#there are so many versions of canon

[charlesxorxerik]

sometime i get tired running this blog

[egophiliac]

Hi it's just to let you know that the official romanization of Revaan's name is Raverne ! Also they have romanized Baul's name to Baur !

Twst coming back at us again with the least expected romanization! thank you everybody (oh god my inbox) (no it's great, I literally asked for this and the reactions have been INCREDIBLE, thank you all!)

I do like Raverne though, I think it's got a nice fancy sound to it! (I had kinda suspected it was going to be an R instead of an L, so the fact that it's SO close to Laverne except for that is hilarious to me personally.) and Dragoneye Duke is honestly probably the best translation for his title, I wasn't envying the localizers that one. :') Baur instead of Baul I was NOT expecting, but in retrospect I think his name's supposed to be a reference to the Bauru crocodile, so that actually makes way more sense!

someone else also said Meleanor has become Maleanor, which is the REALLY weird one to me, because I was so surprised it was written as Mel instead of Mal in the first place?! oh god no I can't decide which one I like better. 😭 (I wonder if they might change it to Mal...they have made romanization changes before) (like I remember House of Distraction being corrected to House of Destruction in Playful Land) (I did check and she's still Mel for now, but I dunno, they might Mal her up and some point and save me from having to make a decision about which one to use) (HECK I CAN'T DECIDE)

uhhhh thank you for letting me ramble about anime names, let's just say MONOGRAMMED SWEATERS FOR EVERYONE

[goldiipond]

my dearest friends the three shadows[relation withheld]

[luneariann]

Hiiii everyone

[khaotunq]

shitty Sand appreciation

[actual-changeling]

It was actually rather hard to decide how to begin this meta post because there are essentially going to be two main parts: why Crowley does not actually avoid/run from his problems and why "going off" is not a bad thing regardless.

Then I wrote the first part and realised this is now 2.5k words long, so uhhhh I will grant part 2 its own post.

With that, welcome back to Alex's today-not-unhinged meta corner!

I am going to approach this topic from a psychological angle, which a lot of people have already done, but without explicitly mentioning it or going into depth. All my information comes from personal experience, research, my therapist, and my psychiatrist, just so you know I am not making shit up. I actually dug up some resources my therapist gave me a while ago.

Generally, there are four different fear/survival responses: fight, flight, freeze, and fawn. Most people have probably heard about fight and flight, since those two are usually the only ones that are mentioned/taught, so I will stick to explaining the other two.

"Fawning" refers to actively being submissive and subdued, both physically and emotionally. The goal is to appear non-threatening and to calm whoever is causing the fear response in the first place. It shows up as being overly agreeable, not having thoughts/opinions of your own and ignoring them if you do, your body language changing (e.g., making yourself smaller, taking up less space), and generally attempting to 'keep the peace' or reinstate it.

"Freezing" is pretty much exactly what it says on the tin—you freeze. It means slipping into a dissociative state, which disconnects you from your body, your emotions/mind, and/or the outside world. Usually, people stop being able to talk well or at all, they do not move, and if they do, it is on autopilot; you do not fight or flee, you simply exist until what is causing the fear response is over.

While dissociating, your brain is unable to form full memories—and depending on how heavily you are dissociating, it does not form any memories at all. 

Freezing as a response happens when fight, flight, and fawn aren't possible anymore, e.g., a child who has no internal mechanisms to deal with large amounts of fear because it's a child, so the only way to escape the pain and aggressor is by fleeing into your mind and shutting down.

Why am I telling you all this? Because most people tend to have one or two survival responses that dominate/they usually fall back on, and the same goes for Aziraphale and Crowley.

When faced with an outside problem and a lot of stress, Aziraphale's first instinct is to fawn, to placate the person, to diffuse the situation, to make sure everyone is agreeing, or, at the very least, submitting to authority figures or aggressors. It is what heaven teaches them—stick to the rules, don't ask questions, do what you are told. If fawning involves lying, he will do so, here the need for safety is stronger than his desire to be truthful and stick to his morals.

Unfortunately, the fact that this is his primary fear response is also the reason behind his extreme cognitive dissonance. How can you stick to the rules when you do not know what the rules ARE? So he is stuck trying to figure out what is "good" and what is "bad" so he can be a good angel and avoid doing anything that might be seen as bad or disobedient.

His secondary response to stress or fear is to fight—once it's clear that fawning won't work, he can and will switch over to being more direct and aggressive/less submissive. We see that happening when he gets discorporated in season 1 and needs to get back to earth, at the airbase, or when the bookshop gets attacked.

If I were to ask you what you think Crowley's primary fear response is, how would you respond?

Well, if you said "flight"—you're wrong, and I will explain why.

Flight is his secondary fear response, it is what he falls back on in absolute emergencies when everything is doomed and there's nothing he can do anymore.

Before that, though, he fights.

Even as an angel, he was already questioning the system, he was ready to go and tell God she was doing a terrible job, that her ideas were bad, that he wants to keep his stars and the universe— six thousand years are nothing! If you actively oppose existing rules and defy people's authority over you, fighting is the only option you have unless you plan on giving up or the response becomes too much to deal with.

Fear itself happens when you or someone/something you love is being threatened (whether that threat is real or simply perceived as such doesn't matter), plus there are a large number of more irrational fears.

Crowley's creations were threatened -> He goes against the rules, he wants to fight for them.

On the walls of Eden, he questions God and talks to an angel, his hereditary enemy, once again defying the rules, questioning them.

Job and his children were threatened -> He goes against orders to try and save them.

There is good reason to believe he went against God by saving some of the children from the flood.

He showed Jesus the kingdoms of the world—do we really think that was based on orders? No, it was once again Crowley not playing by the rules.

Wessex? He proposes the Arrangement, which is one gigantic "fuck you" in his fight against celestial rules. Everything after that goes back to Crowley knowing that their jobs suck and that they can cheat, fight the system by working together. In 1827, it gets him pulled to hell and punished, and yet he does not stop; he keeps fighting.

Crowley is the one who immediately tries to stop the apocalypse. Aziraphale needs to be talked into it, needs to be convinced with selfish reasons and personal pleasure.

The reason why both heaven and hell absolutely loathe him is not because he is a runner; it's because he constantly and consistently defies them. He fights.

In season two, he immediately tries to deal with the Gabriel problem while Aziraphale is standing behind him and saying "I don't know" to all of his questions. Taking him somewhere so they can figure shit out in peace is not 'running'—it's smart. Sure, it's far from ideal, but we see what keeping him in the bookshop brought them, don't we? The hiding miracle is what tipped heaven and hell off in the first place.

Aziraphale goes to Edinburgh based on a hunch, but once again—did that help? Did his journalist roleplay trip actually provide vital information that solved a single puzzle piece of that mess? No. Finding out that Gabriel was at that pub with some mystery person was a nice fact to know, but that's it.

During the ball, Crowley is scared, vigilant, prowling around the shop, checking windows, telling Aziraphale to "stop this charade" so they can figure out what to do. Aziraphale, in that moment, was already convinced that sticking to the rules would save them—a heavenly embassy on a technicality, surely the group of fallen angels who got booted due to not following heaven's rules will respect that.

Crowley goes to heaven, which is once again him actively looking for a solution, while Aziraphale also falls back on fighting because fawning is not going to do shit.

There are three times during which Crowley suggests fleeing—which is his secondary fear response—but those are exceptions. Let's have a look at them.

The first one is at the bandstand, the evening before the Apocalypse, and since Aziraphale is lying to him, the situation seems hopeless to him. Yet he is still having his 'agents' look for him, is still fighting.

Do you know why he even suggests running? He is about to leave when Aziraphale calls him back with "there isn't anywhere to go," and now allow me to insert the following passage from the scriptbook.

Crowley looks back. He looks at Aziraphale. Above them, a beautiful starry sky. And Crowley softens.

"Big universe. Even if this all ends up in a puddle of burning goo, we could go off together."

The sentence in the show is slightly different, but they have one thing in common: If.

IF the world ends, we can still leave and be together. IF.

Crowley is NOT saying "let's leave", he is presenting Aziraphale with a contingency plan in case stopping the Apocalypse does not work. He is NOT running, he isn't even SUGGESTING to run.

It's a "if the world ends, we can be together. We don't need to be with hell or heaven; we can be in the stars," because remember what the end of the world would mean? Eternal torture for Crowley while Aziraphale bores himself to death in heaven.

The next time he suggests it again—when he stops Aziraphale on the street—several things have happened.

First, he did not leave. If he truly wanted to flee, he would have by now, but he didn't. He sits in a cinema waiting for the end: "Out of time. Out of hope," as Neil puts it. Then Hastur and Ligur show up on screen and tell him, 'You're dead meat, Crowley. You're bloody history. […] We're coming to collect you'.

We all know that means "eternal torture in hell," but if you're not convinced for some reason, have another snippet from the script book that did not make it into the show.

Dagon is speaking from the Bentley's radio while he drives towards the bookshop, saying that something has gone wrong and they're sure he has a 'perfectly reasonable explanation' for it. Once he gets out of the car, however, Dagon still keeps going and says the following:.

"Your explanation, and the circumstances that will accompany it, will provide a source of entertainment for all the damned of hell, Crowley. Because no matter what agonies the damned are suffering, Crowley, you will have it worse."

Crowley already knows that. He has been punished by them before, heard, seen, lived torture, there is no doubt as to what will happen should they catch him. So he does what any person with a single fucking brain cell would do—he tries to get his loved one and FLEE.

Flight is the best response in this situation, and if you need me to explain why, then honestly, I cannot help you anymore. I won't go into detail about Aziraphale's response, but, tl;dr, it was shitty and incredibly hurtful, go figure.

Now, let's get to situation number 3, which is his speech during the final fifteen. We do not have an official script for that, but someone did make transcriptions for all episodes; you can find them here. Additionally, I will copy some of what I already said in a different meta post.

Crowley, stuck in his trauma-induced hypervigilance and paranoia, suggests putting as much distance between them and the problem as possible. I think it is interesting that in ep1 he wants to get Gabriel away from them, while at the end of the season, he is ready to get them away from the problem.

So far, I have never seen anyone mention that change! And it’s important! The entire season, it is hammered into our heads how much they love being on earth. It is THEIR bookshop and THEIR car and THEIR life.

Crowley wants to protect that home, and Gabriel is a threat to it, a threat to both of them, their life, the bookshop—everything. He does not want to leave, he wants his peace and angel in one place.

Yet by allowing Gabriel to stay, Aziraphale destroyed the sense of comfort and safety Crowley had slowly developed over the last few decades. Heaven nipping down every now and then to check in with Aziraphale is very different from him sheltering the Supreme Archangel who is running from ‘something terrible’ without even asking if he’s alright with that.

Aziraphale calls it their bookshop, but he fundamentally still sees it as his space to govern and Crowley as a guest; he even calls it a 'heavenly embassy'.

After another horrible week and having his previously safe space violated by several different times and beings, Crowley is back to where he was before—without a home. That fragile existence broke apart, so he is standing in the heap of shards and telling Aziraphale 'I don’t feel safe here anymore, let’s leave’.

He lost his safe space, but he still has his safe person, his best and only friend, the person he loves. I doubt he cares where exactly they go as long as they’re together and it’s safe.

Returning to heaven—it is the one place Crowley cannot follow him to. It’s literally the worst option, he can’t go back, he won’t go back. So he invokes the bookshop again, if you don’t want to stay for me, stay for the bookshop, your books, your corner of existence that I thought we had carved out for ourselves.

There is a common error that people make regarding the timeline, which is assuming that during this conversation they are already aware of the impending apocalypse—but they aren't. Aziraphale himself has no clue, and while Crowley saw the conversation and trial, he does NOT know when it will happen. For all he knows, it could be tomorrow, could be in a thousand years, and, even if he had been given a date, I doubt they laid out all the details and how to stop it.

Considering that his original plan was "get drunk at the Ritz and then have us time," I don't think he knew literally anything about how or when to stop it. So no, Crowley does NOT suggest running away from earth and leaving it to die.

All he wants is some bloody peace and quiet where no demons, angels, or power-hungry floating heads can interrupt them. A space that is safe and theirs. There are also zero mentions of where he wants them to go; he is not talking about the stars or the universe. He wants to get away from where they currently are because heaven and hell show up uninvited whenever they please.

If your boss and ex-boss constantly kicked down your front door and stated their wish to torture you, would you stay there or would you move? Yeah.

This post got very long, but it was long overdue.

I am tired of seeing people call Crowley a callous coward who always runs away from his problems when he is the literal opposite. You take three sentences said under exceptional circumstances and apply them to Crowley as a whole, when it is nothing but his last ditch effort to keep himself and Aziraphale safe.

One last thing: If you come onto my post and start aggressively arguing about this, I will block you. Genuine discussions and questions are always welcome, being a dick is not, and I also simply cannot handle some of the rhetoric people in this fandom perpetuate because it's very triggering.

Make your own post, don't do it on mine.

[alwaysrunningoutoftime]

sydcarmy intimacy in fics i would take in canon instead of a kiss (alternatively the sydcarmy love language):

having a proper honest and vulnerable heart to heart post the freezer

properly creating a menu together with balanced dishes between the two and fusions (source)

sharing a notebook filled with sydney's ideas and carmy's drawings (source)

carmy opening up to sydney about his struggles

sydney opening up to carmy about hers

resting their hand on top of the others

taking a minute to breath, resting their heads on each other (source)

carmy breaking down crying while sydney holds him (source)

sharing a meal together, sharing a spoon (source)

cooking a meal for the other

cleaning and wrapping a bandaid around the others cut (source)

cooking in a kitchen outside of the bear, moving together like a synchronized dance (source)

carmy driving sydney home

carmy gifting sydney with a scarf

going to the farmer's market together

going on food tours together

carmy being invited to the adamus house

carmy seeing sydney's childhood bedroom

sydney seeing carmy's desolate bedroom

sleeping over at each other's house after working on a menu together late into the night

watching a tv show on the couch together

[vladimpale]

vacation on kyoshi island

[dayurno]

this is somewhat of a vent post & something i said i would not do again but has been plaguing me enough that i think getting it out might feel better. so. has anydoggy else been. Baffled and upset by nora sakavic’s refusal to speak on how terribly aftg has treated its characters of color? with the author of the series coming back with a new book and starting up on her online activity again, and questions of what she’d change about aftg bubbling up, it’s particularly glaring to me that we are all playing this very long game of pretend where we ignore how badly the non-white cast has been treated & her lack of thoughts on it

and i understand not wanting to bring up nicky and thea because people pick on her for it. i’m not trying to discredit nora sakavic’s terrible history of getting harrassed online by aftg fans. but i think it is very cynical, and it is very juvenile, and most of all very cruel, that she gets to ignore the very real ways the books have set up these characters to be hated. i think it’s obvious why the characters who get the most hate are the only canonical characters of color, and i think we do not get to treat this like a deliberate decision on the fandom’s part when the books have put these same characters in degrading and embarrassing and terrible positions in the first place. aftg is not a story about nice characters with clean pasts, but there is a very specific nastiness to the only characters of color being a brown man who sexually harasses and later assaults the main character, a black woman whose only scene is her lashing out at her love interest after being ignored for the first two books, and the japanese villain who gets maybe two lines of complexity before he goes back to being a terrible person. the white cast, in comparison, while not at all free from flaws, are never shown to commit mindless evil; all of their actions are ultimately justified. the book goes out of its way to give them concession after concession. we know exactly who to side with, because aftg tells us who these people are. does nicky’s assault ever get addressed in the books? does riko’s reasoning to be the way that he is ever gets more than briefly aluded to? is thea reserved even a shred of humanity or grace in her one scene?

anyway. it’s been years of talking about this and the fandom has been constantly hostile to criticism in this regard, and more recently any criticism at all, and it’s Grating to be on the other side of this discussion. it’s exhausting to know that in ten years we do not get even an acknowledgment besides the author saying she will not answer questions about nicky and thea anymore. it’s upsetting and it’s ugly and i wish no one had to talk about this again, but we do because what i thought was common sense has been washed away by a sudden influx of no-nuance adoration for the trilogy. basically i hope we all explode

[m0rninglatte]

Prison duo core:

Stab the god of creation (Sword edition),

Nothing happens, heck one of em aint even there,

Their yelling at another verison of themseleves while the other is trying to stab their dad.

Stab the god of creation (Reaver edition),

Lose a person and huge fuckin spiral bout it.

[Spoiler alert: he ascended to god hood]

Stab the god of creation again (Trident + glitch edition),

God and Bird reunited?

Kiss about it.

[hcnnibal]

yes i’m feral and do try to account for every possibility BUT WHAT DO YOU MEAN WILLFULLY FEEDING US FALSE INFORMATION WE TRULY WORSHIP AT THE ALTAR OF A CAPRICIOUS GOD (said by a guy having the time of their life oh my god vati be so serious right now i’m kicking my little feetsies im having so much fun my enclosure is thriving)

ive also been feeding my betas different versions of things so ill know if theres a leak

[lover-of-mine]

― Annelyse Gelman

[jennyfromthebes]

no okay so in Jenny From Thebes, the song Only One Way references Distant Stations off All Hail West Texas, which is a song about a person missing someone who was in a way a mentor figure to them and someone they loved in some way who symbolised safety, and we know that people who have needed help are the most likely to then later offer help to others; thus I believe that rather than Distant Stations being someone else talking about Jenny, it's Jenny talking about someone who was that for her, before she was the person we know and love in JfT. and in Cleaning Crew, Jenny references Portland as a place that's significant to her/that she has some tie to, maybe as a place that she used to live and/or where someone who's important to her lives? the album Transcendental Youth is also directly tied both to Portland and to Jenny, an album about people who "madly, stupidly, blessedly, won't stop surviving", an album that's very dark and depressing but bookended by songs about how you have to stay alive. the album opener, Amy aka Spent Gladiator 1, has the line "people might laugh at your tattoos/when they do, get new ones in completely garish hues" which can be seen as a parallel to Fresh Tattoo, and "make up magic spells/we wear them like protective shells" which can be seen as a parallel to Murder at the 18th Street Garage. I don't actually think that either of those (or really any of this) means anything but they're a fun connection. circling back to Portland, Jenny knows someone there, yeah? I think that the person she knows in Portland is the person who helped her when she needed it and that person is Amy. no wait why are you walking away I have more to say about this

[dukeofthomas]

I'm so mad that so far the only good robin!jason content i've ever found is his original run. Everything i've seen since has just been making him out to be the Angry Bad Problem Child and victim blaming him for dying. How is it that the only fucking good characterization of him is 20 issues from the 1980s

[vermillioncrown]

This is going to be a huge post because you've picked up so much of what we put down I'm just 🥰🥹

@sunshinerotting replied to your post “(@rozaceous) dpnf ch 11: housebroken”:

will be rereading immediately but i love your guys’ characters very much and the way you write the canon characters makes so much sense. the way the people in that house interact with each other is so interesting to me because if tim was actually the normal boy he thinks he is the entire balance would be thrown off. no one else could’ve done what he does in that dynamic. they’re like a jigsaw puzzle to me. i have more thoughts give me a sec

thank you so much! roz and i keep joking that this fic is now an au of an au of an au of an au... and on and on, and then it's like. what makes this still a fic and not a fully original setting and work? we had to sell readers on a lot, that these characters (outside of our SIs) were still some flavor of canon. especially, "who is the core of tim drake?" and yeah, he's so not fucking normal. but he's not obviously wacky, either.

​out of order now i don’t remember chapter numbers: when jason showed up like a huge asshole i texted my friend about it. very much “he WOULD fucking do that but by god is it PISSING ME OFF” and it was!! love that genuinely. might not be what was intended but i do think he IS odd and sad and unable to move through the cycle of grief fully enough to show back up like a haunting and not expect it to get to allie like that. zero ability to understand how loved he is. 10/10 more...

GAH to know you texted abt our fic!!!! 🥹🥹🥹 best praise tbh. and the second sell: how is jason an asshole but worth rooting for later? or at least, allowed into the enclosure lol. we might not have had it summarized as neatly as you did, but roz and i are in full agreement you Read jason here. that's exactly what we wanted, that's so much of what we take from his character in various canons.

allie reminds me of a bobcat which feels weird to say but she’s so nonthreatening outwardly and she minds her business but the second someone steps in on her people it’s like Oh. oh right. teeth and claws. when jason showed back up i felt so much for her. there was no way for her to move. korvin acts in ways similar to me, which i will examine on my own time and not in your comments. i do love how everyone in this house has their own preferred flavor of Avoidance

you also have such a read on allie, i love it. i'll leave her to roz but i'll say my piece that i sometimes get bummed that korvin's so obviously wacky + a lot of gender stuff at play (the audience/demographic of ff readers, we live in a society and all that) that make more ppl focus on korvin over allie whereas they're both equally wack. and korvin's behavior makes the most sense when taken as a convoluted male re-socialization of someone initially female-socialized but rewarded in a male-dominated space. AND both of them are AuDHD, word of god putting that out there. add on the isekai brainworms, and yeah, isekai is just an extended analogy for masking → hence the different flavors of avoidance

tim is somehow the most well-adjusted in this regard, before jason shows up maybe, and thats so crazy. tim drake. Tim Drake ????comparatively well-adjusted to anyone ??? i know i’m forgetting something so i’ll come back but writing that down genuinely through me off a little bit. lol

you also recognize that jason ranks above tim in "well-adjusted" here, god, how does it feel to be so correct. and tim is well-adjusted here! he's never had to be a vigilante! but he's also much lonelier than in canon. something that made retrospective sense while we were writing is that he fell out of liking ball sports (despite not being a desk nerd) is that...who does he have to enjoy them with in this au?

threw not through. anyway I FORGOT ABOUT RUTABAGA. I AM SO SORRY RUTABAGA. the amount of love between the characters is so important to me bc it’s always there no matter how fucked the bats are about showing it normally. the brownstone does end up feeling like a safe space like it somehow feels so easy most of the time and then when tangential forces (sorry dick) show up it’s like the air changes. but allie and korvin and tim all have such Personalities its insane it works out like that.

RUTIE BEST GIRL, forgiven lol. YES YES YES there is so much love and it's like, the love doesn't stop you from doing the work. the bats are so fucked up, and we only get a glimpse of dick and korvin's relationship where you can see the maladapted consequences on both of their parts, dick not being fully equipped to "raise" korvin and korvin wanting to be easy/convenient for dick. and korvin's deep-seated not-abandonment issues tied with family and cultural trauma/burden.

(i still stand by the "good older brother dick grayson" tag, he's just. oh there's a lot. if you read between the lines there's so much being implied for TPAC)

but having allie in this 'verse, allie and korvin together ground each other. that's why they're so co-dependent in the beginning (it's healthier at the end), that's why they still had the wherewithal to seek an outside friend, and yes, that is why the brownstone is like that. their place that they made with their own hands.

obviously jason was an issue initially (it felt redundant to write that sentence) but he’s such a necessary part of them by being 1) necessary to allie and 2) the catalyst allie and korvin needed to end up where they are. i do think ppl that important to each other need one big unavoidable conflict to avoid stagnation like obviously he was a necessary part of the story but he was a Necessary Part Of The Story. does this make sense?? four strand braid.

AND YES DUDE you literally. we were writing this and we had the vibe, but we literally did not articulate it to each other until the very end that jason's actually necessary to make all of them normal. i love everything you're saying about needing one unavoidable conflict to resolve. he is part of a four strand braid. it's so strong. it's critical. korvin still finds jason annoying and vice versa. and yet they'd both say the household contains all of them by the end.

i just like that they start off alone and end up together. that’s my thing. jigsaw puzzle. polycule of all time. i can’t think of a way in which another person would ever get that close to them the dynamics are so perfect to me. every need is accounted for. its like a perfect little box in my mind. i think thats it for now lol i’m happy you guys write together. not just bc i love it but also bc it’s so clear u guys have fun doing it and that makes me happy <3

WE MADE IT. it's one thing to prescribe "hey guys this is a polycule" but selling it? the logistics of a polycule? not so easy, and it has to be tailored to the situation and characters. not all of them are romantically/sexually involved, nor do they have straight-forward relationships (hence, qpr), so having you say it fits and they seem seamless is like. top tier praise. coherence, it's everything we've aimed for.

thank you for all of your thoughts! we do have tons of fun and that's why we love sharing what we have! and we hope to keep doing projects like this, or we'll just be at each other's side while we work on our individual fics.

[clegfly]

Getting REAL sick and tired of how omori TikTok views sunny.

Like, they view any scene of him being emotionally vulnerable, affectionate, or even just making an expression outside of just being completely neutral as “mischaracterised”. He’s not some cool, stoic, unwavering badass, he is a traumatised teenager. Don’t cry whenever he dares to give his friend a hug or (god forbid) be SAD about something??? Isn’t like. Part of the point of his development about him allowing himself to break down the repressive walls he built when he shut himself in? And being able to rely on his real friends instead of imaginary versions? And isn’t the game like. Meant to SHOW that he still cares about them despite isolating himself?

It’s really stupid to get mad at a character like that showing emotion or affection personally, especially since he’s not used to expressing it properly after so long. But that’s just me