both so determined to get killed, she is more than happy to assist with hastening the process.

Celia’s mabari, Trevor, is quickly accepting of Alistair and his proximity to Celia because he observes Alistair protecting Celia in battle and thusly deems him to be a ‘good dog’ and considers that they are equals in the pack.

Alistair and Celia vandalise each other’s wanted posters whenever they come across them. It gets competitive.

Celia doesn’t really want to be in charge of saving the world but has three things working in her favour: 1) she absolutely hates letting people down 2) has an intense need to finish what she starts 3) she is in possession of a bossy streak.

That said she spends the entire Blight screaming internally to an extent not even Alistair fully grasps.

They go to the Circle Tower first, because Celia thinks she will have the best chance of getting help from people she knows and is also ‘homesick’ in the sense that she is very glad to be free of the place, but stressed enough with everything going on to crave something familiar even if she resents it. The events there devastate her. Along with the loss of friends and mentors she has known since childhood, being trapped by herself in the fade particularly terrifies her as she has never truly been alone for so long before in her life. It reminds her of the Harowing which totally blindsided her. She is very teary, untalkative and introspective for some time afterwards, but both Trevor and Alistair have the correct instinct to stay close without trying to interact with her which she finds incredibly comforting.

Accustomed to making potions, Celia will not under any circumstances deviate from a recipe while cooking, whereas Alistair just chucks everything in to use up leftovers and see what happens. Alistair gets meals together super quickly whereas Celia takes forever. A little unfairly, Celia is perceived as the better cook because she produces very consistent meals, while Alistair’s experiments sometimes do work, and sometimes don’t, with people tending to focus on the disasters rather than the successes. Meanwhile Celia is rather: “should I add half a sprig of rosemary? No I mustn’t: it would be far too daring!” so everyone learns to tip their own seasonings into their bowl before even tasting her food.

When they’re travelling and walking for days on end, Alistair and Celia make up a lot of games in the vein of ‘I spy’ and ‘would you rather?’ They can occasionally persuade others to participate though no one enjoys them or gets quite as invested as Celia and Alistair (who are actual children).

A game stops abruptly one day when Celia guilelessly asks if Alistair would rather be Emperor of Orlais or King of Fereldan and he gets extremely defensive and answers, “Neither.” Having no context for this reaction (yet), Celia (a stickler for the rules) pushes him, insisting his answer isn’t allowed and that he’s cheating until Alistair gets grouchy, stomps off and refuses to play anything for days.

Celia figures he must be overtired, but his unhappy reaction does come back to her later at the Landsmeet and contributes to her already firm resolve not to put him on the throne.

When bored, Alistair also periodically asks Celia to, “Do a trick!” with her magic and she usually obliges with something small and silly which Wynne always scolds them for (but they continue to do anyway).

Celia does not like Eamon one bit and makes it clear from their first meeting. Alistair actually gets a bit annoyed at her because she is polite to 99% of the other people they meet and he can’t understand what her problem is. Celia won’t say because she doesn’t want to drive Alistair away so she remains coldly civil towards Eamon and commences a long, looong process of nudging Alistair towards having the realisation himself that a) Eamon is manipulative, selfish and cruel and b) Alistair deserves better.

Celia wants to collect some of the books they find which is not practical given they are constantly travelling, but Alistair carries as many as he can in his pack and suffers in silence for it, ultimately finding it worth it for her enthusiastic gratitude.

Celia cuts Alistair’s hair and does a very respectable job after weeks of him complaining it’s flopping in his eyes (they used to cut each other’s hair in the Circle). Zevran pretends she did an awful job, gasping in horror at Alistair’s appearance, much to Celia’s ire. Alistair (internally weeping) tries to be brave until he can check his reflection in some plate mail and see it is fine.

Celia is very naïve about how the ‘real world’ works having been at the Circle since she was a child. This is especially evident in Denerim and Alistair has to explain how money works and grab her before she wanders down dicey looking alleyways.

Alistair nearly dissolves into a paroxysm of agony when he points out his favourite type of cheese at the Denerim Markets and (accustomed to the very limited range of bland foods provided at the Circle) Celia innocently asks, “There is more than one type of cheese?” Alistair makes it his mission to educate her. She doesn’t like most of what he feeds her but doesn’t say so to protect his feelings given he seems to take the matter so incredibly personally.

Leliana convinces Celia to sing one evening at the campfire. She’s breathy with a very limited range but manages okay, and Leliana plays and harmonises in support. Watching on with a goofy smile plastered over his face, Alistair comments to the surrounding companions about how talented she is and they’re like “…she’s really not mate.”

When they both wake up from a blightmare (or Celia has one and wakes Alistair with her flailing) they sneak about and eat anything they can find then sit up and have massive deep & meaningfuls (i.e. in the spirit of going for a long drive with a friend or being in the garden with someone outside a party and spilling your guts). Eventually they start blaming the depleted food stores on Leliana’s nug, Schmooples, much to Leliana’s displeasure.

Given Celia usually responds so well to his jokes, Alistair gets a bit peeved when Celia starts replying to some of his more severely self-deprecating humour with an unamused, “No you’re not,” or, “That’s not true.” He defensively argues it’s just a joke, but he does stop doing it so much as time goes on.

Celia is SO excited when Alistair gives her the rose. She never in her life thought she would be the recipient of a proper ~romantic gesture~…however she accidentally sits on the rose about five minutes after she gets it. Celia is devastated. There is a lot of panic and tears and she keeps one petal pressed in a book but has to unceremoniously ditch the rest in secret.

Celia doesn’t tell Alistair about this until years later and she’s terrified he’ll be hurt but he just laughs because he was so worried he was going to be the one to squash it and then she destroyed it basically the minute she got it. Alistair acknowledges it was an impractical gift given their situation. Celia gets mad and says it was a PERFECT gift and is annoyed at how funny he finds it given this has been a crushing, guilty secret hanging over her for years.

Following this, every time Alistair gives her any kind of gift, he can’t help but throw in a ‘Don’t sit on it!” and cracks himself up, especially when Celia gets grumpy about it and accuses him of spoiling the moment. It happens so often that when Alistair chooses a horse for her and plans to teach her to ride, Celia manages to cut him off with, “Yes, I know Alistair: I can sit on this one,” and steals his thunder.

Alistair periodically says Celia’s name just to check if she’ll answer, especially after a long period of quiet or to see if she’s awake à la screaming in the chantry because it’s so silent. When she responds he says, “Nothing” or “Never mind” but he finds it vaguely comforting just to hear her reply and it’s a habit he never loses, even when they have been together for years and he is much less isolated generally. Alistair doesn’t realise he’s doing it, and it never happens frequently enough for Celia to notice: she just assumes he has lost his train of thought.

They sometimes conspire to purposely fall to the back of the group while on the road so that they can hold hands. Everyone knows full well what they are doing, but Alistair and Celia think they are being incredibly ~sneaky~.

The first time they sleep together they laugh. A lot. Before, during and after.

Alistair snores loudly but only when he’s on his back. Celia is used to the noise of people sleeping around her at the Circle so it doesn’t bother her and she doesn’t want to disturb him because she knows he needs the rest.

When they are known to be sharing a tent however, their companions will slap on the walls of it and demand she kick him until he stops snoring. Celia will relent and gently prod and nudge Alistair until he rolls over with a bit of sleepy grumbling.

I think everyone has this headcanon to the point it is basically actual canon HOWEVER I am legally obligated to include it: Alistair is a professional body heat distributor and Celia drastically cuts down on the number of blankets she uses once they are sleeping together. If she stands in front of him on cold days, he understands the non-verbal signal and will automatically wrap her in his cloak.

Also might as well be canon: Alistair likes to be the little spoon. He doesn’t say, but Celia knows.

Decidedly not a fluff one (you can skip to Amaranthine to avoid) but the ritual with Morrigan fairly significantly messes Alistair up (both the act itself and his consideration of the repercussions i.e. Kieran). He’s jubilant and relieved at their victory over the Archdemon, but in the background struggles to process and there is some fallout once the victory celebrations lull and he has time to fully register what happened. Alistair grapples with a lot of guilt, disgust and confusion. He doesn’t know how to express it or where to direct his emotions so it mainly manifests as self-loathing. He wants to talk to Celia about it but can’t articulate his feelings which makes him feel worse.

Celia tries to comfort him, but he needs space on and off for a long while after and she gives him it. She feels a lot of guilt too, and never stops wondering how much it was actually his choice to do the ritual, worrying that she made him feel like he had to do it. Eventually they discuss it openly and honestly, which eases both of their minds somewhat, but it takes a long time to get to a point where they can talk on the subject. Meeting Kieran at Skyhold also helps Alistair down the line, though it’s obviously painful.

Amaranthine & Inquisition

Alistair keeps an eye out for people struggling, especially new recruits who are having trouble fitting in. He takes them under his wing and is very good at building people up and making sure everyone is included. He’ll just start enthusiastically greeting people like they are his best friend and squeezing himself onto the bench next to them at meals until everyone else follows suit.

For recruits that don’t respond well to his ‘mother hen’ type attention, Celia is good at assigning tasks that specifically highlight their strengths and builds their confidence/sense of purpose which also gains them the respect of their peers.

Alistair has been known to stand behind Celia while she is giving mundane orders/making speeches and pull faces or impersonate her, turning stony and impassive when she spins around accusingly because people are laughing.

But if anyone else talks smack about her he gets very, “Sorry mate, just to clarify was that comment directed at my wife, your Commander, the hERO OF FERELDAN, VANQUISHER OF AN ARCHDEMON!? That’s lucky, I didn’t THINK IT LIKELY. Because that wouldn’t be WISE, would it now?” etc. with some loud, fake laughter and firm backslapping for the worst offenders.

The plan for them to part ways so that Celia can search for a cure goes very badly, especially because Celia (under a lot of stress and not coping™) eventually devolves into, “I’m in charge and I say so,” which is a big betrayal of their agreements both to stay together, and make decisions together on equal footing. She realises this and takes it back but Alistair is demoralised and gives in with a bit of petty, sarcastic reverence e.g. saluting and, “Whatever you say boss, don’t know why I dared to utter an opinion how foolish of me...” so they still part on slightly strained terms, even after later mutually apologising and trying to make the most of their time together before they go.

Both regret the argument during their separation and write horribly soppy letters to each other, but something still feels uncomfortably unresolved until they are together again. They pine. So much. It’s disgusting and cliched. There is considerable sighing and staring at the moon or deep into tankards, very much to the ire of those around them. Alistair can be particularly annoying: “This roll reminds me of my wife...she eats bread sometimes...”

After Celia sends the letter to the Inquisitor, she writes to Leliana directly along the lines of, “I know it was incredibly subtle but I wanted to check: did they get the message? That I will destroy them if Alistair gets hurt?” and Leliana replies in the vein of, “Hon, it wasn’t even remotely subtle ffs…”

When reunited, though ecstatic and nearly delirious with joy and relief, it takes a while to rebuild the trust they once had, especially for Alistair. There’s an unfamiliar awkwardness that flares up unexpectedly, but it doesn’t last and they’re both fully committed to each other and to staying together permanently this time.

Celia and Alistair have a conversation recapping everything that happened while they were apart in which Celia is all, “Poor Hawke. Honestly I’m shocked you didn’t do something obscenely idiotic like try and sacrifice yourself thank the Maker for that…” and Alistair is there, nervously sweating, looking for an exit, loosening his collar etc.

As they settle back into their old routines Alistair will occasionally blurt out things like, “I really like having breakfast with you,” and then berate himself internally for how trite that sounds but Celia replies on cue, “I love waking up next to you and the way you groan when you stretch your back out and the way you check your hair twice before you leave the room and the way you complain if I don’t eat my crusts and the way you still hold my hand when we’re walking...” and basically they’re just blissfully happy being comfortably domestic and even as they get older they are forever just teenagers in love.

The Wardens at Amaranthine acquire/receive a griffon egg and the hatchling imprints on Alistair and decides he is their mother. It can’t cope with separation, crying constantly if Alistair goes out of sight, and won’t let anyone else feed or handle it so Alistair carries them in a sling 24/7. He gets to give orders and run training sessions with the tiny griffon occasionally poking its head out just to glare at everyone.

Whenever the baby griffon squeaks, Alistair automatically replies, “Well said,” or “Excellent point, Ser Beaksly” with a totally straight face.

For the first few months, Celia gets nipped or scratched if she approaches Alistair unless he wraps the griffon up. It so badly wants to fight her. Celia is permitted to sleep in her own bed, as long as the griffon sleeps curled on Alistair’s chest and Celia doesn't try anything outrageous like touching her husband even fleetingly. It gets a little frustrating as the months drag on, but the image of Alistair with the sling over his armour, or with the griffon snuggling possessively around his neck staring daggers at everyone, is so entertaining that Celia can’t get truly annoyed about it. As the griffon gets older it does learn to tolerate other people and becomes more independent but remains very protective of Alistair and favours him above all others. Insert the ‘Ah yes. Me. My husband. And his thousand pound murder-bird-cat child’ meme here.

Modern AU Bonus Round

They share headphones while commuting.

They occasionally end up wearing sort of matching outfits, mostly unintentionally.

They consistently refer to their dog, Trevor, as their son to the point that people who aren’t familiar with them assume that they actually have a child.

#dragon age #dragon age origins #alistair theirin #warden alistair #warden x alistair #amell x alistair #warden amell #headcanons #my art #my writing #file under no one cares but me #but my goodness do I ever care #I can't wait to delete a bunch of these from my phone where they have been lurking forever #this draft is weeks old why am I so scared of posting on tumblr???#the problem is the longer I leave it #the more I add #I'm out of control #this is too many headcanons #I must be stopped

39 notes · View notes

mira--mira · 3 years

Note

Hi! I was wondering

How do you think Hashirama and Madara would be in a Road to Ninja version?

I remember once reading a Hashimada fic (which I never finished RIP) that was about Madara appearing in the RTN universe and the 3 things that stucked with me were:

1.- Madara was the first Hokage (something that Madara thought was horrible when he saw his sculpted face on the Hokage mountain 🤣)

And personally I think that it would not have been like that even in the RTN universe because we didn't see his face along with the other faces of Hokages in the movie (Yeah, apparently I'm basing myself on a movie which I'm not even sure if it's canon or not, even though Kishimoto wrote it) and the RTN characters didn't seem to even know who Madara is.

2.- Hashirama having his bowlcut as an adult

And I agree with the Madara from that fanfic, it looks awful on him. Hashirama, babe, I'm sorry but the only ones who can rock that style are Guy Sensei and Rock Lee, I know you just were trying to be cool but it doesn't suite you.

3.- Tobirama was a porn writer

Instead of being a fan of forbidden jutsu and creating justus, he wrote porn novels a la Jiraiya. And I'll hold that headcanon with my dead hands.

The only other fanfic that places the founders in the RTN universe is one where the protagonist is Mito (it's an interesting one-shot that pairs her with Itama 🤔)

She was kind of a shy person 🤔? And so it was Tobirama 🤣 which I found fun.

Hashirama, as the first fanfic I mentioned, was the Tobirama of the place (saddenly Madara wasn't in this fic).

So I would like to know what are your versions of the founders (or only Hashirama and Madara if it is too much) in the RTN universe! And how do you think things would be

Hmm, RTN is an interesting concept to me but, to be honest, I don't think Konoha would exist if a lot of personalities got flipped 😂 I haven't read any RTN fics with the founders, but if you, or anyone else, have links at hand I'd love to check them out 👀

1. Madara

Here's the big one and the crux of why I don't think the village would exist. Typically I characterize Madara as an extremely responsible man who internalizes things when he shouldn't, takes himself way too seriously, is aggressive and abrasive even to people he loves sometimes, but genuinely loves the people closest too him. Reversing this would make a character that slacks off, takes no responsibility, and is completely passive in life and has fleeting attachments to others around him. Assuming he wouldn't die on the battlefield, I could see the RTN "alternate" personality coming about of Madara's being so overpowered and competent that he loses interest and distances himself from things before he can get attached and lose them.

It makes building a village very hard though. (At first I was tempted to go RTN Sasuke route and maybe RTN!Madara is a little more openly flirty than canon!Madara, but the passivity and refusal to take responsibility would be the "core" qualities for me.)

2. Hashirama

Hashirama is a bit weird because he has a lot of surface-level "conflicting" traits in canon. He is optimistic but he pushes beyond his natural attitude and uses it as a mask to hide instead of addressing his feelings. He's mischievous, likes jokes and games, and can be a bit hedonistic with his pleasure but can equally be serious when necessary and will willingly sacrifice for others around him. And simultaneously, Hashirama and Madara are connected by a shared sense of idealism but also anger. Hashirama is a very kind, but extremely angry, man. I think a RTN!Hashirama would share a kind of apathy of RTN!Madara but instead of passivity his lack of anger would manifest as cruelty. Because canon!Hashirama is angry but his anger is usually a righteous kind. I don't think RTN!Hashirama would go out of his way to be cruel, but he doesn't have the empathy of canon!Hashirama, especially to others' suffering. He enjoys fighting just a bit too much and has no qualms about killing. In his mind, he should always come first in any situation and prioritizing (or even considering) others' is effort and him going out of his way to be "nice" and the other should be thankful. Similarly if he feels any negative emotion, he won't bottle it up and swallow it down, he'll immediately address it, usually confrontationally. RTN!Hashirama is as intelligent as his canon counterpart but he doesn't suffer fools and he hates it when people underestimate him. He's pretty proud and vain, tbh.

I really don't think the above would make him the "Tobirama" of RTN verse. To me Hashirama and Tobirama have different core values and perspectives and inverting Hashirama's doesn't make it become Tobirama's, if that makes sense. This one is also wordy bc I immediately knew how RTN!Madara would be RTN!Hashirama is a bit harder to pin down. But I hope it's clear why I have doubts about the village existing...maybe if RTN!Hashirama got it in his mind as a pet project for the hell of it, that he'd be a better leader for the country and not just the Senju alone, and RTN!Madara liked the idea of no responsibility and being able to detach even further than he already was? But that's still kind of grasping for a reason.

3. Hashimada

Equally I think any Hashirama/Madara relationship would be ehhh. They definitely wouldn't have the overwhelming bond of their canon counterparts, and it could be a relationship ripe for unhappiness. The closest I can think of to making the ship work is RTN!Madara would be drawn to Hashirama's absurd level of self-confidence and able to let the casual cruelty slide off instead of getting worked up about it. In a way RTN!Hashirama is stable and predictable. If he's pretty overpowered, there's less of a chance RTN!Madara would lose him, so their relationship isn't deep but it's more or less dependable and Madara knows exactly what he's going to get. In contrast RTN!Hashirama has an audience in the form of RTN!Madara and a partner that's not going to push back against his ideas. RTN!Madara doesn't ask for much and he doesn't complain when RTN!Hashirama puts himself first. He doesn't want, or might not be capable of, the deep emotional bond their canon counterparts have. RTN!Madara wouldn't leave Konoha (if it existed) in the AU, because he doesn't really care. If someone upset RTN!Hashirama and he decided to leave to 'do it right' RTN!Madara would probably follow, maybe out of some loyalty for RTN!Hashirama but mostly because it's what's easiest.

4. Tobirama

The core of Tobirama's character to me is prioritizing logic over emotion and both a conscious and unconscious failure to realize he can't completely eliminate emotion. Tobirama loves his brother, he's curious and has a desire to find out what makes things work and is willing to bend morality to get results if it'll serve a greater good. He's very aware of the unfairness of the world but believes it's an unspoken truth of humanity and can only be mitigated through logical means, but never completely erased. He'll be the sacrificial lamb, the one that works in shadows so his brother can have his utopian dream. Despite everything, he loves his genin, the strongest bonds he has aside from Hashirama, and does try to instill in them lessons he think will help them and lead to peace and stability in the village. He's still influenced by the prejudices of his time and can never find it in him to truly forgive the Uchiha.

A RTN!Tobirama would be a man ruled by emotion. Him writing erotica all day definitely could be one way this manifests lol. But overall he's sensitive and spiritual and can't stand the idea of killing. He and RTN!Hashirama don't get along and he actively tries to avoid his brother. RTN!Tobirama has equally strong principles as canon!Tobirama, but they're pacifist in nature and while he likes his studies, he prefers to be out talking to people and learning from them first hand. He's very naive and can be easily taken advantage of and he has trouble focusing on any one thing for too long. No matter how many times this happens, he never can harden his heart or be overly suspicious of others. RTN!Tobirama would most likely be the one support peace in this AU. He embraces the Uchiha and all the Senjus past enemies with open arms, almost to a foolish degree. It'd be a bad idea if he became hokage in this AU because he's a terrible negotiator and has a bad people-pleasing streak and struggles with long-term tactics. With the exception of RTN!Hashirama, who he considers an aberration who doesn't have a soul, humans at their core all have good intentions at heart.

5. Mito

I characterize Mito as a very level-headed woman. Her marriage to Hashirama is political in nature but they grow to be good friends and she never expected to fall in love and she's glad Hashirama didn't want a traditional wife. Mito is devoted to her community work (she works hands-on with people in the village), she seeks out connections with others and, despite the distance, remains close with her family in Uzushio, constantly writing them letters. She's spiritual and follows the Uzumakis' beliefs (not gonna list this OoT spoiler lol) and studies fuinjutsu in her spare time, something she's done since she was a child. She is willing to sacrifice if it meant protecting something she considered greater than herself, much to her own personal detriment. She loves and is proud of her children and grandchildren, but if she had a choice, she would have chosen to remain childless, she finds her true calling elsewhere.

RTN!Mito, similarly to RTN!Tobirama, is ruled by emotions. She dreams of one day making a good marriage for herself and centers romance and being a mother as her ideal life, but she's extremely picky when it comes picking the perfect husband. RTN!Mito knows how much she's worth and she refuses to settle and will not even entertain the idea of an arranged marriage. She has a hard time forming long-lasting, deep bonds with other people and views starting her own family as the solution to this problem. At times she can be a bit absent-minded and unintentionally selfish, but she's not actively malicious. She blusters a lot and depending on the situation can come off as cold and uncaring, but it's only to hide the depth of her true feelings and loneliness. In this AU she would absolutely refuse to marriage RTN!Hashirama. Nothing on hell or earth, could make her change her mind.

Mito is such a blank-slate character it feels like writing an oc more than a canon character, tbh. And this is something I don't see brought up a lot but a "heart full of love" to combat the kyuubi's hatred to me has never been exclusive to romantic or familial (to children) love. *cough* I want a complex female character who's not vilified for not wanting to have children and/or regretting having them *cough* Mito's "love" was for the people of Konoha and Uzushio. My personal headcanon regarding her and Hashirama's child (I don't think she had more than one) was that she was dedicated to her son, but quickly realized being a mother wasn't her dream or something she even actively liked. The kid was well-cared for and she was dutiful towards him, but Hashirama was the parent that loved and embraced him with his whole heart and it led to some tension between Mito and her son as the kid could tell the difference and neither of them were "wrong" to feel the way they did. This is why Tsunade was shown with Hashirama instead of Mito, he was a lot more present in her life when she was young (instead of Kishi just not having made Mito as a character yet). But after Hashirama and Tsunade's dad died (and then Nawaki), she and Mito grew close but it was definitely more of a friendship or student/mentor relationship rather than a traditional grandmother/granddaughter relationship but both were satisfied with it and loved eachother. Likewise I didn't want RTN!Mito's characterization to be shallow and hit misogynistic undertones with her being an "opposite" to Mito's calm, level-headed, focused on her work/passions characterization.

6. Closing thoughts

#1: Wow this got long #2: I feel conflicted about RTN because it seemed to flip surface-level characteristics instead of deep characterizations, and ignored flaws altogether. The ones above, esp. Hashirama and Madara's, are kind of dark in a way? But that's the only way it makes sense to me...Gai and Lee caring about style and being stylish is a funny joke but if you were to actually poke and prod and say their personalities were inverted, neither of them would be top-notch ninja as we know...unless I'm just completely misremembering RTN because I realize it's been years since I saw it lol. Anyway, hope this was entertaining!

#naruto #hashimada #hashirama senju #madara uchiha #mito uzumaki #tobirama senju #asks #al-stuffy #rtn au #long post

25 notes · View notes

iamanartichoke · 3 years

Text

I started typing this in the tags of this post, and it got too long, and then I was going to just reblog the post with this as an addition but that got too long too, and I've been meaning to make a post addressing free will vs. predestination since the premiere anyway, so - here we go. Spoilers, obviously.

Cut for length and spoilers. Please blacklist #loki tv series spoilers, #loki series spoilers, and #loki spoilers.

This is kinda rough and I'm not sure it actually makes any sense but I'm posting it anyway.

I realize that the post is a joke, obviously (and it is hilarious) but I started thinking about the implications and couldn't stop because it's honestly a goldmine of existential reflection and an inevitable crisis or three.

Let's look at a scenario.

Say you're late to work for reasons totally beyond your control: your neighbor stopped you to ask a question on your way out the door; you swung through the drive-thru for a quick coffee but the person in front of you is ordering a full continental breakfast ffs (this happened to me this morning); there was an explosion and then the Winter Soldier randomly dropped from the sky and landed on the hood of your car. Whatever. Shit happens.

So you're late, but on this particular day, your lateness somehow has consequences that lead to and create a nexus event and the next thing you know, you're being arrested, tried, convicted of time crimes and ultimately (a version of you is) erased from existence.

And this is if it's not even your fault you're late.

Now say that you're late and it is your fault. You took a new route on a whim and drove a little more slowly because you passed a particularly pretty meadow; you hit the brakes at a yellow light instead of speeding through bc you wanted the quick chance to check your email; you sat in your car for a few extra minutes in the parking lot, because maybe your job sucks and you really needed those extra minutes today to psyche yourself up into getting out of the car and going inside and clocking in.

These little choices are you exercising your free will. Because to me, free will is all or nothing - it doesn't just apply to the big decisions.

On the other hand, predestination means that regardless of the choices you make or if it's a big decision or not, everything you do is ultimately going to lead you to a set point or position or place (your destiny).

And I can kind of look at it like a GPS - that is, there are a number of "insignificant" choices you could make and they will still lead you to where you're predestined to go. Like how a GPS will reconfigure your route if you miss your exit on the highway. It doesn't matter if you took Route A or Route B, you're still going to end up at your destination.

But say sometimes the route does matter. Say that there are certain scenarios in which there's only one road (for example, 14 million losses vs 1 win) and you can only get on it by following a specific series of events and what determines the ultimate outcome is whether or not you're late to work that day.

If you decide to wait those extra five minutes in the parking lot, that means that you weren't in your cubicle at 9:03 when Stanley from Accounting wandered by with his giant stack of papers, and when Mary Sue said hello to him, he got distracted and tried to wave and ended up dropping those papers. Had you been at your cubicle, you'd have swooped down to help him but since you weren't there, Stanley is crouched on the floor alone and doesn't notice Joe coming at him with a paper trolley so when he stands up, he and Joe collide and Stanley loses his balance and goes face-first toward the trolley and breaks his nose when he hits the metal handle on his way down.

Now Stanley has to go to the hospital to get his nose set because you wanted to sit in your car and spend five extra minutes hating your life that morning.

If the sacred timeline says that Stanley is supposed to be in that ER at that specific time on that specific day, and no other set of circumstances would get him there, because this will ultimately take Stanley down the road to whatever greater journey he's supposed to go on, then it has to happen. But say you exercise your free will and decide not to wait those five minutes, because the free will applies to every choice you make, even the tiny, insignificant ones. You chose to put on your big person pants and took a deep breath and just head inside - and because you chose to do that and because you were at your cubicle to help Stanley with his papers, Stanley never ends up in the ER and the timeline that's supposed to happen is suddenly at risk and the TVA has to get involved (I assume).

So having free will introduces way, way too many variables into a fixed timeline to ever keep track, because you're taking these tiny, seemingly insignificant choices that people are making every minute of every day, and you're multiplying them by trillions of sentient beings in the universe, and you're saying the fate of the timeline and reality itself depends on all of these beings either always making the choice they're supposed to make or constantly sending the TVA out whenever they don't.

It's fair to conclude, then, that both free will and a fixed, single timeline can't exist at the same time. Either you adhere to the fixed timeline and everyone does exactly what they're supposed to do every second of every minute of existence, or you have free will and autonomy over all of your decisions, no matter how big or small, and those decisions can result in a number of outcomes, ultimately leading you to one of several possible destinations.

Case in point: Tony didn't have to snap his fingers in Endgame. He chose to. Had he not, Thanos would have won. It doesn't matter if there was one way to victory or 14 million ways to failure; the timeline could ultimately only go one of two ways and the choice Tony willingly made determined that Thanos lost. It wasn't predetermined because if Tony had not chosen to snap his fingers, the timeline would have gone the other way.

My personal belief - and this isn't necessarily for the MCU, but in general - is that we do possess free will and the future is ever shifting and changing because nothing is written in stone. It holds up against most, if not all, of the world's belief systems. For example, if you believe that people have guardian angels, the rule is generally that your guardian angels can help you but you have to ask them; they can't decide to intervene without your permission because to do so would infringe upon your free will.

Similarly, you can go on etsy and pay $5 for a funsies psychic reading or pay a lot more money for an in-depth, specific tarot reading and both will tell you that the outcomes may change depending on the paths you take, and that their ultimate advice is for you to keep your focus on your goals and your own self so that you can be subconsciously manifesting the best possible future for yourself. (Not that I know this from experience. It was one time. It was a few times. My point stands, and also stop judging me.)

To get back to the MCU, though - if you determine that both a single, fixed timeline and free will can't simultaneously exist, and your ultimate purpose is upholding said timeline and not letting anyone fuck it up, lest it break off into lots of different branches, then it poses a pretty serious moral and/or ethical question of - who decides what choices we make and what paths we're destined for? The time lizards? Who gave them that authority? Did anyone, or did they just manifest themselves into existence one day, create the universe, and then decide all of the rules (and, if so, where does that leave the norns and the gods and other super powerful beings who are generally thought to be in charge of things)?

If free will doesn't exist and everyone is acting based on what has been predetermined for them by some higher being (or, in this case, time lizards), it takes away our autonomy, and if everything we do and every single tiny step we take is decided for us, what makes us any different than cogs in a machine just following orders? What separates us from robots?

Speaking of robots, it's interesting to me that the TVA's screening process (if you can call it that) has a failsafe against robots specifically. Any robot that might come through is destroyed immediately and in this case, “not a robot” is defined, more or less, as a sentient being that possesses a soul. What does the TVA have against robots if their ultimate goal is ensuring that the robotic machinations of the time lizards are consistently carried out to protect the sacred timeline?

A soul makes you human; the energy of the soul is what you, at the core, are. It can be assumed that having a soul also means that you have some sort of moral and ethical code by which you live your life but, if you don't also have free will, then what is the point of possessing a soul and a moral and ethical code?

Loki is a villain and he's told by Mobius, the TVA, Odin, and pretty much everyone who ever meets him that the only thing he's good for - the only reason he exists - is to cause pain and suffering and death. This has been predetermined for him; this is not his fault and he did not choose it. And every single choice he makes has either already been destined as the choice he was supposed to make, or will be pruned so it won't grow into the wrong timeline. Ultimately Loki can change neither his final destination, nor the purpose and meaning of his existence.

Which leads me to the theory that the several Loki variants that the TVA keeps coming across are the result of Loki consistently resisting against his predetermined path; he's trying to find the timeline where he is able to latch onto and keep his own free will in defiance of the timekeepers but, so far, he hasn't been successful. This could segue into why the current Variant is now going scorched earth and just obliterating the main timeline completely - because if there is no sacred timeline, there's nothing dictating who or what Loki can be, and free will is regained. If there's a multiverse that branches and branches beyond anyone's control, then there must be a branch in there, somewhere, where Loki can exist on his own terms and decide how his own story goes.

This also might be a theory for why Loki is already setting his sights on taking over the TVA (assuming that's not just something he told the variant for reasons). But my original point in delving into all this is to ask: if Loki is predestined to always be a villain whose story plays out exactly the same way because that's what's supposed to happen, then how can anyone ever hold his misdeeds against him? He's literally just existing as the timekeepers decided he would exist and everyone is blaming him for it.

And this leads me to ask, as well, if one's soul is generally good, and one possesses more good traits than bad, what is the logic in making them exist only for pain and destruction? If it's for a greater good, then it stands to reason Loki is not the only one predestined for misery, and what greater good could come from all that suffering?

Conclusion: the existence of the TVA as an organization means that there is one fixed, sacred timeline but the existence of said timeline is immoral and unethical because it means no one actually has any free will at all in the MCU. The very notion of heroes and villains is pointless because it has nothing to do with your own qualities or morality, it's literally the luck of the draw. In order to have free will, the sacred timeline has to be destroyed, and so my prediction is that the Big Bad of the Loki series is not the TVA and not the time keepers but the actual timeline itself, and the entire fate of the MCU rests on whether or not Loki can ultimately succeed.

Also, don't be late for work.

#well this was a journey #smfh #i hope it at least makes *some* sense #loki series meta #loki tv series spoilers #loki series spoilers #loki spoilers #long post #i should have revised this before posting lmao #i went back and edited some of it but meh #it's pretty nonsensical i think but also i confuse myself really easily so

42 notes · View notes

marvelsdc22 · 4 years

Text

Whiskey Lullaby

Intro: Hello, lovelies!! I hope you guys are having a good day/night!! This one I thought of while listening to Whiskey Lullaby by Brad Paisley... It’s sad, please prepare your tissues...(Won’t be tagging anyone due to possible triggering nature)

Note: Y/N and Bucky return from a long mission and Y/N wants to propose to Natasha, when they get back to the room, everything crumbles from beneath them. MAJOR CHARACTER DEATH, SUICIDE, DO NOT READ IF THAT TRIGGERS YOU

Word Count: 1333

You were excited, you were finally coming home after a long mission away from the compound, you had been gone for a little over a year and your only source of contact with Natasha was through letters “Come home and we’ll get started on that family” she whispered to you before you left, leaving you with one last kiss for the road before you boarded the quinjet with Bucky, him being your life long best friend after you guys got to know one another shortly after he joined.

“Hey, we’re almost home, Y/N” Bucky said, giving you a smile and jostling you from your thoughts, having been thinking over everything “Thank god, I love you Buck, but jeez I wanna see more people” you joked, earning a laugh from him as the quinjet finally landed “Think she’ll say yes?” You asked, fumbling with the ring you had gotten during your time away and looking at Bucky as he grabbed his bag, throwing it over his shoulder and you doing the same with yours “She’d be crazy not to” he said, ruffling your hair and giving you a smile before you guys headed off.

When you didn’t see Natasha waiting for you, you furrowed your brows but figured that she had not heard the announcement of your return, smiling and nearly skipping the whole way to yours and Natasha’s room “Y/N, wait” you heard Wanda call as you passed her, trying to stop you but you paid no heed as you opened the door to yours and Natasha’s room, freezing and dropping your bag when you saw the scene in front of you, Natasha half naked in bed with a similarly half naked Bruce “Y/N” Natasha said when she saw you, you squeezing your eyes shut and locking your jaw before you stormed off, storming past a guilty Wanda, she had tried to warn you, but she blamed herself for not trying hard enough.

She put him out Like the burning end of a midnight cigarette She broke his heart He spent his whole life trying to forget

The whole next few days consisted of you getting alcohol and drinking, wanting all the pain to go away, you’d given Natasha four years of your life and this is how she repaid you? What you didn’t know was that Natasha tried her damndest to find you again, she felt guilty for what she did, ignoring Wanda’s telling’s of her to back off and that you didn’t want her anymore after what she had done, which was both true and also not, you still loved her, but the pain was too much for you to handle.

We watched him drink his pain away Little at a time But he never could get drunk enough To get her off his mind until the night

As time went on, your drinking problem got worse, Wanda and Bucky tried their best to get you to feel better, Wanda’s heart breaking every time she found you passed out in your apartment from drinking the night before, she loved you and she wanted you to feel better, but why did it feel that she could never bring you that type of happiness?

Finally one night you had had enough, the drinking wasn’t helping you forget anymore, it only numbed you and you couldn’t take it anymore, you grabbed your phone and sent a message to Natasha telling her that you were sorry that you couldn’t be enough for her and that you hoped she was happy with Bruce, then you sent one to Bucky telling him that he was the best friend that anyone could ask for… Then there was Wanda… You told her that you loved her, but you couldn’t take it anymore and that you were sorry. You had wanted to be with her, but the pain that Natasha had left in your heart was too much.

He put that bottle to his head and pulled the trigger And finally drank away her memory Life is short but this time it was bigger And the strength he had to get up off his knees

We found him with his face down in the pillow With a note that said I'll love her till I die And when we buried him beneath the willow The angels sang a whiskey lullaby

When Wanda got the message, she rushed to your apartment you had moved out to, finding Bucky already there trying to bust the door down with everything he had “Y/N! Please!” He shouted, giving it one more charge and managing to make it through, the door breaking off the hinges and stopping when he saw you on the ground, hearing Wanda give a scream when she saw you before he called an ambulance, pulling Wanda into a hug and trying to shield her from seeing your lifeless form on the ground, not able to fight the helplessness he was feeling, he was unable to save his best friend and that killed him.

La la la la la la la La la la la la la la La la la la la la la La la la la la la la

The rumors flew But nobody knew how much she blamed herself For years and years She tried to hide the whiskey on her breathe

When Natasha found out about your death, she couldn’t breathe, she dropped down to her knees and let out a sob, Wanda staring at her with no sympathy, knowing this was Natasha’s fault and she’d have to live with it “I told you not to go out with Bruce, but you didn’t listen… I hope you enjoy living with this” Wanda hissed, having wanted to kill her for it but she decided to just let her suffer with the consequences of her actions.

She finally drank her pain away little at a time But she never could get drunk enough to get him of her mind Until the night

She put that bottle to her head and pulled the trigger And finally drank away his memory Life is short but this time it was bigger Than the strength she had to get up off her knees

A few months after your funeral, Natasha had slipped into her own form of depression, gone to drinking just like you had and tried to drown her sorrows and pain, until it didn’t work, Wanda hated her and she knew why, she loved you like Natasha had and she hated herself for it, maybe if she would’ve not done what she had done, you guys would still be happy and maybe of added Wanda to the mix, now she would never know.

After about two years, Natasha couldn’t handle it anymore, especially after Thanos wiped out half the earth, so when it was time for her and Clint to decide who would sacrifice themselves, she knew it’d have to be her “I won’t let you do it!” Clint shouted, looking at her as he held her hand, the two of them dangling off the edge of the cliff “Please, let me do this… Let me be with them” she begged, looking up at him and wanting her death to mean something, but also hoping to see you again, her waiting a moment before speaking up again “It’s okay” she said before she let go, seeing Clint’s sad face before she closed her eyes, hoping that you’d be there… Waiting for her.

We found her with her face down in the pillow Clinging to his picture for dear life We laid her next to him beneath the willow While the Angels sang a whiskey lullaby

La la la la la la la La la la la la la la

La la la la la la la La la la la la la la La la la la la la la La la la la la la la

End Note: I hope you guys enjoyed this!! If you’d like to be added to a Taglist, shoot me a DM or an Ask!! Have a good day/night!! :)

#natasha romanoff x reader #natasha romanoff x gn!reader #natasha x reader #natasha romanoff imagine #tw suicide #suicide #major character death #implied wanda maximoff x reader #marvel x reader #marvel #tw alchoholism #tw depression

205 notes · View notes

imagining-in-the-margins · 4 years

Note

Hi! You often give alot of insight into anons like this and your my fave CM blog so that's why I'm here! So I'm finishing up the last seasons (and lord it is hard to get through) and they just introduced Max and I cannot stand her. She was just so rude and it felt like she had 2 different personalities the entire time she was on screen. And I worried that this meant I was like hating women because I don't like other female characters like Maeve, JJ, Hailey, and Seaver. But then I started thinking and I honestly think it's cause these Characters are women poorly written by men. But then I wondered how they created likeable Characters like Emily, Kristy, Blake, Tara, and Penelope (leaving out others like Savannah because they're under developed in my opinion) I don't know what's the difference in the writing for these Characters or of there isn't any at all and I'm just being hateful in a way. What are your thoughts?

Ah, I think about this a lot. Thank you for thinking I’m interesting enough to answer this, also!

I think you’ve really hit the nail on the head with the writers doing a poor job at most of their female characters. However, I think it’s possible (and very common in this fandom) for people to dislike any character Spencer showed an interest in, which is also problematic and rooted in internalized misogyny. To me, it all comes down to why you dislike the characters.

(A LOT More Below - Bit of a Rant)

The first step I took when reflecting to see if this was my problem was rewatching and seeing which female characters I loved. Along with the ones you listed, I also found a number of side characters I greatly enjoyed, including Lila, Austin, Dr. Linda Kamura (from Amplification, the anthrax episode), Einstein, Megan Kane, and a few other random case characters. So, right off the bat I found multiple characters who Spencer showed an affinity for. I also greatly enjoyed Cat’s character, although I found her to be underdeveloped in canon (Fanon has done a good job, IMO) and often contradictory in her character design.

If you didn’t like any of these women, and your reason is related purely to Spencer’s reactions to them, chances are you might be suffering from a bit of jealousy rather than improper character design - not that you need to like them all (or the ones that I like), but because they are all very different. You should, theoretically, find something to enjoy about at least one of them.

But the CM Writers have a TERRIBLE habit of writing women that are easy to hate.

There’s a bunch of controversy I see over Haley Hotchner, but the truth is that they wrote her to be hated. That was her sole purpose. Her character’s decisions were poorly thought out and she was shown to be malicious 80% of the time. This was intentional. She was written to personify the trope of the nagging housewife. If you dislike her, you have done nothing but follow the narrative.

That being said, you should also criticize why they wrote her this way. Because it didn’t make any sense. She married a prosecutor - a dangerous, time consuming job. She had Jack when she knew he was with the BAU. Why did she randomly change her tune? Why did she suddenly demand he gives up on his dreams that she was fully aware of for years? I’d argue they wrote it like this to further the narrative of “the wife who traps you with a child to force you to do what she wants” which is garbage writing. I wish people could look at the potential she had if they hadn’t written her like... that.

Maeve, I find, is problematic on multiple aspects and I’ve talked about it before. Her narrative was poorly thought out because as soon as they pitched the idea of a long-term love interest for Spencer, everyone (most notably Gubler) rejected it. They didn’t think it was necessary for his character, who already had a lot going on with the ignored plot lines of his drug addiction and mother.

There were multiple problems associated with her character that were never addressed. The fact she essentially just took advantage of a patient because she was bored, she seemed to “correct” his interests and show annoyance when he disagreed with her, she lied about having a fiance, she was shown to be considering breaking up with him... there’s a lot.

Her character is poorly written. It had a lot of potential, but they just kind of stopped caring once they decided to kill her off. She had more faults shown on screen than redeeming qualities. For many, they liked her because they see there was a potential that we’ll never see (fair). But for people like me, we interpret it as a idealized fantasy of what could have (but probably wouldn’t have) been, which is not healthy for Spencer.

JJ is an interesting character because you can feel the constant struggle between AJ Cook and the writers. They really sabotaged JJ at every step of the way. I’ll be honest and say that I think there are some reasons to hate JJ, but they aren’t the reasons I see most often. Almost all of the JJ hate I see is surrounding the idea that JJ is an evil, manipulative, jealous bitch. But.. she’s not. Even in Truth or Dare, when she pulls that asshole move that was wildly OOC for JJ (in my opinion), she isn’t shown to be jealous or cruel about it.

I think she’s the most likely target for people who’s hatred is driven from jealousy or disliking conventionally attractive women and assuming them to be bitchy by nature of looking “beautiful.” I think Lila Archer* also falls into this category.

But as I said, JJ was also written with a lot of flaws. I think it’s fair if you don’t like her character or the way she treats Spencer, but I also hope that you similarly criticize the whole team in the same way, and don’t just pity Spencer because he is smol uwu babie who needs protection.

(* Yet another reminder that I ask everyone to not message me about J Depp or Amber Heard. Reactive Abuse is an extreme trigger for me and I will block you if you try to get me to talk about it)

Seaver got a lot of hate based off one line of dialogue. I think it was a bad line. If they had left it out, there would be essentially no reason in my mind to dislike Seaver. I used to dislike her a lot, but the more I rewatch the show, the less she bothers me. She was just a young student who wanted to learn about her father/herself. She was MASSIVELY underdeveloped because they kicked her off just as quickly as they invited her in.

NO character was developed that quickly. Her scenes were a bit cringey and the plotlines were bad, and her character was mediocre. I don’t think she deserves the hate she gets. She is a lukewarm character.

I hate everything Max’s character represents. She was introduced to show that Spencer could be trained to be “normal” and it’s anti-autistic bullshit. She had no personality besides “I hate my low-brow job as a teacher and couldn’t be fucked to change it until a man told me I was smart.” She was cracking high-school-clique jokes while her family was about to be murdered. She immediately abandoned said family to make out with her boyfriend who just admitted to enjoying kissing the woman who tried to murder her family.

Her character makes absolutely zero sense. I do not understand how she is so liked. I really don’t (other than the fact that RLC is absolutely wonderful).

If they had left her character out, I think we would have been better off for it. We could have seen Spencer wrestle with defining himself by the women in his life and learning to love himself (without just replacing those women with... another... woman...)

That being said, those who cling to Max for hope of a happy ending for Spencer... I felt that. Fanon and fanfic can solve all character deficiencies. I believe in you.

So, yeah. I’d say if you’re worried about why you dislike women characters, you’re probably on the right path. I’d just reflect on why you dislike the characters you do and whether they are written as misogynistic stereotypes. It makes complete sense to reject characters written for the purpose of making you hate them, but we should all pour one out for the brilliant actresses that had characters with so much potential if not for men ruining it.

#Criminal Minds #anti-maxcer #anti-maeve #answer #answered

93 notes · View notes

booksandlewks · 4 years

Text

Intensity in Insmire | A Jurdan AU

Happy Holidays to my wonderful knife wife @starborn-faerie-queen!! I’m so lucky to have you as my friend and now snusband (we’re def married now) <3 I was so excited to see that I got to try and write something for you. I also have to thank everybody in the @jurdannet discord for helping me with my writer’s anxiety throughout, and @jurdannetrevels for hosting this secret santa event!

So this was a prompt you didn’t ask for, but that I hope you will like. I thought of this right when I saw your name and have had a blast making it a reality. One of our first conversations in the discord was about none other than Lauren Layne, so I thought I’d give it my best go at making it Jurdan. I picked what I think of as the iconic scene in Passion on Park Avenue because Jude and Cardan literally define passion. You also put Nicaryn, so in my head when I wrote this they’re already dating and Jude just hasn’t noticed.

"Be careful, you're going to drop that!" Jude said watching her twin throw down yet another box full of her merchandise.

It was times like these that Jude wondered about her choice in friends. Not that she had so many choices in friends to begin with, something about her being "abrasive". People may not always appreciate her edges, but that edge is what landed her on the 30 under 30 list. She was grateful, if not confused, about her new-found friendships. While the ladies made for excellent company, and fellow schemers in action, a moving company they were not. Not that Jude would say a word against their help out loud. She was still so grateful to have her twin back in her life.

Jude would thank Locke for bringing them together, if she'd thought it was even remotely a part of his plan. Maybe she could thank him for dying, so that they could find each other in the park that fateful day. Not likely, she had better people to think on.

Nicasia kicked a box into the corner with the toe of her Louboutin heels, "You worry too much, they're not going to break because I didn't gingerly place every single one of your hundreds of boxes down."

"I'm not worried about you breaking an accessory," Jude said huffing as she moved to open the box Nicasia had kicked to prove a point. She held up the lipstick tube, twisting to expose the blade to prove her point. "I'm worried about one of my accessories breaking you."

"Oh, I like that," Taryn laughed, her eyes widening, "Can I borrow that for my next date?"

"Well, it is just a sample," Jude nodded her head to the truck parked outside her new building, "You can keep it if you help me unload the rest of the truck."

"You drive a tough bargain, a days labor in exchange for one accessory?" Nicasia teased.

Jude put one hand to her heart and the other to her forehead dramatically, "Oh you're truly suffering going up and down the elevator while carrying small boxes."

"These boots were not exactly made for walking Jude," Nicasia said flicking her hair over her shoulder, and punctuating it with an all too casual check of her nails. Why she wouldn't just concede to putting her hair up was beyond frustrating to Jude. She wasn't sure if she hated or respected Nicasia's commitment to always looking perfect.

"I mean I didn't get to where I was by giving things away for free, but I may have also ordered us pizza and tiramisu from the Italian place on Lexington Ave."

"Ahh I knew you were my favorite twin!" Taryn said wrapping her arms around Jude and kissing her cheek with an exaggerated smack.

"I'm your only twin, and you definitely did not know it."

"The real question isn't why I can't move things in these heels, it's why you think I should be doing this in the first place," Nicasia said glancing speculatively.

"Wait, yeah, aren't you meant to be rich now Jude?"

"Well, according to my accountant, approximately I am," Jude tilted her head and pretended to tally with her free hand, "filthy rich." She moved the box that had been hoisted on her hip onto the floor of what would be the main living area.

Jude wasn't insane, the larger items like the couch and industrial garment racks would be delivered by a moving company later. She just knew that she could handle the smaller boxes herself. She'd always survived by being self-sufficient, so she wasn't going to start changing what was working now. She'd moved herself into her first shoe box apartment, all her belongings compact and loaded into the back of her ancient little two door.

"Then why on earth are we moving all of this by hand?" Taryn said turning to her sister, exasperated to see the determination gracing her twin's face. She hated that look, especially when it was on the face that was practically her own under all that stubbornness. "Nic, I need backup here, we're entering dangerously uncharted areas in stupidity. "

"Jude, love, remember when we agreed to stop each other from entering another toxic relationship?" Nicasia said gently, her hands up as if coaxing a small animal.

"No, I've blocked out the entirety of Locke's funeral out of a sense of self-preservation," she said voice and face purposefully blank.

"Why stop there, why not erase him from your entire mind?" Taryn said a bitter edge to her words.

Jude laughed, "Me and my therapist are hard at work doing just that."

"Well while you're working on that, have her work on the toxic relationship you've got with your stupid pride," Nicasia said checking her already perfect nails.

"Wait, was all of that just the set up for the punchline to your dumb joke?"

"Woah Tar, harsh words from the woman who asked for my backup in the first place." Nicasia pursed her lips clearly displeased that Taryn had not enjoyed her attempts at humor. "Maybe you should try being nicer to me considering that I have the power to save you from Jude's torture."

Jude laughed as Taryn started to pester Nicasia to tell her what she meant. While they'd all become fast friends on the fateful day of the funeral, Jude couldn't help but feel that Nicasia and her twin had gotten closer over the summer. She supposed it had to do with the fact that they both had to worry about their reputations and what the fallout from Locke's infidelity would do to it.

That old wound started niggling at Jude again. She may not have been in an official New York society relationship with the man, but she'd had to mourn the loss too. She supposed it hadn't affected her societal standing, being Locke's dirty secret, but she hadn't gotten out unscathed. The bastard had known about her fears. She'd confided in him, about her mother's cheating and how she'd grown up not wanting to get attached for fear of ending up in a similarly messed up situation.

He'd comforted her, talking about how cheating on somebody wasn't in her character. He'd spelled out what their story could be instead, spinning a story of comfort, safety in his arms, and safety in that future. It made Jude's skin crawl to think about now. How he could say all of this while cheating on her with Nicasia and Taryn, and using her to cheat on them. Some nights it actually made her physically ill. She was such a careful woman, and yet she'd never suspected.

She wondered if lying to her was part of the game to him, it had to be. Jude thought about how she'd considered bridging the gap and calling Taryn to tell her that she'd met somebody. She'd been too scared to reopen that wound. At eighteen Jude walked away from the stifling role of being Madoc's daughter. She hadn't thought about what leaving Taryn behind to deal Madoc's only other eligible daughter would do. She left her behind for him to put all of his stupid high society rules and dreams into. She'd wondered about her twin over the years, but could never pick up the phone and just dial. What would things be like if she had? Thinking about it wouldn't change anything.

During Jude's musings Taryn had moved into Nicasia's lap and was switching between pleading and apologizing. Her groveling was so over the top that a warm spot bloomed in Jude's chest while watching her. She had no idea how much she'd missed Taryn, and yet having her take up space in her apartment just felt right.

"Okay, okay, fine!" Nicasia said standing up and taking Taryn with her. "I happen to have a friend through the New York royalty network, as you call it, and he lives in this very apartment complex."

"Oh thank god, I love you Judie Bee Jones, but this is the worst."

"Woah no, I never agreed to having anybody over," Jude said walking over to lock her door, "and wasn't the point of having you ladies around to avoid the assholes."

"How can you call them an asshole when you don’t even know who it is?" Nicasia asked unlocking the door. Jude went to stop her, but Taryn simply took her face in her hands and pointed it towards the window where the open moving truck stood idle.

"I promise he's good people, we grew up together," Nicasia said clearly forgetting that her and Jude had not exactly grown up as friends.

Jude did not have much of a chance to consider who might be coming to the rescue she did not need, as there was a knocking at the door.

The warmth she felt from being with her friends left her the second she opened the door and saw Cardan Greenbriar standing there. She'd never seen Cardan look anything less than impeccable, so she was even more furious to see him standing there looking like a Saks Fifth Avenue model from the catalog to help her move. A cable knit sweater, really, to move boxes. With an overcoat no less. No, no, this couldn't possibly be happening. Jude would rather move every single box one by one, than have Cardan Greenbriar help her.

What on earth could have even possessed him to try. She thought she'd made it clear when she'd damn near bitten his head off in her "entry interview" to the apartment complex. It wasn't her fault. Cardan had a particular way of getting under her skin, and the fact that he'd known her from her twin and had not even bothered to look at the application resting in his hand the entire interview had gotten her blood boiling. She'd never actually wanted to live in Elfhame.

The stupid application had been filled out for her and sent in by her mother ages ago. Eva Duarte had been so proud of Jude's success, it had never occurred to her that her mother had plans to use it as a statement. She'd miss her mother's mean streak, and wished she'd been around longer so Jude could understand this plan. Jude had been shocked to be called in for the interview to move into The Palace, and caught completely off guard to see Cardan on the day of the interview.

She must've released an actual snarl at seeing him darkening her new doorstep because Taryn and Nicasia pried her away from the door and invited him to come in. This was ridiculous ; she was not a rabid dog to be put in the corner. Although, she was considering biting Cardan.

"And hello to you too Jude," Cardan said laughing as she struggled to break free of the grip of her friends, "Lovely as ever to see you."

"Why am I seeing you?"

Cardan raised an eyebrow at that, "Not a very friendly greeting neighbor."

"I read over the paperwork your father sent over and it said that the building takes care of pests in the apartments."

"Ha ha, very funny Jude," Cardan said stalking closer, "I do hope that's true, as I'd love to see them take you out of here."

"Really, we're going to resort to I know you are but what am I?" Jude intoned, "On day one?"

“Is this really our first day together, Judiebeet?"

"Don't call me that!"

"As much as I do love seeing you upset my sweet villain," he said trailing a finger over her cheeks, "I didn't come to pick a fight." Jude knew her cheeks had to be bright red, she always got flushed when she was mad. She hated that he had command over her, more than she appeared to have over her own body. Which only made her more upset when he called her that stupid name.

"Why did you come, I had demon summoning scheduled for later in the day," Jude said ignoring the looks Nicasia and Taryn were shooting her.

"I was informed of a damsel in distress, and princely duties demanded that I come to your aid."

"Oh no, that's it," Jude turned on her friends glaring, and pointing at the door while practically shoving Cardan out, "Everybody out, I'll move them all myself."

"Wait, but I brought champagne," Cardan said materializing a bottle from the inside of his coat.

"Jude you can't kick the man out, he brought Dom," Taryn said pulling Cardan back into the apartment by his arm. Jude watched as he re-entered what was meant to be her space, unwilling to fight with Taryn.

"Fine, but if he's here he works," Jude said looking at Cardan as if to say 'unless you've got a problem with that.' The Cardan she knew would never deign to do a day's labor on his own. Always calling somebody his father employed to do things for him instead. So Jude was shocked when all he did was set the actually quite nice bottle on the counter, and gesture his hand towards the door with a look that said 'after you'.

Jude was not sure if she was pleased or pissed off when Cardan actually matched her for work ethic for the rest of moving. He eventually took off the coat, and the sweater, tossing them on the counter with his welcome gift. Jude wished he had not, as she'd been determined to carry more than him before that. She would have managed it too, if he had not rolled up his white dress shirt to the direct center of his forearm. Where it hugged just below his elbow as he worked.

She dropped one of her merchandise boxes when his arm brushed hers while reaching for another, shocked by the contact of his skin hot against her own. Furious with herself for the look that graced his face when she cursed and picked up the box, she decided to be less ambitious with how much she carried.

They had not actually had all that many boxes left. Which made it all the more traitorous that Nicasia had called in for help. As the work dwindled Nicasia and Taryn gave up the pretense of pretending to want to help move the boxes, and sat on the benches that were near the building's entrance. They sat close talking and laughing quietly at each others jokes. Jude could be funny too, but her humor was more dry and wicked. Just as Jude was sprinting to get the very last box, the pizza delivery driver had pulled up to the curb.

Taryn had gone from commiserating with Nicasia, to giving Jude puppy eyes in 10 seconds flat. Jude laughed softly as she went to go pay the man. Her path was blocked by Cardan who'd made a beeline for the car as it pulled in, while she'd been distracted. If she hadn't been so focused on his damn arms she might have missed how he went to get his wallet from his back pocket. Hell no.

Jude stood one shot at having Taryn and Nicasia not mention her attitude since Cardan walked in, and that was to buy their silence. Nothing says be on my side like hot pizza and good dessert. Which is why she was going to pay for it. Cardan was already handing the man a crisp bill when Jude went to shift the box she'd been holding to under one arm. God, she hated him so much. She'd already missed out on getting to bond with her friends over how annoying moving was because of him, and now he was going to ruin their meal too?

He'd already ruined Jude's childhood, but she was an adult now, and he would not even get a single day from her. She grabbed the boxes of her food and walked to the elevator clicking the button for her floor and slamming on the door close button before he could follow. She walked into her apartment, and she would've locked Cardan out if it not for the fact she had to wait on Taryn and Nicasia to follow. If she had to face him again today, it was going to be on her terms and her rules.

Jude moved to the boxes now all neatly lined up in what would be her living room. She scanned the barcode stickers on the top of the boxes, each item had been carefully cataloged so that she could be sure that she didn't lose anything important in the move. Downsides to owning and running a successful companies that sold accessories with a dangerous edge? There was so much inventory to keep track of.

She found what she was looking for and swapped her sneakers for stilettos. She'd love to see Cardan try to look down on her when they were eye level. She'd give a new meaning to the term glaring daggers. She was perfectly capable of paying for a damn pizza.

The door of her apartment opened and Cardan strolled in, his arm around each of her friends. Jude let out a breath that his shirt had been set back to normal, although she was not sure if she was relieved.

"Really, my own twin?" she said putting a hand on her hip and looking at Taryn who moved, hands up, to sit on the counter top.

"Jude, he got us pizza, please be reasonable," Taryn said in a placatory tone.

"I got you pizza, this interloper just stole it because pizza is joy, and he can't let me have it."

"You need to stop, you're hangry and turning into rude Jude," Nicasia teased using the family nickname she knew Jude hated. That was just low, she'd revealed that in a 2 A.M. group chat. Which every woman knows means it’s classified information.

She was being rude, she knew, but well...frankly he started it. Years ago, but she was a petty elephant and would not forget.

"Fine, have a slice of pizza and then get the fuck out."

When Nicasia and Taryn turned their looks at her, Jude just blinked her eyes slowly a few times. She had never claimed to be a saint.

"Can I at least get a drink before you kick me out on my ass?" Cardan asked the corner of his mouth upturned.

"Nope, sorry," Jude started and feeling her friends angry stares added, "I just moved in, and I haven't stocked the fridge yet."

"Well, then it's lucky for us my friend was kind enough to drop in to christen the home with champagne," Nicasia said as she made remove the muselet. Jude watched her carefully grip the wire as she twisted it off with effortless ease, and admired her friends grace. Jude would've likely embarrassed herself biting at it. She'd been served champagne at events, but it always came in a glass if she was honest.

With the sound of the popping cork her control of the apartment got further away from her. She watched as the three of them opened cupboards and looked at an empty counter top as if expecting glassware to simply appear. Jude knew she could easily scan the boxes and find her glassware, but business had taught her to spot an opportunity.

"Oh darn, it seems like we can't get you that drink after all."

"Yes, you seem very forlorn about it," Cardan said shaking his head at her, amusement in those dark eyes.

Jude gave him a mock apologetic shrug of her shoulders, lips pulled to one side of her mouth. The amusement in his eyes turned to challenge. Unbeknownst to Jude, Cardan's newest hobby was complicated jigsaw puzzles. He had needed something to do while being able to keep an eye on his father, and he found that once he started he just couldn't resist figuring out how the pieces fit together. She'd just presented him with his newest game, and he was going to figure out her pieces.

"Don't worry my darling, like I said we're neighbors now," smiling when Jude scowled at the pet name, "I can just head to my place, and get us some glasses."

It was clear that he'd gotten under Jude's skin when she stalked towards Nicasia and took the bottle from her, and into her own hands. Nicasia just looked at Taryn, and whatever that look meant Taryn must have understood. She moved to the edge of the counter top and invited Nicasia into the circle of her legs, resting her chin on her the top of the other woman’s head.

"How very unfortunate for high-born little princes like you, that you can only sip champagne from the finest of glasses."

She looked right into his eyes as she began glugging the expensive bubbly from the bottle and drinking it like watered down beer. She raised an eyebrow at him as she wiped her mouth with the back of her hand.

"I do hope I haven't offended you Cardan," she said snarling out his name as if it was foul, "I'd hate to scare you off from ever visiting again."

"Not at all, I'm quite charmed by your lovely manners," he said walking over to where she stood by Nicasia. "Do not expect others to share my depraved tastes," he said taking the bottle from Jude's firm grip and drinking directly while their gazes stayed locked in a battle of wills.

"Nic, you feel like we're interrupting something here?" Taryn said from where she sat inches away. It shocked Jude out of her stupor, and her sister hopped off the counter as Jude made to reach for her. She was suddenly stricken, it was all fine and well to hurt Cardan, but she wouldn't lose Taryn again. Not when she just got her back.

"Ugh I thought you'd never ask, this is all too straight for me," Nicasia said taking Taryn's hand and making for the door.

"Wait guys, don't go--"

"Nope, text us when you're ready to act like a person again," Nicasia said laughing as the door shut behind their quickly retreating figures.

"Way to go, you scared them off with your stupid smoldering thing."

"Jude, I think you'll find I'm not the one in the wrong here, although I am delighted to hear you think I smolder," Cardan said backing away from her.

"I meant that stupid staring," she started but trailed off when she noted his smug face.

"Jude, all I've done today is bring you a housewarming gift and offer help at my friends request."

Jude opened her mouth to protest about the pizza slight, but stopped as she'd realized she'd just dig herself into a deeper hole. All he'd really done was cover her food for her and her friends. Was it possible that her childhood tormentor really had come here without the intent of torturing her. She'd been too caught up in trying to catch his next move, that it hadn't occurred to her. He’d clearly taken her silence to mean something else, because he went to gather his coat and sweater.

"Look, it's clear you don't want me here and I'm not actually trying to hold you hostage in your own apartment."

Jude's pride stopped her from correcting him. She'd been working so hard to get him to leave, that she couldn't exactly walk back her position now. She wanted to though, she wanted to grab him by those rather toned arms and hold him in place. To explain herself or make him explain himself, she wasn't sure. Instead she nodded her agreement, and silently watched him leave. She watched as he walked down the hall, opening and then closing his door. Only then did she finally unfreeze from her doorway and shut her own door.

She sat for about 30 minutes just trying to process all that had just happened. She was not sure when she'd become the villain in this story, but she didn't enjoy the feeling. He was the bully, not her. If his actions today were to be trusted, maybe not even him any longer. Jude stood up suddenly confident in her movements as she scanned the boxes searching for her glasses. She hadn't actually moved everything today, so all she was able to find was some coffee mugs. She looked down at her "I Rule" coffee cup, it'd have to do.

Jude went to where the remains of the bottle was left on the counter, and poured it into the cup. She wouldn't apologize, as she was not truly sorry. Even if he was not the menace he used to be, one day of rudeness was the least of what he'd deserved. She did however write what she'd call her concession. She'd apologized for the coffee mug. The note told him that while her fine Waterford Crystals were still in storage, it should taste just as good coming out of a mug. Jude left the note under the cup, and knocked on his door before leaving.

#if you hate the story I’m sorry but at least you have a cute edit #that was braggy about the edit....but it have lotta color so i like it #matching watches or shoes wasn't very them #so i figured the accorn like Jude found in the book #also i made Nicasia's hair slightly blue in the edit #uhh mostly just dying about the words #i don't normally publish anything #i was considering chickening and just giving the edit #but your secret santa box and note were too damn loving and supportive #damn you #if you love it can i be Mrs. Starborn?#I know the position of Mr. Starborn is taken #but I love you so please consider opening a secondary position #if i could send you a box of cartoon hearts i would #jurdan #jurdannet #jurdannetrevels #secret snusband #jurdan fic

64 notes · View notes

willel · 4 years

Text

On this day, I’d like to talk about my feelings on Season 3.

I know I know. You roll your eyes. You’ve seen me talk about it before. But actually you haven’t. Not totally. If anything, you’ve just seen my inquisitional frustration now and then on how they decided to write it.

Make no mistake, I think Stranger Things 3 is the worst of the 3 seasons. Is it the worst tv ever? Nah.... though this is someone who doesn’t really watch tv other than Stranger Things (more of a reader myself). I usually watch youtubers rip tv shows apart instead.

So based on that, do I think Stranger Things 3 is worse that 13 Reasons Why, Riverdale, or uh.... hm.... oh! the last seasons of Game of Thrones? Well, no.

So how do I truly feel? Weirdly enough, I feel the same as I did when I finished watching it the whole time. I felt like... I was waiting for the ball to drop, episode to episode. I can’t pinpoint exactly what I was waiting for, but whatever it was didn’t come.

I didn’t.... FEEL as much as I did the first 2 seasons? And I felt like that was by design. They didn’t bring in the heartfelt stuff until literally the VERY end and by then, it was too late for me to feel invested in all these characters I genuinely like.

I never truly felt like anyone was in danger, especially not the Scoop Troop. Even as Steve was being tortured and had his daylights knocked out... it was just a *shrug* like moment for me.

Even when Hopper supposedly died.... I was kinda feeling like “meh. I doubt it.”

And I’m not trying to say someone HAS to die for me to feel something. No one died in Season 2 (except Bob) and I was still on the edge of my seat while they were interrogating Will or when they started panicking cause the Mind Flayer found their location. I was concerned that maybe El wouldn’t be able to close that humongous gate and Hopper would get eaten by demodogs before they even made it there. I was worried possessed Will would get loose before they managed to exercise the Mind Flayer and maybeeee he’d die or suffer more or something.

So for months, I guess more than a year now, I’ve just been debating my feelings on things. I’ve come to this conclusion.

Even though I didn’t really like the season overall, there were too many things in the season I did like to make me actually hate it.

Will’s arc that lasted about 3 episodes was off to a great start. I was really looking forward to it until it disappeared.

Murray’s friendship with Joyce... I dunno. I actually really loved that. They’re kinda similarly paranoid investigative people who bother Hopper in their own little way. It’s cute, like they’re long lost siblings.

Even if they laid it on a little thick, El and Max’s friendship was much needed and I’m glad that even though El was still trying to copy Max a little too much, Max was also doing her best to remind El now and then to find herself and no one else.

I like that El is now living with the Byers and that they’re moving away. It makes TOTAL sense that Joyce would pack up and leave Hawkins. Too much shit has gone down there, she needed to go for her and her kids sake + El.

Even though I wish the resolution had been different, Jonathan and Nancy clashing due to their backgrounds (being a woman vs being poor) was very interesting to me. I would’ve loved to have more of it. Not more arguing, just more talking about it other than the apology.

I love love love, first of all, Lucas reaching out to Will multiple times after the huge blow up trying to make amends. Some of it is in the background. And that CUTE HUG AT THE END. I love Will and Lucas. <3 Lucas is such a good friend even with a few screw ups there and there.

Jonathan for at least a second taking the big brother role for El and trying to cut that thing out of her leg. Trying to reassure her it’s gonna hurt but it’s gotta be done. So sweet even if gross

And then there’s the things I didn’t like that just... brought down my mood. Here’s a few.

Hopper was just... look. I don’t hate his character. I see this solely as a writing issue, not necessarily a character issue. I feel we could’ve ended up with the exact same plot if we cut out about 50% of Hopper’s snark. I get being overprotective of El and the old “Dad hates the boyfriend jokes”. Whatever. Would’ve been better if Mike ACTUALLY screwed up all by himself and Hopper was just enjoying the moment rather than Hopper being the cause of it.

And I get the whole Hopper really wanting to date Joyce stuff, but... I just can’t see how we go from season 1 and season 2 Hopper who was ready to throw hands with his deputies for implying Joyce was crazy. And the Hopper that really truly completely understood what Joyce was going through (anxiety,depression, and loss). How did that guy turn into someone trying to rush Joyce’s mourning along (after he mourned for his daughter for like, 6 years) and him being the one implying she’s crazy? It’s just weird. I can’t deal. It’s WEIRD.

No Jonathan and Will scenes. They’re finally on the adventure together and there’s still NOTHING. In the mall, Will is damn near having a panic attack hardly able to keep quiet and JONATHAN DOESN’T EVEN GLANCE IN HIS DIRECTION

No Jonathan and Joyce scenes. Mother and son who?

No Nancy and Mike scenes. They didn’t do it for season 2. Surely they won’t forget this time and give the siblings some screen time??? Nope. Bet 75% of the fandom forgot they’re even related.

No Max and Billy scenes. Not a fan of Billy, but Billy is her step brother. Why the hell wouldn’t the writing put a little more focus on that? Surely Max would be more suspicious of Billy acting weird or even nice to her? Surely they’d give her more moments of showing... something over the fact that her step brother is the big bad?

No Will and El scenes. Obviously I’d be annoyed at this. But you’d think the monster radar and the psychic girl would be butting their heads together a bit more to figure out what’s going on? This ties into Will’s evil senses only working 5 minutes too late. How did he sense the Mind Flayer smoke from 10 miles away, but now he can’t sense the huge flesh monster until it’s a couple meters above him?? No logical sense.

Complete erasure of Kali. I didn’t miss the fact that when El was having flashbacks of her mom, they pretty much cut out any mention or thought of Kali. Surely after that heartfelt goodbye, El would at least think of Kali for a moment and get distracted. She decidedly hid the fact that Kali exists from everyone else, wouldn’t it be nice if we saw her character still thinking about that secret from time to time??

And the final point that I feel like typing out tonight, too much focus on El. And I don’t mean it in the way you’re probably thinking. I mean that basically NO ONE is able to save El. EVER. She has to do everything up until the final moment. Mike and the gang isn’t allowed to save El from Billy choking her out. She ends up having to save them. No one can save El from the flesh eating vagina monster. She has to defend herself completely. Jonathan isn’t allowed to get the worm thing out of her leg, she has to pull it out herself. Mike and Max can’t do anything to protect her from Billy again. They all fail and she yet again has to save herself.

Ok, that’s all I wanted to say.

ST3 is like a..... 45 / 55 scale for me, and the 55 is the bad part.

#stranger things

60 notes · View notes

passionate-reply · 3 years

Video

youtube

Have you and Telex met somewhere before? If not, you may want to make their acquaintance. This delightfully irreverent Belgian electro-disco trio came in next to last at 1980′s Eurovision Song Contest. And then they did an album featuring English lyrics by Sparks’ Ron and Russel Mael! Find out all about what makes this record tick, in this week’s installment of Great Albums. Full transcript below the break...

Welcome to Passionate Reply, and welcome to Great Albums! It’s time to break outside the Anglosphere, and take a look at one of the finest synth-pop acts to come from Belgium: the irreverent post-disco trio of Telex. Telex were, in fact, so European that they were sent to that most European of institutions, the Eurovision Song Contest, in the year 1980, in what was perhaps their finest hour in the spotlight.

Music: “Eurovision”

While many contemporary listeners may find “Eurovision” amusing, it actually didn’t go over well in the contest itself, and Telex managed to place second to last on behalf of the Belgian people, losing even the (arguably) more illustrious last place to Finland. It was one of the earliest true “joke entries,” so perhaps the masses weren’t ready for this approach yet. Despite its generally upbeat sound, I think the lyrics of “Eurovision” come across as really quite harsh--and the song’s availability in both English and French meant that plenty of people understood them. Mocking the financial instability of Italy and, apparently, anyone dumb enough to tune into Eurovision, there’s really a rather condescending, perhaps even cruel, sensibility about it. A conspicuous reference to the Berlin Wall, a symbol of some of Europe’s deepest divisions and greatest political turmoil, gives it an extra nudge towards feeling rather contextually inappropriate. Telex’s “Eurovision” might just be the most cynical or anti-European song ever entered...at least up until Hatari of Iceland gave us the thunderous industrial anthem “Hatrið Mun Sigra,” in 2019.

Telex’s follow-up to this “incident” is, in my opinion, where their career starts to really get interesting. While it isn’t that heavily advertised, 1981’s Sex was actually something of a collaboration album, featuring English-language lyrics on all tracks which were contributed by Ron and Russell Mael of Sparks. Given the recent resurgence of interest in Sparks spurred by Edgar Wright’s documentary on them, I figure now is as good a time as ever to revisit this somewhat lesser-known work in the Sparks catalogue--or, at least, with one foot in the Sparks catalogue.

In my opinion, Sex takes the better aspects of both of these groups and combines them into something that feels like more than the sum of its parts. Telex’s soft, yet sprightly synth arrangements have as much fun and flair as those of fellow Sparks collaborator Giorgio Moroder, and feel more substantive and organic than Sparks’ many attempts to play with various genres in which they remained outsider dilettantes. Likewise, the Mael brothers’ lyricism is a major improvement to the often clunky English offered by previous efforts by the Belgians. Recontextualized amidst a sea of dreamy Euro-pop, and delivered by Telex’s suave yet unassuming vocalist Michel Moers, the same style of lyricism that often makes Sparks feel crass and overwrought to me becomes transmuted into something I’m much more amenable to. Much like Devo, I’ve often found the “smartest guys in the room” vibe of Sparks a bit off-putting, but Sex has a certain subtlety or ambiguity about it, that keeps me coming back and pondering it.

Music: “Dummy”

The feel-good, squelching bass grooves of “Dummy” recall the most affable work of the seminal Yellow Magic Orchestra, and a falsetto hook that’s to die for marks it as one of the more pop-oriented tracks on the album. Had it stopped at “Dummy, hey, I’m talking to you,” it would be not only less interesting musically, but also conceptually; the overt questioning, “now who’s the dumb one?”, rescues it from simply being mean. I like to think it calls to mind the archetype of the fool who is constantly vocally doubting the intelligence of others, in an attempt to cover for their own insecurities. While it’s a comparatively simple track, lyrically, it establishes some of the album’s most important themes, portraying traditional “intelligence” as mutable, and perhaps questionable. Despite its appeal, “Dummy” was actually not included on the original tracklisting of the album, but rather debuted as the B-side to the single “Brainwash,” before receiving this promotion in later revisions of the LP. In this rare case, I actually think the later edition is superior, and it’s the one I’d recommend.

Music: “Brainwash”

Besides just sharing opposite sides of the same single, there’s also a strong thematic connection between “Dummy” and the slower-paced, narrative-driven “Brainwash.” Arguably the most high-concept track to be had on Sex, “Brainwash” tells the tale of an intellectual who willingly forfeits his intelligence for the sake of falling in love. That, in and of itself, is a take on the love song that I’ve never heard before. We all know the trope that being in love makes one stupid--our word “infatuation” is basically Latin for “being made stupid.” But “Brainwash” suggests that, given the choice, we might well be better off as fools rushing in. What good is a life full of knowledge if it is one without passion, and deeper humanity? The narrator of “Brainwash” seems fully cognizant of what they abandon, and makes an informed decision to do so. But what complicates things even further is the development that the object of the narrator’s affections seems desperate to make them regain their prior book smarts--perhaps a commentary on how society frames this issue, and its willingness to prioritize the prestige of education over genuine human happiness. The single “Haven’t We Met Somewhere Before?” explores a related, but also distinct tension between knowledge and happiness.

Music: “Haven’t We Met Somewhere Before?”

Moreso than anything else on the album, “Haven’t We Met Somewhere Before?” is really sort of harrowing. Moers’s falsetto feels less like a fun disco aftershock and more like a cry of pain, and the stilted melody and more brash synthesiser stabs establish an air of unease--though still not so strong that it feels out of place alongside lighter tracks like “Brainwash.” Its lyrical narrative is plainly a tragic one, with a narrator who thinks he’s encountered his wife, but can’t quite piece it together, or get the response that he’s looking for. It’s evocative of the very real agony a sufferer of dementia and their loved ones might face, losing their memories, and, with them, their connection to the people around them. But perhaps the most eerie thing about the track is that it never does dip into more maudlin territory, even if it feels like it ought to. In the full context of the album, and particularly the sentiment expressed by “Brainwash,” we’re forced to question just how unfortunate the tale expressed in this song is. Perhaps “Haven’t We Met Somewhere Before?” is also suggesting that love is more powerful than knowledge, in its own way. Perhaps the characters it presents have transcended the need for knowledge of their shared history, because their bond is deeper and more primal than that? Similarly subversive questions about love are also posed by “Exercise Is Good For You.”

Music: “Exercise Is Good For You”

With a pleasingly abrasive, textured synth line and a rather singable refrain, “Exercise Is Good For You” is the one track cut from the later version of the album that I do find myself missing. This track’s narrator has devoted themselves to exercising--perhaps over-exercising--in the wake of a bad break-up. At first blush, it may seem a bit absurd, but this is a real-life coping mechanism, and one that can potentially be quite dangerous, particularly as it’s often combined with eating disorders. The potential for peril is compounded by the notion that, well, “exercise is good for you,” and that in a world where too few of us partake, anyone who does must be doing the best for their health. While it doesn’t deal with the realm of knowledge, I do think “Exercise Is Good For You” works in a similar space as tracks like “Brainwash” and “Haven’t We Met Somewhere Before?” do, offering an ambiguous narrative that asks us to question something we habitually value--in this case, by portraying the apparent virtue of physical fitness in a darker and less healthy light.

Earlier, I referred to this album simply as Sex, but for the UK market, it was re-christened Birds & Bees. There is obviously something quite transgressive and irreverent about naming a pop album “Sex”! We like to think of pop music as trading chiefly in themes of love and romance, so the title Sex functions as a bit of a “low blow,” suggesting that we ought to think more cynically about “what’s really going on below.” Despite this, there’s really not a lot of terribly bawdy tracks to be had on either version of the album, which may come as some surprise if you’re familiar with their early track “Pakmoväst.” I think the fact that the album title was changed, and seemingly “censored” with the very knowing title Birds & Bees, only adds to its transgressiveness, and lends it a certain allure of the forbidden.

You won’t find birds or bees on the cover of the album, however, but rather a butterfly, feeding off the nectar of two large flowers. It’s certainly an image that can be read as evocative of sensuality, with yonic visual overtones. Perhaps more overtly offensive to the eye is its queasy, dull yellow colour scheme, which is actually much more stuck in the 70s than the rather sharp and with-it electro-disco stylings of the music.

Historically, the butterfly is often used as a symbol of innocence, particularly with respect to the carnal knowledge of sex. In François Gérard’s depiction of the mythological heroine Psyche, a butterfly hovers above the subject, as she receives her first kiss from her lover, Cupid, a god of lust and sexual desire. The suggestion of youthful innocence is only heightened when the title Birds & Bees is applied. We might also consider the similarity between the idea of naivete or innocence as a virtue, and the apparent thrust of tracks like “Brainwash,” which also challenge the utility and benefit of knowledge about the world.

Telex would go on to release three more LPs after this one, and while they never quite surpassed a cult following, they keep up with the times quite respectably, incorporating sampling and digital synth textures without losing their signature levity and playfulness. I think they’re well worth a listen if you’re interested so far.

Music: “Raised By Snakes”

My favourite track on this album is one that’s exclusive to the later release, and never appeared anywhere else: “Mata Hari,” which was not only added to the album, but given the prominent position as its opening track. Mata Hari was actually a real person, a courtesan famous for her exotic dances inspired by her time in the Dutch East Indies. But she became caught up in the political storm of the First World War, and the French government convicted her of spying for the Germans--even though many believed she was framed. After her execution for the alleged crime, her severed head was embalmed and displayed in a Parisian museum, for all to gawk at...until it mysteriously went missing, possibly stolen by an “admirer.” It’s a strange and tragic tale, for sure, and one suitably treated with a sense of mystery and uncertainty by the song. An undoubtedly complex and controversial figure, Mata Hari can be seen as a symbol of European disunity, not unlike the Berlin Wall, as well as a representation of sensuality used for devious and destructive ends. I think this track enriches the album’s themes while also feeling somewhat separate, with its more pensive mood and third-person lyricism. That’s everything for today--thanks, as always, for listening!

Music: “Mata Hari”

#music #album review #album reviews #telex #sparks #ron mael #russel mael #eurovision #eurovision song contest

10 notes · View notes

bl-garbage · 4 years

Text

coming out, like in the movies.

There are far too many reasons, wide-ranging and on varied degrees, for why coming out is That One Thing all queer people share in suffering. Yet, in the end, all of these boil down to that one overarching fear: that society will reject us.

Those who soften the blows of this reality will hold our hands, like Anna does (I love her so much, I fucking do), or will offer a safe space and let us cry it all out, like Ate Judit does. Others simply know and will let us come out of our own accord, like Tito Santi does.

These are warm instances of comfort, but ultimately they are mere consolations to help us come to terms with our mad realization that we had been ‘different’ all along. That we were unnatural. Sinful. A fraud. A phase. An illness. A mistake. An abomination. A wrong. The elements of horror that society has instilled upon us cast a looming shadow, that which would follow us even as we try our damned hardest to step out into the light. The truly laudable thing about Gaya sa Pelikula is how the show willingly offers an opportunity for introspection, a clearance for one to delve into the trajectory of their own stories.

I myself have never come out. Imagine that. A hundred gay-themed movies, one massive crush on Chris Evans, and a desire to be TayNew’s personal bodyguard later, and I still have not said the word out loud. I know because I keep track. My friends know I like boys, and I have never hidden it to those that truly matter, but the reality is that I have never admitted it either. For good measure, I would often create buffers, perhaps in an attempt to make things more palatable: I talk about boys, in all their chiseled glory, but from time to time I make sure to let someone hear, whoever has an ear, that I too had been in love with a girl ‘back then, when I was a teen, back in high school, I guess’ - which is true anyway. I will not discount that experience. But then here comes the shameful part: ‘So maybe I’m not totally gay,’ I would rationalize. ‘And why not? I could very well be bisexual.’ Or perhaps fluid. Or perhaps I was simply too afraid of a label.

Back then, I had probably already guessed this One Thing about myself, but perhaps as a defense mechanism, I had subconsciously ignored it. To friends now, my official story is that I had been in love with a girl - had expressed so myself and had written things about her and had bought her gifts - but then, eventually realized that I was also capable of liking a boy. This narrative is only partly true. What I leave out is the very real possibility that liking a girl could have very well only been part of this overall journey, one that had just been all too complex to understand for my nascent, horrified self. I was only what, 15, when I was first confronted with the reality that loving a boy was possible.

(One day I had found myself walking with a boy and realized butterflies had been swarming in my stomach. One day I was much too filled with a desire to message him that maybe things were feeling different. One day my mom caught me with that very message, saved as a draft on the phone, and my desperation may have betrayed my concocted excuse that it was just a joke, mommy, really. Didn’t matter what I said; it was what she said that had stuck with me anyway: In tones of pleas, she said, son, please, don’t. One day my mother and I agreed never to talk about it, but I knew better. There was no joke about all this: not what I felt for that one boy, but what I felt within myself. And a more brutal reality: That there was no way in hell my mother would ever except my truth.)

I had no one to help me understand. Things did not look the way they were over half a decade ago. Liking a boy seemed so wrong.

Which is why, I know exactly what Karl felt. Vlad had asked him, “Ano ka (What are you)?” and immediately told Karl that he should not be scared of the word. But the truth is, gay is a scary word. As much as we hate to admit it, being gay means being shunned, facing the worst of the world without any armor. It feels as though walking bare naked, unsheltered, with simple questions otherwise borne out of genuine concern feeling like sharp daggers thrown from all directions.

Things like these, one does not really get used to. They’re not ones that are suddenly okay, just because another person professes that they accept us. The bravest souls in the community will attest that they, too, fight to have the courage every single day. I recall the coming out video of Dan Howell, who had so perfectly articulated why the word ‘gay’ feels so uncomfortable. To me, ironically, the word seems like a label that, once uttered, would permanently seal me in a box, devoid of any guarantee of an out. What if things changed and I suddenly found myself liking a girl (though I doubt that anymore)? The answer to this is one I already know: that only I hold this decision. Would society then, as I have been so predisposed to believe, think that I had lied, that I had failed to be honest? Even when the honest truth of it all is that doubt and fear are two sides of one coin? To my mind, the word ‘gay’ already seems like a conclusion, and henceforth any acts that I do, the word would hinge itself. What if there’s no eject button? That is the truly horrifying thing.

This is an experience all too common, which is why it resonated with every viewer. Similarly, the experience comes with more aggravating instances: Throughout the whole episode, there was the atmosphere of great unrest, which we all know had been a directorial intention. From the cold open, we are shown a slow motion that signifies how overly conscious Karl was to everything; we are shown the way Karl’s voice had been muted when he was trying to talk to Tito Santi; we are shown just how problems are kept hidden and in secret, as when Ate Judit and Tito Santi were talking over them and Karl just being quiet, silenced, until it was he who had been put on the hot seat, ever so suddenly.

These people who are supposed to be allies have talked over Karl, drowning out his voice. Only at their own signal did they let Karl talk, and by then, it was to answer the question Karl had dreaded all along. We know they want the best for the boys, but this is important to note just the same: No one must be forced out of the closet. It will only harbor more pains. As expected, this unsettling atmosphere has paved the way for the confrontation we had long known was coming.

The heartbreaking part is that Vlad understands, so much so that he has been patient. Karl needs to find his own self, just like Vlad did. Just like everyone does. The montage of their own perfect life, lived in a large box that is their apartment, was but a sweet escape, and Vlad knows that. This was their shelter from harm. But a time must come when this has to end and they must come out. What has happened there so far - the dance, the hugs, the kisses, and all the memories - it was all real, but it was also hidden. And if one of you denies it happened, how would you trust your own truth? Vlad had taken the lead, because he had the pass to come in and out of this large box, sharing this precious space with Karl. Yet, it was understandable that Vlad had also been itching to help Karl come out on his own. To Karl, that is the most terrifying thing. When he said, we’re okay, Vlad, okay? he was desperately looking for normalcy, to abort this mission and go back and just - just stop.

Vlad has been through that, and was all over it. No longer.

Neither of them is to blame. On one hand, you own your truth; and on the other, you can never force one to live a lie and go back into the closet, just so that they may be at your own pace.

The bold truth about Gaya sa Pelikula’s penultimate episode is this: Neither Karl nor Vlad is wrong. It is they who have been wronged. By a society that has forced each one of us to hide, to man up, to woman up, to believe that the only way of seeing people was on the basis of what's between their legs and not what 's inside their heads. And Ate Judit, Anna, or Tito Santi may try their best, but they can do no more than to assuage the horror that comes with living your own truth.

I cannot stress enough how important shows like Gaya sa Pelikula are. For those who are only in the first laps of this journey of coming out, it can be their console. To me, this is a way of understanding why things came out the way they were. To others, this is a welcome respite. An embrace.

This is the magnificence of Juan Miguel Severo’s love letter to the LGBTQI+ community. This was just masterfully done. I find comfort in Vlad’s own love letter to Karl. I’ll bid goodbye for now, go into a corner of this box, and mull over the choices I've made thus far. (Reader, to be honest: I’m now writing this in my dormitory, in my own box I suppose. For the past six episodes I had been watching the show at home, but now I had to stay in the dorms. I guess, this was fate, too, to help me process my own feelings, alone.) Anyway, for those who have not seen it:

undefined

youtube

God, I am just overwhelmed with emotions. Just gonna cry now.

#GAYA SA PELIKULA #gayasapelikulaep07 #ian pangilinan #paolo pangilinan #juan miguel severo #bl series #dan howell #pinoy bl series #gaya sa pelikula

36 notes · View notes

aros001 · 3 years

Text

First time read through light novel vol. 8. Random thoughts.

...So...does anyone else feel a little uncomfortable with that cover image between Reinhard and Felt? I mean, I know he's not going to do anything sexual to her and she's not as young as I originally thought she was (I think vol. 1 said she was 15, while ever since the anime I thought she was like 10 or something), but she still is underage, being forced into wearing and doing something she doesn't want to by a grown man, and I think just the way he's got his hand holding her bare thigh makes it feel more sexual than it should be.

Also, is Wilhelm floating? The heck is he sitting on?

Subaru was afraid of death. Dying constantly trashed his life with an unbearable sense of fear and loss. He thought it was like that for everyone; he assumed that was how it had to be. Subaru, who had experienced death more than anyone via Return by Death, didn’t want anyone else to know what it was like.

I'm definitely seeing more similarities between Subaru and Ferris here than I did in the anime. I like how they both have a more unique perspective on life and death than most people would; Subaru from his Return By Death and Ferris from being such a powerful healer (to the point he can even regenerate himself from near death, I guess). Again, for a series where death can be undone so easily, it really knows how to use that premise to show just how weighty and serious death is. While the two will and do kill, it sits with them more than it does for others because they know just how awful death can be.

Something I've really enjoyed when reading through various LN series after watching the anime first is that I end up liking certain characters that I didn't in the anime. I didn't hate Ferris but the cutesy way he talked really bugged me and I didn't focus on him much. Here though I'm definitely getting a better feel for his character, especially with how much he values life, cursing at the suicidal witch cult members for tossing theirs away so easily. He and Subaru's back and forth makes the ending feel that much more heartbreaking when Ferris has to mercy kill the possessed Subaru.

Also, just to clear up any confusion I have, is Ferris in drag or does he identify as a woman? I don't have any problem referring to him from now on as a "she" (I never had that problem with Magne in My Hero Academia) but I'd prefer to get my facts straight. Ferris also makes a joke about Subaru swinging over to his side of the fence but I'm not sure if that means he's gay or not. It's a little hard to tell how far his affection for Crusch runs, for example.

Similarly, there's Julius, a character I never disliked in the anime, but I can definitely see more of a path to him and Subaru becoming friends here. It is funny that a comment from Ferris got me thinking how something to two have in common is how easy it is for them to get others to immediately dislike them just by talking. For Subaru it's because he too often talks without thinking, shoving his foot into his mouth, and for Julius it's how unintentionally snobbish and "better-than-you" he can sound. It's also nice that the story is getting Subaru to try and work through his issues, acknowledging that he's being unfair towards Julius, whom really has done nothing wrong aside from unintentionally pricking at Subaru's inferiority complex.

Like Subaru, I thought demon beasts and monsters were just so common in the world that a barrier around a lord's domain was a very common thing. But from how the other characters in-story are talking, it sounds like Roswaal deliberately put his domain and the village in the center of (or at least nearby) a demon beast habitat. Even in the anime I always believed he knew more than he let on but here he feels like a straight-up mastermind with everything he's been pulling behind the scenes and all the things he's done that, as of yet, have no explanation or reason behind them. Just what is he up to?

One thing I'll say about this series in comparison to some others I've seen/read; the dark magic here, like with the Witch of Envy, Return By Death, the White Whale, and the Unseen Hands, really feels like DARK magic. I've seen series that have their own version of dark magic that'll make bad things happen or summon demons or sacrifice people, but this? Everything to do with the witch feels creepy and unnatural, like it's not or should not be part of the world. With how much suffering it's caused, the mystery behind the gospel, just how unhinged Petelgeuse is and his body jumping, it all feels like stuff you should really not be messing with. Even at the end with Subaru running off and Julius finding him, getting no response at first from Subaru, feels like something out of a horror movie.

Subaru keeps getting asked if he's Pride, to which I'm assuming they mean if he's the one to become the Archbishop of Pride. Personally, my theory is that because of how much the witch seems to "favor" him, Subaru is Envy, like, well, the Witch of Envy and the only one of the seven sins they never mention to have an archbishop, given Satella destroyed the other witches. If that's the case, I can only imagine how much that's going to piss off all the other archbishops, that after all their shows of devotion some schmuck came to their world out of nowhere and became Satella's favorite.

“Lending one’s strength does not mean merely swinging one’s sword. It means challenging the same foes, worrying over the same obstacles, sharing the wounds and the weight of the burdens. This we can do. This is the lesson I learned in the past.”

Obviously this is meant primarily for Subaru but I can't help but think it can apply to Rem and Emilia as well. With the exception of Puck, Emilia tends to go out of her way to avoid involving others in her problems or having them feel they owe her anything when she helps with theirs. Rem dedicated a good chunk of her life to live as her sister's replacement after Ram lost her horn and tried to kill all the demon dogs on her own after Subaru was cursed saving her. They both seem determined to bear the weight of their burdens solely on their own, like they're the only ones who need to suffer. Subaru goes back and forth on how much he involves others in his problems, but while he's more than willing to help ease the burdens on others, his problem for the longest time was that he was so fixated on "swinging his sword", as he thought fighting and strength was the only way to help (probably because strength would honestly solve a decent chunk of his own problems).

“Two days ago, the forest around the mansion became unnaturally calm... to the point that even my eyes could catch nothing. Thereupon, an armed group appeared bearing the crest of the House of Karsten, which had declared war with the blank letter... Surely you cannot blame my little bird’s heart for being on the verge of breaking?”

Ram, I had no idea how much I missed you until you came back.

Namely, that someone out there had swapped his letter of goodwill, aiming to turn Emilia and Crusch against each other.

I don't think a line or speculation like this was in the anime, which it probably should have been. Without it, it just seems like Subaru's an idiot and made a stupid mistake, but now it seems like someone is directly manipulating events behind the scenes. Personally, I'd say my money's on Roswaal if I didn't have terrible luck when it comes to gambling.

“Silence! Cease your prattle! Give that book back, right—”

“Hey, don’t shout. If you get too angry, you know—your brain’ll shake.”

...

“G...gah...! How dare you, dare you, dare youuuu! My disciple of love!!”

“Don’t gimme that, you’re the one who mixed us up! Tunnel vision! What, are you lazy?!”

HA!

Overlord was the first light novel series I read (the only other LN I'd read before was Death Note: Another Note - The Los Angeles BB Murder Cases and that was years ago), so naturally it's the series I tend to make the most comparisons to for the other series I've been reading. In this case, something I really like about both Ainz and Subaru is that, despite how they're presented sometimes, neither is actually stupid (though they too often suck at reading the room). They're both just in situations way over their head and they have no frame of reference for how to deal with these fantasy world situations. Subaru, like with tricking Sloth into getting attacked by demon beast or figuring out what was up with the flowers, has plenty of times where he shows he can come up with decent plans or quick thinking that can pull off a win. His flaws are based more in his own immaturity and need to grow more as a person.

Honestly, Ainz and Subaru are fun to compare because, of the LN MCs I've read so far, they both seem to get every break the other doesn't. Ainz is obvious. He's got actual power, tons of resources, and numerous people whose faith in him is absolute, while Subaru has almost nothing save for the curse and the clothes on his back and has to continuously struggle to make any difference. On the other hand, Ainz has no one in his life he can relate to or be his real self around, making him feel incredibly empty and lonely, while Subaru has attracted a surprisingly wide web of people around him whom, despite some hiccups, do genuinely believe in the real him.

I am 90% certain Emilia and Puck fighting Sloth wasn't in the anime. Well, no wonder anime-only fans have trouble liking her when you cut out nearly all of the character's best sh*t! [Edit: I was wrong. Another post pointed out it was at the end of ep 23. Like I said, it's been a bit since I saw the anime and I remembered none of this fight. Though I still stand by that LN Emilia is better than anime Emilia] Like I've said before, it's not like anime Emilia could just be replaced with a sexy lamp and nothing would be different, but compared to the LN version she really didn't get a lot to do in the anime outside of the first arc. She wants to be queen and sometimes heals people. Otherwise she was mostly off-screen or serving as Subaru's object of affection (and sometimes obsession). Just being able to fight isn't everything but Emilia here certainly feels like she has a lot more fire to her personality and does more when she appears. She's not just a nice, pretty girl for the MC to fight for.

Somehow, he’d died again. He’d probably lost it all once more.

He surrendered everything to the abyss. This was the familiar embrace of failure after he pathetically lost his life.

Look back at the world.

Look back at your failures.

Don’t forget. Don’t forget. Do not forget.

Ferris’s tear-filled voice. Wilhelm’s lament, shaking with regrets. Julius’s resolve and remorse, so great he probably gnashes his teeth over it—Don’t forget, ever. No matter how low you are, don’t ever let go.

Is this Satella saying this to Subaru? I'd assume so since it ends with the "I love you" line Subaru's been getting before he RBDs. But if so, why is she saying this to him? One theory is that she has her own regrets from her life and is giving Subaru a chance not to have the same. That assumes she is a good person and that the stories around her are wrong. Another theory, given the Witch of Envy title, is that she's insisting Subaru never let go of what's his. It's his (and hers, since he is hers) and no one else can have it. I mean, that applies more to greed than envy, I suppose, but stretching a bit you could say she'd be jealous of a world moving on without her.

Original Reddit post: https://www.reddit.com/r/Re_Zero/comments/gwjfwy/novels_first_time_read_through_light_novel_vol_8/

#re:zero #random thoughts #reddit repost

2 notes · View notes

lorei-writes · 4 years

Text

Match-Up #24

@jamleon , it’s your turn!

I think that sense of humour could be universally appreciated. However, I presume that certain warlords who lean towards being grumy at times or tend to take things literally and then be grumpy... Yeah, I think they could find it somewhat annoying, or could perhaps react by attempting to push you away.

Ieyasu (-1) Kenshin (-1)

As for being loud... As in, boastful? Taking up your space and not being apologetic about it? I can see it being appreciated by warlords who are attracted to strength, or who do tend to be rather vibrant in personality themselves. However... In case of Ieyasu, I presume that if he deemed it as an act of foolishness and not actually measuring up to his standards, he could become more distant.

Nobunaga (+1) Ieyasu (-1) Masamune (+1)

Energetic? Well, let’s see who could match that! I’m looking at warlords who live at a high pace and who are rather ambitious, perhaps those who do feel attracted to enthusiastic people as well.

Nobunaga (+1) Mitsuhide (+1) Masamune (+1)

Open-minded...Huh... Well, it would probably benefit all of the suitors equally. At first I considered an option of turning our attention towards those of them who have done something problematic with good intentions, or those who did lead a life that could be seen as frivolous or otherwise controversial. However, upon closer inspection, I came to the conclusion that there isn’t a single suitor there who wouldn’t appreciate this particular quality. As such, since all get a point, no points are being distributed based on this trait.

Lastly, as for being smart - I presume that some of the more intellectual and curious suitors could be a nice fit then. Perhaps good conversationalists too, as not to let the life get too boring.

Nobunaga (+1) Mitsuhide (+1) Mitsunari (+1) Masamune (+1) Shingen (+1)

I’m straight out disqualifying you from having anything to do with Mitsuhide. Now. Two Mitsuhides together could end up starving. Similarly with Mitsunari.

Mitsuhide (+2) Mitsunari (+1)

Wild Kyubei enters the game.

Kyubei (+5) <- for being a kind, understanding [unfortunately not] suitor capable of supporting others. Given his experiences with other warlords, I reckon he would actually do rather well at soothing all of those. +As opposed to other warlords, life with him may not involve having to engage in social gatherings.

As for other warlords... Well, all prominent clan heads have to suffer (-1) points, as they do need to engage in social gatherings and most likely, they partner would be forced to attend those too. I would also like to glance at Hideyoshi, who seems to have quite a number of adorers following him around - I presume it could be stressful. However, I think there may be an exception to that - both Shingen and Kenshin are believed to be dead. Additionally, Shingen leads a rather calm lifestyle, with all the relationships being rather tightly woven. As such, past the initial anxiety, I think it could be somewhat soothing.

Nobunaga (-1) Hideyoshi (-1) Ieyasu (-1) Masamune (-1) Kenshin (+1) Shingen (+1)

Lastly, let’s consider Masamune - well, or much rather, Mitsu-collector, because this surely could fit into this category.

Masamune (+3)

1st Summary:

Kyubei (+5) Masamune (+5) Nobunaga (+2) Shingen (+2) Hideyoshi (-1) Ieyasu (-3)

Points distributed for likes:

Nobunaga (+1) <- desserts Masamune (+1) <- mixed point for cats and painting, since he technically doesn’t clearly fall in either of those - he is appreciative of his lover’s art, but doesn’t paint himself, and he seems to like cats, although they weren’t shown interacting much (so given how others were given solid points, I feel those two combine well for a single point) Shingen (+1) <- desserts Sasuke (+1) <- science

Hmm... I think talking to new people was already tackled when I considered “social anxiety” trait. As for other dislikes...

Points distributed for dislikes:

Sasuke (+1) <- he would feel you in regards to being blind without glasses.

2nd Summary:

Masamune (+6) Kyubei (+5) Nobunaga & Shingen (+3) Sasuke (+2) Hideyoshi (-1) Ieyasu (-3)

Only characters with positive value by their names will be considered in the final stages of the match-up.

Nobunaga (+3) <- bossing other people around, forcing others to do something they may be uncomfortable with.

Now, to Masamune in particular, since he’s the only suitor in this sort of situation... I can see that you’ve mentioned social anxiety and fears that come with it a couple times on different occasions. As such, I’m led to believe it is very important to you not to be put in this kind of situations and, well, I think it could indeed be worth giving another (-1) point for, given how it causes distress on so many different levels. Now, another issue with him, which is something I don’t think warrants a clear deal-breaker here: Masamune has a very hands-on approach in regards to learning. He isn’t forceful nor cruel in it, but he did push MC into situations that she wasn’t exactly comfortable with at first (for example, that first horse ride, or doing the do outdoors in one of the routes). However, this MC enjoys this way of dealing with the matter - and if you don’t, I think it could turn draining.

Masamune (-2)

No points were distributed based on the pet peeves.

Oh my, please, be careful o.o” Although, at the same time, people who stress-joke and are clumsy, unite, haha!

Konyo? Sounds a bit like Ponyo... Huh... I wonder whether he’d like the movie. *notes down the idea*

Either way, the verdict is upon us!

Final Ranking

Kyubei (+5) Masamune (+4) Shingen (+3)

Kyubei

Confessed first: Kyubei, although he did overhear you muttering that you wish he cared for himself more or, “as much as you do care for him”.

Makes tea in the morning: Kyubei. It’s the first thing he does after waking up.

Hogs blankets at night: It’s a never-ending battle.

Is the little spoon: You.

Possible points for conflict: Kyubei is very particular about making sure you do eat enough vegetables and otherwise care for you. At times, he may seem overbearing.

Free time ideas: Baking or cooking together, working on your respective projects in your shared room, Kyubei giving you lessons to lessen the cultural shock of the Sengoku, just lying down and staring at the sky, you telling him the tales from the future

Favourite date spot: Your garden.

A secret you share: Kyubei loves watching you paint, although he never spoke about it much and it’s more of “stolen glances” kind of admiration. As far as he knows, you don’t know he’s watching you - but you do know... Which he suspects, but isn’t sure of.

His favourite thing about you: How sweet you are once somebody gets to know you fully.

His message to you: “It’s almost the time. Are you ready to go to the market? Do not freat, haha, I promised I’ll be there with you the entire time.”

#match-up #ikesen match-up #ikemen sengoku match-up #ikesen #ikemen sengoku

8 notes · View notes