#isn't it interesting how when he implies that he can't be killed he does it in such a 'matter of fact' way? as if he's somehow immortal.

[tabr1-s]

he's about to sell you the best deal of your life

[kneelingshadowsalome]

Just Friends (König x F!Reader)

How to Escape the Friendzone 2/4 (Word count 5.3 k)

Summary: König is a horny, creepy killing machine obsessed with a shy, kind reader who has a raging knife kink.

Tags/warnings: 🔞 Eventual smut, eventual violence, angst, dark romance, canon divergence. Crack treated seriously. Yandere undertones, implied stalking, panty stealing, major character death, size kink, voyeurism, possessive sex, twisted, fluffy feelings. Loner boy/gentle girl dynamic. Protective!Obsessive!Top!König. Reader works as a cleaner at the base. She is described to have hair and prefers to wear dresses off work. Not safe or sane but mostly consensual.

. . . . . . . . . . . . . . . . . . . . .

Massive arms go about her as she's pulled against a lean chest. It's an awkward, tense hug. He smells of open air and coppice, with a whiff of acrid sweat on top as she lays her head somewhere between the bumps of muscle of a warm chest.

Not even the body heat makes him appear more human: his heart is not pounding as fast as she thought it would after making it clear he would score some tonight.

She fears she's dealing with a sociopath. Might even be a psychopath.

"Are you still afraid?"

"I don't know." Her breaths are everything but steady as she inhales the intoxicating scent of a madman.

"Don't be scared. I will only hurt those who wish to hurt you."

His pledge renders her weak; it makes her legs shake. She gets far more than she bargained for when pulling him in to give her a little late-night comfort.

Friends with benefits is a situation bad enough, but this is not okay. The guy's fixation seems boundless, and if she tries to wriggle out of this… relationship and starts seeing someone else, it might end up in König scrubbing the potential future love interest's guts off his shoes.

And something in the idea isn't even wholly appalling.

Good God…

"I don't want you to hurt anyone," she whispers like it isn't his day-to-day job – to hurt and kill people. She is on the verge of collapsing to the floor and stays upright only because he holds her in authoritarian embrace.

"Little angel, it's what I do." He releases her only enough to bow his head and look into her eyes. His stare betrays slight distaste. Those eyes are calm mirrors of how can someone be so naive.

"You come to me if someone is mean to you," he orders in a stern voice that makes her feel faint.

"Alright," she breathes a fluent little lie. He's satisfied with her answer, however, and presses her head back against him with effortless control.

She imagines him knifing someone with a listless stare from sparing a glance her way; she fantasizes him strangling some chauvinistic moron in the darkness after they have been "mean" to her. Quickening breaths betray her sick thoughts to him because he pulls her even closer. She can feel the enormous cock pressing against her body with a promise of violence.

"Angel… I wish you would stop teasing me."

"Yeah?" Her laugh is restrained, and her heart is racing inside her chest – like it's some kind of a good idea to have a heart attack while a murderous psycho turning into a boyfriend is in the same room with her. "Where's the fun in that…?"

"Do you always tease men like this?"

"No," she swallows a mouthful of woodland and musk. "Just you."

"Hm."

"König… Can I see your face?"

The man finally seems to find his reserve again. He detaches from her, and she can hear the audible gulp inside the hood.

"Maybe later."

He shifts his weight from one foot to the other like he usually does when he's a bit nervous. Probably to ease the discomfort from still being forced into those pants with such an astoundingly large, swelling erection, too.

She can't come up with anything that might explain why the man is so uncomfortable with showing his face. From the small glimpse she saw in the showers, everything looked completely normal. There is some other reason why he wants to wear the mask, most likely some mental block, and she would simply have to wait until he's ready and willing to take it off.

"How about a kiss?"

He doesn't shake his head or escape her as she hesitantly steps toward him and raises a hand to the hem of his hood.

"If I just…"

He does nothing as she starts to raise the mask. The look in his eyes is somewhat haunted, though.

She lifts it just enough to reveal a clean-shaven chin and a pair of thin, tightly shut lips. She briefly notices that there's a scar on his jaw before his mouth opens to call her in. They're polar opposites of each other: she feels breathless and limp when their lips meet while he's a statue of rigid power. Even his mouth is tense as she catches his bottom lip between hers and tries to soften that immortal stiffness. Distant notes of hops catch her tongue just before he pulls her back into a crushing hug.

The guy is not the most perfect kisser. He's very avid, though. In fact, his eagerness is what makes it a scary experience, what makes the kiss clumsy. He smashes his lips on hers with force, then opens his mouth so wide she fears he will devour half her face.

The ungloved hands slide down her back and cup her ass. He's gentle, but she still feels like she's levitating, half an inch above the ground from his groping. He moans like they are already having sex, but before she can disconnect herself from the violent kiss, he does it for her.

"I want to fuck you," he pants across her lips, eyes half-lidded and drunk. "Can I fuck you?"

The man has no conception of how to dance these dances. He simply declares his wish to shove his junk inside her and kill those who might do her harm. She feels dizzy in his arms, like dew that will evaporate under too much heat.

"Yeah, yes," she tries to sound sane, although there's nothing sane about this.

So much for being just friends or being nothing at all…

Her heart is beating faster and faster; it wants to rend itself out of her chest. She feels ample sweat between her thighs, then realizes it's only her own wetness that has broken through the cotton of her underwear. The dress is so tight in the middle that she can't simply try and throw it over her head, and the buttons at the front seem to have suddenly become too big to slip through the holes.

He doesn't take any of his clothes off while watching her undress. The instant she opens her whimsical veil of blooms, he moves close and shoves the fabric down her shoulders so that it drops sadly on the floor. Then he flicks a knife out.

Shit… Shit what the fuck–

"No–Don't–!"

The blade is forced with a flat surface under the middle of her bra. He pulls the fabric away, turns the blade - it's a miracle she's not bleeding by the time he cuts through the center front like it's butter. Her breasts fall free, and the destroyed lingerie hangs cheaply on the side before it gets dragged away too. She looks at his work, her exposed tits and the crude, fat knife he swiftly returns to its sheath.

"That was my favorite br–ah…"

The man is terrifying, even when he sinks to his knees. He dives for her breasts, licks the undersides and sucks her nipples like he's famished. Her head rolls back, and she feels fainter still as he gropes her like she's his toy, chews a nipple until she shudders and cries in pain. Then he goes down, down, panting hot breaths on her skin as he goes, the hood grazing and tickling her skin.

His hands shake slightly as he tears down the last piece of covering fabric from between her legs. She can't even step out of the briefs before a blazing tongue is pushed to her clit, all but delicately.

Perhaps he's not a virgin, but he's not a veteran, either – still, it draws a filthy moan out of her.

She has to take support from his head to prevent herself from falling when the tongue simply forces its way between her legs. It curls to meet her folds, slick with her wet. She knows she's practically leaking at this point, and hears how he licks his lips.

"Of course the angel tastes like heaven too," he rasps in her mound, sounding rather… bitter. Almost annoyed.

She thinks it's only the beginning, but he suddenly rises like a Kraken from the sea, like a Godzilla about to destroy an entire city.

"Get on the bed. All fours."

She chokes the whimper that tries to escape her, then turns and crawls onto the bed as if they are running out of time. His urgency is hers now, and she presents herself to him, waiting for the man to thrust in without remorse, but it's his mouth she feels first.

"Uh–Oh my god…"

He licks her with a flat tongue, torturously slow while she's on display. They're long, profound sweeps, as if he wants to sample her rather than give her pleasure. Although he does give her an immense amount of it.

She falls on her elbows, face down on the bed, exposing more of herself to him in the process. Her pussy has been neglected for so long that the feel of his hot tongue on her is absolutely breathtaking, thigh-shaking. She pushes herself back a little, lets him taste his own medicine for once.

And of course it only makes him more unhinged.

"You're wet like a…" he laughs a short, dry laugh straight into her folds, and she finally whimpers at the sound. "You want it so bad?"

"Yes…?"

It's a sad little confession but more than enough for him. He freezes behind her, and something in the way the air shifts tells her he has risen and is now standing high above her as she's in this crudely vulnerable position.

"I've made you wet this whole time?"

She snivels, opens her eyes, closes them…

"Yes," she sobs in the bed, nearly topples, but he grabs her ass and keeps her in place.

"Ach du lieber Himmel…"

She pants and cries in the sheets, but the sobering silence lasts only for so long.

The sound of a belt being opened shoots her skin full of goosebumps. Only a few seconds later, the fat tip of his cock is swept across her folds: it probes for a second, then slides in.

"A-ah–"

"Scheiße… So tight…"

He hisses and goes all the way in – the journey is long and torturous as he stretches her wide. The thickness only grows at the base, his balls are already tight as they arrive to press against her.

And mercy is not at the top of his list as he realizes she has denied her need and therefore, his. He starts to sail inside her, back and forth, in and out, like it's his job, too. It's total torture. She might just pass out before this is over.

"You little tease…" He seizes control of her hips while using her as his own personal fleshlight. The noise of wet, slick fucking is deafening. The pace is upped soon, and he has to use strength to hold her in place while ramming her from standing while she tries to hold on for her dear life and hold onto the sheets.

"Not so fast, König," she whimpers into her pillow, but he won't listen. The pace is frantic, and his thrusts are deep; he fucks her with despair, with anguish-driven, starved thrusts born from greed.

Nothing has ever felt so good, nothing.

"Just friends, eh?"

She has a hard time deciphering whether he is happy or mad. His voice is pitchy, and she knows, she just knows that he sounds equally as unglued on his missions. Perhaps that's why people rarely talk to him.

"Don't–don't be angry…"

"No? Say that you want me," he commands somewhere behind her, desperation coating the air with pungent sweat and musky arousal. "Say it–say it–"

"I want you," she finally cries, and it feels like an absolution. An amnesty. Remission of sin.

There's panting and frantic sound of slaps of flesh against flesh behind her. The air all around is pure electricity. It makes her quiver and throb and squeeze: him, the sheets, anything and everything.

"I will bring you flowers every morning and fuck you every night. Ja?"

His length is the only thing she can focus on; all else dissolves into a hazy mist. The cock glides in her like he's oiling a gun part, and he could ask her to kill someone and she would only say–

"Yes, yes."

He slides in and out with less and less control, moans and grunts with every thrust now. She's already past the point of no return, even though the orgasm keeps hovering right beyond her reach. She only needs a few more minutes. Or maybe just one...

"König… Not...so–fast…"

He answers something in German, an annoyed string of words she has no clue what they mean. He's probably just swearing profoundly.

"Get...what you deserve..."

That's the only thing she can flesh out from the English that follows. He finally finds some mercy with a choked groan and tries to slow down a little. It's even worse when he does that. He pulls almost completely out, then sinks back in, agonizingly lazy, and that does it: the full length of his giant cock slipping inside her without effort makes her walls clench.

"Oh God…" Her back is arching, her toes are curling, a tight cry disappears somewhere in the pillow, and he won't stop with the – "Oh–fuck–!"

"Yeah," he cheers her on as she screams, cries in the sheets while his cock swims in her. His hands dig into her hips, and she barely has brains left to think it might leave bruises. The orgasm comes in waves, shakes, and he won't let go even when she's only a heap of throbbing, soaking flesh and rapture.

And it's not the end; quite the contrary. He continues to fuck her with abandon: balls slap against her with every jab; they must be covered in her juice at this point, making the sound of sloppy thrusts utterly obscene. She's able to stay in a face-down, ass-up position only because he's holding her there for his cock.

The grunts turn into a wide, thick groan as he approaches the edge as well. The pace slows down almost to a halt before he comes.

"Jetzt…kommt–" he groans through gritted teeth, voice all taut while he grinds through his release. It's a multitude of deep, oddly paced thrusts, a sad attempt to get everything he can, and she's still like a wet gulf sucking him in.

The last throes are sluggish, the madness starts to pass, and she feels like every bone has left her body. There is nothing solid left when the man slowly relents and settles somewhere deep inside her. She can hear how he pants with his mouth open, and it sounds painful, wet, almost drooly. Then he swallows with a breathless gulp, slips out, and lets her go.

She immediately falls forward - topples, crashes, crawls on the bed, tries to rearrange what's left.

Just friends...

Yep.

He crashes somewhere beside her, spent and out of breath. The front of his shirt is covered in sweat; the air is filled with the stale scent of musk and saline sweat and pure, mad sex. She can barely catch a glimpse of the slick, glistening length of him. It feels like a miracle that this thing has been inside her. It’s not that it’s monstrously thick: it’s simply long, curving a little to the side, lean and aggressive even when growing soft.

"You play with fire, Engel. Why did you make me wait so long?"

The masked killer beside her is panting but satisfied for now, and turns his head to look at her. She has to muster all her courage to look back.

"I'm…a bit shy."

"You're perfect," he declares while watching her in her sex daze and ruin. So, at least he's not angry. He finally looks… normal, even with that absurd hood still on, with that intoxicated, admiring stare in his eyes. The ice in his blues has turned into melting snow.

"I noticed you the minute I arrived here."

She can't prevent a hand from reaching out at that, from splaying fingers over his chest.

"I noticed you too," she whispers back before moving closer to snuggle him. His heart is finally thumping in his chest, right under her cheek – from the late exercise or their closeness, she can't tell. A heavy arm goes around her, pressing her further into the nook of his armpit.

"You remind me of one of my knives," he says while holding her close.

Oh good God…

"You are a butterfly knife girl."

"Oh?"

"Ja. Small and cute and a lot of fun. And I can't get enough of you."

So much for getting rid of the man after getting some d. God, what was wrong with her? Any other woman would have put up some boundaries, perhaps gotten a restraining order by now.

"Is it… a good knife?" Her voice comes out as an annoying squeal, and he pulls her closer, ever closer.

"I mainly use it for playing."

She wets her lips in an attempt to calm herself, to comfort herself. She’s just another plaything for a murderer whose hunger seems endless, even if he’s more civil now. Still, she fears this man is only after sex and violence. Her little dresses and petite lingerie won't stand a chance against such brutality.

"What knife are you…?"

"Classic Glock field knife. Tall and ugly."

Behind the thin veil of indifference, there's pride. It borders on arrogance. She catches a dash of bitterness, too: field knives don't pair well with butterflies, perhaps.

"König, you're not ugly," she breaks their odd cuddle to look at him. "This sounds like a trustworthy knife to me."

He looks back at her with an even warmer tinge to the glacier of his eyes.

"It is. You cannot hope for a more loyal blade."

Her gaze drops somewhere in the darkness of his shirt. He's pledging himself for the second time to her, and it causes another storm inside her head. There's warmth on her cheeks, too.

"You are cute when you blush," he observes with pleased tranquility.

Perhaps... Perhaps he doesn't want to hurt things he finds cute.

Perhaps he will take care of them, like he takes care of his knives.

It still takes some getting used to that he allows his hood to be lifted just enough to push his tongue inside her mouth or pussy but taking it off to show his face is too much. She is lying there with him in an odd post-coital dream, thoroughly naked while he's still fully dressed. But she doesn't feel cold, not when pressed against his blazing form like this.

"Did you nick my underwear?" She asks out of the blue, and the hand stroking her waist stops in the middle of an idle caress.

"I might have," he admits without a single ounce of remorse in his voice.

"König… That's not cool," she says, knowing he can hear the lack of scolding in her voice.

"You want them back?"

"I… Gosh. Yes, that would be nice."

What a pervert.

"Or... Nevermind. Keep them," she sighs, trying to brush off the fact that the underwear in question wasn't even clean. "Do you steal women's underwear often?"

"No. Just yours."

A laugh meant to convey her shock is far too laced with joy to make it clear that she finds his deeds preposterous. She simply fails at every turn in trying to express that she's a decent woman. He knows it now, probably saw it long ago; that she's the perfect cheval glass to his perversions.

The hand on her hips moves to caress her thigh, and the drowsy stare observes her with growing mischief.

"Ready to go again?"

"Whuh–Again…?"

He takes her hand and moves it right over his cock. It's lean and demanding, and pulses under her palm.

Tall and ugly, she thinks while her walls dare to throb with hunger.

"You make me hard," he says, almost as a whisper, "all the time."

Jesus… There was definitely no rulebook when it came to this guy.

She gets to watch from the bed how he gives her a show as the man finally decides it's time to take his clothes off. The shirt is the first one to go: it flies somewhere on the floor while he holds on to his hood. The sculpted muscle looks even bigger up close, and the plates are covered with thin hair. It runs thicker below the navel, and his thighs are pure power: they surround the sleek length of his cock like trunks of strength when he finally gets himself out of those pants.

The v-shape of his upper body is something she will never get over. Broad shoulders shrink and curve into narrow hips which in turn swell into powerful thighs, and while perhaps this guy wouldn't win the gold medal at a fitness competition – judged by the way he's lean and athletic but not low fat ripped – he certainly is the most beautiful man she has ever had the pleasure to lay eyes on. He's a demigod with his herculean strength, a titan who's too big for the world of mortals. A tormented Samson who will never be tamed with treachery or tricks.

The bed sags as he crawls back to her like the gentlest predator. Her legs open wide to receive him – a classic missionary feels like the most intimate choice after the faceless pounding she received earlier. He gathers her legs as he proceeds: forces them up, up, almost next to her arms until he's hovering over her exposed pussy.

She should've known that some boring missionary wouldn't satisfy this man at all.

Her eyes drop to her legs and what's between them: she's in no position to do much of anything, but as the tip of his cock – smooth, pristine velvet – slides across her wet folds once more, she rather helplessly tries to drive her hips up to meet him.

It's like she's drunk or in a dream. The scene is wild and filthy: she's plump and spread open, ready for the taking, thighs almost in her ears as he draws his hips back and finds her opening.

"Please be gentle," she begs with a whisper. He halts for a while to lock gazes with her rabbit stare.

"You are pretty when you beg, little one. But I would never hurt you."

She swallows, and her lips part – his gaze instantly falls on her mouth, then raises back to her eyes, gentle and painstakingly ardent. He's close, so terribly close – and not just physically. Her thighs quiver with anticipation as the thick velvet slides in.

Holy fuck–

She savors the spread, and he's gentle, like he promised. The groan that erupts from inside the hood above makes her walls ache. He's so merciful this time, and she wishes to lift the black veil that still keeps them apart, to see his face as he takes her, to see that scar on his jaw and how his mouth hangs open with hunger, just like hers…

His cock comes out all wet – she can hear it – before plunging right back in, and it makes her mewl.

"Oh God…" Her eyes shut tight from the sensation of being so filled. She's even more starved than she thought. It's scary, far scarier than the mass murderer above and inside her.

"You like that?"

He's breathing heavy, and she knows he's looking at her, the distorting face of pleasure, the way she's biting her lip. Tears try to force themselves out from the passionate, featherbrained proximity, from being so tightly knitted together, like a bunch of happy, overstimulated nerves.

"Look at me," he orders, and she opens her eyes like they're under his command and not hers.

"You like it like this?"

She nods with tears in her eyes, and he won't stop looking at her like she's his most prized possession.

"Gut. I will make you scream again."

The man's dreamy stare follows every twitch of a lip, every bat of an eyelash. She looks down briefly to escape that love – the sight of the long thickness disappearing in her while she is so crudely open for him makes her feel dizzy, even when she's lying down.

Some pillow princess…

"Sehr schön," he comments while watching her face which must look like that of a dumb, anesthetized doll. His cock has that effect, and now that he's hovering over her, staring into her soul while filling her, it makes everything even more painful because it's sweet. She's under lazy waves, and decent men seem the most boring thing on earth right now.

"You like my knives?"

"Ah–what…?"

"You stared when I played with my knife."

She knows he has caught her staring more than once and bites her lip again not to blurt out how she had stared when he had played with... other things as well.

"Mh, yeah… It was beautiful."

"You're beautiful."

The sudden waves of intimacy leave her fragile and weak. His stare is nothing short of a caress. She is open and helpless for him to pound to his heart's content, but he's gentle, bordering on loving...

"I can teach you how to play with them."

Jesus Christ, this dude is just crazy.

"Uh-huh," she agrees to it with her mouth hanging open from the overload of sensation. The lewd sound of his cum pushing out of her with every thrust is an obscene background music for this – or any – conversation.

"I have a collection."

Why the hell would he be talking about his knife collection in the middle of–

"I own at least fifty knives. I can show you all of them if you come to my room."

His gaze is at least as piercing as his cock, and she realizes how serious this is: knives are his life. He finds them beautiful too, he collects them and cares for them. They're a profession, but they're also the most important thing in his world.

Knives are his essence.

And he had likened her to a butterfly knife...

"S-sure."

The sound from where they are joined rises to a sluggish crescendo: drowsy, filthy claps of flesh on soaked flesh. He makes her sick and well at the same time: he drags her to hell and raises her to heaven. He's the remedy and the curse. He plays with her like he plays with his knives: ravenous, entranced, obsessed.

She tries to concentrate on too many things at once: that intoxicating voice, the memory of him playing with death, the cock plunging inside her over and over again, making warmth pool below. She imagines him killing people with his collection, picking his tool for the day. He's not the only lunatic here because even the very thought makes her tight around him.

"You are close?"

"König… Just–" she whispers on the cusp of a deeper, soul-rending orgasm.

"You like it when I talk about knives?"

She breathes laboriously and tries to hang onto the last bits of her sanity, but he knows her, knows her already. He weighs down on her until her thighs come to rest right next to her breasts. He's plowing her in a crude angle, indecent and deep. It's vulgar, and she loves it; loves the way he stares at her, all helpless under him.

"Please, I'm gonna–"

"I can show you my guns too."

Ohmygod–

"I'm gonn–ah–!"

She shatters, her walls clench; her pussy sucks him like he's hard candy.

“Sieh dir das an… You were made for me.”

"Nh– Please…"

Her head tosses on the pillow as if in a dream. She's fathomless, and going to pass out, the cock inside her makes her eyes roll back in her head until she sees white, the color of saints.

"Shy girl… Beg for it."

The voice that answers his command is not that of a shy girl; it's not hers at all. She hears it from underwater, and her reality consists solely of the man filling her, spreading her, transforming her from an angel into something deliciously wicked.

Please, just–

It's not her voice, and yet it does sound everything like her. It begs, mewls a plea after the other in a string of helpless little whimpers.

Don't stop, please pleaseplease…

"Besser als jedes Messer…" he rasps, more darkly now. "You drive me crazy, Engel."

A chant arises in her head: she has sinned and there's no turning back. He feels far better than any promise of heaven. She could never have guessed that being cast out would feel so good.

His release comes with a tight rip, he goes taut like in that shower, only ten times more desperate. The hiss under the hood turns into a pained, strained roar of a grunt. The first time was foreplay, a quick one: this is true release. She almost hopes she would faint as the whole body of the Austrian titan goes hard as a rock. She couldn't be more spent and used, and still, her pussy answers his godly essence by clenching around him, pulling him in like he's the best man there is.

The man of her dreams, the man from her worst nightmares...

His eyes are liquid, the waterline twitches. She sees behind the walls, a millisecond's worth of fragility before his head drops, and the muscles are released from the violent trance. Broad shoulders cage her in like she's suddenly deep inside a mountain pass. Spent and dead and gone, there's no hurry any longer: he is buried deep inside and throbs whatever leftovers he has to give her.

She's filled to the brim, crushed under his weight, banished: and it's only delicious, the feeling of her body disappearing somewhere in the depths of the bed he has plowed her into. She waits dutifully as the man gathers himself, even gets brave enough to touch him. The masked face is buried somewhere in her neck, and his stomach ripples with a few shivers as her hand runs down his spine.

"I want to do this every day," he declares softly while panting through the thick fabric of his self-made shield. She feels pure horror and thrill in her chest.

To do this every day… She will eventually break, like a toy that has been used too much. She's not made of steel like those butterfly knives used mainly for playing.

"König, this is crazy… We're crazy," she tries to put into words the unholy mess raging inside her. He snorts before releasing her from the absurd position. The weight of him leaves her empty as he pulls out, then drags his way beside her to gather her back into his arms.

"Don't be ashamed, little one," he coos through the mask. "You don't have to pretend with me."

Two rounds of intense sex have liberated him, the manic terror has turned into a strange compassion. The look in his eyes is magnanimous and tender, almost droopy. She feels weightless and timid, an angel once more.

"We belong together, you and I," he states with conviction that sends sweet dread inside her heart. "Don't worry. You will never be lonely again."

Her fate is sealed, and she fears a big, fat knife will cut her heartstrings too if she tries to escape his protection. Her jaw trembles at the prospect of him returning to her every day to fuck her bare after an adrenaline high on the field. She sees a future of tears and sweat and cum, a beast lulled into sleep amidst a withering sea of flowers and torn lace.

She tries to find the right words, hopes he will be swift and merciful in his execution.

König, please…

It's not the hood, it's–

"Everyone fears me," he sighs beside her. "I'm glad you don't."

[sugar-grigri]

Kumbaya, My Lord... Who's going to come to us...?

You might think that this chapter would be hard to analyse because it sets the stage for future confrontations, but in fact it is fascinating because it heralds the next chapter.

Following the chronology first, the chapter confirms what was implied in the last few chapters, namely the war on images.

Children are seen as precious to the public hunters in that their survival and their tears can sway public opinion one way or the other.

It is crucial to neutralise Asa not just because she is dangerous but also because she is the symbol of the church; if she manages to retain her popularity despite the actions of the public hunters, then their efforts will be for naught.

This line is very interesting because it shows that the problem is Denji

The hunters boast of having searched the weapons and, in itself, everything would be so simple if Chainsaw Man were a weapon in the true sense of the word and could simply be searched and stored in a warehouse.

But it had to be an unpredictable teenager that Yoshida couldn't fully master...

This answer is just as interesting as it is equivocal: what does it mean to play Chainsaw Man? Playing hero? To be a symbol of alternative justice to the state? To be popular? This line is deliberately ambiguous, following on from part 2, which explores the essence of Chainsaw Man.

If we can't answer it, it's precisely because part 2 clouds this identity...

Impostor, instrumentalisation, neutralisation, blackmail, popularity, solitude... Denji no longer knows what the second component of his identity means...

This conversation about the demon of justice is important because it helps us to understand several things:

1) it's difficult to identify a demon, which further confuses the question of what Fake!CSM or even Chainsaw Man is, which is an unusually crucial demon for a monster that's supposed to represent nothing but fear of chainsaws

2) The fear that demons represent isn't necessarily correlated with their appearance and what they exude, especially when it comes to more abstract notions like justice. This sort of giant species looked like demons of greed, not justice. Whereas an oversized brain gave more of an air of something intellectualised like justice ?

3) So who had Yuko contracted with ? But also the other contractors, whether from the church, or even Asa's friend in the first chapter?

4) A demon can lie about its identity when it contracts with a human, which makes Pochita even more mysterious. This point is disturbing in the sense that one of the rules that had been laid down was that human/demon contracts were in good faith in the sense that neither party could go back on its word.

If a demon can lie about his identity, either that means he's not really lying or that he doesn't necessarily have to reveal his identity in order to enter into a contract.

He has to keep his word on his commitment (lend his powers) but doesn't necessarily have to mention who he is.

If it's the first possibility, i.e. the fact that the mysterious demon with whom Yuko and members of the church have tied up isn't lying when he says he's the demon of justice, then it's the second possibility.

This sends us back to him, Fake!CSM, who doesn't say that he's a multimorphic demon capable of stealing identities...

So CSM is not the only one to be cloned, but the demon of justice too.

Fake!CSM would not be the real Chainsaw demon, nor the demon resulting from the fear of Chainsaw Man, but a demon based around identity, its usurpation, its loss, or even the demon embodying amnesia, memory...

If Yuko has a contract with Fake!CSM that would explain why he's killing her. Since the contract came to an end, she was able to take revenge on Asa's bullies.

All these questions remain unanswered. Now let's look at how this chapter foreshadows the next one.

Let's get back to Barem's case. First of all, the victory of the public hunters obviously seems too simple, and we suspect that there will be a reprisal. But in what way? And what reprisals?

Already Barem hasn't been sent near Denji simply to chat, which means there's another plan afoot

Miri and the others were bait, and the main course takes place in this very amusement park.

Barem announces that he prefers to watch the sunset, which gives him a very contemplative side and gives several possible clues

1. The simplest one is that saying you want to watch the sunset means you know exactly how precious things like that can be. Weapons usually have difficult pasts, so has Barem been deprived of the light of day? I mention his condition as a weapon because it's something that resonates with what Fumiko is saying, the fact that if Barem is neutralised, he will be forced to be used by the other side. Weapons are nothing more than weapons to be searched by public hunters.

2. The most interesting of all, the sunset at night, has something to do with the man who has intrigued us from the start, the man we don't know whether he's an ally or an antagonist: Fake!CSM. He intervened twice during the dawn by killing Yuko, and warned Chainsaw Man to act before daybreak. Fake!CSM only acts at a given moment: when day breaks or when he hides.

As well as confirming that he'll be coming soon, this also confirms that he could be the one behind the big question revolving around the demon of justice.

That would explain the title 'Kumbaya'. Like everyone else, I looked into it. Apart from the fact that it comes from gospel, which confirms Barem's attachment to religion and to God, what interests us is not only the context of this popular song but also its literal meaning.

I'm not an expert on this, so if anyone wants to correct what I'm about to say, feel free.

Kumbaya is a song that originated with the Gullah, a group of African-Americans located in the Sea Islands along the coast of South Carolina and Georgia. These people were originally slaves from West Africa, brought to the United States to work in the rice fields. What's interesting is that someone like Barem is using it, this song about a people who have been instrumentalised like their own, and who have found refuge in religion and faith.

This is not the first time Fujimoto has referred to the Christian religion. Firstly, because CSM is a work packed with biblical references, but more importantly, the person who expressly refers to the Bible is none other than the impostor.

God, and his divine mission to create a world without devils, is the answer to this question. What is the church playing at? Pursuing a Christ-like mission. If Fami really wants to save humanity from the apocalypse as foretold by Nostradamus, this relationship between humanity and the end of time is just one of the purposes announced by the Christian religion.

But above all, "Kumbaya" is also derived from Gullah, English Creole mixed with several West African languages, which can be heard as "Come by ya" or "Come by here". It literally means asking God to "come here" and help the singer.

It immediately resonates with what I meant above, doesn't it ? Barem isn't just waiting for the sun to set, he's waiting for his saviour.

When Yoshida attacks Asa, Kumbaya has the same meaning. She is being attacked by a particularly difficult enemy, but her response will in fact be proportional. Although she appears to be in a bad way with her hand cut off, she is actually in a state of strength.

Her hand is Asa's own property, and nothing is more certain than the fact that our bodies belong to us ? Then the weapon will be all the more powerful.

Repeating Oh Lord Kumbaya once again means that someone is coming to help, Asa is simply passing the baton to the one who will lead the offensive : Yoru.

Whether it's Asa or Barem, everyone is just waiting for their saviour to start attacking.

[lenaellsi]

Something I've been thinking about: Crowley was not sent to kill Job's children.

(Under the cut for length; this got away from me.)

I think we can safely infer that Hell actually did send him to destroy the goats. He has his permit ready when Aziraphale shows up, and even cheekily calls himself one of Satan's "diabolical ministers." I wouldn't be surprised if he was sent to supervise the family during the bet as well, reporting in on whether Job seems to be losing faith. We don't know whether he volunteered for the assignment or whether he was chosen because he's one of Satan's favorites, but it's clear he's meant to be there in some capacity.

But it's specifically mentioned in the basement scene that Satan sent a storm to kill the children. Not Crowley--a storm. And that means that Crowley is in that house against orders. He's not just refusing to do something terrible on behalf of Hell, he's actively working to thwart them. That's a step further than "a demon who goes along with Hell as far as he can" would imply, and it has to be incredibly dangerous for him to meddle in something Satan has such a keen interest in. So why help these humans in particular? He can't save them all--he knows that. He knows that better than anyone. (Nothing lasts forever.)

And there are a lot of reasons Crowley might choose to help Job's family, despite the risks. We know from the Flood that Crowley is disturbed by the idea of killing children just to make a point. We know that Crowley loves humanity, and that he dreads their eventual, inevitable destruction. We know that Crowley is brave enough to stand against Hell when it counts, even when it could mean his own death.

But I'd argue that in the case of Job and Sitis, it's personal. He's angry about this bet because it cuts to the core of the reason he Fell in the first place. This isn't about getting one over on Hell; it's about God. And we know that because the moment Crowley intervenes at the end, the moment he runs into a room full of archangels with no plan and no allies except an angel he's still not sure he can trust, is the moment where Sitis snaps.

Sitis is surrounded by impossibly powerful beings, the only human in the room save for her husband, who still refuses to fault God for anything. She is distraught, raging at the unfairness of it all, the callousness of the angels who have shown up to congratulate her even as she drowns in grief for her children who will never grow up. (Plenty to say here about star nurseries, about wasted potential, about futility and senseless endings--but this post is too long already). So she says so, because what else does she have to lose? If my children are dead, then I will curse God--

Enter Crowley. That never ends well, he says, barging in with a big silly grin, but we've seen Crowley as an angel, now, and we know what he means: I know how that ends. I know how it ended for me. I won't let you Fall the way I did.

This is especially interesting because earlier in the episode, Crowley seems to be nudging Job the other way. I burn with fury, Job says, and Crowley says of course you do. (That's just how it started for me.) Crowley is encouraging Job to see things his way, zeroing in on the righteous rage he thinks he's hearing, because truth and knowledge are important to him. Crowley has never been able to stop himself from offering the apple, even when he knows the stakes. (See you in Hell.)

But then Job turns his anger inward. If he's being punished, he reasons, if he's so horrified by what must be God's will, then he must be the one at fault. (I lied, Aziraphale sobs, to thwart the will of God!) And Crowley is visibly confused, maybe even a bit frustrated. What do you mean? What have you done? And you know he wants to say, You didn't do anything wrong.

Neither of us did.

Because he knows. He's read the contract. He knows that Job is a good, kind man, and that he's done nothing at all to provoke God except to be the perfect pawn for Her game with Satan. He knows that if Job objects to the obvious injustice he's suffering, he'll be damned for failing a test he had no knowledge of and no hope of passing. And of course that feels familiar. How could it not?

The Job contract is as much confirmation as Crowley will ever get, from a God who answered his first questions with a Fall into boiling sulfur, that his suffering has never been 'deserved.' God is willing to take the best of the humans, Her special favorites, the ones his stars were built for, and cast them into damnation at the first sign of doubt. So when he Fell--

You didn't do anything wrong, Crowley is thinking, as he sees Job in his despair and Sitis in her fury and the children in their fear and Aziraphale in his guilt. And even if you did, even if you weren't perfect, even if you were angry and resentful and full of doubt, how could any transgression be worthy of this?

I'm sure plenty of people have talked about how the flashbacks in S2 are from Aziraphale's point of view, and course the purpose of that is to show the audience how he comes to his decision in 2x06. We follow Aziraphale closely this episode, from when he first hears about the contract to when he decides to lie to the Supreme Archangel's face. It's an important story beat for him, one of the high points in his character arc. This episode isn't about Crowley, really--it's about what Aziraphale thinks of Crowley, and about Aziraphale's long journey to discovering his own sense of right and wrong outside of Heaven's dogma.

But that means that we never see Crowley accept the assignment to kill the goats. We never see him worry over the danger he'll be in if he refuses. We learn that he's going against Hell only when Aziraphale does. Crowley isn't the kind of person to stew in self-reflection--he spends millennia doing his best to outrun his own emotions--but even if he was, we as the audience aren't often privy to those thoughts. Crowley is as closed-off to us as he is to Aziraphale for most of S2's flashbacks.

But we still get more than enough to understand exactly why Crowley is so disgusted by the offer to return to Heaven. Because the one scene in the Job minisode that happens before Aziraphale shows up, and one of the only scenes in the flashbacks that takes place from solely Crowley's perspective, is this speech:

You should know why you’re about to die. God has abandoned you. The god who claims to love you, who demands your praise, has given you up to be destroyed.

Bad luck.

[thisfrailheart]

prompt: fist | august 2 | rosekiller mx au - rivals to something | M: language/swearing - someone gets punched in the mouth (blood mention) - licking blood - making out - implied sexual content | word count: 585 | @rosekillermicrofic

***

Barty's barely got his feet back in the dirt but Rosier's already on his ass. He's taking his helmet off and misses part of what's being said but the few words he does catch are enough.

"—ucking kill me, Crouch?"

Barty rolls his eyes but there's a jolt of electricity zapping up his spine when he turns and sees Rosier stalk towards him. He rips his helmet off and gets right in Barty's face. Hair is sticking to his sweaty skin, his cheeks are flushed. Barty's heartrate spikes.

"The fuck were you thinking, cutting me off like that?"

Barty shrugs. He hadn't really thought about it before he did it. And he doesn't really want to think about it now. The way Rosier's pulling off his gloves with his teeth is a lot more interesting. The words fade into the background as Barty's mouth goes dry.

"—should have you kicked off—"

Rosier tucks the gloves into his helmet, eyes blazing. Loosens the straps on his chest protector. Barty can't help but notice how long his fingers are.

"—fucking menace—"

Rosier takes the protector off, starts packing up and Barty snaps back to reality. "You're leaving? Come on, it wasn't that big of a deal—"

"Not that big of a— fuck off, Crouch! You wanna die here? Fine. Fucking break your neck in the dirt. I wanna get home in one piece."

And it's not like Barty actually wants to die, he just wants a bit of excitement. And Rosier does anger so well - perfect bonus. Barty starts taking his gear off, too. "Why? You have someone waiting at home, ready to get on her—"

"She's my fucking sister!"

Barty doesn't really know why he said that. He'd seen her at the last meet. Spoken to her. There's no reason to talk about her like that. Or him, for that matter. But when Rosier stalks over, growling, and punches him right in the mouth? He can't help but think it was worth it. Pain explodes in his lip, pleasure in his stomach. He stumbles back, drops his gloves, helmet. Catches himself before going down.

Barty glances at Rosier and he doesn't look the least bit sorry. In fact, he looks like he'd do it again. His knuckles are bleeding. He'd cut them open on the stud in Barty's lip. Rosier glares. Barty shivers as he leans in.

"Fucking. Stop."

"Or what." Barty grins. His lip stings and he can feel Rosier's breath on his face and he feels giddy.

Rosier balls his hands into fists then seems to think better of it. Rolls his eyes and turns away. But Barty isn't done. He wants the storm. Wants to feel the static in the air, on his skin. He grabs Rosier by the wrist, draws him back in. Rosier stops struggling the second Barty brings his fist up to his mouth and laps up the trickle of blood. The metallic taste blooms on his tongue.

Rosier's breath hitches and then he grabs Barty by the neck and pulls him in. Smashes their lips together. It's violent, the way they're kissing. Biting at each other. A punishment. And it makes Barty ache. Rosier's teeth dig into the gash in his lip and he moans. Rosier pushes harder, fingers tightening in Barty's hair. They stumble, grab each other harder.

Barty pulls back, gasping for breath. "Still want me to stop?"

"Shut up," Rosier whines, pulls him back in.

"Make me."

And Rosier does, right there in the dirt.

[callmearcturus]

what do you think about hal is he good evil or just misunderstood thoughts??

Hal as in Whomstve Hal?

Here's my problem: I am, like, the One Person in the fandom who just doesn't find Hal all that interesting. I get what's going on, but I'm not invested, maybe because I spent all my Super Invested points on Jane and Jake when others don't find them as interesting.

Hal is not "evil" though or misunderstood, IMO, because that implies there is a Correct way to interpret him.

That said, I do consider a Litmus Test of Did You Actually Understand Act 6 to be the simple question of: Who orchestrated Synchronize/Unite? Because if you think it was Dirk, then I would recommend rereading the opening three acts of Act 6 again.

The entire Synch/Unite thing is, to me, the one of the two interesting things Hal does. The S/U deal is this ultimate devil's bargain that Dirk strikes to save everyone. Hal will direct him and get everyone back alive again... but in return, Hal is going to kiss Jake first. Which is in of itself a Complicated price, given the animosity between Hal and Jake, and how Jake does understand more than pretty much anyone what Hal truly is... but covers it up with obfuscation to avoid how uncomfortable it makes him.

But I'm also of the opinion that Jake's belief in Dirk, his Hope Bullshit, is partially why the AR project even succeeded, and I find his culpability in it fascinating. Dirk and Jake keep making surrogate children out of their powers, it's hilarious.

Anyway, the other thing Hal does that's interesting is the Suicide Conversation on the rooftop, which to me is fascinating because as Dirk gets angrier and angrier (on some level rightly imo) at Hal's manipulations, the trump card that Hal pulls is "Of course I'm scared of dying, aren't you?"

Because Dirk isn't scared of dying. He categorically proves this so frequently that it's arguably one of his core character traits. He kills himself in Synch-Unite, he considers his dream self hella expendable, he kills himself in the Game Over timeline, he has no problem killing himself on the slabs of Derse but can't bear to hurt Roxy (even when its literally the Right Choice in the moment and impermanent besides), he kills himself in [S] Collide to defeat the Jacks--

Dirk Strider is not afraid of dying. But Hal is, and that is proof that Hal and Dirk are not even remotely the same person, that they diverged long ago. And IMO that's part of why Dirk goes "fuck it" and prototypes Hal, because that's not him. If Hal was just another splinter of Dirk, he'd just kill him(/himself) again, no big deal. But Hal is not a Dirk anymore.

Anyway, I guess to sum up: I unfortunately mostly like Hal in the ways he is Not Dirk. That's the interesting shit.

[nightwonder7]

So seeing as how you've fallen into the Norton/Alice rabbit hole...thoughts on the theory Norton was hired to kill Alice?

Okay, so there are two possibilities of who might've hired Norton to eliminate Alice, assuming the "arrogant woman" he talks about in the second letter isn't Melly. Note: I'm basing some of these thoughts off of sirenjose's posts (their IDV analysis are really good!)

One, it could be Orpheus. As we saw in AoM2, Norton was working for or together with him, so it would check out that Orpheus is the one directing him. He could've thus be the one who ordered him to eliminate Alice. However, this does contradict what is implied to be Orpheus' motives for Alice. In his and Alice's letters, he was trying to set her free from where she was being kept and make her remember him. He wants his childhood best friend back, maybe to redeem himself from what transpired when the manor was under attack. Also, I'm pretty sure he knows who Alice is in AoM now, with the Lamb note appearing on her desk at the end, so it's not like he thinks she is her colleague. So why would he then order someone to kill her? I could dig deeper into Orpheus potentially having his perception skewed, having to obey someone higher than him in the manor games or setting Norton up to be the villain so he can become the hero in the story, but I'll refrain from straying too far.

Two, it could be someone else entirely, and the main suspect would be Villhelm Lamb; AKA Alice's adoptive father. From Evelyn's background trailer, we learn that Villhelm is ruling over an organisation of spies working for him. Once Alice escapes from him, someone were sent out to observe her or eliminate her; perhaps to prevent her from spilling out whatever dark secrets he possesses. These people could be this spy group. From Alice's deduction, it seems that she knows she is being watched, and so they never get a chance to eliminate her.

And then we have Norton. Norton would not turn down a large sum of money if offered to him. And after the incident in the mines, one could say his moral compass became a little misguided. Agreeing to kill someone for a life changing amount of money does not seem unlikely of him at this point in life, whether said pay would come from Orpheus or Villhelm.

The ONLY THING I just cannot wrap my head around is where the heck did they find this guy?? Technically, Norton is just a random person from the working class, so how did they even find him? I doubt they put up an "Assassin needed! Commission pay!" flyer on the wall. I mean, they could've just made an ad with the sum of money and no job specifications, but I struggle to see how that would even work when the task is so grizzly. Another thing I can't comprehend is how this employer would think someone like Norton would be more skilled and capable of assassination of someone as sharp as Alice than, say a group of spies. But maybe Norton really is just that; a guy they randomly picked for the job for whatever reason.

I've probably left something out, but those are my initial thoughts. Would be interesting if Alice somehow allies with Norton and Melly to put an end to the manor games. But I'm also preparing for the most tragic ending to this story fdshjfghsd

[boabelboo]

autism and neurodivergence in panem - an analysis

as an autistic person, i've always been intrigued by the experiences of people who are autistic or neurodivergent in other universes. after all, most "good" autistic representation in media comes from worlds that aren't our own (think the doctor from doctor who or luna lovegood from the harry potter franchise, although they aren't written as autistic, alot of autistic people see themselves in the characters through their traits and therefore take that as representation.)

in particular, the world of panem interests me because of its strict measures on people in the districts compared to the seemingly lavish lifestyle for those in the capitol. *by this im referring to katniss' time, not the ballad of songbirds and snakes, though that will be mentioned below.

in the entirety of the hunger games franchise, there is never a direct mention of autism or any other neurodivergences. this would be expected, since the world of panem is set three-hundred years into the future. there aren't any states anymore, just districts and the capitol. most if not all modern cultures have been eradicated. the conditions in the districts have worsened and with that, went decent healthcare.

we can assume from this that there is no knowledge of autism as a genuine disability and no proper means to diagnose it in the districts.

whereas, in the capitol, the healthcare is much better. in the ballad of songbirds and snakes, it's mentioned in passing that the academy has a school councillor, hippocrata lunt. so, no matter how small the hint is, it's implied that not only does the capitol have better physical healthcare than the districts, but mental healthcare too. it isn't a stretch to say it could be possible for autistic/neurodivergent people in the capitol to get a formal diagnosis.

so, how are autistic people treated in the districts? how does that compare to the capitol?

well, although there isn't an explicit reference to neurodivergence in thg, there is an implied one.

in the first hunger games book, when rue and katniss are talking about the night vision glasses, and how they're given to the children at night whilst they're working in district eleven, the topic of a boy called martin comes up.

"one time, this boy martin, he tried to keep his pair. hid it in his pants. they killed him on the spot."

"they killed a boy for taking these?" i say.

"yes, and everyone knew he was no danger. martin wasn't right in the head. i mean, he still acted like a three-year-old. he just wanted the glasses to play with," says rue.

although it's not explicitly stated, martin is clearly a neurodivergent child. with the "not right in the head" remark being used alot to refer to nd people in a derogatory manner, autistic people especially. it seems in the districts they know what autism presents as, and that people have it. they just don't really know what it actually is or how to diagnose/help accomodate it. on the next page, katniss also refers to a child who can be seen as neurodivergent.

-but i can't imagine peacekeepers murdering a simpleminded child. there's this girl, one of greasy sae's grandkids, who wanders around the hob. she's not quite right, but she's treated as a sort of pet. people toss her scraps and things.

again, the language used is indicative that the girl is perceived to be neurodivergent. the district people most likely pity neurodivergent children by calling them "simpleminded" or "not alright in the head", but simultaneously view them as waste because, in the districts mind, they become useless to their industry as they grow up. they could also be more susceptible to rigged reapings than their neurotypical/allistic counterparts, because the districts don't need extra mouths to feed that are "inefficient" in the working industry.

whereas peacekeepers would take the perceived inability in the work industry (which the district doesn't have the money to accommodate) as an excuse to give out more unnecessary beatings and/or killings like what they did with martin.

so what about the capitol?

assuming that there is an option for diagnosis, would there be any changes at all?

well, personally, i think there would be. the reason i believe this has to do with the way the capitol views the districts, particularly in the ballad of songbirds and snakes relating to reaper from district eleven.

reaper is described to be mentally unstable many times within the duration of the games. he is perceived to be childish and has a difficult time processing death (tbosas, 280) which are both indications that reaper could be autistic.

the capitol looks down on reaper for his mentality and paints him as mad, violent and dangerous, though he is evidently nothing of the sort. these are harmful stereotypes that can be projected onto disabled/neurodivergent people today, which have clearly been carried onto the capitol.

so, people in the capitol who are autistic could be looked down upon, like how poor people are, too. although they are capitol, they have an element of "otherness" which is associated with the districts (i.e neurodivergence which the capitol paints as madness) so they could be outcasted.

the capitol seems the type to pretend to care about the way their children feel, but don't. like coriolanus said, people's love of children is fickle (tbosas, 40). if a child in the capitol turned out to be autistic/neurodivergent, that inherent support could fizzle out, because of stereotypes and ingrained systemic hatred toward nd people, which is irrevocably linked to the hate of the districts.

tl;dr: the capitol views themselves as perfect, and any "imperfections" (ie a brain that doesn't function within the realms of societal expectations) are seen as lesser. this is associated with the districts because they are also seen as lesser, and any neurodivergent children in the districts are viewed as mad or violent by the capitol, whilst they are pitied and silently hated in the districts for not being able to contribute to the industry, as there aren't any accommodations to help them cope with the conditions (many elements of district industries would cause meltdowns/sensory overload).

obviously not every neurodivergent person is the same, so some would be able to cope with the working conditions, but live their whole life without knowing that they are autistic, which can lead to isolation and depression.

god this was a long post, please don't hesitate to give me ur opinions on this if you have any!!

[lamentable-comedy]

The thing about Baz is that he's so good at not having the things he wants, but in a way that, like. Isn't repressing that he wants it in the first place. He acknowledges the desire, but denies any fulfillment of it and gets really, really good at doing that. His whole thing is carefully and deliberately maintaining a very rigid self control to compensate for how much of himself he feels like he is powerless over. You can't control the want, it's always gonna be there, but you can tell yourself it won't happen and refuse to consider indulging it.

He spends years knowing he's in love with Simon but wholeheartedly believing it's impossible that anything would happen between them AND, moreover, that it shouldn't. That second part is the important one, cause Baz isn't just against wanting things for its own sake, he's really hard on himself for wanting things that he thinks he shouldn't want or doesn't deserve. Like, "oh we can't have that, so it's Bad to want it". I think that's why there's less of the "I'm depraved, ask anyone" vibe to Baz's attraction to Simon in the second two books. I think he's still interested the same stuff with Simon, but because he now knows he can actually have a relationship with Simon, he's no longer moralizing wanting that, which I think leads to him being less likely to frame it as depravity in his own mind.

Also, if it wasn't obvious... this is a vampire thing. Like, Baz is like this because his daily existence is defined by craving something which would be morally wrong to take and which he therefore will never allow himself AND ALSO, Baz's vampirism is a really great metaphor for this part of his character. He forces himself to get by on more or less the bare minimum amount of blood. He doesn't drink humans. He can't control the desire for it, but it's an immoral desire and one he doesn't want, so he restricts himself as much as possible surrounding it. He never denies that the desire is there-- he can't-- but he DOES moralize wanting it; the fact that he wants to drink blood makes him an irredeemable monster who is unworthy of love and whom any Good Person would have killed. As a result, deny himself fulfillment becomes a way to punish himself (the Right Thing to do), for a desire he's disgusted by, and so he denies himself as much as possible, even beyond the extents of the desire itself.

Baz is ashamed of hunting and drinking animals, but he doesn't need to be. He's not doing anything worse than a human who hunts for food. But, because it betrays the deeper desire for human blood, it becomes shameful and something to deny himself when, really, it's neutral. Positive even, if you consider that it's a way of not, you know. Doing a murder. Compare Baz's perspective on it (not wanting Simon to see him drink rats, knowing what the bare minimum he needs to survive is in a way that clearly implies that he's tried only drinking that) to Simon's in "Snow for Christmas", where he expresses admiration and affection for how Baz looks feeding. Simon's perspective is devoid of Baz's moralizing self-loathing, and presents his behaviour without the baggage Baz has placed on it. Denying himself animal blood is not necessary and serves no purpose. Caring for himself by feeding is admirable.

I see Baz learning to control his fangs when he eats, on a metaphorical level, as a step in learning to manage the kind of big, desperate want that he moralizes and then denies himself, which itself lets him inch a little toward lessening the shame he feels. He moderates the desire (controls his fangs) rather than restricting his actions (not eating in front of people). This allows him decouple the desire (vamp hunger) from unrelated activities that he attaches to it (eating food), and actually let himself partake in something that previously felt wrong (eat food without revealing his fangs). His desire for blood is immoral, so he can't have that. All hunger is now associated with hunger for blood, so he can't eat around humans because he can't reveal that he wants something that he's Not Allowed to want.

I don't think the end point of his progress on this is indulging in the desires he feels ashamed of. Sometimes there are reasons not to do something you can't help wanting to do (there are some pretty good reasons not to go around drinking humans). I do think Baz needs to be gentler on himself for wanting things that for whatever reason-- shame, self-hatred, what have you-- he believes he shouldn't want. He only does this with his love for Simon because it's reciprocated, which doesn't actually solve the problem, it just recategorizes Simon/their relationship as something okay to want. He needs to learn to stop punishing himself for wanting things even if they're desires he can't or shouldn't act on. I think by AWTWB he has made progress. He's getting there. But MAN do I have a lot of feelings about the fact that he's like this at all.

[kevin-ibw]

PLEASE TELL ME MORE ABOUT YOYR HAZBIN AU

So Vox is an angel, does that change anything about him on an emotional level ? (Like when he sees religious imagery, does it make him feel anything ‘inexplicably’?) Does his one sided rivalry with Alastor stay the same ? What’s the relationship like between the three Vs? Whatre his thoughts on Velvette’s church?

Angel’s in charge of the family mafia huh? So he must be pretty powerful… Does Val still have power over him or are they on more equal footing ?

So Vox is an angel, does that change anything about him on an emotional level ? (Like when he sees religious imagery, does it make him feel anything ‘inexplicably’?)

- Any mentions of religious imagery, especially christianity, make him a bit.. twitchy, but never the less, it doesn't bother him as much.

Vox can often come off as one; "oblivious" to the fact that he's an angel It essentially became a rule in hell to not mention that fact around him. Two; "passive," but everyone associated with him knows it's a bunch of horseshit and loves to mess with people once they realize it.

Does his one sided rivalry with Alastor stay the same?

- There's still a rivalry, albiet for different reasons.

Alastor: "People always say that I strike fear in everyone's soul, *cue laugh track* Hahaha! If only I knew what it felt like, correction if only I knew what anything felt like anymore! *cue laugh track*"

One of Hell's punishments that was inflicted on Al was the inability to feel anything because he was enjoying his time a serial killer a little too much. Because of this, he becomes severely bored years to come since what's the point in causing a lot of chaos when you can't feel anything from it? Now, don't get me wrong, he's still a heavily feared overlord, but now he's just so bored with a lot of things in Hell.

But then Vox came along. He essentially puts dread in everyone's stomachs because it's very likely he's a one-way ticket to getting yourself permanently killed without a cleanse happening. Alastor actually gets intrigued by him and thus starts their rivalry, it focus less on. "Radio vs TV" and more on, "He's very dangerous and could end me for good, he's the only one the peaked my interest and perhaps maybe give me the ability to feel fear."

Sure, there are exorcists, but all of them evenually leave anyway, too squirmy and skitterish for Alastor's taste.

But Vox just strides in everywhere like he owns the place, without even a little smidge of fright and treats everything like a game.

What’s the relationship like between the three Vs? Whatre his thoughts on Velvette’s church?

- Vox & Valentino: Both have been married for fifty years and it's still counting, as seen in the show it's implied that Vox has to calm down Val a lot of the time when he has a temper, this AU switches that. SHAU!Val isn't dumb enough to let Vox's temper get the better of him, because how knows what would happen if there's a pissed off angelic overlord. (Thank the lord it doesn't happen often.)

OG!Vox butters up OG!Val

SHAU!Val does it instead

OG!Val intentionally withheld information about Alastor coming back so he could push OG!Vox's buttons

SHAU!Val doesn't even entertain the idea

Yeah, Val can be a bit trigger happy, but he's not outright suicidal.

Valentino & Velvette: Both of them hold each other in high regard but aren't as close with one other since Val doesn't focus much on social media. Valentino is a very direct guy. The only Voxtagram posts you're getting from him are photos of sinners with holy bullets in their skulls as a warning to whoever crosses him. Velvette and her little cult of followers take a step further to spread the message, too. Essentially, she's on top when it comes to information around social media.

Velvette & Vox: Both being tech savvy, they get along quite well. While Vox controls all of the internet and anything tech in hell, he's more focused on the business side of things and selling products, when a new product sells, Velvette makes it so the message spreads further.

Angel’s in charge of the family mafia huh? So he must be pretty powerful… Does Val still have power over him or are they on more equal footing ?

Since the church is used a ploy to lure more sinners into their power, Vox finds a lot of assumentment in it and often times indulges in entering the church to heighten her claims and further reel sinners in.

If anyone wants more info, please send an ask! :)

- Sadly, Angel is still under a contract with Val, fortunately though they more-or-less have respect for each other. Angel finds it hilariously ironic that he's right-hand man to a moth when he's the spider here.

[stobinesque]

The last post I reblogged has me thinking about how Lucas is treated by his friends/the wider UD gang in-universe/from a more Watsonian perspective. Because here are the facts:

Lucas has spent most of his childhood being explicitly/overtly bullied for his race [being called "Midnight" by their season 1 bullies]¹

At the beginning of Season 2, Mike clearly assumes that Lucas agreed to go as Winston for no other reason than both of them being black. But when called on this, Mike cannot bring himself to admit that's what he was thinking. (He also does not apologize to Lucas.)

Until Billy attacks him, Lucas doesn't really know why Max is trying to avoid being seen with him when Billy picks her up/at her house, but having been on the receiving end of "my family is racist so I can't be seen with you," whether or not you actively know the reason someone is trying to hide you from another person, it feels alienating. Also, he absolutely figures it out in hindsight.

But since at first he doesn't know that Billy inexplicably and aggressively hates him/doesn't want him interacting with Max, from Lucas' perspective he gets attacked by a white boy 4-5 years his senior and almost twice his size out of literally nowhere. Said boy explicitly declares to him "You're dead, Sinclair."²

Lucas, upon entering high school, decides that he wants to acquire enough social pressure to protect him and his friends from the bullying they had to deal with throughout middle school. Neither Mike nor Dustin seem willing/able to understand why he might be interested in that protection.

There are a couple different ways to interpret Lucas (and Patrick)³ choosing to stay with Jason and Andy, but I think it's reasonable to assume that Lucas would be able to recognize a mob/witch hunt forming, and I also think it is reasonable to assume that Lucas knows that mobs tend to target the most vulnerable members of a population, and that he himself both as a black kid and a member of Hellfire is at risk.

Nancy knows for a fact that Jason was at the army surplus store in search of a gun, and while it is implied that she informs the group of this, they seem not to take that into any consideration when planning because

Taken altogether, this paints a picture that in-universe, all of Lucas' friends should be intimately aware that he has experienced overt racism for his entire life. But, the Halloween costume argument also suggests that even though they're all aware of said racism, none of the white members of the group really feel comfortable talking about it. Lucas does explicitly call Mike out on thinking that he would be Winston (or that Mike can't be) "because he's black," and Mike flat out lies to his face. If this is one of the first times Lucas has confronted one of the Party members about their own implicit racism, I think it would be reasonable for him to walk away from that exchange deciding that race isn't something he can have honest conversations with his friends about.

We also never see Billy attacking Lucas addressed on-screen after it happens. Which means we never get to see anyone check-in with Lucas about what happened, or see him process what happened.

So come season 4 Lucas has great reason both to want more social capital/protection and to feel uncomfortable explicitly talking to his friends about why that might be. (Especially with the added baggage of Billy having just been killed, which assuredly inspired a lot of complicated feelings for Lucas, especially because of how much his death impacted Max.) Instead, he makes one simple request of his friends (who he both wants at his game and still wants to play D&D with them): get Eddie to reschedule the game. And, sure, it's Eddie's fault that the game doesn't get rescheduled. But it is absolutely on Mike and Dustin that they didn't choose to skip (which honestly probably would have forced Eddie to reschedule anyway??).

So for the most important game of the season, Lucas winds up without his friends or his sister there to watch him make the winning shot, and he misses out on the D&D game that he wanted to play with his friends. It's entirely possible that Lucas still would have decided to go to the afterparty even if Mike and Dustin had come to the game. But I think it's reasonably likely that he'd have gone to celebrate separately with them! Or at least would have left the party early, rather than getting so drunk he pukes the next morning. So when Jason riles the whole team into becoming a mob out for blood, Lucas ends up stuck between a rock and a hard place. He can't really say or do anything to stop Jason that doesn't also put a target on his back. Sticking with him is the best way to 1) ensure his own physical safety and 2) have any hope of protecting Eddie/his friends.

And then Lucas risks his life to lead Jason & co. off Eddie's scent and bikes eight miles to come warn Dustin that he's in danger. He actually explicitly says that Dustin is in terrible danger. Lucas (and, honestly, all of the Party--except arguably Will) at this point is intimately aware of the fact that a white boy fueled by rage can been homicidally dangerous. So the fact that even after knowing for a fact that Jason has acquired a gun, the whole team send Lucas, Erica and Max to the Creel house without weapons, protection, or any sort of plan as to how to deal with Jason & co. if they turn up is not only baffling, but honestly feels downright callous.

From a purely Watsonian perspective, Lucas has every right and reason to be absolutely livid with his friends. Their consistent inability to recognize or acknowledge the racism Lucas experiences directly results in Lucas and his sister being attacked and nearly killed--and not even by the supernatural bad guy.

¹The show never returns to this, but to me it is broadly illustrative of the racial climate in Hawkins

²Please do not waste your breath trying to argue with me that Billy "wasn't really trying to kill him." I honestly don't care either way. He threatened to kill a 13-year-old boy whose only "crime" was being black. There is no other explanation for Billy's treatment of Lucas that makes sense, since he explicitly targets him, and not Dustin or Mike. Regardless of whether or not Billy had genuine homicidal intent, Lucas had no reason to think otherwise in that moment. I have no interest in arguing this point with anyone.

³Patrick is another excellent example of the show being unable to meaningfully reckon with with its racial implications, but that's its own post.

[poorlittleyaoyao]

Didn't want to derail that last post since it's specifically about novel canon, but it got me thinking about the ramifications of the changes that the drama makes:

CQL Mianmian is a Jin disciple. I like this change overall because it facilitates her being a larger part of the narrative and implies that Jin Zixuan has a life outside of being That Rich Guy Wei Wuxian Hates. Still, as is also the case with Meng Yao and Lan Xichen due to them meeting earlier, it means that Jin Zixuan is defending someone already dear to him rather than protecting a stranger simply because it's the right thing to do. Don't shrug off his heroism yet, though, because...

A nameless Jin disciple is the one who tries to hand over Mianmian. Jin Zixuan (and only Jin Zixuan) strikes him down and says in disgust that he can't believe the Jin clan contains such cowards, or something like that. However, Mianmian herself reminds Jin Zixuan when they're giving up their swords that they're under orders from their sect leader to comply with whatever the Wen clan asks of them. Jin Zixuan's choice to defend Mianmian is potentially in defiance of his father's directive. (Why is Jin Zixuan willing to disobey his dad here but stays awkwardly silent during his family's BS at the Phoenix Mountain hunt and conference later on? Well, his dad's not in the room with him here.)

Su She is not involved here, as Lan Wangji is the sole representative from Gusu Lan. The selfishness/cowardice of trying to feed Mianmian to a monster is replaced with his (more socially unacceptable in-universe but IMO more sympathetic to the viewer) revealing the Cold Pond Cave secret. There aren't any Lans standing by as nobody but Lan Wangji does the right thing.

The hostages generally show a lot of solidarity! After Wen Chao punts Wei Wuxian deeper into the cave, everyone else climbs down after him. None of them responds to Wen Chao shouting questions from up above, forcing the Wen guards to climb down to their level to investigate. The Jin guy attacking Mianmian is an outlier, indicating a problem with Lanling Jin culture rather than the jianghu as a whole. They cooperate well when it's time to band together and escape!

So the takeaway in CQL canon isn't that everyone is a coward or overly concerned with politics except for the protagonist, his love interest, and Jin Zixuan for some reason, but more like... here are these young people and future leaders who are fully capable of acting together for the good of the group. They refuse to comply with their captors despite being unarmed, and they'll convince the older generation to take action against the Wen clan. (Nie Mingjue, the only sect leader who's part of the younger generation without an older relative's influence, has already been in open conflict with them.) And isn't it a shame, then, that Jin Guangshan--and his sect culture that would've excused feeding one of his own disciples to a demon turtle--is going to crush all of this.

*I initially assumed, when I started making this post, that Cloud Recesses in the novel gets burned after the indoctrination in retaliation for Lan Wangji's part in killing the Xuanwu of Slaughter. But the wiki timeline has the indoctrination still coming after Cloud Recesses is attacked? If that's the case, how do the Lan have that many disciples to send?

[theminecraftbee]

Cleo grumbles as she waits for Scar to leave so she can put away the stupid pies and eat something that's actually going to give her energy. "Gods, Ren is getting obnoxious," she complains to Joe.

"Which is wild, because Ren has never been obnoxious a day in his life!" Joe says brightly.

"You know, I can never tell when you're being sarcastic," Cleo says.

"Thanks, I try," Joe responds.

Scar vanishes over the horizon. While Joe does not switch from the bit of pie he'd been eating, Cleo immediately switches to a proper rare steak. Seriously, only pies? Ren's actively starving his kingdom at this rate. Cleo's a zombie. She's an obligate carnivore. Ren literally has her on his council. She'a working against him, true, but the point still stands - he should know better.

He just wants the diamonds, though.

"I guess he's just proving what they say about power," Cleo mutters.

"Oh! What do they say about power?" Joe prompts.

"You know. Power corrupts." She tears a bite out of her steak. Blood drips down her chin. She'd be more polite, but it's just Joe. She can be a messy eater if she wants. "Absolute power corrupts absolutely."

"That's not how I like the phrase to go," Joe says immediately.

"...sorry?"

"That's not how I know the phrase, I mean. I mean I know that version. That version makes sense. I mean, it's the easy answer, right? That power, in it of itself, is an evil force. But really, I'm not sure it's so simple."

Cleo blinks. "You, of all people. Trying to say that you don't think power is evil."

Joe huffs. "I mean, I'm on the king's council too, you know."

"But you're also - I mean you - nevermind," Cleo says, watching Joe take a passive-aggressive bite of pie (impressive as a feat, really).

"Abstract concepts, by themselves, aren't evil. Things that just are aren't evil. Or, well, I guess unless you're the abstract concept of evil? Except I guess the abstract concept of evil isn't, itself, evil, it's just describing the idea of evil? Like, okay, the abstract concept can't - the existence of a concept of evil isn't evil, necessarily, unless the act of the gods to give us the capacity for evil could be considered evil, in which case, gotta say, interesting move to do that -"

"Joe, what does this have to do with the power thing," Cleo says.

"Oh, right. Anyway, the phrase I know is 'power reveals'. It's less like... power itself makes people evil. The power itself is neutral. But like, if you had the power to do anything in the world, you'd do whatever is the most you, right? Good or bad. So. Power reveals."

Cleo stares at Joe's pie, and up at the castle, and at the place Scar, with his license to kill whoever he pleases, had fled. She thinks about everything she knows of Ren. She thinks of Ren before. She thinks of Ren after.

She grimaces.

"Joe, I think that's bleaker than my thing," she decides.

"I mean, is it? Like, mine implies that you can still do good with power," he says.

"Yeah," Cleo says. "But he hasn't."

Joe opens his mouth. He closes it again.

"Oh. I guess I see now. I don't know. Hey, have you tried this pie? After the sixth one it almost stops tasting like sugar and just sort of tastes like a weird paste, which is definitely preferable to sugar."

Cleo sighs. "I have tried the pie."

"That's good. Also, I think Scar's coming back, you should probably hide that steak - too late," Joe says, as an arrow hits Cleo in the arm. She yelps and pulls her own bow out. Well, if that's how he wants to play...

[idiotsonlyevent]

so i've been thinking about risu. "personality defines one's magic" lives in my mind rent free, and i've been trying to pin down how magic reflects the personalities of sorcerers we know. risu's curse magic is especially interesting due to its rarity and the nature of curse itself. so, what can curse tell us about risu, and what role does risu play in dorohedoro? (spoilers through the end of the manga under the cut.)

who is risu?

risu is a low-level sorcerer and a member of the cross-eyes. not much is known about his past, besides for the fact that he used to go to the zagan magic school, he was friends with aikawa, and he had an apartment where he lived alone and grew cacti. but what else do we know about him? what's he like?

i want to start this discussion based on asu's perceptions of risu in extra evil 16, since we, as the readers - and risu himself - get to be explicitly told what asu thinks of him. risu's interactions with asu and nikaido are particularly important because, unlike with the cross-eyes or en's family, risu isn't really putting on a front here. and since asu is genuinely trying to help by offering risu advice, we know this is what he really thinks - even if his devil traits are getting in the way of his delivery.

to summarize: asu characterizes risu as neurotic, high-strung, and repressed. these evaluations seem to be at least partially correct; asu is the catalyst for both moments in the manga where risu grows to better understand his magic - the first in spell 84 and the second in 122 - and he wouldn't have been able to do this if he truly didn't understand risu. and risu agrees with him!

this is interesting when contrasted with what we see of risu in one of the first flashbacks of the series.

we know that risu has a lot of doubts about the boss and the cross-eyes, but what he's saying here is really . . . idealistic? even in spite of any doubts or worries, risu says this to aikawa - and given how earnest risu is with him, i don't think this is a lie. on top of that, risu was pretty loyal to the cross-eyes and to aikawa. this is not to imply that pessimism and loyalty are inherently at odds with one another, but the way risu talks about aikawa and his own death really doesn't scream 'i see the worst in every situation'. i don't think risu's pessimism is the whole story. so, how does curse fit into all of this? why does risu have curse magic?

what is curse?

curse magic is considered rare. it's not well-understood by any characters, and especially early on, only asu and dokuga seem to have any understanding of how it works at all. curse is activated after risu is killed and remains active until the curse is 'complete.' after curse merges with risu after his revival, when someone tries to kill or harm risu, curse will activate, taking over risu's body and reflecting all attacks.

curse is angry and violent, and it is so overwhelming that risu has no control over it at all. faced with this, risu rejects the idea outright; this is all he knows. he's gotten so used to being controlled by his anger for so long that he can't comprehend any other options. he assigns everything to his anger. he's angry at everything, and he only acts because he is angry.

something that really stuck out to me is when risu says he's 'pissed off for making [him] kill.' it's unclear if he's angry at the cross-eyes or at curse, but it's really indicative that he doesn't want to be violent - he's been forced into it due to the circumstances of this world and his place in it. curse is not a representation of some inner desire to hurt or harm others; there's something else going on here.

(a brief aside, but this is the only time we're shown anything from risu's life before the cross-eyes, the magic school, and aikawa. he's younger - he looks about shin's age from his backstory ten years ago? so, let's tentatively call risu 18-ish here, placing this about 6 years ago, which should comply with canon. he's injured and alone - there's no mention of parents or any other caretakers. with how vague this information is, it's difficult to draw any definitive conclusions. one possibility is that risu was abandoned by his parents. i say this because a flashback of risu alone is paired with the the thought that others, specifically powerful sorcerers like the en family, look down on him, and there are multiple severed heads in the same shot, who are clearly not en family members or other cross-eyes. it could be that his family were powerful sorcerers who left him alone due to his 'weak' magic, and perhaps he himself killed them, which is why their heads are floating and detached. but i digress.)

asu says it best: curse is only part of risu. curse protects risu. it is not just risu's anger, but also what that anger is hiding - perhaps feelings of hopelessness, isolation, betrayal, etc. curse is a literal and physical obfuscation and reflection of risu's identity and feelings. risu needs to learn to control curse not because anger - or any of his other negative feelings - are bad. it's because he doesn't understand where they come from or why, and as a result they consume him. this is why risu's realization has him literally being freed from a physical trap, because risu is now the one in control, even if he lacks mastery. risu is angry, but that is not all he is; risu is angry, and that is okay.

so, what does risu do? why is he important?

risu actually has strong thematic ties with both caiman (the protagonist) and nikaido (the deuteragonist):

risu and curse's relationship parallels aikawa and hole's: a magic user with low/no smoke output possessed by a violent entity that is controlled by strong negative feelings and obfuscates their past.

curse foils nikaido's time magic: risu is controlled by dangerous magic that he has no control over while nikaido refuses to use time magic because she perceives it as dangerous and uncontrollable; both have realizations about their relationships with magic (with asu's help), and learn how to use their magic as part of their character arcs.

curse is a physically painful, like aikawa's headaches and nikaido's devil transformation.

risu, nikaido, and caiman all struggle with their identity: both how society perceives them and how the see themselves. all of them have complicated relationships with their magic, and they feel like they do not 'truly exist,' at least in part due to this.

also, risu is a big player early on in the story, if not arguably the most important one, especially when it comes to the mystery of derohedoro. risu's curse is the means through which caiman and nikaido can hunt sorcerers and is also the en family's first major lead in their investigation. risu is what brings caiman and the cross-eyes together. risu goes back in time with nikaido to learn the truth of caiman's past. risu is the one that kills aikawa. risu offers to restore caiman's original face at the end of the series. (i could go on!)

risu isn't rich or extremely powerful or a genius, but he feels important because he was aikawa's partner; their partnership is what gave aikawa's existence as a sorcerer legitimacy, and their bond persists through the entire series. risu may be a 'nobody' when compared to characters like en and nikaido, but he was somebody to aikawa, and that identity is consistently given the weight it deserves.

[venus-is-thinking]

DRDT Chapter 2 Episode 13: Initial Thoughts

We're back again! I'm probably just gonna do one of these for every new episode this chapter at least, just because there's so much to talk about in all of them!

Basically, I'm going to run through my not-live-but-sort-of-live-thoughts of the episode, then at the end I'll give my thoughts on any more overarching theories/conversations that are relevant.

SPOILER WARNING FOR DRDT CH 2 PART 2!

T/W: Murder, suicide, hanging

The Reactions

Knowing where Levi's explanation is going now that I'm rewatching, it makes sense that this is the first thing he'd think of in regards to the secret. It's not about the lives lost or his status of being a "murderer," it's the real, concrete consequences of his actions-- AKA, the law.

Just, like, 'cause, or...?

Honestly, this adds a really interesting flavor to when Levi does threaten Ace. He's like, "do you think I don't have limits to my patience?" The fact that there was any amount of patience in the first place is honestly pretty cool for Ace.

Also, I don't really have a good place to screenshot this, so I'll just mention it: the clock motif in the backing track is really cool!! Has that been there before and I haven't noticed, or is it new? I also definitely find it personally suspicious that we're getting clock sound effects while Levi is talking about murder (Eden killer/Levi accomplice moment??) but that's probably just my confirmation bias talking. It could also definitely be something about wasting time in the Trial, which a point is definitely made out of. It takes them a long time to start talking about the method, and Levi even mentions that he's sidetracking before he starts on this monologue.

Extremely funny reaction from Eden if they ARE in on this together btw. "Wait... you've killed, like, more people?? This isn't soul-crushingly deviating from the norm for you?????"

I get that this is the point, but lmao, Levi's really just saying these things like they're normal. Forget the murder charges, did you get in legal trouble for any of this stuff???

Oh Hope's Peak, always the shadiest people with absolutely terrible priorities. I feel like you could tell me Hope's Peak did, like, literally anything morally dubious in a fangan and I'd be like, "yeah, checks."

Shoutout to this anon for slam dunking it! The phrasing Levi used in the other scene makes more sense to me now that we know how Levi feels about all of this. The dialogue didn't imply any different feelings to Levi's father than the other members of his family because the fact that Levi killed him means, like, nothing to him.

Still, I wonder what actually prompted Levi killing his dad. Like, I feel like he must've been provoked, at least. Hopefully we'll learn why someday.

This episode had more of J being more vocally anti-murder than most. I still don't know if that's just because she's one of few characters who's both loud and has morals, or if it ties into some specific aspect of her character.

"I can't forget about the fact that Felicity died because of me under any circumstances ever!"

I hope Arturo and Levi talk more about their secrets in depth at some point. Totally get why they're opposites on the narrative foils thing.

"I mean, we all know why I tried to kill Ace."

Unlike Arei lmao /j /lh

(To be honest, though, I think David at minimum is upset about Arei dying though. More on that later. Eden too, possibly even if she did kill her.)

This is such an interesting thing to learn as a Levi accomplice theory truther. 'Cause like, on the one hand, it makes it more believable that Levi would do some thing that wild; if the other people don't really matter, it's easier to justify killing all of them. But, at the same time, if he doesn't care about Eden, either, why the hell is he helping her?

I'm gonna need to rewatch this episode once I know who this Trial's culprit is, because I am incapable of reading the Levi/Eden interactions as anything BUT horribly suspicious.

(Also, god, the good person jumpscare counter this episode was wilding.)

Nice to get a confirmation that Levi is still trying to be a good person, even if he doesn't understand what that means.

Wow. Didn't realize Ace was gonna throw some emotional vulnerability (???) into his fuck you Levi speech. Or that he actually genuinely believed they had more of a connection than he let on! Like I said to Accirax, he's such a tsundere that I didn't even realize he was a tsundere.

me believing you

*squints in Ace is canonically gay*

I hope we'll get to learn more about this guy at some point. I'd expect we will, if nothing else in the bonus episode that correlates with Ace's death (or in the main story, if he lives long enough to be a survivor). "His memory" definitely makes it sound like he's dead, though. Sad.

Shoutout to the AceVi shippers, though. This episode must've been a WILD ride for you.

Thanks for clarifying, Veronika! It's nice to have a character who likes to psychoanalyze the cast so that the writer can basically use her to clarify what other people are thinking. Useful writing tip.

This does provide some interesting context to that early scene where Arei manipulates and kinda makes fun of Levi, though. He really could've just decked her ass if he wanted to.

Oh my god. Has no one actually said that David isn't behaving like a good person anymore? Is Levi still following David's example???

If so, it's a really good example of how little Levi understands about other people. Like, damn. You can't even tell with David??

To be fair, maybe all the stuff about ending the killing game confused him. Teruko and David are arguing about whether or not Xander was a good person. If everyone else can't even decide, how is Levi supposed to know?

Ban her? I'm not a forum moderator, dude. Also, I hardly even know her.

(Idk if that was meant to be a reference or not but. Whit brainrot go brrrrr)

Thanks for the confirmation, queen!

okay I'm Running Out of Images so from here on out I'm including stuff as indented text and only doing pictures when I think the picture itself is relevant

Veronika: After all, my own so-called secret isn't even the worst thing I've done. Isn't that so utterly disappointing of the motive?

What have you done. Tell me.

I do wonder if this is somehow character commentary on Veronika. Like, let's say Veronika has also murdered somebody or something. Would this imply that this is something she'd be more concerned with others knowing, possibly because it's more personal?

I'm not really sure. It could just be that Veronika doesn't really have any secret she fears at all, so they were at kind of a loss.

David: Achoo! Ah-- Bless me!

what is he so funny for

David: Teruko. Own up to your goddamn secret already. You are the last person to do so.

I so think David knows Teruko's real secret. Like, there's no way.

Interestingly, though, I read Teruko's hesitation towards answering David as her trying to figure out which secret belongs to Min. It's easier for everyone involved if Teruko and Xander's are backwards rather than it being a triangle scenario.

Yay!!! Even if I still think it's partially wrong!

Eden: W... wait! Before we move on! I have to know. David... What happened between you and Arei?

I'm still inclined to read this as Eden having not believed Arei back when she declared she wanted to be friends. Eden is still trying to get at the truth of the matter, because she can't just have killed Arei without knowing how badly she fucked up.

There's definitely still an innocent reading out there, too, though.

Arei: If even a perfect inspirational speaker like you turns out to be an asshole, then there's no such thing as a "good person."

This was a really interesting direction to take this conversation, for both Arei and David's characters. It's true that they both lie about their personality often to get their way; Arei's lie is just WAY easier to see through. It makes sense that it's something they could bond over.

However, the INSANE thing is that this means that David probably actually cares about Arei. Like, to a meaningful extent. Maybe it's just the Kazui vibes, but I feel like if anyone actually understands David enough to see through him, that would be really impactful to him.

Also, the vibes on this scene were wild. The Arvid (????????) shippers sure could have a field day with this one.

But, of course, we can't forget:

...WHAT????

Okay, so first of all, I have no idea if David actually knows/remembers this or if it's just meant for the audience. But, either way, this thing is crazy.

The first thing I noticed was definitely the fork; is that the same fork that we see in the opening sequence?? The one commonly thought to be of when Xander lost his eye?

I know there's some LGI stuff with the fork too, but I'm not going to dive into that right now. I think Accirax is touching on this more strongly in hers.

The other thing is, I have NO idea what this says about Eden culprit theory. I definitely still think it's possible that this is a level of lore that's gonna follow Eden to her death and give her a reason to haunt the narrative, but this could also be something that we're going to explore later.

The main reason why I think this could lead into her death is because as far as we know, Eden doesn't remember anything included in this flashback. If Eden doesn't know about the lore, it's sort of weird if we, the audience, have this vague piece of knowledge about her that she doesn't. It's not a death sentence or anything, but I think it could still be in line.

I'll leave the speculation as to what exactly this means for another post/another theorist. Right now, my guess is that there might've been some kind of other killing game with this class before, or something. But, I'm DEFINITELY both alarmed and intrigued.

Arei: Even she must've made a mistake she couldn't take back.

The inclusion of "mistake" in this section is really interesting to me. Is that referring to whatever we see here? Was it a mistake she later came to regret?

Or, I also think this could actually be a reference to Arei. Not the image itself, but the mistake. If Eden genuinely believed Arei wouldn't change and killed her, only to realize Arei was being sincere, that's a mistake she couldn't take back.

I wonder if this is going to be Arei's last voice line (in the main series, I'd expect she'll talk in the bonus episodes).

If so, I think it's a nice way to end her character arc. Not only is she trying to be friends with Eden to be better, she's also able to reach out to someone like her and help them, too.

David: ...Nothing. Absolutely nothing. I didn't say anything to her, and she didn't have much to say to me either.

This was CRAZY. I was expecting we were all gonna have to play the "to what extent is David lying" game again, but instead, it seems like it all MUST'VE been real, because it came straight from his mind because he didn't even say it!!

It's funny to me that he says he didn't say anything to her, because from what we saw, that was... accurate, maybe?? Was David really just standing there bluescreening that entire time? Like, man loves his elipses, but goddamn, don't leave her hanging! /j /ref

It's also interesting that David is keeping this from the class, and more specifically, from Eden, who Arei clearly liked. Is it because the moment is personal, and he doesn't want to share it? Or, does he have suspicions about who her killer might be or how to catch him that would interfere with him sharing?

Anyways. Wild.

David: One hundred and one percent, I promise. Ace overheard everything, and what he told you all was the entire truth. Does that satisfy you?

I wonder if Ace stopped listening for real, or if there's a chance he heard all of this. If so, I wonder why he's not calling David out. Is he still coping too hard over the Levi thing?

Whit: Dang, we really got hung up on those secrets, didn't we? I thought you all would be on those for years. MonoTV: Years indeed. Some people had to wait one year and five months for you to get this far.

I KNEW MonoTV and/or Whit would make a joke about the time gap! Hope that one doesn't get lost in translation for the people who join the fandom after the hiatus, lol.

Teruko: They filled those jugs up with water and used them to increase Arei's weight.

Oh hell yeah.

Veronika: I'm not an expert, of course, but my intuition tells me that jumping off the top of the swing set isn't enough to break Arei's neck.

Whit: The way hanging normally works is that the victim is put in a noose with enough slack in the rope that they're unharmed. It's only when the victim falls from a high location to a low location that the rope becomes tight, and the noose strangles them.

Very interesting to have Veronika call attention to the fact that she's not an expert shortly before Whit goes into a long explanation of the mechanics of hanging, including with bolded words for emphasis/added ethos. I definitely think we're supposed to notice that he knows this for... some reason.

I know Accirax's theory is that Whit's mom might have hung herself, which is... dark, if true. Like, that means that after the fact, Whit probably hyper-researched how hanging works. Yikes.

Also, I honestly didn't get why people were saying Whit was so sus before the hiatus, but I feel like it's been cranked up afterwards??? Whit are you the mastermind I thought you were chill??????

Whit: It's not like you can grab the rope when she's falling to stop it at the right time. If she's moving at a speed fast enough to snap her neck, I'm sure trying to stop it would shred your hands.

Caught between "yeah that's why they used the stopper rope" and "IS THE USING THE GLOVE TO STOP THE THING STILL REAL???"

YEAHHHHH

Tape truthers rise up!

Teruko joins the murder diagram contingent!!!

Incredibly real though. You simply can't figure out what the hell happens in this thing and how it works without being able to See It.

Teruko: Now that we've actually discussed the mechanism of murder, I realize that I've seen this murder method before. Eden: You have? Teruko: That's right. And so have you.

Funny you remind us of that, Teruko.

YES! GYM MURDER METHOD ANSWERS! PLEASE TELL US WHAT HAPPENED THERE!

Wow. What an episode. We truly learned so much.

Theory Update/Analysis

Okay, so I already yapped about most of the character stuff for a while in here. Similarly, I don't think all too much changed for my murder theory.

I'm still tentatively on Levi accomplice, but firmly on Eden culprit. The way I see this going is towards a Nico bait that goes nowhere because they have an alibi, then eventually causing the class to realize the culprit has to be one of the people who saw Nico's original murder method (who doesn't have an alibi)-- Eden, Ace or Teruko.

From there, they can discuss the Arei murder method more thoroughly, eventually circling back to the fish. That confuses the time of death more than anything.

Eventually, the tape can be the damning evidence. Or that could happen before the fish, not sure.

In summary, I liked this episode a lot! It's exciting that we're finally starting to get answers to the murder method that we all went so insane over.

This was. A short theory update section. If you have any questions please feel free to send in an ask! I like talking to people :)

[tawneybee]

(BIG SPOILERS FOR RUIN DLC. IT'S OUT NOW GO WATCH/PLAY IT)

Anyway I'm gonna thought-dump about my thoughts and speculation the dlc gave me with various confusing details.

- The sword sticking out of the princess quest game. That implies Cassidy was released and is out there somewhere.

- The continuous mentioning of Cassie's father. When Cassie comments on him having a fazwrench, the Bonnie lunch box being labeled as her dad's favorite, the Chica lunch box being labeled as something her dad is collecting. This mostly has my interest because, how do Cassidy and Gregory know each other? Everyone presumed it's cause they're from the same orphan home since Greg is homeless, but this disproves that.

- Also Cassie's dad having a fazwrench and Bonnie being his favorite is an Elizabeth parallel for Cassie.

- The continuous split parallels with Cassie towards Charlie, Cassidy, AND Vanessa. And a little bit of Elizabeth too. Who is she? WHAT DOES THIS MEAN?! This only just made me realize how Vanessa parallels both Elizabeth and Cassidy (Princess Quest and the mask)

- Roxy is hunting Gregory, and Gregory only. She's nice to Cassie. This implies the same with the others. Gregory is their focus. They want to kill him. Why?

- THE WHOLE FUCKING BETRAYAL AT THE END, but especially the quote "we can't have it tracking us". If Greg was referring to him and Cassie, he wouldn't have dropped her. That means he's referring to someone else with him.

- Freddy?? Where's your head man. Why you evil now. What's with the stomach mouth paralleling Nightmare Fredbear. You were the only good dad of the franchise why you do that : (

- But also doesn't that mean the Princess Quest ending is the canon one? Since Freddy doesn't have his head.

- I seriously doubt that's all we're seeing of Eclipse. He's such a cool character give me more than 7 second screentime.

- The Vanny mask. Everything about the Vanny mask. I don't even have the time OR mental capacity to go over that. How? Why? Where? When? What???

- The Fredbear ending. What does it mean? Is it an illusion? Cassie just runs towards a cardboard cutout and supposedly reaches the "good ending." And Vanessa being in the background. Does that mean Cassie also knows Vanessa? Weird. But also lets keep in note how Van is in that ending but Freddy's head isn't.

- sssc. Sccoopp?? Scoping???? Sceep ending??!?@?$? Dnenfnrnnenfndn. Whyyywh?!?!??!? WHAT

- I feel like deactivating the haunted wet floor bots has to lead to an ending. The children voices, the fact they exist at all. Feels too important.

- Roxy still lived after the deactivation?? What does that mean? Did it not work? That has to mean something.

- If Mimic Greg is against the weird bunny guy in the Vanny mask, does that mean bunny guy could be an ally?

- Candy Cadet story.

I'll update this as more thoughts come to me. Tell me yours.