#writing: a surprisingly visceral experience

[shepherds-of-haven]

Hi Lena! You are so awesome to do the questions for Oc game. I can't imagine writing all the reply on top of working in your game. 🥺🥺🥺❤️❤️❤️

If you still have some spare time, could you do question 16, 18, and 22 for Riel please?

16. What makes their stomach turn?

18. What embarrasses them?

22. How does jealousy manifest itself in them (they become possessive, they become aloof, etc)? 

Hi rynna, thank you so much as always for your kind words and support, I really appreciate it! 💖💖💖 And sure!

16. What makes their stomach turn?

Riel is a pretty big germaphobe, so lots of things he perceives as unhygienic give him a nauseated reaction! He does okay with things like mud and dirt (he was annoyed but functional during Chapter 8 when he had to traipse around in the woods in his good shoes and suit) and even to an extent doesn't bat much of an eye at blood, but other stuff, like sitting at the opera while someone furiously scratches their scalp in front of him and he sees dandruff flaking off, finding hair in his food, sitting next to a stranger who coughs or sneezes without covering their mouth (god help them if they happen to cough or sneeze on him) really makes his stomach churn. (I had a flight yesterday and was sitting across from a lady who kept filing her nails at the gate and then loudly blowing the nail-dust everywhere, and I kept thinking about how Riel would have apoplexy if he were there.)

This also goes for asymmetrical things (content warning for people who are also bothered by that kind of thing) like this:

"Stomach-turning" may sound like an exaggeration but he experiences a very real, visceral feeling in his gut when he encounters stuff like this: it's similar to what people with trypophobia might feel when looking at stuff with lots of little holes/pores? While he's learned to forge through it when it's just not possible to fix it, in the past he wasn't able to concentrate because of that feeling and would just fixate: he once quietly hired a stonemason to fix a public walkway overnight because the cobblestones were out of place!

On a more serious note, failure or being bested really makes his stomach turn. I think it makes him physically sick to lose, especially to an opponent in a serious situation (not like playing chess with someone, like an actual high-stakes scenario where he wasn't expecting to lose). The whole conflict with Thieves Guild and Merchants Guild where Chase kept successfully raiding his caravans and eluding the authorities kept him up for weeks! Aerin was convinced he was going to develop an ulcer...

18. What embarrasses them?

Surprisingly, not much, he doesn't care a lot about other people's opinions so he just does what he wants and rarely feels "embarrassed"; if he's taking other people's opinions into consideration, it's because it ultimately serves some ulterior motive for him, not because he's a people-pleaser by nature! If he does feel embarrassed, it's often a second-hand embarrassment by proxy, like if he brings you to a fancy party with a bunch of politicians he needs to impress and you start stuffing your face with canapés and belching; but I think that's a "lack of control over the situation" discomfort and embarrassment rather than "I care so much about these people's opinions and now I want to melt into the ground and die" if that makes any sense!

22. How does jealousy manifest itself in them (they become possessive, they become aloof, etc)? 

I think if we're talking about romantic jealousy, it depends on how the object of his affections is handling the situation! If it's like "my crush has genuine banter and rapport with a friend or romantic rival and I'm jealous of their dynamic/closeness," I think he goes right into denial that he's jealous and tries to act like he doesn't feel anything about it because that sort of emotion would be ridiculous!!! So he'd throw himself into his work with an unusual vehemence and be extra irate and snappy and foul-tempered. If he's, like, in an official relationship with his partner and someone is flirting heavily with them and they flirt back/entertain it more than Riel would think is appropriate, he would become very cold and tart towards them in his jealousy, like "okay cool I don't care" and would essentially give them the cold shoulder and act extremely aloof and chilly, almost like they're strangers to each other, he doesn't care that much. I think he does experience possessive feelings but doesn't show them outwardly by trying to "claim" or cling on to the object of his affections in that way; he'd find such behavior embarrassing for both parties, him and his lover!

[weebsinstash]

I really feel what you mean on that last post. I’ll mix my yandere ideas with horror and then remember that dark stuff does happen to real people. It kinda puts me off writing horror sometimes

I try to always tag my shit appropriately and that's one of the biggest reasons, is the knowledge and consent with consuming certain things, but even then, I myself have had times where I read tags and labels and I'm like "ok, ok, this sounds like a good time" and then I read through it and I say "actually, this is surprisingly upsetting for me, I feel viscerally uncomfortable" and can even like lose my day to Depression Fog

Like. For example one thing that immediately springs to mind is I will say things like "oh, what if Reader had a stalker that kidnapped them and treated them like an object and you know noncons you all the time, youre just their pretty little cum dumpster" and that, you know, has a different focus and energy than like, a specific hentai whose name I want to say is maybe Dropout where there's a school that basically forces the girls with the worst grades to be, would calling them "free use sex slaves" be accurate. Like on paper they're being forced into a lot of the same dehumanizing sort of scenarios I occasionally brainstorm, collars marking them, other stuff

Another I guess specific name is if yall have ever heard of Kuroinu.m (because I had an ask recently asking for porn recs that I've been neglecting to answer lmao). That's a hentai that's like OG monster fucking stuff but i vividly remember being like turned on and disgusted by it in the past bc it's like, monsters and defeated heroines and stuff, good size difference, got the hero vs villain aspect, good, good, but it's also like eventual dehumanization of women with sprinkles of "this is all you'll ever be good for, all the women are enslaved, the female knights are enslaved, the princesses, etc etc,"

But then again those are also drastically different tones so maybe that's a bad comparison. Like for me a common, I guess, "yandere aesthetic" that i personally try to always include or appeals to me, or at least my most common interpretation of these kinds of stories, is that the inherent forcing of, anything, any act whatsoever onto the victim/Reader by their, you know, yandere/partner/whatever, displays that the aggressor wants or likes or needs something from you that much to the point they force you into it. They lose control of themselves for you.

I mean shit you want another example, I wrote Doubt where Reader is pregnant and then the overturning of Roe v Wade happened and pregnancy felt disgusting and a physical threat to be defeated, and then some time after that now the newest development is "what if Reader loved her new chubby baby actually and she decides that the father is the problem and fucking books it and also hooked up with Clark as a defense maybe 😳"

I guess consuming media and engaging with kinks is sort of an ongoing development for everyone, and I guess that goes even without NSFW material too. You can try a new story and they explore a concept you've never encountered before and find yourself absolutely DISGUSTED, or you could find something that awakens something in you. Playing Corruption of Champions in my formative years was definitely an experience for sure. I remember reading a Transformers fic once where a bunch of the Autobots literally got reprogrammed and had their memories altered and even spark bonds erased like their actual souls tampered with to become enslaved and that was like upsetting at that time like the sheer loss of even will and ability to control and feel ones one thoughts, and now I occasionally play around with "tee hee what if write ABO where Reader is an Omega and those hormones are just ao crazy sometimes she just maybe kinda loses control a little maybe ;) those alpha smells can send you in a little frenzy maybe tee hee ;)"

Finding your comfort zone is an ongoing experiment I guess

[abstractfairy]

i like to organize my writing by having one note with everything related to a topic / goal — well, ideally goal for reasons that probably deserve their own posts

i love having this organization and this garden of ideas that GROWS on its own. sure i might be wrong about something today, but if i pay attention to it for a year or more i'll Definitely have it fixed sooner or later

social media does not help with this long content—as in the post is written over the span of several years with beliefs and predictions being tested and validated or corrected

and maybe social media doesn't help with this because people also don't really care about it. i don't want to know your personal history about the thing, i want to know your best advice about it. maybe this is best kept as a for the artists eyes only kinda thing

but yeah, people vastly underestimate hoe important and powerful it is to take notes. not for your teacher or your boss or some other bullshit authority figure. but for you and your friends. here's how i think about things and here are my experiences related to it.

(i can also rant about how people who focus on academic studies in favour of their direct experiences are also fools in another way. but itll take effort to write that *and* suck out the negativity)

when you're a pro in something its actually surprisingly hard to remember the basics in a way thats easy to explain to others. and if you can actually do so,,, its kindaa~ boring. so EVEN IF you're a beginner at something you should take notes so you can help guide yourself and others. and maybe you should be the one writing because you'll be viscerally aware of which parts are hard and confusing for beginners

take notes and share em y'all

[ghcvvddcv]

The Merchant’s Prologue part 2

Chaucer uses The Merchant’s character to form the idea of disillusionment within marriages of the Middle England Period. Throughout the Canterbury Tales Chaucer’s literary representation of women is surprisingly positive for instance The Second Nun's Tale and the Wife of Bath's Tale, in regards to the period in which he was writing, he uses the hyperbolic nature of The Merchant’s lament to imply there is a lack of evidence for his wife’s alleged cruelty.

Chaucer shows that The Merchant is dramatic in his depiction of the torment of marriage through the instantaneous employment of “w” alliteration in the couplet, “weping and wailing”, the pair of verbs suggest The Merchant experiences great sorrow and the tonal sound of the words evokes pity in the audience as it stresses the continual sorrow he expresses. Chaucer also employs the imagery of a hunting trap to further accentuate the idea that The Merchant is a victim to his wife’s totalitarian behaviour, he refers to marriage as a “snare” this both creates imagery of the Merchant as prey as well as develops the sense of futility he feels about his situation. Chaucer uses this to create irony, as in the 16th century, marriages were finalised through a contractual agreement that bestowed the wife to her husband as the property of her father, showing how women lacked agency far more than their husbands.

Chaucer uses The Merchant’s comparison of his wife to the devil to strengthen the idea that The Merchant views his wife as the bane of his existence. In fact, he claims she would “overmarche” the “feend” himself, implying The Merchant’s exaggeration of his wife’s power and association of female autonomy with damnation. For a contemporary audience, this illusion would evoke great shock and discomfort as their society was incredibly puritanical, they existed in the era when witch trials were carried out through society's brutal imposition of oppressive standards towards women. In 14th century Ireland a woman named Alice Kyteler, was accused witchcraft through heresy of her step-children, the claims were taken so seriously that although Alice escaped her maid Petronella de Meath was tortured and burnt at the stake. Similarly, The Merchant’s claim poses a very grave threat to his wife’s reputation and in addition his own which implies the falsity of his remarks.

The Merchant's longing for his wife to possess “Griseldis grete patience” rather than her extreme cruelty is bizarre as Griseldis is a character within another one of The Canterbury Tales, The Clerk's Tale. In which Griseldis is depicted as the idealised version of a 14th century wife as she remains loyal to her husband despite him feigning the deaths of her children to prove her commitment to him. Chaucer uses this allusion to Griseldis to captivate the audience and further stress the ridiculousness of The Merchant's rationale, whilst shedding light on the skewed beliefs of how wives should submit to their husband's. Within 14th century marriages husband's held authority over their wives and households as they were responsible for the financial decisions regarding their families, which helped ingrain the concept of the subservience of a wife to her husband within society.

Chaucer expresses the implausibility of The Merchant's grievances regarding his marital tribulations by employing the metaphorical depiction of suffering as akin to a "ryve unto the herte," denoting a profound emotional rupture. The word "ryve" means to tear or rend, suggesting a visceral and painful experience, in fact such a physical action would have incurable effects, thereby accentuating the exaggerated nature of complaints. Chaucer's deliberate use of vivid imagery shows the irrationality inherent in the Merchant's assertions, thereby amplifying the inherent absurdity within his narrative concerning the challenges of married life.

Ultimately, Chaucer's portrayal of The Merchant's plight serves as a microcosm reflecting broader themes of disillusionment and societal expectations within marriages of the Middle English period. Through the lens of the Merchant's exaggerated lamentations, Chaucer navigates the complexities of gender dynamics and power structures inherent in medieval marriages and invites the audience to critically reflect upon the nature of marital relationships within the 14th century.

[gaslightgallows]

UGH okay so my current fic-wrangling issue is that I have two fics dealing with the same scene and the same setting and the--honestly they’re more or less THE SAME but the... emotional component is different? Like, the characters are approaching the situation differently in each story. 

But the fundamental difference is so incredibly small that I’m debating just PICKING a set of emotional stakes and smushing the essentials of the gutted fic into the entrails of the surviving one. 

That’s right: two fics enter, one fic leaves. 

[calaofnoldor]

What’s Mine

Characters: Sam x F!Reader, Dean

Words: 7,595

Summary: The secret you and Sam are hiding from Dean is threatened by your inability to keep your hands off each other.

Warnings: 18+ no actual smut but plenty of implied smut, pre-smut, and smut adjacency lol, secret dating, enemies to lovers, jealousy and possessiveness (exhibited by both sam and reader), slight obsession with sam’s big ass hands (i blame this largely on @walkerboy290​‘s glorious hand porn gif sets), and language

A/N: inspired by and written for @thinkinghardhardlythinking​ bc she’s been bugging me to write smut and using her birthday as a bargaining chip, so i hope you’re happy sai. happy (belated) birthday babe! i suppose in my subconscious need to truly honor you, this became the longest one shot i’ve ever written... that and this is now also a little birthday gesture for the brilliant and beautiful @sams-sass​​ (damn your close birthdays!) even though she never asked for smut (if you hate it, i’ll write you something else!) happy birthday to you too, darling!

also written for @superbadassnatural​‘s 333 badass followers celebration with the prompt “___ and I are together.” “Yeah, right, and I’m Santa.” and @writethelifeyouwant​‘s 300 follower fic challenge with the prompt “All the pretty girls like Samuel” (both prompts are bolded in the fic) i’m sorry i’m so late! congratulations to both of you and thanks for letting me enter your challenges!

[basically i have a lot of people to blame for this disaster 😂]

Square Filled: Secret Dating for @spnfluffbingo​ and Enemies to Lovers for @girl-next-door-writes​ Make Me Feel Bingo

MASTERLIST

The waffles on your plate are surprisingly good for a sketchy, 50’s-themed diner, but unfortunately your attention is elsewhere. In fact, the two distinctly masculine voices behind you have been obnoxiously impairing your ability to savor the buttery, syrup-doused carbs since their owners sat down in the adjoining booth. It’s the topic of their discussion that disturbs you, and nips at your conscience until you realize you can no longer take off without imparting a few words to your oblivious colleagues.

Turning your head subtly to the side, you try to catch a glimpse of the men you’re about to confront in your peripheral vision. From what you can see, they’re both rather burly, a little rough around the edges, and from what you’ve heard, recklessly cocksure. You know the type all too well. Being a lone hunter of the fairer sex for most of your life means you’ve long since learned that the best way to combat their kind is with a steadfast façade of thick skin and unwavering confidence.

So you sigh and put on your best smile before turning around, crossing your forearms along the top of the booth seat, “Listen fellas, I hate to interrupt, but I really wouldn’t bother with the bamboo dagger and Shinto priest if I were you.”

“And who the hell are you?” the one with shorter hair demands. He’s a bit stockier than his companion and has a face that looks like it was designed by Abercrombie and Fitch - well that explains the arrogance.

“I’m the person who’s about to save your asses evidently,” you respond with a smug grin, trying not to let their absurdly good looks deter your act.

Abercrombie’s partner, the Fabio wannabe, releases a quiet scoff, “And how are you gonna do that?” he questions dubiously.

“By letting you in on a little secret…” Throwing him a tight smile, you lean forward and lower your voice, “That ōkami you’re after? It’s not an ōkami, it’s a ghoul.” Sitting back, you await the outrage.

“What?! But that’s not possible, I checked the lore. And it’s obviously got a type.” Fabio’s glossy chestnut locks fall across his delicate features as he shakes his head in disbelief, and you almost snort out loud. How did this amateur expect to hunt with hair like that?

You look him over, taking in the broad shoulders and muscled arms, as well as the obvious height advantage he’s got over Abercrombie even whilst they’re both seated. To be honest, you’re surprised he’s referencing lore at all. Guys his size always assume they can either outman or outgun whatever obstacles cross their path, and they almost never take women like you seriously, despite your ample years of acquired knowledge and invaluable experience. It’s this experience that surmises a bit of antagonism here is inevitable, so you might as well get a head start.

“Yeah well maybe you should check again, big guy,” you glance down at his hands, your first mistake as their sheer size render you speechless and subsequently agitated at yourself for the momentary lapse of visceral lust, but the show must go on, “Make sure those giant, lumbering hands of yours don’t fumble over anything important or you might miss the connection to Isabelle Harding. You see it’s not ‘a type’; it’s revenge.”

“Wh- Bu- I looked through the files. I wouldn’t have missed that,” Fabio insists.

“Oh yeah? Why don’t you type ‘Isabelle Harding’ and ‘1987 school bombing’ into your search bar and see what comes up?” you gesture towards the laptop on their table with a raised brow. Minutes later, both men are dumbfounded by the revelation on the screen, staring between it and you with their mouths agape.  

You chuckle silently at their faces, “Don’t worry, there’s no need to thank me. Although you rookies might wanna go home and let the more experienced hunter finish up here.” As you’re about to bid them farewell, you dip back in to add, “Oh and a word of free advice, maybe don’t discuss supernatural monsters quite so loudly in public spaces next time. It might invite unwanted attention.”

With that, you turn around and slap some cash down next to your unfinished waffles, before grabbing your jacket and strutting out the door.

Sam is left in utter confusion. The sudden animosity you had spouted his way seems completely baseless and unwarranted. Had he somehow offended you? Sam generally considers himself a highly respectful and fairly easy-going guy, not quite as hot-blooded as his brother, and thus not as likely to provoke such antipathy from a complete stranger. To make matters worse, he certainly can’t deny that something about you had registered within his subconscious as inexplicably attractive, despite the way you’d embarrassed him. In his flustered and slightly aroused state, it had been all he could do to remain awestruck in his seat and stare blatantly at your ass as you walked away.

The next time Sam sees you is only twelve hours later and no less humiliating. You’re mid-swing in the killing blow against what you had accurately predicted to be a ghoul as he and Dean tumble in. Despite the low lighting, Sam is once again stupefied by your raging beauty, augmented by the incredible skill you’re displaying in a much more physical sense this time around. Before he can drag his eyes away, there’s a collective shout of “watch out!” and suddenly you’re right in front of him. In a blur of events, you somehow manage to push Sam out of the way and successfully decapitate the unexpected second ghoul that had been sneaking up behind him, with only a slice across the arm to show for it.

“Didn’t I tell you two to go home?” You’re panting from the exertion and Sam’s gaze lands on the neckline of your shirt, skewed from the fight and revealing a good amount of cleavage. He quickly averts his eyes. What is happening? Sam can’t remember the last time anyone had evoked such a staggering reaction from him. He feels as if he’s a mere spectator in his own body.

Across from him, you press your hand against the wound and curse when it comes back covered in blood. At your groan of pain, Sam finally finds his voice again, “Shit. I’m so sorry! I don’t know how I missed that other one. I- that normally doesn’t happen.”

“Yeah, I bet that’s what you say to all the girls, huh?” you reply offhand, still a bit out of breath.

It’s easy for Sam to dismiss your mocking given that he feels terribly guilty for being the cause of your injury. From where he’s standing, the cut looks deep. “Here, at least let me stitch it up for you. It’s too awkward a position for you to do it yourself,” he offers, holding out his ginormous hands to you like he’s waving a white flag.

“I think you’ve done enough damage for one day, haven’t you, big guy? At this point, I’d rather Abercrombie over there be the one behind the needle.”

“Who- what?” are the first words Dean speaks since the action has died down.

You turn to face the shorter guy, “Oh don’t look so surprised. You might as well be the model for a slightly older Ken doll. Are you up for it or not?”

Dean’s mouth hangs open as he tries to determine whether he should feel flattered or insulted.

“Uh- actually, I’m better at stitches than my brother,” Sam butts in.

“With those jumbo, fumbling hands? Yeah, sure you are, big guy,” you decline skeptically.

“It’s Sam,” he states through a clenched jaw.

“OK, Sam. Since I just saved your life, you mind making yourself useful and burning those bodies while your bro puts my arm back together? You know, as a ‘thank you’ perhaps?”

Sam is stunned for the third time that day. No one has ever belittled him (whilst gratuitously attacking his size) insofar without any apparent reason. It seems as though his very existence upsets you and the arbitrariness of your contempt has caused an anger to stir beneath him, but beyond that lies bewilderment and irritation. How had he managed to accomplish two such massive mistakes in front of you in the span of so short a time? Perturbed and bitter, Sam silently sets to work on the bodies.

Meanwhile, you’ve come to a surprising realization as Dean begins to cut the fabric of your flannel away from your damaged arm, the name ‘Sam’ and the words ‘my brother’ resounding in your head, “Wait a second- there’s no way… you’re not… the Winchesters, are you? Sam and… Dean?”

“The one and only, sweetheart.” He sends you a dazzling smile that is as perfect as you’d expect, but within his eyes is an underlying poignancy that you recognize as clear as day: an indication of a traumatic past and a lifetime spent plastering on tough veneers. You notice as well how gentle his touch is and how his stitches are practiced and prudent. Perhaps you had judged him too hastily.

Through an incredulous chuckle, you retort, “Well I can’t say I didn’t expect more from you, but at least this’ll get me a free round of drinks at the hunters’ pub tonight.”

Dean laughs with you before sobering at the thought of how his baby brother must be feeling, “Hey listen, take it easy on Sammy, alright? I don’t know what’s gotten into him today but he’s not usually like this. He’s actually the smart one, believe it or not.”

Scoffing, you can’t help but smile back at Dean and soon find an easy rhythm with the older Winchester, despite your awkward introduction.

From several yards away, however, Sam looks wistfully back to see you smiling lightheartedly at something Dean’s said, the two of you huddled in close proximity as his brother’s hands drift across your bare skin. Something akin to envy bubbles within his chest although he’s aware it makes no sense, so with a frown, Sam does his best to shake it off and get back to work.

But it’s not easy to forget you. And just as Sam is beginning to think he’s rid that awful day from his memory, you pop back into his life three months down the line.

“Well, if it isn’t the overgrown hunter extraordinaire Sammy Winchester.” The sarcasm that oozes from your otherwise beguiling voice has him gritting his teeth in no time.

“It’s Sam.”

“So you here to mess up my hunt again, Sam?”

Although he wishes he could have been the bigger man instead of surrendering to the resentment you roused within him, after a couple repeated hatchet burying attempts fall through, Sam just can’t resist the little game you’ve started.

Over the next few months, you and Dean form a fortuitously close bond and the older Winchester develops a habit of calling you up when faced with a troublesome hunt, and vice versa. Despite Sam’s fabricated displeasure, a show he puts on mostly for Dean (since any other emotion would seem illogical given the way you treat him), Sam is peculiarly and begrudgingly excited to see you every time. But the match never ends. In fact, Sam lets it intensify each time you work together, always astounded by how you manage to get him so worked up.

“I’m telling you, it’s a rugaru!”

“Right, because the last time we listened to you, things worked out so well,” you remark sardonically.

“The lore says-“

“Ooh, quoting the lore again now are we, Mr. Know It All?”

At this point, Sam is about as huffy and puffy as the big bad wolf and if he were a cartoon character, there’d surely be steam erupting from his ears. “Look, Y/N, this isn’t about who knows more or who’s right; this is about saving those people’s lives!”

“You think I don’t know that? Was I not the one who saved your life the first time we met?”

“OK, alright, just shut up you two!” Dean finally shouts above you, “Would it kill you to just get along for two seconds?”

“No,” Sam admits.

“Probably,” you say at the same time, causing Sam to shoot you his overly perfected bitch face.

SIX MONTHS LATER

“What the fuck?!” Dean’s booming voice echoes throughout the bunker and moments later you and Sam come flying into the kitchen to answer his call, guns at the ready.

“What? What is it?” you ask while Sam scans the room.

A whimper is the only the way to describe the sound of Dean’s reply, as he points toward an unseen object on the floor. Edging toward him, you lower your gun in the direction of his finger until you discover the source of Dean’s distress.

With a sigh, you look toward Sam who is also exhaling in relief at the sight of the entity in question. The two of you share a moment of wordless conversation before simultaneously dropping your guns with a conclusive nod.

“Why does this feel like déjà vu?” Dean’s tone is still timid and appalled, and you nearly laugh at the idea of a grown-ass man looking so aghast because of a used condom.

“Because it kinda is…” you supply unhelpfully, earning yourself a small glare from the man beside you.

“Dean,” Sam begins with a deep breath, “There’s something we have to tell you… Y/N and I are together.”

The snort that escapes Dean is full-bodied and borderline psychotic, “Yeah, right, and I’m Santa!”

You wait till his snickering subsides, “No, it- it’s true.” Your voice is hesitant yet hopeful, “We’re not joking. We’ve kinda become… a thing.”

“A thing?”

“Yeah, well you know, I don’t wanna have to put a label on it or-“

“Y/N’s my girlfriend,” Sam declares with conviction as he reaches out to curl his long fingers around your waist and lasso you towards him.

“-Buuuut, that is the one I’d use if anyone asks,” you quickly affirm with a stiff pat to your boyfriend’s abdomen, wincing at the unversed attempt of PDA and missing the dimpled grin that crosses Sam’s amused features.

“Well, I don’t buy it. I don’t believe either of you.” Dean’s sturgeon face comes on strong as he shakes his head and points a challenging finger at you, “Kiss him, right now,” he dares with perked brows.

The eye roll you respond with is so dramatic your entire head moves with it. But then, without a moment of pause, you turn your body into Sam’s, reach up to grab the back of his neck and pull him down for a searing kiss. Now this is something you’re well-versed in. The reunion of your lips starts off relatively slow, but it doesn’t take long to escalate into something more fiery that involves tongue, the eager push and pull movements of your bodies, and Sam’s enormous hands cradling your head.

After a moment of shock, Dean objects, “Alright, alright, I get it! That’s enough of that!”

Unwilling to recede just yet, you linger in the kiss for a little longer, delaying your separation by nibbling down on Sam’s lower lip and tugging gently, only releasing it as you pull away torturously slow. When the two of you finally open your languid eyes, it’s to stare into each other’s dilated pupils and ponder the moment for an indiscernible minute.

“What th- I said, I get it! Now could please stop ogling each other before my lunch comes back out the wrong way?!”

But the way Sam’s smiling at you is addictive and you can’t bring yourself to look away until he forces a break by leaning in to plant a tender kiss upon your forehead before tucking you into his side as he faces his brother again.

Dean’s face is covered by his hand, “I’m gonna need a minute. I just-“ His features leap through a range of expressions as he tries to find the right words, “When the hell did this start anyway? I thought you two couldn’t stand each other?”

“Yeahhh, that was mostly an act. Although we bought it at first too,” you explain with a shrug.

“We weren’t pretending the whole time. It just kind of happened and we didn’t really know how else to act around each other by then,” Sam adds.

“Right, basically it turns out there’s a fine line between love and hate... and that line is hardcore yearning.” Your words bring a chuckle to Sam’s lips but his brother still looks out of sorts.

Shaking his head with closed eyes, Dean sighs, “Alright, can someone just explain to me exactly how this happened, because I’m still not computing here. But spare me the details and try to keep it PG-13,” he emphasizes with adamant hand gestures.

“How do you know it’s not PG-13?” you inquire with a held-back laugh.

“Ha. With the way you two were playing tonsil hockey just now, I can tell you’ve been around the bend way more than I wanna know. My little brother doesn’t kiss like that on the first date.”

It’s impossible to hold back a giggle at the memory of your ‘first date’ and the way Sam had kissed you, “OK well, that would be hard, considering the story involves a lot of sex... You wanna give it a go, big guy?” you pass the ball over to Sam with a quirked brow and lowered voice, to which he responds with narrowed eyes and pursed lips, a little warning glance that you’re well aware means ‘save it for the bedroom’ but you simply smirk up at him.  

‘Big guy’ used to be a term you called Sam in contempt, but when the feelings between you evolved and a sexual relationship developed, it became an innuendo, such that calling him ‘big guy’ in front of Dean or in public almost always results in glorious sex. In fact, sometimes you believe the nickname has held a slightly obscene connotation for you since the beginning.

Afterall, your carnal longing for him has been present from day one, although at the time you had believed it to be purely physical. Sure, you had dreams about having him in various positions in your bed, but you figured those were merely betrayals of your subconscious mind. That was until one day, a heated argument in a rare moment alone had ended up in a violent make out session, after which the two of you had just barely gotten the last of your clothes back on before Dean walked in. One look at your worked up and frenetic states alongside the disordered condition of your surroundings, and he immediately assumed you’d been fighting again (which wasn’t terribly far from the truth), chortling as he asked if you would have killed each other had he returned a bit later.

With a clearing of his throat, Sam begins to recount the tale, “Uh, well it started in that motel in South Carolina, while you were out getting food…”

“Look, all I’m saying is there is no way he’s using the hospital as a dump site! It’s just not feasible!”

With complete disregard for the peace and quiet of the other residents within this thin-walled motel, you and Sam once again find yourselves in a shouting match.

“Oh right, I forgot! You’re Sam Winchester! How could you POSSIBLY be wrong?! Mister ‘look at me, my IQ and LSAT score match my fucking height! Oh and I also happen to have the physique of an Adonis without even owning a gym membership!’” you roar bitterly, gesticulating with your hands to help better communicate your pent-up indignation.

“Right and you’re Y/N Y/L/N, so how could YOU possibly be wrong? Miss ‘look at me, I never went to college but I’m a genius AND I can kick ass! Oh and I also happen to look effortlessly stunning through it all!’” Sam suddenly seems bigger than ever as he towers over you, that panty-soaking deep voice emanating from his diaphragm and infusing itself throughout the entire room until all you can see, hear, and breathe is Sam.

The fury takes over and you don’t notice your feet taking you closer to him, “Oh yeah because you don’t make EVERYTHING you do look so unnecessarily hot and make me wanna rip your clothes off all the damn time!”

“Fuck! And you don’t always drive me crazy when we have these stupid arguments and your chest starts heaving and you look so insanely delectable I just wanna pick you up and fuck you against the closest surface!” By now, the distance between you is essentially nonexistent and your brain is no longer run by reason.

“So why don’t you then?” are your famous last words, prompting Sam to grab you wildly by the back of a thigh, lifting slightly and driving you to climb up him like a spider monkey fleeing from a grounded predator, while his other hand pushes your hair aside to gain better access to your face. Your mouths clash in a fierce battle and before you know it, Sam’s huge hands are cupping your ass as your legs wrap around his waist and you rut into him, hands flying from his shoulders to his hair. Those divine chestnut locks that you’ve always dreamed of running your fingers through. They’re somehow even softer than you imagined and the revelation, in conjunction with the way Sam’s tongue is becoming increasingly aggressive causes a fresh surge of libidinous energy to rocket through you. As a result, you give his silky strands an irresistible tug and drink in the moan he makes, the sinful sound reverberating straight down to your core as you clench around nothing.

“Wait, wait, wait,” Sam groans as he grudgingly forces himself to pull back as much as he can, “Are you sure? Is this what you want? Cause I can’t- Y/N I won’t be able to stop myself if we keep going.” His eyes squeeze shut as if the notion of stopping or the act of keeping his lips away from yours is causing him genuine pain, and the entire gesture moves you.

“Fuck, you really are the opposite of everything I thought you would be,” you make a quick mental note to apologize later for your initially presumptuous behavior although you can’t find it within yourself to feel any remorse right now, “Yes, please Sam, fuck me. I want you so bad… I think I have since we met and I saw those gorgeous hands of yours,” you confess, biting your lip lightly.

Sam breathes out a low incredulous laugh, “What, these?” he asks, removing one of the aforementioned hands away from your butt to bring it into your line of vision.

“Yes, fuck they’re so big and beautiful and strong and-“

“Alright, I don’t need to know about your weird hand fetish!” Dean hollers abruptly, rubbing his fingers across his eyes as if he could somehow erase the image of you and his brother together out of his retinas. “OK, but that was like… four months ago. You mean you’ve been sneaking around behind my back this whole time?”

“Well at first we didn’t want to tell you because we weren’t even sure what it was ourselves,” you divulge.

“Yeah, we didn’t want to try to explain something that we didn’t understand yet,” Sam supplements, hoping his brother will understand the motive behind your secrecy.

You nod along, “But then… it got a little harder to hide.”

The apprehension behind Dean’s emerald eyes is unmistakable as he reluctantly inquires, “That’s why this felt like déjà vu?”

It’s with a grimace that you reply, hesitantly, “Remember the time you found those panties in the backseat of the Impala?”

Dean’s eyes grow comically wide and Sam ducks his head in preparation of what’s to come.

“Yeah, there’s a story behind that…”

The click of her heels against the porcelain-tiled foyer irritates you as the three of you stride through her front door. You’re posing as detectives sent to question this overdressed young woman about her late husband, but the moment she lays her eyes on Sam, you reckon she’s forgotten her beloved’s damn name.

“Oh my… lord and savior. Well aren’t you a tall drink of water?” she beholds breathlessly with a seductive bite of her painted ruby lips.

You cough loudly and Dean sniggers, thinking you’re annoyed about Sam getting such commendation and attention during a serious case.

“I know this might be the grief talking, but I would climb you like a tree,” she purrs, sauntering up to Sam with an exaggerated sway of her hips. With her half-lidded doe eyes adorned with dark, fluttery lashes and low, sultry voice, you have to admit she’s quite attractive.

Grinding your teeth as your nails dig into your palms, you glower at the woman unreservedly. She, however, takes no notice, running her hands along Sam’s forearms before gripping at his bicep to lead him toward her living room. “Please, come have a seat, detective. You can ask me whatever you want.” The wink she appends is somehow the final nail in the coffin.

It’s with zero hesitation that you feign the reception of a notification on your phone before declaring, “Oh would you look at that, the uh… Sheriff needs us back at the station, Sam. He says it’s urgent.” You try to keep your tone even, thankful that you all maintained your real first names for these aliases, “Dean, you’re good to conduct this interview on your own, right?” Without waiting for an answer, you trample over to snatch Sam’s other arm and ignoring the horny widow’s gaping mouth, proceed to haul him away.

Dean sends you a strange look but relents, “Uh, yeah I guess, OK.”

As soon as the door closes behind you, your hand shifts down to lace your fingers with Sam’s, marching him towards the Impala with a staunch and mighty purpose. Even Sam’s elongated legs stumble to keep up.

“So uh… when did you give the Sheriff your number?” There’s an edge in his voice that normally disappears when it’s just the two of you.

“Wha- I didn’t. Sam, I just made all that up,” you tell him as you reach the car and open its back door. Pushing Sam inside, you climb in swiftly after him, wasting no time as you straddle his thighs and begin to undress him, only pausing when he looks up at you in adorable, puppy-like confusion.

“Wait, what? Then what are we doing?”

That’s when it finally dawns on you, “Hold on a sec, were you… jealous?” You can’t help but smile, finding it amusing that he’s stewing in his own envy after what you just witnessed.

“No, I just- He was kinda all over you this morning.”

“You mean like the way Mrs. My-Husband-Just-Died-But-I-Wanna-Climb-You-Like-a-Tree was in there?”

“Oh, that’s what this is about?” Sam perks up, the hint of a smug grin ghosting across his lips.

“She was practically holding your hand!”

“That’s what bothered you the most?” He dips his head to catch your eyes and those variegated irises burn into you with an intense, questioning gaze, alight with mischievous curiosity.

“They’re my hands to hold,” you contend with a pout, subconsciously clenching your thighs around his as you seize one of his large hands with two of your much smaller ones, “Just like you’re my tree to climb.”

Sam’s head falls back in bright laughter, “I thought you said they were ‘oversized’ and ‘ungainly’?” he teases, quoting your previous slights.

“You know I only said that cause Dean was there.”

“I’m pretty sure you called them ‘fumbly’ and ‘lumbering’ the first time we met.”

Staring at his fingers as you play with them, you shiver at the memory of how they feel all over you. “That was cause I used to think all hunters with a Y chromosome were cocky, misogynistic assholes who needed to be knocked down a peg or two.”

“But I proved you wrong, right?”

“Fuck yes you did. So, so wrong. And now you’re mine, and I don’t like seeing other people touch what’s mine,” you growl before returning to your earlier task of removing his clothes, pouncing on him when your fingers finally land on bare skin. You kiss him fiercely, swallowing his surprised grunts with glee, and as his hands start travelling from your hips up to your back, holding you tight against him, your lips move down to his pulse point, sucking, licking, and nibbling, “Mine.”

“Fucking Jesus Christ on a cracker! You goddamn rabbits!” Dean squawks in protest as he begins to pace the floor, “Have you no decency?! And in my poor Baby! While I was busy doing all the work, saving lives!”

You roll your eyes at his melodramatics and can feel the tension in Sam’s abdominal muscles as he attempts to restrain his laughter. As if Dean had never taken a break during a case for a stress-relieving quickie before, or hadn’t been at least somewhat grateful to be left alone with a beautiful woman.

His next comment confirms your point, “Although, if I remember correctly that lady was a fox.” After a brief pondering pause and an introspectively appreciative smirk, Dean’s whining resumes, “But seriously! I can’t believe you two! Here I was feeling bad for forcing you to work and live together, hoping you’d eventually learn to get along when this whole time you were shacking up like animals and casually defiling my Baby just because what? Some girl touched Sam’s hand?!”

Feeling emboldened by the catharsis of this long-overdue airing of your dirty laundry, you decide to add to Dean’s exasperation, “Yeah and in the spirit of honesty, that might’ve happened more than once.” Sam tries to hold back his snort as he gives your hip a playful cautionary squeeze while Dean’s feet come to a full stop as he turns to give you a death glare. “Hey, it’s not my fault all the pretty girls like Samuel! And I’m pretty sure we wiped her down after.”

“I don’t even-“ Dean purses his lips and quirks his head with a dynamic expression of unbearable vexation, “You better be getting me pie every day of the week for what you did.“ He takes a deep breath before circling back, “Wait, OK so you’re telling me that a used condom ended up in our kitchen because- what? You two couldn’t keep it in your pants long enough to find a bed? You know what, forget I asked. I don’t wanna know. Did you at least sanitize the place after?? No, of course you didn’t, you left a fucking condom on the floor… I think I’m gonna throw up.”

But you hardly hear Dean’s rambling because you and Sam are far too wrapped up in each other, smiling as you recall the events of that morning.

Your eyes slowly drift open to find the most exalting sight in all the world: Sam Winchester’s sleeping face, blissful and serene. Lifting a hand to gingerly cup his cheek, the corners of your mouth curl up when he leans into your touch. It’s moments like this that make you wish you could wake up next to him every morning.

Only after you’ve traced his every feature and planted a soft kiss where his dimple would be if he were awake and smiling, do you carefully peel yourself from his side, slipping out of his hold as you quietly climb out of bed. Sam rolls over a bit and you freeze with bated breath, watching as his big arm extends out in your direction as if trying to reach for you in his sleep, before stilling again.

Mornings like this are rare and you want him to soak up all the restful sleep he can. Once you’re sure you haven’t woken him, you scan the room for something to cover your naked figure, until your eyes land on the flannel he’d worn the night before. Picking it up, you bring it to your nose and inhale deeply to revel in the residual scent of Sam. Another glimpse at his peaceful, sleeping form has you smiling fondly. God, you are such a goner for that man. It’s becoming hard to reserve your soft looks toward him for private moments alone.

You can barely remember how it happened, but over time, you’d come to learn that Sam is nothing like you originally imagined him to be. He’s kind-hearted and open-minded, the type of soul that can find hope and beauty in even the darkest of places, a far cry from the shallow macho man silhouette you’d expected him to fill. In fact, Sam routinely defies the expectations others have enforced upon him, proving his worth time and time again as he’s persisted through some of what must be the toughest challenges to ever face a single human. Yet through it all, his spirit remains intact, never once yielding to cynicism or resentment or apathy or even the building of walls as you and Dean have resorted to. He is truly the bravest man you know and infinitely more competent than your first fluke of a hunt with him had mistakenly suggested, both in the field and in bed.

Shaking the thoughts from your head, you wrap yourself in plaid and head out the door. Dean never questions your use of Sam’s shirts because ever since Sam firmly insisted on giving you his flannel after your second encounter with them resulted in Dean cutting your own top apart, you’ve grown into a habit of borrowing Sam’s clothes. You always claim they’re more comfortable than your own and Sam’s feigned annoyance over you ‘stealing’ his belongings tides Dean right over.

Half an hour passes before Sam approaches the bunker kitchen to find you with your back towards the entrance, busy prepping breakfast in nothing but his plaid. He pauses in the doorway to stare at you for a minute, licking his lips with an irrepressible smile. For some, this may seem like a stereotypical morning after, but for a couple of hunters, it feels like a dream come true.

After finally returning to the bunker last night following the completion of a series of successful hunts, you’ve got no solid obligations and very little on your to-do lists today, although Sam’s got more than a few ideas about how to pass the time, and a couple more come to mind when you stretch up on your toes to reach for something, causing the hem of his shirt to glide up until its corner reveals just slightest hint of your incredible ass. Sam can’t suppress his little grunt of approval, which catches your attention and makes you turn your head, peering back at him over your shoulder.

You smirk at the blessed view of him standing there in nothing but the pair of thin grey sweatpants you’d bought him a month ago when you discovered the viral online phenomenon, “Hey, big guy. You just gonna stand there and gawk or do you wanna make yourself useful and grab another plate from the top shelf?”

Chuckling at your false animosity, Sam stalks toward you, “Good morning to you too.” One of his vast hands falls upon your hip as he presses the maximum possible length of his body into your back side, while his other hand reaches up over your head to snatch the plate you’d asked for.

“Good morning indeed,” you concur with a silent gasp when you feel the generous bulge in his pants.

“Oh that’s not morning, baby girl,” Sam husks into your ear, “That’s all you.” His powerful arms slink around you and his lips find their way down the side of your neck, lingering in that tender spot just behind your ear whilst you tilt your head and close your eyes, contentedly surrendering yourself to the moment. “I ever tell you how good you look in my shirts?”

Wiggling your butt back to tease him a bit, you’re pleased with the hiss it elicits. “No, but you made it very clear how bad I look in Dean’s,” you counter playfully.

The man behind you scoffs, “I didn’t say you looked bad; you could never look bad. I just… don’t like seeing you wear his clothes.”

“Oh, I know,” you turn around in his arms, “I just don’t understand how Dean doesn’t know yet. I mean, I think you’ve been very obvious.”

“And you haven’t?”

“I’m not the one who leaves hickeys in very visible places all over your body!”

Sam’s eyes glaze over in lust, an idea clearly forming in his head as he glances down at you. “Dean’s a hot-blooded guy; he needs to know you’re off-limits,” he alleges before attacking your throat with his mouth.

“So why don’t we just tell him?”

Without pausing his efforts, Sam reminds you, “Because you said you thought it was kinda hot, all the sneaking around. Mmpf, and because you said you wanted to see how long it would take him to figure it out.”

You nod while running your fingers through his silken strands and leaning back to give him more purchase, “That’s true. But in my defence, we always have this conversation when we’re doing stuff like this and I can’t think straight when your hands and mouth are on me.”

“Kinda like how I can’t think straight when you’re wearing nothing but my shirt?” His kisses travel down from your neck to your collarbone and shoulder as he slides his loosely buttoned flannel off to one side, “Fuck, you’ve got me so hard.”

Without warning, Sam seizes your waist and hoists you into the air as if gravity were an absolute joke, before plopping you down on the edge of the steel counter, his thumbs digging lightly into your ribcage.

“Sam! This is where we eat!” you protest with a laugh.

“Exactly. Which is why I’m gonna devour you here.” He dives back into your neck, continuing his work on a little pink mark that’s already beginning to form.

“Oh fuck… Wait, what if Dean walks in?” It’s through a great struggle that you manage to push him back an inch.

“He’s got a date with the Impala. He’ll be in the garage all day, trust me.” Sam’s gaze sweeps over your body suggestively, “Now are you gonna let me taste what’s mine?”

With an equally lewd survey of his extensive frame, you reply, “As long as you let me impale myself on what’s mine later.”

His eyes darken and the way he’s looking at you like you’re the only person he’s ever wanted ignites a confidence within you, so in a rather swift motion, you grasp him by the shaft through his sweatpants – the delicious groan he emits at your touch is enough to turn your pussy into a slip and slide – and pull him back towards you until the clothed length of him is resting against your folds and your noses brush, while his hands settle naturally on your thighs.

Shivering, your breath stutters and for an instant you can do nothing but bask in the closeness of him. Sam seems to enjoy it too because he closes his eyes as he rests his forehead against yours with an elated sigh. For the second time today, you marvel at his beauty, whispering a string of gasping kisses along his lower eye socket and exquisite cheekbone, simply dying to breathe him in. All of him is so immaculate and sublime. Each time the two of you reconvene, you want to savor every fucking inch of him, but there are a lot of inches, so the task often overwhelms you. Still, you must try. Locking your ankles behind him, you use your legs to pull him even further into you and the friction makes you lose your mind.

“Fuck, baby girl, you keep that up I’ll be making a mess in my pants,” Sam grunts with his lips upon your cheek.

Your breathless laughter fills the air, thinking of the stain you've undoubtedly already left on his charming grey sweatpants. Nimble as he is, Sam takes advantage of your open mouth and plunges his tongue inside. After so much preamble, the kiss is heavy and full of need. When the pressure of his lips pushes your head back, your hands fly to his wrists for the sake of your balance.

From there, they journey upward across his vascular forearms to his bulging triceps, fondling his massive shoulders before sliding along his traps and up the gorgeous length of his perfect neck, until you finally reach the treasure trove of his impeccable locks. You tangle your fingers into the lush mane and yank, gently but zealously, making Sam growl into your mouth. His voice is the hottest thing you’ve ever heard and the sounds he makes always drive you insane.

Never breaking the kiss, Sam’s colossal moose paws roam up to your back as he slowly lays you down on the counter, his member somehow still notched at your entrance and the new angle rousing a quiet moan from you. When he ultimately pulls away, you pitch forward to chase after his lips, but Sam only grants you a devilish grin and a quick peck to the corner of your mouth before moving down to your jaw and neck. While one palm kneads at your breast through his shirt, the other begins pushing and pulling at fabric to uncover more of your skin for his wandering lips.

“Sam! Augh!” you cry out as your head falls back.

“I got you, baby. I’m all yours. Gonna make you feel so good.” As if to attest his words, he rolls his hips into yours and a needy whimper escapes you. With your fingers still twisted in his hair, Sam leaves no part of you untouched as his mouth travels down your body. But upon reaching your navel, he pauses, those vivid, color-changing eyes peeping up at you to check for any signs of discomfort or objection. Finding none, his thick tongue pokes out to lick a deliriously winding path from your belly button to your exposed clit. Then, pushing down tenderly on the insides of your knees to open you up to him, Sam directs you one last look that is both hungry and reverent, “I still can’t believe this is mine.”

Dean had stopped you halfway through your recollection, but it appears that was still too much for him, “What did I do to deserve this?! I feel like I need to go bathe in holy water for a week.”

You and Sam both open your mouths to respond but Dean cuts you off vehemently, “Ba-da-da-da!” His vocalized outcry is complete with animated gestures featuring an accusing index finger. “OK, before you two tell me another traumatizing story, that’s enough of the who, what, when, where, and how… I just need to know why. I mean, is this- are you- …?”

Sensing the protective wheels turning in his head, you decide to put Dean out his misery, “I’m not just with Sam because he’s an incredible lay if that’s what you’re wondering. We can skip the fatherly ‘what are your intentions’ talk. Yes, Dean, I am in love with your little brother… although ‘little’ is not exactly the word I’d use to describe him.”

“Sammy, could you please control your woman?”

“My woman?” Sam sounds mostly amused but you’re almost certain you can hear a hint of pride in his voice.

“Yeah, I admit I’m surprised I didn’t see it until now. You two are kinda oddly perfect for each other, you know, in a weird, kinky way.”

“To be honest, we’re pretty surprised too. I mean, he doesn’t look it but this guy is kind of territorial,” you quip whilst cocking a thumb in Sam’s direction.

“I don’t need to- Wait a minute, so all those bruises you told me were from hunts?” Dean’s eyebrows soar towards his hairline.

Chewing on your lip, you confirm his hypothesis with a miniscule nod.

“Yeah well that time you saw my back,” Sam chimes in vengefully, casting you a handsome grin full of mischief as he reveals, “that wasn’t a werewolf, that was Y/N.”

With eyes as round as dinner plates, Dean frantically shuts you both down, “OK, that’s it. Torture Dean time is over. I don’t wanna hear any more about your depraved sex lives! Look, I guess I’m happy for you guys, although mostly cause I don’t have to play referee anymore, but I’m gonna need you to follow some ground rules around here. Like rule number one! No sex in public places!” he starts counting with his fingers, “Always put a sock on it when you’re busy! And most importantly, no sex in Baby!”

Your laughter follows Dean as he wearily saunters out of the kitchen, an exhausted expression on his face. Turning to your newly outed boyfriend, you petition excitedly, “Does this mean we can have shower sex now?”

“Not while I’m around!” comes Dean’s snappy answer.

In contrast, Sam gives you the same look he did on that dreamy morning, “Oh trust me baby girl, I’m gonna get you wet somehow.”

“Still within hearing distance! I think I liked it better when you guys were at each other’s throats.”

As you’re giggling, Sam leans down to whisper in your ear, “For the record, I’m in love with you too.” And just like that, you’re tempted to re-enact your previous kitchen escapades.

TEAM IDJITS: @mrswhozeewhatsis​ @carryonmywaywardbucky​ @swiftlymoniquesblog​ @moosewinchester​ @sams-sass​ @thinkinghardhardlythinking​ @jotink78​ @winifrede​ @writingforthelonelysoul​ @turtletaylor98​ @lyarr24​ @deanwanddamons​ @peridottea91​ @tvdspngirl314​

TEAM MOOSE: @paulaern​

if you’d like to be added (or removed) please let me know!

[chainofclovers]

This Way Up season 2 thoughts and feelings

We finished watching the second season of This Way Up last night (watched it in two sittings over Friday and Saturday) and I liked it a lot more than I thought I would though the season did feel uneven at times. The story also made me feel incredibly, incredibly sad, and my brain is so cluttered with thoughts that I'm not sure I'll be able to actually make sense of the show if I don't just go on and share my impressions, as scattered, self-indulgent, and based on the limited memory of a single viewing as they are.

Where was I when I was watching this season of television?

Physically, I was on the couch with my wife, repeatedly remembering and forgetting that the Olympics were happening. And so, interspersed with this deep dive into the mental health and personal and professional challenges of London-based Irish sisters Áine and Shona, I experienced some archery, skateboarding (those bros honestly seem tooooo cool to even want to come to something as embarrassingly earnest as the Olympics, but good for them!), and men's gymnastics.

Mentally, I was contemplating some significant professional (and, yes, personal in their way) life events that are neither here nor there for tumblr dot com. I was also considering the season two premiere of Ted Lasso and my fannish relationship to that show. For it is true--the person I was while watching season 1 of This Way Up is not the same person who watched season 2 this weekend, because in the meantime a 45-year old white man from Kansas (and every person he knows) managed to become my primary media preoccupation, and I am surprisingly chill about how not chill I am about this anxiety-ridden ray of sunshine/football coach (both footballs). But as we all know, being chill does not mean feeling chill. That make sense?

Anyway. This Way Up. It's about to become a mess of spoilers and feelings in here, so venture behind the cut if you dare!

For Obvious Queer Reasons I was extremely curious to find out what happens between Shona and Charlotte and Shona and Vish. As such, while it was uncomfortable to watch, I think my favorite scene in the whole season is when Shona and Vish have video chat sex and Shona has this intrusive memory of sleeping with Charlotte that feels like the ONLY moment in the entire season that she isn't performing or editing herself in some way.

My other favorite moment is when Charlotte talks about how upsetting it is to feel like a "lesson learned" chapter in Shona's autobiography.

I cannot believe I'm about to type these words, but I think the writing on this show might actually put too much trust in viewers to pick up on things. I know, this never happens! This is my dream! Why am I typing this? But hear me out. I think there are a lot of interesting parallels in terms of whether Shona and Vish (established, engaged, committed) and Áine and Richard (new, taboo [but is it really that crazy that she ends up dating the dad of someone she tutors?], exploratory) are truly able to listen to each other and accept each other's needs. It's about honesty or lack thereof, and it's also about what's really happening inside someone's mind. It's such an incredible moment when Richard tells Áine he likes that she's always so "up" and she has this private moment where you can see this heartbreak in her eyes because of course we know that she really struggles with her mental health and with depression. And I like that the show has both Bradley and Charlotte in the position of being on the overlapping outside of those relationships, offering their own wisdom from a place of really, really caring about Áine and Shona. But I just wanted MORE of that. This episodes are so short, and I needed there to be more of a tight story about those parallels, more of a sense that we'd hurtle towards some kind of revelation by episode 6.

I realize this is a thing about UK shows, but these seasons are just too short. The episodes are like 24 minutes long and there are only six of them and I felt that while you could create an effective season of TV with those constraints, this season jumped between scenes too frequently. I wanted to live in the scenes for longer. I didn't want to feel like I was watching the editing and decisions about what to show happen before my eyes.

If season 3 happens, my second biggest dream is that Bradley and Áine can have a conversation following up from the observation that it would be nice to be with someone they're just comfortable with (spoken while they're slumped on the couch together having one of the warmest conversations two characters share all season). My biggest dream is that Shona and Charlotte can have a respectful conversation about how Shona defines her sexuality. I want Shona to be safe explaining if she'd want to use the term bisexual or queer or pan or even lesbian or some combination of those terms. Not because the labels are the most useful thing, but because in this case it would be incredibly useful for her to force herself to choose some words, not in the context of feeling Vish-related pressure. To be brave enough to describe herself, and to be safe enough to know that Charlotte isn't going to make some snide comment about men. It's totally fair that Charlotte is so hurt, but she needs to be able to listen, too.

I do think this season does an incredible job capturing Shona's intense ambivalence about herself, and how she is SCRAMBLING to deflect from that by focusing on her sister, work, family, wedding-planning, the hen do, basically anything but dealing with her own little brain and heart. I mean, when COVID starts to arrive in their lives, it feels like she really wants Vish's asthmatic uncle to be the golden ticket they need to call off the wedding.

I have mixed feelings about how frequently Áine references the feeling of being an actor or the feeling of experiencing things as someone might in a movie or show or the feeling that someone else is treating her as an actor or character rather than as a real person. I think it's an interesting thing to write about, but upon first watch I struggled to figure out if it was a commentary on the other parts of the story or an additional thread Aisling Bea wanted to weave into an already incredibly short season of TV.

It was very jarring to have a COVID plot. The only mainstream media I've seen so far with a COVID plot is--LOL (to quote Áine, who says LOL so many times this season)--the final scene of the Saved By the Bell remake. Again I say LOL!!! I didn't hate it or love it, necessarily, I just thought it felt strange because we're still in the pandemic and everything is strange.

Everything with Tom was so, so, so painful. I don't know if I can even get into it. I just felt visceral devastation and was hurtled into strong memories about people in my own life who died prematurely. (Suicide but not only suicide.) The way the last scene ended felt like--immediate tears just pulled from my eyes without me even realizing what was happening. And God, the way Tom-in-the-flashback calls her a "soppy cunt" (I think?) and we realize Áine used those exact words to jokingly refer to Richard's previous girlfriend who was a human rights lawyer? GOD.

While Áine and Shona don't really engage with each other in the same way my sister and I do, my sister and I are also really, really close and I'm the older sister and watching this show always gives me a lot of emotions about siblings. This is actually part of why the rapid scene cuts and feeling that they both were leaving so much unarticulated stressed me out. Áine nails it at the end when Shona has finally told her about Charlotte and she says Shona needs to tell her more, but I wanted to SEE that conversation happen. I wanted to FEEL Áine's reaction, because Áine's reaction matters more than Vish's or their mother's or anyone else's. It was frustrating!

I dunno, y'all. I really love this show. I think it is exactly what it wants to be. I could not tell you today if I will ever rewatch it even though I (think I) still consider it a favorite. I honor and respect the fundamental messiness and pain and hilarity of this show. What a wild experience.

[meaningofmischief]

We write our own destiny now

A Sylvie x Loki fanfiction - set on the train in the middle of Episode 3. Enjoy!

The pungent vapor of port with surprisingly fruity undertones hit Sylvie’s senses first, and her nostrils flared. 

The Asgardian ballad was on the heels of the port, and Sylvie was jolted out of her slumber by music that stirred long-buried feelings deep in her soul; music of a time she could barely remember but which was so viscerally ingrained she couldn’t help but be transfixed instantly. 

‘I can’t sleep in a place like this.’ - she had told him.

‘You can’t sleep on a train?’

‘No. I can’t sleep around untrustworthy people.’

‘Oh, right, that me?’

Sylvie had slept like a baby, through the chaos of the party that had kicked up on a train to the end of the world. She felt energetic, vital, and as she blinked away the muddied haze of sleep and focused her gaze on him, she felt something else - something which she couldn’t quite put words to yet. 

The romantic narcissist had made himself the life of the party of course. Arrogant, evidently inebriated, he flaunted his charm and his physicality with devastating ease. He was the day to Sylvie’s night, the yin to her yang, flamboyant and poetic and luxurious where Sylvie met him with fierce cunning and strategy and sinewy flexibility. Side by side there was nothing that was missing. They were a complete whole. And anyone who disagreed knew not what it was to see and need and embrace and adore every facet of the dark and the light of the experience of being alive.

This intuitive realisation settled over Sylvie calmly in the second before her cerulean eyes locked with his. Together with the decision that she would never be beholden to or dependent on this impossibly intriguing man. And with the decision that she wanted, with every fibre of her being, to kiss his warm mouth, to run her hands through his silky mass of ebony curls, to tangle their strong, athletic limbs and unite the two diametric opposites to make the whole and not resurface until for a brief moment the universe sang with a unity of the strands of identity.

The raucous chorus had ended and Loki was now eagerly shushing the equally tipsy crowd. Sylvie felt a pang of alarm to see that he had evidently long lost the careful focus that had been maintaining the illusion of the guards’ uniform that had been their cover. Instead he stood in that hateful uniform of the omniscient fascists that Sylvie had spent her life running from. It would take a lot to freely admit it, but it made Sylvie burn with a profound sorrow to see Loki trussed up in their ugly, faceless shirt and trousers, not to mention branded like an animal with his jacket which could not help but remind him, and Sylvie, anyone and everyone, that he was no more than a ‘Variant’ - one among a herd of cattle to be categorized with letters and a number, before being disposed of. Sylvie knew all too well what it felt like to be taken like a lamb to the slaughterhouse of the timekeepers: that one fateful encounter and her impossible escape were scorched into her mind and her drive as though by a branding iron.

But all that pain and fury and loss seemed to dissipate like fluffy clouds in the summer sky as her eyes met Loki’s, and his singing the words of a long-lost and nearly forgotten home pierced her heart and soul.

‘On mountains darkened by the storms,’ he sang, full of heart, in the haunting language only they on this accursed moon understood.

‘I’m wandering alone.’

He leaned on the bar - their gazes had only met for a moment and now he lowered his modestly, and like a reflex Sylvie understood. He felt the same way. He couldn’t reconcile those feelings. Of course he did, of course he couldn’t. The connection between them seemed to run like the finest of threads, exquisitely sensitive to pulling from either end. Sylvie pulled the thread. She kept her eyes locked on Loki’s down-turned ones. He sensed the invisible action. His eyes rose to meet hers and stayed there.

‘Over glaciers I’m pushing on...’ Loki continued and pain reverberated between the two - the pain of the forever misunderstood sailors without a destination, who lived only by the code: ‘Mischief, thou art afoot. Take what course thou wilt!’. 

Loki’s chin tilted upwards almost imperceptibly and Sylvie instinctively mirrored him.

‘The fair maiden is in the apple orchard...’ - his voice was softer now and suddenly the world seemed to shrink to just the two of them, and an intense heat, fire on fire, kindled between them. Loki seemed almost steadied by the influence of the alcohol, releasing his inhibitions, but Sylvie couldn’t help raise her eyebrows the smallest bit as she realised the potency of that fire.

‘And she’s singing…’ He was not as immune to the fire as Sylvie had suspected, rendered near breathless. Yet the ending to the verse was poignantly beautiful and clear:

‘When will you come home?’

Through the glass roof of the train to the end of the world, the sun of this unknown galaxy streamed onto Loki’s face, the purple vapors of the air lighting his ethereal features with a lilac glow and causing the tears in his sea-green eyes to shine ever so slightly. Sylvie’s tears were rendered invisible in the shadows of the alcove she was watching him from - but they were no less real.

This was not lust, Sylvie realized, again with one of those bizarrely calm flashes of intuition. Lust was angry and ran in a straight line - some dry and humorless part of Sylvie’s mind pulled up the image of the linear, unchanging path of destiny that the timekeepers declared as divine.

‘Love is hate.’

Lust was duplicitous and not to trust and everything that Sylvie and Loki had perceived themselves to be their entire lives. Everything that the timekeepers wanted them to be.

‘Nothing ever…’

‘Real.’

‘Hmm.’

‘Love is mischief.’

There would be time, Sylvie realized, as she slowly rose from her seat and made her way over to Loki, for argument and turmoil. There would be time, she realized, as he blathered on, in his hedonistic, utterly charming way about snacks and figgy ports, for conflict and courage. There would be time, she realized, as she moved closer to his scent of sweat and warmth and he to hers of leather and pine, for revelations and ultimatums. There would be time for the end of one world and the beginning of the next, for twists and turns and there would be time for chaos. Oh, there would always be time for chaos.

‘Love is a dagger.

It’s a weapon to be wielded far away or up close.

You can see yourself in it.

It’s beautiful until it makes you bleed.

But ultimately when you reach for it…

It isn’t real.’

And as the universe contracted down to Loki’s large, soft hand ever-so-gently tilting her chin up to his own, as his eyes held hers, in that split second Sylvie realized that this was love - for the first time in their lives, this was trust. Whatever either of them had thought up until now, love and trust were possible and they were real.

‘We write our own destiny now.’ Loki murmured as his lips collided with hers, her hands threaded through his curls and his through hers, they molded their bodies into one another and they reveled in the chaos they had made.

[latenightcinephile]

#703: 'Marketa Lazarová', dir. František Vláčil, 1967.

Marketa Lazarová is a slightly unusual film for me, because its effects go slightly beyond my ability to articulate or explain them. I originally saw it at a Film Society screening in 2015 or 2016, back when I was able to go to movies at 6 p.m. on a Monday evening, and it enthralled me then, splayed wide across the screen at the Paramount in crisp black and white. I knew very little of Czech cinema at the time and, embarrassingly, still haven't seen very much. Coming back to it five years later, it still holds a lot of that arcane power that it had. Marketa Lazarová is simultaneously a meditative experience and a gut punch.

František Vláčil was one of the Czech filmmakers who was originally trained with the Army Film Division, which surprisingly became a breeding ground for avant-garde filmmaking styles. Vláčil became disillusioned with the types of historical films that were being produced at the time, which seemed to him to feature contemporary people pretending to be characters from the past. What was needed instead, he argued, was a more immediate form of historical cinema that made audiences feel like they were witnessing history rather than a lacklustre interpretation of it. In order to achieve this, he frequently joined his cast and crew on long-term shoots where they lived in the types of conditions that the characters would. Sets were built using traditional methods, and scripts were written using archaic dialects to avoid that common experience of characters speaking in a recognisably modern way. The shoot for Marketa Lazarová lasted almost two years in these conditions.

The film's plot concerns three groups. The Kozlík clan, a family under the helm of a robber baron, robs a noble entourage and takes Kristian, the son of the bishop, hostage. Before Kozlík's sons can return to claim their loot, a neighbouring clan led by Lazar steals the spoils. Lazar is saved from being killed when a vision of a nunnery on a hillside appears. One of the chief themes of this film, alluded to early on, is the conflict between paganism and early Christianity. The two worldviews are muddy and indistinct, but the difference between them is what drives a lot of the retribution in the film. Kristian falls in love with one of Kozlík's daughters, Alexandra, while Kozlík's son, Mikoláš, falls in love with Lazar's daughter, Marketa, whom he has taken as a hostage in retaliation for Lazar refusing to side with Kozlík against the king and the bishop. In addition to the religious dimension, then, there is also an ongoing theme of where one's loyalties lie - with existing morals (family, God) or with the person you love. Over the course of this epic, the fates of all three groups trend downhill: members of each of these bands are slaughtered and betrayed; Kozlík and Alexandra are imprisoned; Marketa is released by Mikoláš but rejected by Lazar. The film's conclusion seems to suggest that it is Marketa, and the future generations she helps to bring into the world, that will be able to overcome the divisions that affected the clans so catastrophically, but also acknowledges that these types of conflicts are part of the human experience.

As vast and interwoven the plot of the film is, it's not what makes the experience of watching quite so transcendent. What makes this film feel like an out-of-body experience is Vláčil's use of non-linear and non-realistic techniques. Parts of the film's story are told in flashback, but without any explicit indication that this is happening. At times we see disconnected, hallucinatory images that only make sense when they are contextualised later on. One example of this is an erotic scene between Alexandra (Pavla Polášková) and a young man, who we assume to be Kristian (Vlastimil Harapes). It's only later that we discover that this is a flashback to an abortive romance between Alexandra and her brother Adam (Ivan Palúch) - a man I had initially disqualified from appearing here because Adam only has one arm in the current scenes. Revealing that it is Adam propels the story forward in traditionally linear fashion, but also causes the viewer to reassess the film's earlier scene to determine why these images are included there. These images are made further alien by their unexpected visual qualities: the sex scene takes place in a field of summer grain, but most of the film's 'present day' takes place in winter and early spring. Rather than ascribe them to an unmotivated flashback, it seems easier to read them as a poetic hallucination, and then Vláčil returns to reorganise what we had previously believed of the narrative.

As well as the narrative structure, Vláčil frequently employs long periods of silence and a seeming mismatch of cinematography, where figures are either oddly close to the camera or absurdly far away. On a deep level, it feels like nobody, even the director, has total control over what is being portrayed - like we've entered a kind of fugue state in which cinema just happens regardless of how legible its results are. Although its filming process was so long, the resulting scenes feel accidental or improvisational, culled down from a vast amount of footage.

While many of these techniques give us the experience of watching a dream of an imagined past, these techniques are also quite violent and confrontational. Even when the shots are distant or filmed in long takes, they're cut together in a jarring way, and the lack of a straightforward narrative makes it difficult on the viewer too. The activity implied in this method of editing, a complicated soundscape and opaque narrative combine to make Marketa Lazarová a film that feels very immediate and present. As Tom Gunning put it, writing for Criterion about his early encounters with the film, "an energized mobile camera and abrasive editing peers into a primitive era of human history." Just as the characters of the film are quick to anger and quick to act, the film also lacks temperance. This is a film of life and death in its most vital forms, and so it makes a certain kind of sense that Vláčil would, in defiance of the typical historical film, try and remove any layer of modern logic or reason that would prevent us from experiencing the film's events in a visceral way. This is also why the myth of the werewolf hangs so heavily over the film - invoked a few times by Kozlík's wife, and present in the appearance of his children and their uncanny survival abilities - it both defies modern logic and refers to a particularly corporeal type of monster.

Vláčil structures Marketa Lazarová with sudden intertitles that refer to the events and themes that we are about to see, in a poetic way that recalls the chapter titles of a 19th-century novel. 'On the Lot of Widows' and 'Who in the Past Brewed with Hops' provide the vantage point of someone placed about the action, narrating it to us in a distant sort of way. The music is similar: both ancient and modern, it frequently uses atonal incantations. Taken together, it feels like this story is being shouted at us from a distant time when things were more tactile. "The presence of animals and plants, the textures of stone and tree bark, of snow and marsh water," Gunning writes, "cling to us as we watch, often overriding the narrative."

The grand experience of watching this film is partly contradictory, then: this is a film that feels very modern, tells a story from the past, alludes to contemporary struggles, and when situated in Czech film history is wildly experimental. Gunning sees this film as being, in some respects, a statement about what Vláčil thought cinema could be, in those days of the 1960s where most national cinemas were experiencing their own variations on the New Wave that had developed in France. The experimental aspects of the films of Godard and Varda would be subsumed into the traditional toolbox of cinema and lose some of their vibrancy as a result - either directors would use them for blockbuster films or extend them into a new type of experimental film that was sterile and aloof.Considering this, it's worth appreciating exactly how daring Vláčil was being here: under a Communist regime, making a film about paganism, bestiality, sadism, incest, and torture. With all this darkness, Marketa Lazarová is a bright film, even funny at times. Humanity is a fallen, self-destructive thing, but there is something about this way of life, before it was layered deep underneath civilisation, reason and enlightenment, that was exciting and vibrant.

Does civilisation mean we lose something of our potential? The final narration of Marketa Lazarová tells us that these cycles of mistrust and anger are likely to repeat through the generations, but is that a price Vláčil thinks is worth paying? The urgency and difficulty of life in the distant past was inseparable from the superstitions of the time, but the urges were easier to sate, at least temporarily. The taming of these clans, like the taming of the avant-garde techniques Vláčil employs here, might have been inevitable, but this film shows that there is something valuable there nonetheless.

[anhed-nia]

BLOGTOBER 10/20/2021: FALSE POSITIVE

I've been avoiding writing about this extremely zany movie for a couple of days, because I'm not 100% sure I perfectly understand what happened in it. I don't usually read a lot of interviews or other contextual material for Blogtober posts; I tend to focus on the visceral, emotional impact of movies by documenting my own responses. I do try to make a scan of the basic available information about a production before I write anything down, in case I've lapsed on something really obvious. In that spirit, I watched this movie once, glanced at the trivia section of iMDB, said "Wait, what the fuck?!" to myself out loud, and watched the movie again, wondering if it could possibly have been weirder than I already thought it was. I can't promise that I've come to any satisfying conclusions, but I'm going to try to piece together what I gathered. Even if you don't find this post effective, please know that it's the hardest thing I've ever had to write. Extensive spoilers to follow.

First, let's look at the plot, if I can effectively summarize it: After a long struggle to conceive, Lucy (Ilana Glazer) and her husband Adrian (Justin Theroux) experience a miraculous breakthrough with the help of Adrian's mentor, John Hindle (Pierce Brosnan). The in-demand Dr. Hindle's good looks and smug charm practically scream "too good to be true", an impression that grows in Lucy's mind once she discovers she is pregnant with twin boys, and a weaker female fetus. Due to her tenuous reproductive health, Lucy opts to have a "selective reduction" of the twins, but she comes to suspect that Hindle has actually terminated her daughter. As she detects the threads of a conspiracy tightening around her, she also starts to lose her grip on her sanity, plunging her into a paranoid nightmare in which her harsh reality is even more frightening than her intensifying delusions.

I thought I knew what I was getting into with this. ROSEMARY'S BABY is one of those movies that has become a genre unto itself, with legions of imitators slavishly repeating not just the thesis statement, but all of the key beats ad nauseum. The medical conspiracy, methodical gaslighting ("You just have MOMMY BRAIN," Lucy is told by someone every 10 or 15 minutes), the naming of Lucy's husband—Adrian, like Rosemary's actual baby—and even the familiarly sing-songy score suggest a movie you could watch with your eyes closed and not miss a thing. In practice, though, FALSE POSITIVE is surprisingly challenging, and the icky scenes of Hindle smiling into Lucy's face as he fondles her insides, asking her if she'd like to watch through a mirror, or unloading a giant-sized syringe full of semen between her legs, and insisting on a post-operative hug, are only the half of it.

Like Rosemary before her, Lucy is hopelessly alone in her seemingly idyllic marriage. She lies still in the stirrups as across her spread legs, her doctor and her cosmetic surgeon husband engage in sycophantic banter about their brilliant careers: Adrian was booted out of a hospital for performing a free breast augmentation on a mastectomy patient who couldn't pay, and his old teacher Dr. Hindle quit in solidarity to form his own astronomically successful fertility clinic. Herein is our first hint of the modern moral ambiguity that threads itself through FALSE POSITIVE: Women should be entitled to take control of their bodies in whatever way they wish, and it sounds like Adrian committed professional martyrdom to help his patient. However, when he produces the necessary sperm sample at Hindle's clinic, we hear him climaxing to a pornographic video of a woman being beaten across the face, which can taint our view of this man who insisted on installing big tits where he found them wanting. Ilana Glazer co-wrote this picture, so it's reasonable to perceive gender politics at work throughout. An advertising professional, Lucy thanklessly ghostwrites speeches for her husband, and is a rising star at her all-male company—where, inevitably, her condescending coworkers take credit for her achievements. Her friends are non-existent, having been dismissed as loud and annoying by Adrian, and her attempt to join a mommy group places her among catty, jealous hypocrites. So, Lucy really has no one to turn to when she starts to have disturbing nightmares and hallucinations about her pregnancy.

No one to turn to, that is, except Grace Singleton, "the Midwife with soul". Played by Sierra Leonean actress Zainab Jah, Grace appears swathed in traditional garb in internet videos where she rails against modern gynecology's unnatural pathologizing of pregnancy, and pontificates about women being almost superhuman creatures of cosmic importance. Lucy is hypnotized by Grace's web presence, swept away by a fevered vision of folk images of childbirth, juxtaposed with cold and gory (real) clinical photographs. She is dazzled by Grace's office, where every object looks imported directly from Africa, and seduced by the midwife's rhetoric about women knowing their own bodies better than any patriarchal gynecologist. As Lucy declares that her new Black doula is "magical", I really started to wonder what FALSE POSITIVE was up to. Is this an illusion sprung from Lucy's privileged imagination? Is it a satire of the colonizer's guilty equation of black and brown people with primal nature and spiritual enlightenment? Or is it part of a larger comment on identity, as we are told twice that our protagonist eschews her ethnic-sounding given name, Lucia, for the more anglo-sounding Lucy?

My puzzlement only grew as the plot thickened, with Lucy discovering that she is being studied and spied on by Adrian and Hindle. She seeks refuge in Grace's office, only to find that it has been completely whitewashed. "What happened to your office?" Lucy gasps. "I thought it was more culturally...uh..." No longer clad in a dashiki, Grace coolly replies, "I am not your mystical negress." This may suggest that Lucy imagined most of her relationship with Grace, beginning with the psychedelic stupor induced by Grace's internet videos. But then, when Lucy arrives at Hindle's clinic for a final showdown, he makes sardonic remarks about Grace being no good, which suggests that Hindle somehow affected her apparent transformation. Nevermind how; the inconsistencies Lucy experiences seem to come from her imagination, but could Hindle have hypnotized and manipulated Grace in a similar manner? Or was Grace always a red herring employed by Hindle...even though her influence causes Lucy to abandon Hindle's practice? Or else, are Hindle's mind control techniques so powerful, whatever they might be, that he can curate what kinds of hallucinations Lucy has?

So, the first thing to know about FALSE POSITIVE—the thing I sort of wish I had known first, anyway—is that it is directed and co-written by John Lee. Lee has written and directed for a lot of hip comedy series, including Broad City with his co-writer and star, but more importantly I think, Lee is a member of the artist collective PFFR, who made their mark with the apocalyptic kids' show parody Wonder Showzen. That indescribable series offered a hair-raising blend of Sesame Street and FACES OF DEATH, a trojan horse of a comedy that reveals itself as a merciless assault on hypocrisy everywhere, including in the very heart of the viewer. Scenes of children interacting with sleazy puppets are punctuated by blitzing Mondo-style montages of animal cruelty, crimes against humanity, and whatever else the PFFR team could splice together to affect maximum shame and despair...while remaining, against all odds, brutally funny. This goes some way to explain this movie's envelope-pushing medical horror, its confrontational use of snuff-like images, and its ambivalent engagement with identity politics. Unfortunately, this awareness isn't very helpful in illuminating exactly what FALSE POSITIVE is ultimately trying to say.

Hindle's aryan minions are kind of a tell.

During Lucy's first appointment with Dr. Hindle, he marvels at his own unequaled talents while working on her undercarriage, chortling, "I wish I could clone myself!" We eventually discover that this is basically what Hindle is up to; everyone who comes to see him is secretly getting a dose of his own DNA, which he considers inherently superior. It is with this eugenicist attitude that he "reduces" the weakened female fetus from Lucy's pregnancy, preserving the healthier males. But here's the thing: I read comments online suggesting that ADRIAN is a clone of Hindle. I found this only in the Trivia section of iMDB, and not in any of those trendy "ending, explained" articles scattered around the internet. And, there is no piece of dialog that contradicts the simpler idea that Hindle just tags in for every fertilization. But, the clone idea does seem to answer certain questions I have: For one thing, Adrian is definitely in on the conspiracy against Lucy, which we know from the secret spy files he maintains, including detailed medical information. But, that would suggest that he knows Lucy is being impregnated by Hindle. So then, why do we witness Adrian jacking off to violent pornography to give Hindle a sperm sample? This only makes sense if Adrian is literally a clone of Hindle, and both men know that they share identical DNA. Adrian is styled to look just like a younger version of Hindle right down to the jutting beard, and maybe Adrian's desire to have a son named Adrian Jr suggests that he knows he is part of a strict genetic continuum. Unfortunately, nobody ever says or does anything that makes this possibility more explicit, so the viewer comes out of the film no better off than Lucy. Who, at least, gives us a great grand guignol finale.

Personally, I like a movie that doesn't answer its every question, and allows for a mix of objective and subjective reality. I like to be mindfudged now and again. But, the failure of FALSE POSITIVE to establish things like when and how and why Lucy hallucinates, sheds doubt on whether any lingering confusion is more of a mistake than a deliberate creative choice. I wish it were otherwise, because there is a lot of interesting base material here, with the potential to blend button-pushing horror with salient social critique. Unfortunately, I've come away with the impression that the movie is just sort of out of control, shocking enough to keep your interest, but not focused enough to make a real statement. Still, it is something to see, and hopefully by now, you know if you are someone who needs to see it.

PS Is this image supposed to be this funny?

[shihalyfie]

“The 02 characters didn’t get any character development”

Yes, they did.

“But -- “

Yes, they did.

Having had the gift of having rewatched 02 recently, I have to say that it still really, really confuses me how the hell people get this impression. It’s not even “I’m trying to see the best out of this” but that I genuinely do not get it, because as far as I’m able to see it’s pretty much literally right there!! This isn’t even tinfoil hat tier!

But in case you have any doubts, sit down because Shiha’s gonna sit here and write a meta about the 02 kids, and how they are perfectly reasonable characters that developed properly fine over the course of the series.

(All below translations of 02 dialogue are by PositronCannon.)

So the first thing to understand about 02 is that it is fundamentally made with a very different writing approach from Adventure in the first place, and therefore it is not meant to be compared in a one-to-one fashion.

This is a point I’ve said many times over and over, and I think it’s to the point where it shouldn’t even really need official clarification, but I’m just going to go ahead and bring up the words from Director Kakudou himself:

For instance, we had the prior series stick out in terms of its points about “what it means to be oneself”, and for 02 we made it so that you would pay attention to “the relationship between yourself and other people”.

Right, so: 02, by design, does not use Adventure’s character development methodology of “self-awareness”. It is built from the ground up by having its characters and character development predicated on relationships instead of singular characters. This might seem a bit odd on its face, but no man is an island, and, in fact, changing the way you interact with other people and with the world in general does speak a lot about one’s personal growth in its own way. And this also means that if you try to analyze 02 by holding it to Adventure-based standards of “character focus episodes” or the like, you’re already on a losing battle.

This means that character growth in 02 is not presented in a way where it’s up-front and center, but rather something you have to glean over the natural course of the series. We’re working off relationships, so you have to actually pay attention to the natural interactions between the characters or what they say even during “off-hours” -- the focus-episode format used by Adventure doesn’t apply here anymore. And it’s something apparent enough from how “evolution” is a metaphor for “personal growth” in this franchise -- in Adventure it was via the Crests, which meant self-awareness, but 02′s key evolutionary trump card is Jogress, which relies on the strength of relationships.

One thing I have to say in terms of my experience as a 02 fan is that I’ve found I actually appreciated it significantly more as an adult than I did as a kid, and that, in general, a lot of the things to appreciate about 02 are things that you really viscerally feel and understand when you’ve gotten that degree of life experience under your belt. Unfortunately, this is kind of a double-edged sword, too, because it ends up becoming the kind of series that often risks going over the heads of the very audience of children it was supposed to be targeting. It’s got a lot of very nuanced depictions of mental health and the childhood experience that are maddeningly subtle, to the point of possibly going over one’s head or even coming off as illogical without sufficient life experience, or simply just not being as visceral (the entire theme of “parents stroking their own ego with their kids’ achievements” hits the hardest when you’re college age).

So what this means is that 02 doesn’t exactly hand its themes or character development to you on a plate. But it is there, once you actually start looking for it.

Let’s start off by talking about our main core cast of characters. Adventure and 02 prided themselves on the fact that they tried very hard to not be adherent to anime tropes, but rather to portray well-rounded, nuanced characters that felt more like actual kids you might meet at school. So how does the 02 cast fare in not being pigeonholed anime tropes?

Daisuke: Even though official freely admits he has “the most anime-like personality”, it’s hard to say he actually falls that much into the generic shounen archetype. For one, he’s actually shockingly humble and polite in certain situations (he’s consistently polite with his elders, and is very quick to admit his own limitations). Actually, he comes off as a surprisingly friendly and deferential person -- it’s just that he happens to have somewhat of an abrasive exterior, and even then it’s implied heavily in the first half that this stems from a lack of validation and purpose. (He actually “deflates” really easily, so you can’t even say he’s all that arrogant past the surface.) Certainly he’s simple-minded, and kind of an idiot, but his abrasive exterior is actually pretty deceptive.

Miyako: Miyako floats an interesting duality of simultaneously being aggressively feminine and being aggressively un-feminine -- not necessarily in the sense she tries not to be feminine (on the contrary, she absolutely embraces it), but more that she’s also an aggressive, “inelegant” mess in ways atypical for a lead heroine in a shounen show, who are usually either cute or “badass action girls” and not...a mess. Despite that, she is also consistently portrayed as capable of heavy emotional depth and being very genuinely kind and concerned about others, which are not in any way diminished by the fact she happens to be an aggressive mess with a severe case of foot-in-mouth syndrome. It’s an interesting mix of character traits that you don’t see often.

Iori: “Designated young characters” usually fall into the “cute” archetype a la Adventure!Takeru or Tomoki, so it’s interesting that the youngest one is actually the most mature one, and impeccably polite at that (having been raised by a family that emphasizes formal manners and propriety). Even more interestingly, nobody actually treats him like he’s that much younger, and he’s given the weight of respect in a sense that has nothing to do with his age (think about how there are indeed quite a few kids who simply just get along better with older kids). Yet the series doesn’t shy away from his youth, and his overly black-and-white view of morality is portrayed as immaturity in its own way, along with the occasional “slips” in his facade or manners indicating that it’s still something he has to consciously focus on.

Ken: Ken’s development goes without saying (it’s one of the most consistently praised aspects of 02), but it’s also interesting to note the unusual way the series plays his redemption arc. Instead of making him a typical “jerkass anti-hero who learns to get a bit better”, the series completely blindsides you by revealing that Ken is, in fact, a naturally soft-hearted and kind boy, and then plays up the mystery of the severe kinds of trauma that would lead him down that path. And ultimately, even though the cause is revealed to have supernatural influence, the series also makes it clear that it doesn’t matter -- that, whether it was his conscious “fault” or not, he still is responsible for what he did. And on top of that, it also scorns the usual “redemption by sacrifice” mentality by pointing out that it’s a cop-out -- it doesn’t actually solve the problems that were caused, and, in fact, a much better way to make up for things is to fix them going forward.

Takeru: Takeru had the “designated young character” role in Adventure, and it turns out that once one of those gets a few years older, they’re naturally not going to be nearly as pure and innocent! The “sweet child” from Adventure has now grown into having slightly pettier emotions, even to the point of grudge, and things he won’t let go of. Oh, and also, trauma from three years prior is still going to have impact on an eleven-year-old kid. Who would have thought.

Hikari: Adventure’s most infamously inscrutable character also seems to have gained some individualized, not-quite-innocent traits of her own (observe how she deals with Daisuke’s advances), and, moreover, it turns out that her deferential humility and refusal to open up about her problems is...not a good thing! when it starts to actually bite her in the rear in front of her friends. Yeah, it turns out that being the “quiet cute girl” actually has its own mental health drawbacks. Oops.

We’re doing pretty well, actually! At the very least, they certainly feel like they already have the Adventure/02 brand of character nuance, where their personalities are inherently varied and nuanced enough that you may not quite find characters like them elsewhere. On top of that, we definitely get to see what makes these characters “tick” -- we get a lot of depth into their thought processes and what their likes and dislikes or strengths and weaknesses are, and that’s something 02 still completely beats out a lot of other kids’ shows or even certain other Digimon entries with.

But here we’re talking about character development. So what do we know about them at the very beginning of the series?

Having watched 02 in Japanese a few times and being very used to the core cast’s latter-half characterizations, rewatching the early episodes always strikes me really hard in the face with genuine shock at how shallow the kids -- especially Daisuke and Miyako -- start the series off as. It’s understandable in terms of the context of the series -- unlike the Adventure kids, who were thrown into a “survival, need to get home” situation off the bat and thus already understood the need to be wary, these kids started off having comparatively easy access to home at any time, and didn’t have a constant sense of danger and survival looming over their heads. It naturally took a lot of time for the gravity of the situation they were in to start really hitting them, and so even the relatively straight-laced Iori didn’t exactly take it all that seriously at the beginning.

Yet while it took them a significantly more delayed time to understand what they were dealing with and take it as seriously as they needed to...they started cultivating something else in the meantime.

02′s first half is especially full of “random banter conversations” that seemingly involve nothing in particular, but, in fact, that’s actually part of the point. One thing I have always been quick to point out in regards to 02 is that it is rather unique among Digimon series in how it goes out of its way to portray its core cast as having become friends even in pure daily-life social friend terms, even if it had absolutely nothing to do with Digimon incidents -- these are kids who genuinely enjoy each other’s company even in the most mundane of situations. This was something that wasn’t the case for the original Adventure kids -- having been a group of kids thrown together by necessity, even though they most certainly kept in touch and trusted each other as fellow Chosen Children deeply, they started floating back into their own different social clusters after the events of 1999. Relationships are multifaceted, after all; you can still have a deep relationship and bond without necessarily being friends on a social level.

But already, off the bat, Miyako brings food for her new best friends, and it’s implied that she’s the main ringleader behind holding the picnic -- a picnic that started off having no intended relation to the Digital World territory war -- in episode 6. And, to be quite honest, can you really blame these kids? Even the Adventure kids wistfully entertained the idea of a long-term fun adventure through the Digital World in Adventure episode 54, wanting to enjoy its beauty and fun in a situation where they weren’t constantly running for their lives. Now that this luxury is actually available, why not take advantage of it -- and bond further with the others in the process? And for the rest of the year, these kids actively end up spending mundane conversations together and bonding to the point that, by the time we get to the end of 02, these kids have just genuinely bonded so much that they really come off as a cohesive, inseparable unit that would actively choose to spend time with each other if given the opportunity. In fact, even going through all of the TV Digimon series that exist as of this writing, I would say Appmon is the only one that really competes with 02 in portraying its core cast in this manner.

Again, remember: this is a series where characterization is dependent on how the kids treat others and interact with them, so you do actually have to pay close attention to these interactions and see how they change over the course of the series.

So once the episodes start coming in play, we actually learn a lot more about what happens when the characters start breaking away from their shallowness. For instance, episode 8, one of the first key episodes to understanding Daisuke’s character:

Daisuke: He'll be a great opponent. We didn't face off in the last tournament. Takeru: If you had made it to the finals, you would have, right? Daisuke: Don't remind me... Hikari: Can you win? Daisuke: It's not about winning or losing. Right now, all of the boys who play soccer in this country want to be like him. Just thinking about playing against him makes me excited!

For all Daisuke initially seems to be arrogant, he’s actually not that incapable of humility. Far from it, actually; he does have a genuine love for soccer and the spirit of the game, and, when completely and obviously unmatched, fully admits he has no chance and is set on enjoying the most he can out of it anyway. I feel like Daisuke’s surface-abrasive attitude really does throw off the fact that he’s a lot more genuinely humble than he’s given credit for. In the end, he’s satisfied enough with the accomplishment of pulling off one sliding tackle against Ken, and is able to enjoy that -- a foreshadowing of how the latter half relies so much on the fact that he’s capable of enjoying simple pleasures and being straightforward about them.

I find that this scene is really underappreciated, too (mainly because it gets lost in all of the other major things in this episode) -- while Daisuke jokes about his accomplishment, it only takes a single comment from his respected senior Taichi to shut him down.

There’s a huge reason I constantly emphasize that Daisuke respects his elders -- this part tends to get lost in translation a lot (especially the American English dub, which just smashed this aspect out of him wholesale, among other things) due to it being a bit reliant on Asian senior deference and cultural propriety, but Daisuke is respectful not only out of societal obligation but also because he genuinely respects his elders! The way he looks up to Taichi and chases after his approval is genuine, and even his interactions with the other Adventure kids have a major hint of him having genuine respect and deference to them. Daisuke is just a deferential person in general -- note that while his crush on Hikari tends to manifest when he’s at his most shallow, he’s actually the one putting Hikari on a pedestal (considering it his own responsibility to impress her), so he’s not actually as assertive as he tries to come off as. The first half of 02 arguably has him deflating more often than he actually stands his ground...and this is a trait of him that starts to actually change quite a bit over the course of the series.

Miyako comes to terms with the fact that maybe she’d been taking this whole Digital World adventure thing too lightly in episode 10, indicating that she actually does have a good sense of priorities when they become increasingly clear! This is actually very important, because it fleshes her out as someone who’s emotionally sensitive -- too emotionally sensitive, to the point that “emotional sensitivity” is just as much of a driving point behind her later breakdown in episode 18, this time from taking her duties too seriously. Miyako is a very id-driven person, and so a lot of the early series is her struggling to find a proper balance on how to adjust her emotions in an increasingly escalating situation. Her heart is in the right place, she’s just not someone with an inherent sense of preparedness to deal with this kind of problem.

We get into the secondary Digimental arc, and there’s a noticeable consistent thread that all of them involve admission of personal faults. This is something that tends to throw people off at times -- wait, having bad traits about yourself is what awards you? -- but the point is that this isn’t like Adventure’s Crests, where things came from proof of exercising the virtue, but rather admitting that there are ways you need to improve, and showing a will to improve in that manner. In the end, people are not perfect human beings, and sometimes even understanding that you’re deficient is half the battle -- after all, the second half is all about a certain character named Ichijouji Ken coming to terms with some very, very serious personal problems.

In episode 11, Daisuke completely admits that he doesn’t feel he understands the concept of friendship the way Taichi and Yamato et al. see it, also latently admitting that he doesn’t see himself as worthy of the Digimental of Friendship. Beyond betraying a lot deeper issues within Daisuke that he seems to have actually had a background lacking in friends and sources of validation, he actually acts very self-effacing when admitting his issues to Taichi and Yamato, ultimately culminating in him calling himself pathetic. Or, in other words, he does want to be a better friend and to understand the concept better, and is harsh on himself for not doing better (which, of course, ultimately leads to how he eventually does gain better relations with the rest of the group and reaches out to Ken).

In episode 14, Miyako admits that she’s shallow and judgmental and tends to jump to conclusions based on first impressions. Recall that she’s comparing herself to Mimi in said relevant scene -- Mimi, whom she admires, and actually spends part of the episode trying to understand and empathize with the mentality of. This is not a statement of Miyako being proud of herself. Rather, this is Miyako being very straightforward about the fact that she needs to try harder to see through the essence of things and to see through to the emotional core of. Again, something she actually does start developing over the course of the series.

In episode 16, Iori gets his first major lesson on the limitations of being too stuck on principles in his attempt to be honest. Recall that Iori’s later character arc is very dependent on him realizing that his own view of the world is too black-and-white. It’s great if you could never tell a lie to anyone, ever, but in the end, that’s going to reach limitations of practicality -- after all, as Jou points out, what Iori did ended up not actually hurting Jou in comparison to the incredible amount of hurt it would have caused everyone by being too stubborn, and thus Iori would have failed to keep his responsibility to help the others because of one narrow-minded principle.

Hikari even gets in a bit during the infamous episode 13, where we learn that her “passive” attitude is biting her in the rear. In Adventure, Hikari’s passiveness and reticence had mostly been used as satellite development for Taichi (his insecurities as an older brother and his obligations to her), so this is actually the first time we get to see a proper perspective from Hikari’s side, and it turns out that his overprotectiveness has actually caused her to get dependent. But even though Taichi is the one the episode actually focuses on, the larger focus is more specifically on the fact that Hikari is too passive -- that she sees being taken by the Dark Ocean as an inevitable thing that’s just going to happen unless someone else steps in on her behalf. Takeru, of course, is having none of it.

Once that’s out of the way, we go back to taking a look at the subtleties of everyone’s interactions. While everyone generally tends to focus on the second half of episode 17, it’s also pretty interesting to see how the 02 kids react to hearing about their seniors’ adventure in the first half -- remember that this is the first time the 02 kids are actually given any real depth about the degree of 1999′s events that’s not just random points of hearsay, and the way the new kids react to it indicates that they’re thoroughly floored. It’s later established that they didn’t even get the full story (it may not even be possible, given that the Adventure kids’ experiences may well have gone even further beyond what we got to see in 54 episodes), and yet the new kids are overwhelmed. 02 itself does not shy away from the fact that the younger kids really have no qualms about deferring to their seniors if need be, and treating them with utmost respect.

Another minor note, which I pointed out in my Daisuke meta earlier, is that the beginning of this episode is pretty much the last time Daisuke ever shows outright hostility towards Takeru for his relationship with Hikari -- it’s something you have to glean by squinting, but the implication is that the insecure and clingy Daisuke actually got to learn this episode that the two of them had a pre-established shared experience that he himself may not understand, and that it wasn’t just Takeru randomly swooping in and snatching away the closest thing he had to a friend for no good reason.

Once the Kaiser infiltration arc begins, episode 18 ends up being one of Miyako’s funniest episodes, but it’s a bit distressing that a lot of people in the fanbase often never let Miyako live this incident down, when in actuality this was explicitly not a good mental health day for her. (This is basically the equivalent of pinning Mimi as a conceited, self-centered jerk based on the fact she was one for a fashion in Adventure episode 25.) The beginning and ending of this episode establish that this is basically a result of Miyako...trying her hardest. She’s scared as hell, but she also learned in episode 10 that this is something she needs to take seriously, and the stress puts her into a mental breakdown. This is why she ends up having a heart-to-heart with Hawkmon at the end; her heart is in the right place, but she needs to find a way to channel her emotional sensitivity in a way that doesn’t make her into a complete mess.

And note that her own voice actress, Natsuki Rio, even pointed out that Hawkmon’s actions had enough of an influence on Miyako’s character that she had to play her differently thereafter.

At first I always played her with Maximum Excitement, and I kept thinking “someone, please, stop her,” but the more straight-laced Hawkmon did his best to pull her in and hold her by the reins (laughs). Thanks to him, Miyako became a lot more of a put-together person…thank goodness Hawkmon is her partner!

Episode 19 has two interesting things of note that I want to point out -- first of all, starting from the very beginning of the episode, everyone ditches Daisuke because they’re independently going in to infiltrate the Kaiser’s base. Note the complete lack of a plan here whatsoever -- everyone’s just going in on their own -- and the fact that everyone expects Daisuke to come up with what he wants to do on his own. For all it’s worth, even though Daisuke may have a designated protagonist aura to him, within the story itself...nobody actually sees him as a leader at this point in the series (and, to be fair, he’s never really tried to claim the position, either).

It’s similar to how Taichi was never recognized as a particular leader of the Adventure group until Adventure episode 28, but in regards to the full team dynamic, it’s actually inverse -- the Adventure kids were capable of making tactical plans together as early as episode 20, but fell apart emotionally in short order as soon as Taichi was gone, whereas here, the kids are fond enough of each other to hang out socially and support each other emotionally, but they take a while to get any real cohesiveness as a fighting group.

The other is that Iori personally witnesses Takeru’s sudden whiplash into his grudge against the darkness and the Kaiser, and it scares the hell out of him.

Takeru eventually laying a punch on the Kaiser is a pretty awesome moment (and, really, Ken kind of deserved it, so it’s hard to not cheer for him), but it’s also important to note that within the context of the series, this is not a good mental place for Takeru to be in. Iori, the person who should by all means sympathize with hatred of evil things at this point of the series, is still extremely unnerved by Takeru’s actions here, because he’d always seen Takeru as a mature person who’d always kept his composure, only to show a drastically different side of him that he hadn’t even shown a hint of before. That kind of “two-facedness” and emotional repression -- and this way of venting trauma in general -- cannot be good for Takeru at this point in time, and it’s also an important moment for Iori when he later admits during the two’s Jogress arc that he’s having a bit of a hard time understanding him.

And so episode 20 comes, and Chimeramon pretty much takes out the entire party, leading to this conversation.

Takeru: Let's escape. Daisuke: Escape? Takeru: We can't fight anymore. Our mission has failed. We'll retreat and wait for another chance. Hikari: You're right. We have no other choice. Iori: Understood. Daisuke: No. Miyako: Daisuke? Daisuke: We can't just say "another chance" like that. If we leave now, they'll keep attacking anything in sight. We don't know if we'll be able to get into the fortress again. So this is our only chance! Hikari: That's crazy... Iori: Exactly! Miyako: They're all back to their Baby forms... Chibimon: Daisuke... Daisuke: But...didn't you all see it? Destroying those towns...and all we could do was watch quietly. I don't want to see that ever again. I won't let them do whatever they want! So I'm going, even alone. I won't give up now. After getting this far, all I can do is go forward!

Why is this moment important? This is the first time Daisuke has actually stood a firm ground against anyone else in the party -- and not only that, with the entire party standing against him.

Recall that I mentioned earlier that, in spite of Daisuke’s abrasive attitude suggesting otherwise, he actually has a tendency to “deflate” pretty quickly when people tease or criticize him. He spends the first half of the series having a lot more bark than he actually has bite. Earlier in the series, if the entire party were to go against him, he’d be more likely to begrudgingly go along (while complaining) -- in fact, he actually did just that at the beginning of episode 7! But now that push has come to shove, Daisuke’s own sense of morals and bleeding heart have won out. (While his decision here is definitely a bit reckless, he does have a point; if they’d retreated, they might genuinely lose any future chances.) Even with the entire party telling him to pull back, he refuses to accept what they want him to do, and pushes forward.

This is where Daisuke first starts to really make strides towards what becomes his eventual major role in the group as “the one who pulls people forward”. It’s a moment after which the rest of the group themselves also start to treat him with more respect now that he’s proven he’s not just a doormat, and that when it comes to there being a real problem with real priorities, he does have the resolve and initiative to keep going.

Also, a very important point is that he immediately says he’ll go alone if he has to. He doesn’t begrudge the others for wanting to fall back, and has no condescension towards them; he just can’t stand the fact that he himself is being asked to sit it out.

So, you know. Episode 21 happens. Ichijouji Ken goes through some real trauma as Wormmon dies in his arms. And all Daisuke has to say is...

Daisuke: You should go home. There are people who are worried and waiting for you! Go home!

Remember when I pointed out that 02 takes a very unique perspective on Ken’s redemption arc, pointing out the futility of being too trapped in the idea of symbolic penance and focusing more on actively taking steps in the future to make up for and fix things? Here’s our first major sign of this, and Daisuke’s eventual approach to Ken -- Daisuke does not choose to scorn or lambast Ken for what he’s done, even though there are a lot of things Ken deserves to be harped on for, but rather instructs him to take the first active step towards fixing his mistakes, in this case fixing things with his family.

Episode 22 is Daisuke’s own “fanbase will never let him live this down” moment, but there’s still some interesting things to note here. Firstly, Daisuke’s “relapse” happening exactly when it seems like his duty to the Digital World is done and there’s nothing to do besides community service doesn’t seem coincidental, especially when this exact episode actually dedicates a full scene to Takeru, Hikari, and their partners going “...now what?” Secondly, as I touched on earlier, note that Daisuke’s never really seemed to have any resentment against Hikari for not responding to his affections -- in fact, he still considers it his own (and V-mon’s, by extension) duty to be the one to impress her. It’s a surprisingly refreshing take on the “shounen hero with a crush on a girl” trope, because in the end...Daisuke isn’t actually all that possessive of her, he just really wants validation from her, and respects her a lot.

More importantly, though -- note the way Daisuke handles this topic. He’s not actually mad at or resentful of Takeru anymore. In fact, he’s mulling on the topic and wondering what he could do to be on that level. Yup, even when Daisuke’s being shallow and jealous, he’s still learned to handle this issue ever so slightly more maturely than he would have at the beginning of the series.

This is also important because only one episode later, once Daisuke becomes disappointed again at Takeru and Hikari walking off on their own, Miyako intervenes -- not only so that Takeru and Hikari can have their space, but also so that Daisuke can have some genuine fun and something to do. This is a very blink-and-you’ll-miss-it moment in episode 24, but it makes it very clear that Miyako was looking out for Daisuke’s welfare, too, and I think it’s very important in light of the events of the prior episode. Miyako, who had always been fumbling on what to do with her emotions, is starting to properly channel them into managing the dynamic between the team and checking in on how everyone’s doing, and that starts to guide her actions and relationships for the rest of the series.

The next episode (25) is where we kick off not only the Jogress arc, but also the arc where we start going into everyone’s attitude towards Ichijouji Ken. This is important not only because Ken happens to be the effective central figure of 02′s story, but also because -- well, remember, 02 is fundamentally founded on the concept of relationships, so it’s only natural that the other kids’ relationship with the “team newcomer” will be a key aspect of the second half, and in relation to their own characters.

Remember how I said that Daisuke’s first-half character involved him being extremely deferential and often deflating whenever he was criticized or someone stood against him? At the time of episode 25, once again, pretty much the entire team is standing against him -- he’s the only one who’s this level of open-minded about getting Ken into the group, and everyone else is showing differing levels of opposition. But while Daisuke doesn’t begrudge the others for thinking this way, he also doesn’t back down, either, and reaches out to Ken on his own because he still really believes in what he’s doing. Now that he’s settled into what it means to be a Chosen Child, he’s started to gain a proper idea of what he wants to do, and what he feels needs to be done.

So, let’s recap everyone’s stances on Ichijouji Ken at the time of this episode!

Daisuke: Forward-thinking and optimistic; willing to believe that Ken should be given the chance to make up for his mistakes and that they should put everything behind him, even to the extent of believing that there’s probably a good reason for the more suspicious aspects about him (prior to the events of episode 25, it was unclear whether Ken was being a bit too callous about killing Digimon). Also the most actively aggressive in reaching out to Ken and trying to get him to join them.

Miyako: Forward-thinking; she openly states at the beginning of the episode that she thinks Ken’s learned his lesson, she’s just worried about whether he’s going to keep doing questionable things in the future (killing Digimon). Once it’s on the table that he’s not just doing this callously, she immediately is on board with him (to the point of even being the first in the group to use given name basis with him), but her stance on what to do with him is more on the edge of “give him space and wait for him to come on his own terms” (she ends the episode saying she’ll be waiting for him to come).

Takeru: States in the episode that he does believe that Ken’s changed, but doesn’t really know what he’s thinking (i.e. too inscrutable to really be sure about). The later episode 35 implies that Takeru was inclined to be a bit more sympathetic than you’d think otherwise, because he understands the trauma of losing a Digimon partner.

Hikari: Wants to wait a little longer and see how things play out. (Remember that Hikari has a known, consistent thread of taking a very passive approach towards things.)

Iori: Absolutely against it on sheer principle.

It should be noted that none of these stances are wrong. Iori sometimes gets a lot of flak for being the one with the most infamously cold stance towards Ken, but when you really think about it, Daisuke and Miyako are very lucky that their hunch about Ken was right and that he actually did happen to be a very kind boy who had a little too much trauma and some supernatural influence. The fact that Ken is a very emotionally withdrawn person for the rest of the series meant that the two of them ended up breaking through to him the most, but there’s nothing wrong with Takeru, Hikari, and Iori’s skepticism; Ken did some pretty shockingly horrible things in front of their eyes for the first half, and it’s entirely within their rights to determine how forgiving they want to be with him.

In any case, we get to episode 26 (the first Jogress), and most of that episode goes without saying, but I do want to emphasize Daisuke’s lines right before it happens.

Daisuke: If you die now, you won't be able to accomplish anything...I don't want that! Ken: I don't want that...There are still many things I must do.

Daisuke urges Ken not to go for the “suicidal penance” route not only because it sucks, but also because, as symbolic as it may be, it’s also counterproductive to the whole point of doing penance to begin with. If Ken really wants to make up for his mistakes, he’s only going to be able to do that if he’s actually alive to do it! There’s only so much you can do by drowning in self-pity by going “because I did this, because I did that” instead of actually taking responsibility for your actions.

02 itself is deliberately ambiguous on how much Ken’s transformation into the Kaiser was Ken’s own conscious will and how much of it was Dark Seed-induced supernatural influence, but one thing it’s consistent about is that it doesn’t really matter. Regardless of what the cause was, Ken did what he did, and it’s his responsibility to make up for it, and the only way to actually do that is to keep moving forward. The fact that Daisuke is so able to viscerally and directly address what Ken needs the most right now is what fuels their first Jogress, and why Daisuke becomes Ken’s closest friend through the rest of the series.

People have pointed out that 02 has a lot of moments of physical hits, but, notably, other than Takeru punching the Kaiser in episode 19 (which he really deserved, honestly), all of these hits are done with the express intent of bringing the other person out of a very, very deep mental abyss (Yamato punching Taichi in episode 10, Daisuke slapping Ken in 26, Miyako slapping Ken in 30, and Miyako and Hikari’s mutual slaps in 31), because they were in a state where words would no longer reach them otherwise. These are all circumstances of the kind where the person on the receiving end understands that they really needed a drastic wake-up call because of how deeply they’d fallen (and these aren’t some average mental abyss problems these kids are getting put through, either). It’s actually hard to imagine any of the 02 group getting in the kind of genuinely angry and vicious fistfights Taichi and Yamato would in Adventure, because of how close they are (the closest being Daisuke and Takeru grappling in episode 11, but it never got near that level) -- in fact, these kinds of things are done with the implication that they’re doing it because they trust the other person to not hold it against them (and in fact, the fact Yamato does this with Taichi in this way is intended to be read as a sign of how much better they’ve come to understand each other).

So, moving on with the series! The Giga House incident in episodes 28-29 is the first time the group works together in an organized effort, which is notable not only because it’s their first time coordinating with Ken, but also because it’s their first time properly coordinating at all. Remember when I mentioned that, back in episode 19, as much as the kids were pretty fond of each other and were great friends, they still hadn’t figured out how to actually fight as a team? Here we are, with them actually having started to figure that process out.

We then get to episode 30, where there’s actually quite a lot of interesting things to unpack.

Miyako: What's wrong with you? Daisuke: E-Eh? Mi-Miyako-san? Miyako: It feels weird when you add the "-san". Daisuke: Shut up! Man, you're all the same!

Miyako and Daisuke’s relationship is often misconstrued considering that they’re the two most chaotic in the group (their temperaments are very similar at times, which causes them a lot of friction), but I also think this blink-and-you’ll-miss it moment is pretty much their actual relationship in a nutshell. They fight a lot, and they’re ostensibly vitriolic, but they’re actually two of the most like-minded in the group -- they banter because they’re comfortable with each other. Recall that I mentioned that Daisuke is normally respectful with his elders, yet he’s the only person in the group who won’t use the -san honorific on Miyako (even though she’s the oldest)...but the one time he gets flustered and uses it on her, she tells him that it’s weird and he needs to cut that out. Or, in other words, “it’s not like you to be weirdly respectful of me like that, we shouldn’t have that kind of distance between us, stop it.”

(It’s also pretty notable that Miyako has never seriously used -kun or any other honorific on Daisuke, even right after meeting him -- the only other person she dropped honorifics on was Iori, whom she’d known prior to the start of the series, but she seems to have deemed Daisuke enough of a fellow disaster child that he merited dropping it.)

This is especially because, right after that, she recruits Daisuke into her plan to get Ken and Iori to get along -- in the end, when things really get serious, the two are incredibly like-minded (look at how in-sync they are when they scheme together).

30 is actually a surprisingly Miyako-centric episode, despite not ostensibly being one. For one, it says a lot that right now, her biggest priority is to get Ken and Iori to get along -- something that has absolutely nothing to do with herself. In episode 14, Miyako freely admitted that she had a tendency to jump to conclusions about people, and that she was shallow about aesthetics, but this is a very different Miyako from the one who harassed Daisuke for Ken’s autograph in episode 8, or immediately became distrusting of Digitamamon in episode 14. Instead, she’s simply just genuinely invested in seeing people she considers friends get along, and in a selfless manner -- one that has nothing to do with herself. She just really, really cares, a lot.

After all of the first-half hubbub of Miyako really having no idea of what to do with her emotions, the second half has her start channeling that energy into what’s always been one of her biggest strengths: checking on, connecting with, and caring about her friends. Daisuke may be an aggressive forward-thinker who can push everyone in the right direction, but unlike his predecessor Taichi, he doesn’t actually have particular charisma or leadership skills that can necessarily hold everyone together. In the absence of that ability, Miyako fills in for him, checking on the moods and feelings on everyone in the team and making sure everyone’s doing well. And that’s why she loses her temper and slaps Ken late in the episode -- because, really, she’s reached her limit on her “give him space” philosophy when he’s abusing it to be standoffish in a crisis situation, and, on top of that, she really, really did have a huge emotional investment in him.

Moving onto more Miyako in episode 31, her Jogress episode with Hikari, we get to see a little bit of the old emotionally compromised Miyako again, but -- much like the second Digimentals arc -- it involves the two of them acknowledging that both of them are not going about things the best way, and that there are things they can learn from the other.

Hikari: Miyako-san, you're a handful sometimes. Miyako: I knew that's what you thought of me... Hikari: But...I've always envied that. Miyako: Huh? Hikari: Because I can't be honest and say I'm scared or scream like you.

Miyako’s tendency to lose control emotionally results in her being insensitive much of the time, which she calls herself out on multiple times during the episode, and she can’t always be as “kind” as Hikari is -- but, on the flip side, her antics are something that can be a “light” (pun not intended) towards those who are falling in a bad mental state or into the darkness, and Hikari even acknowledges this when one of her trains of thought makes her break out into laughter. Miyako ultimately manages to get through to Hikari this way at the end of the episode, which results in a Jogress and mutual growth for both of them -- Miyako puts more thought into how to approach others (it’s pointed out at the end that she’s still thinking about understanding Ken and Hikari better), and Hikari gains more resolve and determination to fight against things instead of passively accepting her fate (she tells Takeru very directly at the end "I’m fine now. I’ll never go there again.”).

Iori and Takeru's Jogress is a little more complicated to the point where it spans multiple episodes, but a lot of it ends up having to do with the fact that the events of the BlackWarGreymon arc start really putting Iori's black-and-white principles into conflict -- it's wrong to kill something that's been proven to be alive, but it's also wrong to be evil. Putting a huge nail in that is that there's a stake in him forming a relationship with Takeru, but he doesn't really understand Takeru either -- the "two-facedness" he witnessed back in episode 19 scares even him, and he's so intimidated by Takeru that, in episode 35, he goes to approach Yamato about Takeru's past instead of asking the person directly. Takeru, hearing about this, complains that he could have just asked directly, but admits he understands why Iori did so.

By the way, I should point out that episode 35 is the last time within the TV series that Daisuke is portrayed as having a particular interest in Hikari, and it’s just in terms of being slightly more excited that Hikari is joining his meeting. At this point, there are actual important things happening in the Digital World, and he needs to take care of Ken, too, and so...in the end, once again, Daisuke proves that he’s actually capable of putting aside those kinds of more shallow things when he really needs to.

On top of that, this is when the kids start actively working with Ken in the real world (and, if post-02 materials are any indication, continue to hang out with him even for social outings). The choice to have Ken live in Tamachi instead of Odaiba facilitated his isolation from the group during the Kaiser arc, and during around the third quarter they were all grouping up in the Digital World anyway, but the fourth quarter actually has the kids make an attempt to include Ken in their real-world outings despite the distance. Tamachi is not temporally far from Odaiba (approximately half an hour by train), but it’s a bit of a nuisance to get to, requiring crossing a bridge to/from the Tokyo mainland and paying extra for the Yurikamome. But at this point, he’s an important enough friend to them -- and them important enough friends to him -- that they’ll make it work.

At the end of episode 35, Iori finally decides -- to the point of recklessness, something that would have been previously very uncharacteristic of him -- to try and appeal directly to BlackWarGreymon to get him to stop destroying the Holy Stones so that they won’t have to fight. It’s emblematic of Iori’s heart being genuinely torn, because he’s having such a difficult time rationalizing all of these conflicting feelings. This comes to a head in episode 36, when Iori loses his temper at the rest of the group for “playing around”, but Armadimon snaps him back to reality to remind him that they’re tired and hungry, and this can’t be neglected. Iori himself ultimately becomes the one to proactively suggest that they take time to sit down and eat, indicating that -- little by little -- he’s starting to shift his thinking a bit, after being so incredibly stubborn for much of the series.

This is what leads to Iori and Takeru’s Jogress at the end of the episode, now that Iori is flexible enough in thinking to understand the emotional id behind Takeru’s mentality. And likewise, Takeru’s started to loosen up by 36, too --

Takeru: Sure, darkness is frightening, and we would feel at ease if we could get rid of it completely, but I'm sure that's impossible. Ken: Impossible? Takeru: Where there's light, there's always darkness. Hikari: The brighter the light, the darker the shadow, right? Takeru: Yes. That's why I think it's important not to lose sight of the light inside you, no matter how dark it is.

The thing about Takeru is that while he deceptively seemed more open and playful than Hikari for most of the series, he was actually bottling up a lot of emotions in a way not entirely different from the way she did. (Note how, despite how tied at the hip the two constantly are, they almost never actually talk about their thoughts on each other; it feels like a relationship where they implicitly trust each other but are practically reliant on that implicit trust to maintain that close of a friendship at all.) And he’s been keeping those emotions bottled up until they exploded in less-than-healthy ways, initially distancing himself from Iori. But being a lot more open about his thoughts on the matter allowed them to connect better, and eventually Takeru came to embrace a somewhat more reasonable stance on the matter after observing Iori.

It also doesn’t seem like coincidence that this is the episode that ends with Takeru’s first major act of goodwill towards Ken.

This leads into episode 38, the Christmas episode. Fun things to note!

The episode opens with Daisuke and the other younger kids giving a “Christmas present” to their seniors in the form of letting them reunite with their partners. Remember how I said that the 02 kids always admired their seniors and looked up to them? Even this late in the series, the series does not shy away from the fact you’re supposed to see the 02 kids as their deferential juniors.

The Christmas party is, of course, notably, the first major moment of reconciliation between Iori and Ken, with Iori having gone through major harsh lessons about morality in the last few episodes, and Ken opening up more to the rest of the group. Said party is also yet another notable example of how much of a priority it is for the 02 kids to be “social life friends” and not just friends working as a Digimon incident team -- after all, having genuinely emotionally present friends is what Ken needs most in his life right now, considering that the party is treated as the first time he’s been truly happy in a long while.

This is followed by episode 39, which is notable as the time when Daisuke finally commits to switching to given-name basis for Ken, and actually opens the episode standing against Taichi -- because he's so worried about Ken that he needs to go join him. This is something that's lost a bit in translation, but although Daisuke stands down against Taichi, he's not rude nor does he overstep his boundaries with his respected senior (he even opens his statement in polite-form Japanese) -- he's just saying, firmly and politely, "I'm sorry, but I can't go, I have to go help my friend." It’s a notable moment because while Daisuke has been becoming increasingly assertive and aware of what he really wants to do, this is the first time we’re actually seeing him refuse to defer to the very senior he’d spent so much of the series idolizing and looking up to.

We get to episodes 43-45 (the Demon mini-arc), which is also the culmination of the 02 kids having to face the limits of pacifism. This tends to throw off people who are coming in from Adventure, since the Adventure kids ended up killing Digimon with a lot more ease in the original series, but it’s also important to make note of the fact that the episode itself deliberately portrays a gap in mentality between the Adventure and the 02 kids -- with Hikari torn between the two. It also creates an interesting subversion of expectations when Hikari, the one you’d expect to be more on the pacifist side, is the one who’s already accepted that it may be inevitable, whereas Miyako, the more aggressive and belligerent one, is the one staunchly against it.

The reason for this “paradox” comes out of a single line from Hikari in episode 44:

Hikari: You’re the one who saved him, Miyako-san.

The Adventure kids never liked killing. They were never enthusiastic about it -- it was just that they were almost immediately put in a situation where the entire fate of the multiverse was at stake thanks to some unambiguously evil Digimon who wanted nothing but wanton destruction. Even then, it was pretty clear that they never enjoyed it -- Takeru professed a desire to avoid fighting in Adventure episode 12, and the pacifist Mimi went through a breakdown in Adventure episodes 45-50 trying to avoid casualties. But one of the most important lessons Mimi learned at the time was that pacifism has its limits -- there’s no point if it ends up in more deaths than it saves, because at that point you’re adhering to moralistic principles more than you’re actually saving lives.

The fact that the Adventure kids and the 02 kids have a “different mentality” isn’t just happenstance, but outright embraced. Daisuke, Miyako, and Iori never had to actually deal with a conscious Digimon that was unambiguously evil for most of the series, and Archnemon revealing that her motives were pretty much nothing but wanton destruction in episode 29 was the first major warning signal to Iori that his pacifism might have limits. And during this Demon mini-arc, it’s not like these Digimon are threatening multiverse destruction or anything -- it really does seem like a constant “glimmer of hope” that maybe, just maybe, they can save people non-lethally. Alas, they can’t.

Daisuke, being someone who’s inherently practical-minded, starts entertaining the idea that push may come to shove as early as episode 25, and finally makes his first statement about practical limits in episode 43. But the more emotionally caught-up Miyako and Iori end up taking another episode to swallow it, and they don’t take it well. Most of the attention in 44 is given to Miyako, and it reconfirms that, despite her aggressive exterior, she’s emotionally sensitive and empathetic -- and while killing LadyDevimon is framed as truly the only thing that could have been done in that situation, Miyako is not faulted for being emotionally compromised, nor is Iori likewise when he faces a similar situation with Takeru and is forced to confront the people whose lives were at stake.

Episode 45, when Ken opens the gate to the Dark Ocean, doesn’t really have much to add on top of what’s already there, but this is basically “the point of no return” when everyone confirms their own emotional investment in Ken and understanding that he’s not just reformed, he’s genuinely struggling under the pain of what’s been happening -- and this is before they find out about the truth behind the Dark Seeds, and that Ken’s transformation into the Kaiser may have been supernaturally influenced, too.

It’s also interesting to see the different ways each kid reacts to Ken as they support him:

Hikari, the most outwardly compassionate, goes to support him the second she notices him in physical pain; Takeru notices that it might work, realizes Ken needs the support, and joins.

Iori and Miyako reflect on how Ken’s putting all of his efforts in, and lambast themselves before joining. Interestingly, given the circumstances behind what’s happened up until now, Iori and Miyako criticizing themselves take a different meaning -- Iori, who’d been scornful of Ken until recently, seems to be regretting that he distrusted him when Ken had been trying so hard, while Miyako, who had been open to him since episode 25, seems to be upset that she’s sitting there and not doing enough when he’s in all of this pain.

And Daisuke, of course, the most “forward-thinking” of them all, gives Ken a speech about what he’s done so far and reminds him that he’s already done more than enough for “atonement” -- which is, of course, what directly reaches Ken the most.

And when we get to episode 46, and the kids, now knowing about the Dark Seeds, hold a roundtable (and emotional support group) to discuss what to do about the Dark Seeds, Daisuke’s the one with the most spirit and energy about it, but...

...the one actually leading the roundtable? Miyako.

Miyako: Sorry, that's all I can think of. Ken: Please don't worry about me. Miyako: (nods)

It’s subtle, but the scene in question does actually make a deliberate move in indicating that Miyako’s continuing to channel her emotional sensitivity and desire to go out of her way to help Ken -- of course, they all know how traumatic this is for him, but she’s the one who’s actively calling attention to how he must feel about it first and foremost.

Episodes 47 and after end up becoming yet another major wake-up call for Iori (seriously, I do not understand why people claim he had no character arc when this wasn’t even remotely subtle) when he learns that Oikawa, whom he’d pinned as “evil”, has a deep relationship with the father he’d grown up idolizing so much, and it completely flips his world around -- even though he had started to get a bit more open-minded, he’s still trying to rationalize what should have been, in his mind, two diametrically opposite things. It fuels his confusion and desperate desire to understand more, not just about Oikawa, but about everything he’d thought about morality and why people turn to evil.

So we get to the final arc of the series, and it involves a confrontation with BelialVamdemon -- but said finale is heavily dependent on talking to the Dark Seed children and inspiring hope back into them. This results in a conversation where everyone talks about their career dreams, and Daisuke admits that he wants to be...a ramen chef, which completely blindsides even his friends.

What’s with this arc?, you might think. And moreover, why is Daisuke ending the series still kind of an idiot? Even Miyako still seems to be a bit of a mess and chaotic. Weren’t they supposed to be growing into dignified heroes, like Taichi and his friends were last series?

Well, here’s the thing -- the fact that the 02 kids end the series comparatively “undignified” is actually very inherent to the core theme of 02 itself. There were more than enough episodes that established that said kids are heroic in their own way -- caring about others, fighting on others’ behalf, and learning important lessons about what’s important to fight about. That doesn’t mean they don’t get the right to continue being disaster children while they’re at it.

Why?

Let’s look at a few official statements behind the creation and intent behind 02 as a series. From producer Seki Hiromi, from the Digimon Animation Chronicle:

That came from an idea I had while reading a newspaper article. I read a story about a nine-year-old boy going to Columbia University, and I thought, “This boy is going to college because he’s considered a genius, and everyone around him will be in their twenties, and he won’t get to have any friends his age. What kind of life would this boy end up having?”

Or some very interesting statements from head writer Yoshimura Genki from the 02 Blu-ray box:

When I was writing Ken Ichijouji, the main idea for him I used as a basis was the conflict between “the self that has to be a well-behaved child when adults are watching” and “being able to be oneself”, and the pain that came from it as a result. So for instance, in the same way as the Pinnocchio fairytale, or the short story A.I. that was adapted into a movie, or many other works, there are probably universal worries that all children feel as they grow, but also, there were ongoing unimaginable, atrocious incidents happening with children at the time, and perhaps it was those social conditions that gave me a hint on what to do. I think I had some thoughts that I wanted to convey to the children who were living through that time. I was given the opportunity to put those kinds of feelings, as much as I liked, into episode 23, and I am truly grateful to all of the staff, including the director. ... Also, this is about Daisuke’s character, but I believe I paid particular attention to making him “a child who could be himself”. He has no special talents, and although he’s clumsy and scatterbrained, I wanted him to be someone whose strength was in his straightforwardness, and wrote him that way. 

Lying underneath the entirety of 02 itself is a theme about “children who are not allowed to be children”. Or, in other words, the pressure placed on children to be “talented” and “dignified” and “well-behaved”, often imposed on them by well-meaning parents who are unfortunately taking the opportunity to stroke their own ego, robbing them of the happiness and mental freedoms they should have as kids.

Ichijouji Osamu and Ken, who were placed under the pressure to be “genius children” and cracked under the pressure to please their parents. Oikawa Yukio, who was cut off from the Digital World in childhood by a well-meaning Hida Chikara, worried about his son getting into “foolish” talk. The Dark Seed children, who also fell victim to similar pressures that Ken did, and lost hope for life unless they could force themselves into that mold.

Takeru: If you want the Digimon to exist, if you believe in that, they will. Just like our feelings...Just like every child having the power to make their dreams come true. Keiko: That's just childish. Daisuke: You all have dreams for the future, don't you? Noriko: Dreams for the future? Takashi: I've forgotten that stuff. Daisuke: No way! You must have one! Takeru: It's nothing to be ashamed of. Takashi: Then, what's your dream? Daisuke: Mine? Mine's a ramen shop. I love ramen! I'll become the world's best ramen maker! Ken: I had no idea... Noriko: Well...actually, I wanted to be a kindergarten teacher. Hikari: Me too. Daisuke: What about you guys? Takashi: A baseball player! Keiko: I really want to be a pastry chef. Hiroshi: When I said I wanted to be a manga artist, everyone laughed, so I gave up... Takashi: We all had aspirations, and at some point we thought that wasn't allowed...But we were wrong, right? Daisuke: Let people say whatever they want! Noriko: You're right, we should be free to dream. Miyako: Not just dreaming. If you work hard, your dreams will surely come true!

Notice something about all of these careers mentioned? They’re all the kind of “overly childish” “wild dream” “undignified” “too simple” kinds of dreams that an average parent might be uncomfortably quick to shoot down because that’s “not good enough”. These are the kids who willingly accepted the Dark Seeds; they, much like Ken, probably grew up under parents who prioritized school performance and other “societally dignified” things that ended up eating away at their happiness.

02 has a lot of different themes, but the one that lies in its undercurrent from start to finish is “so why does a child have to be this way? As long as they still understand what’s important, do they have to be dignified people? Why can’t they just be free to have dreams and be themselves?” And Daisuke and his friends are there specifically to stand up against this mentality, and to remind Ken and the other victims of it that it doesn’t have to be this way -- that it’s okay to be your true self, and be a child, and not succumb to all of those arbitrary, shallow standards people put on you. Even if that means you’re still a bit of a chaotic disaster at the tender age of eleven.

Digimon, in the Adventure and 02 universe, have always been treated like a part of the self (they were literally conceived as a physical manifestation of the soul), but in 02 they gain an extra meaning of representing “the inner, deepest part of yourself that represents your wildest ‘childish’ dreams”. The symbolism of Ken spending the first half of the series trying to reject Wormmon for being “weak” -- in other words, rejecting his own kind-hearted self for not being the kind of “strong” entity he was pressured and groomed into being -- is not lost, nor that of the Dark Seed children gaining partners when they reconnect with their dreams and wishes, nor Oikawa finally, finally meeting his partner when he comes into contact with the past he’d really lost (and especially not the fact that his attempt to reclaim shallow reminders of said childhood involved trying to make his own Digimon).

And notably, the series’s finale (prior to the epilogue) ends not on Daisuke but on Iori, escorting Oikawa to the Digital World despite how completely impossible it would have been for early-series Iori to even entertain the idea, finally coming to truly understand what happened with him and being most personally impacted by his death.

But in any case, where are we with the characters? We’re here to talk about how they’ve grown and developed over the course of the series. Let’s recap:

Daisuke: Started off the series as an abrasive kid with more bark than actual bite, constantly deferring to others and easily deflating, relying on shallow sources of validation like wanting attention from Hikari; gradually gained an ability to identify what was important and put his foot down for it, embraced his forward-thinkingness to reach out to a heavily troubled child as a friend, and ended up surrounded by a friend group that loves and respects him.

Miyako: Started off the series as a shallow, flighty girl with poor control over her emotions and difficulty in appreciating the gravity of things; came to channel her emotional range into empathy for others and compassion, bringing other people together and taking care of them.

Iori: Started off the series as a straight-laced but too principled child who stuck to “rules of what’s right” not only in morality but also in way of acting; started to appreciate the emotional nuances and heart behind why people do what they do and how it’s possible to be more flexible in “doing good”.

Ken: Well, his character arc is pretty obvious, but -- again, while his arc of learning to forgive himself is well-known, less often pointed out is that it centers very heavily on not only having penance but also not being too hung up on the past, and the futility of drowning in self-pity and regret instead of choosing to take responsibility and act more productively going forward.

Takeru: Started off the series as a seemingly mature but deceptively inscrutable character whose duality made him hard to approach; eventually opened up with the help of others and showed a capacity for being more flexible with his personal grudges.

Hikari: Started off the series emotionally repressive and passive to the point of self-destruction; eventually embraced connections with her other friends and became more active in taking a stand for herself.

Hey, not bad!

And, again, this is not a series you should be reading in terms of “self-awareness” in the same way Adventure was, but in the sense of their “relationships” and how they interact with others. By being less abrasive and more assertive, Daisuke gained the respect of his other friends. By putting her emotional capacity into caring about others, Miyako became someone who holds the group together. By learning to think a little more flexibly and be less stubborn, Iori arrived at a position where he could more easily sympathize with others in the group. Takeru and Hikari both moved from their previously relatively inscrutable positions to ones who could more effectively interact with and open up to others. And Ken, of course, became someone who managed to integrate himself into a group of true “friends” despite everything he had done against them in the first half.

This, in the end, is how you get what’s one of the tightest friend groups in Digimon history. In the end, the relationships themselves are almost like characters of their own that got development -- I say very often that you could take two of the characters and have an excellent scope of how they’d interact and play off each other by the end of the series. And although they end the series as possibly one of the most shameless, undignified disaster groups out there...they’re certainly still heroic, and in any case, given the lessons they learned throughout their own series, they probably wouldn’t have it any other way.

[silverbastardgoldenfool]

Realm of the Quarantine Reread End-of-Book Questionnaire: Assassin’s Quest

Any differences between your first/previous reading experience and this one?

Keep in mind I’m writing this months after finishing the book lol (it’s mental illness innit). I have LOTS of notes to go off but yeah, things aren’t as fresh in my mind overall. With that said the biggest difference I can think of between my first and second experience with AQ is my feelings towards Kettricken. I think the first time around reading you know that Fitz is an unreliable narrator but you are still limited by his viewpoint so you can get a bit trapped seeing things the way he does. For this reason, I think I pretty much just forgave Kettricken when he did on my first read, whereas on this read I was like……. Waiting for her to actually apologise and show some sympathy towards Fitz and it just…. Never happened.

Like, don’t get me wrong, I still love Kettricken as a character and I fully recognise that she has been traumatised. I don’t expect her to be nice or act rationally, and in the case of being willing to take Nettle for the crown… It’s cold but she’s doing what she feels she has to. My issue is - do what you have to, but don’t expect Fitz to understand or forgive you (same with Starling). But I think what bothered me the most was how Kettricken would constantly confide in Fitz and break down to him and he was always there to let her do so, yet she NEVER gives Fitz the chance to do the same. The one time he does “open up” in a sense is when she forces him to air out his traumas in front of everyone, and she didn’t show him any sympathy for what he’d been through then or later. She has been through hell, absolutely, but while her plight may not have been any better than Fitz’s it certainly wasn’t any worse. She pretty much had two modes in this book: completely cold or a crying wreck - but she was only ever crying for herself. She lets Fitz console her but she never consoles him. Again, this is a result of her own trauma and I don’t expect her to act any differently, but it just reaffirmed for me that while she and Fitz care for each other deeply it is not an equal relationship. Fitz feels an obligation to serve her and she - knowingly or not - takes advantage of that. Like, after realising that this is their dynamic it is so obvious that the same is true in Royal Assassin as well, and it will be interesting to see how it changes (or doesn’t) in Tawny Man as I don’t remember it well enough to say.

Must reiterate: Kettricken is still a great character and I still have a lot of respect for her, unfortunately she just falls into the overfull camp of people who love Fitz but have an unhealthy power dynamic with him.

The other big difference I noticed was that the Verity stuff just wasn’t as devastating this time. Not because it was any less sad but it just didn’t tear out my heart like it did the first time. That’s not a fault with the writing at all, I think it’s just the fact that, knowing what would happen to Verity and that we wouldn’t see the real Verity again, I kind of already let go of him at the end of Royal Assassin.

Something you can’t believe you forgot

I guess more of a misinterpretation/wishful thinking but like, realising that there is no passage explicitly stating that Fitz and the Fool were actually spooning in the mountains murdered me and spat on my corpse.

Oh also!!! Fitz yeeting himself out the window at Tradeford castle jskaskjf

Favourite character introduction moments/scenes

I love Kettle in general and the way we’re introduced to her as a cranky old lady sets her up perfectly

Favourite character arcs

Man they’re all so fucking sad lol but I guess the Fool? He goes from thinking Fitz is dead and his purpose failed to reuniting with Fitz, their relationship growing into something really real for the first time, and actually completing his mission - at least for now lol. This book is really the first time you get to see the Fool be properly vulnerable. Even when he was getting beaten up by Regal’s guards he always had his veneer of snark and superiority to hide behind - and I doubt when he went through his sicknesses at Buckkeep he would have revealed his weakness to anyone in order to be helped. But in the mountains he lets so much of that facade of the King’s Fool fall away - at least when it’s just him and Fitz. When he and Fitz meet again he lets Fitz see his grief and pain and hopelessness and joy as the Fool looks after Fitz, and then later when it’s the Fool who needs looking after he lets Fitz look after him. When was the last time the Fool had anyone really care for him like that, ya know? Had someone protect him purely out of love? Ouch dude!!!!

Also he gets to kiss Fitz at the end so good for him!!!!!!!!!! Be gay ride dragons!!

Favourite quote/s

“I would kill Regal. It only seemed fair. He had killed me first.”

“I had looked into the heart of my enemy. I still could not comprehend him.”

“The more I drank, the less tolerable my situation seemed. And the more intolerable I became to my friends.”

“I had never thought to be disdained by a tree.”

“The Fool, the Fool, only the Fool. I sought for him. I almost found him. Oh, he was passing strange, and surpassing strange. He darted and eluded me, like a bright gold carp in a weedy pool, like the motes that dance before one’s eyes after being dazzled by the sun. As well to clutch at the moon’s reflection in a still midnight pond as to seek a grip on that bright mind. I knew his beauty and his power in the briefest flashes of insight. In a moment I understood and marvelled at all that he was, and in the next I had forgotten that understanding.”

“When you can either laugh or cry, you might as well laugh.” - the Fool

Favourite relationships

Fitzandthefoolfitzandthefoolfitzandthefoolbahslbghabfhalgngjba 

Also fitz and nighteyes (speaking of which, Nighteyes’ arc in this book is also fascinating and surprisingly complex) and Fitz/Nighteyes/Fool mwah magnifico chef’s kiss

Favourite setting

Kelsingra baybeyyy. I remember the first time reading this having no fucking clue what was happening in that chapter but I guess it was the gay agenda all along

Favourite chapter

It’s gotta be the chapter where Fitz and the Fool reunite, right? Catch me just gradually losing my grip on reality with every lingering stare 

Most loved character

Foooooooooool

Most hated character

Ya know, for a minute I was actually wondering if I would like Starling this time round but yeah no lol. She was actually okay for a while but as soon as she sold Fitz/Nettle out she became The Worst, just as I remembered her. It’s not even because she betrays Fitz but because, like Kettricken, she expects Fitz to forgive her for it, to the point of running to tattle to the queen because Fitz isn’t giving her enough attention (I’m also not impressed with Kettricken for actually getting involved instead of just telling her to grow up). Not to mention her constantly misgendering/gendering (??) the Fool or just assuming the Fool’s gender and loudly fucking proclaiming it to everybody is just truly fucking disgusting. Like I cannot even explain how furious I was reading her incessantly using she/her pronouns for the Fool despite no confirmation that her theory is right or that the Fool is comfortable with this and despite EVERYONE ELSE using he/him pronouns. God I’m mad now lol. She just acts like a spoilt brat and it makes my blood boil. But that’s probably because I have known many people like this so… Good character writing lol congrats

Raise your hand if you’ve been personally victimised by Robin Hobb (most heartbreaking and/or visceral moments)

The whole first chapter/s are just so heavy and carry on that gut wrenching feeling from the end of Royal Assassin. Fitz just has no real desire to live and watching him systematically severing the last few ties he has to his human life is just so sad.

Even though I wasn’t as attached to Verity this time, his goodbye to Fitz still made me cry

As did Fitz giving Kettle her skill back

Verity using Fitz’s body to have sex with Kettricken really got to me this time, mostly because I either didn’t notice the first time or had forgotten just how much it affects Fitz. It’s no wonder he doesn’t want to acknowledge Dutiful as his son when the event that brought that fact into being was so fucked up and traumatic. It’s really upsetting.

Burrich saying he almost took Fitz to Chivalry and he should have never let the Farseers take Fitz just …… breaks my heart. Just seeing Burrich so raw like that in general is so unusual it really takes you aback.

Details, observations, spoilery notes made with the benefit of the full picture

Strap in lads this part is lonnnngggggggg

Is it bad to immediately want to cry just from seeing “Sandsedge” on the map and thinking of Sandsedge brandy

I never really thought about how poor Hap didn’t get the real Fitz all those years and how their relationship could have been if Fitz hadn’t been partially forged

Pls I have no idea why but to picture someone as emotionally repressed as Fitz actually sitting down and writing about his life makes me want to fucking cryyyyeeeee

Fitz in the prologue talks about needing a purpose as something to distract himself from sinking [into his chronic pain, mental illness and addiction] and boy howdy if that ain’t relatable. As someone with mental illness and chronic pain Fitz is just painfully relatable way too often.

“I have never forgiven myself the triumph I ceded him when I took poison and died.” Fitz :(((( my guy :((((((( forgive yourself for surviving however you could baby!!!!!

This book mentions Bingtown providing slaves to Chalced

It’s so funny to me when people expect Fitz to have social skills as if he didn’t literally live as a fucking wolf for weeks at a time. It’s a miracle he bloody speaks

The state Fitz is in at the beginning of this book was literally Burrich’s greatest fear for him, yet Burrich doesn’t just say I told you so and leave. He stays, is patient and even optimistic.

“He (Burrich) is not bigger than I.” Why does this feel so wrong lol??? I just can’t picture Fitz as bigger than Burrich

“When you were younger and not supposed to go into taverns without me…” So it’s fine if the child goes into taverns and gets drunk as long as you’re also there. Got it, Burrich.

Fitz calling Chade “the grey one” wow get rekd old man river

Seeing Chade and Burrich interact is so bizarre

Fitz is still having seizures at the beginning of this book! I had forgotten that

God okay so idk if I can articulate this point super well but the whole thing of Fitz going through this extensive abuse and then essentially becoming an animal feels like a metaphor for the way your brain’s “higher” needs and functions just shut off sometimes under certain levels of stress. Like in order to cope with the trauma you don’t think about concepts, or long-term goals, or other people. You just take care of your basic needs - food, sleep, shelter, water - long enough that you start to feel safe and secure again, at which point your brain can open up a bit more and allow you to really think again; to want again, to plan again etc. Like obviously literally becoming an animal is a heightened version of reality, but the functionality of it is the same; our wounds and our fear stop us from fully embodying ourselves.

Burrich be like, Fitz was getting way too dependent on drugs before all this so let’s steer clear of those. :) LET’S GET HIM ABSOLUTELY SHITFACED INSTEAD

I  love how Fitz has his own unique relationship with Lacey and she’s not just Patience’s servant in his mind

Fitz talking about how even his memories from before his time in the dungeons are soiled by his trauma :( baby boy

Dude it’s so rich Chade lecturing Fitz about not making a life for himself, having friends or just chilling out like???? WHO TRAINED HIM TO BE AN ASSASSIN CHADE?? Like I get your point but what the hell kind of life did you think he was gonna have? Who ever took the time to teach him the importance of making connections with people for their own sake, and when would he have ever had the time anyway? I think Chade himself doesn’t actually know what he expects from Fitz.

Fitz saying he’s bad at making decisions because he’s never actually been allowed to make any is literally a point I’ve made lol. This is what happens when you teach teenagers how to murder in lieu of any basic life skills.

Burrich + Chiv were luv at first sight. No I will not elaborate.

“We kept you a boy, looked after you too much.” Huh??????? Fitz was never fucking sheltered lol. He didn’t have autonomy. There’s a difference.

I’m so fucking glad Fitz hugged Burrich before he left and that they actually left off on okay-ish terms. I didn’t remember that and it vaguely dulls the blow of knowing we don’t see Burrich again til Fool’s Fate (and that he thinks Fitz is dead the entire time between now and then).

“If I shaved my hair back from my brow” bitch disgusting

“Honey was the older of the two women. Perhaps my age.” jskfjnajgbl my guy those aren’t women then those are children!!!!!! U freak

I was wondering for ages why Fitz doesn’t mention the Fool like literally at all bc that’s so unusual right? Even in Assassin’s Apprentice he thinks of him when he goes to Moonseye and just in general the Fool usually enters Fitz’s thoughts pretty frequently. So why now, when Fitz doesn’t even know if the Fool is okay, is he just not thinking about him? And then I realised that that is exactly why. Because the only two people from his old life he doesn’t think about are the two people whose fates he knows nothing of: Kettricken and the Fool. So he can let his mind wander to think what Patience and Lacey might be up to at Buckkeep, or who Molly is with or whatever, because he knows they are all safe. But in such a fragile state I don’t think he can bring himself to really wonder whether Kettricken and the Fool made it to their destination - he probably doesn’t really believe they could have, and that is far too painful a road to go down when you are trying not to think at all.

I know the first act of this book is slow and that bothers some people, but I think it is so necessary, not only for Fitz’s arc but also because it really demonstrates just how severe the situation has gotten with the red ships and forged ones AND it shows just how destructive a king Regal is. Without this perspective it would probably be much harder to buy that the extreme measures taken at the end of the book are really worth the sacrifice.

Fitz is Demisexual, Exhibit A: when Honey is coming onto him, all he can think about is Molly.

Fitz is so scared of the Forged ones :( his trauma affects everything. He has no faith in himself and less heart for the violence than ever.

Speaking of trauma metaphors: the way Fitz tends to drift off into the wit or Skill after a traumatic experience is… pretty much just dissociation but magique

I forgot that witted folk can apparently communicate with each other mentally, not just with animals

“Her head was the size of a bushel basket.” Ah, yes, a bushel basket, a thing whose size we are all intimately familiar with.

Fitz finally finds others like him and even then he is not fully accepted. Told he is doing the wit wrong. Othered by the Others. It’s the queer experience innit.

Also forgot that apparently the forged are attracted to the wit as well as the Skill?

“I wondered if I had as many wolf mannerisms as they had halk and bear.” Yeah no probably not you only bloody LIVED as a wolf, Fitz.

Okay I know it doesn’t need saying but Patience is just so fucking cool!!!!!

Jesus fucking christ, Fitz skilling out to Molly when he knows Will knows he’s alive and is looking for him is just… so dumb. So so dumb. I know he’s just fixating on her because he’s miserable and she’s like this unsullied thing he had before everything went wrong but holy moly is it frustrating 

Not to mention he doesn’t connect the dots between the fact that Burrich went to “help a friend” and every time he reaches out for Molly he sees Burrich sajkdbshkhja dude

Nighteyes leaving just goes to show that Fitz cannot rely solely on Nighteyes for companionship. No matter how innately the same they are they are equally as innately different. Fitz needs Nighteyes but he shouldn’t have JUST Nighteyes (which is why he, Nighteyes and the Fool are the holy trinity). When Nighteyes leaves, Fitz is in way too fragile a state to be left alone, but Nighteyes cannot think of the future or what might happen. All he knows is he’ll be back at some point and that’s all that matters.

“My anger fed my competence” whatever you need to tell yourself sweetie

I think I had blocked out the fact the Regal was keeping animals trapped in filthy cages so they could ravage people in the king’s circle uggggghhhhhhhhh I hate him

Fitz is down on himself saying that without Shrewd’s largesse, Chade’s information and Verity’s protection his idea of himself has been stripped away and that he’s not actually competent etc. but like. This is an extreme situation!! You’re literally alone in the wilderness with nothing and no one!! Who would thrive in this situation? And nobody gets by without help anyway! The people in our lives do define us to an extent. You don’t have to be able to stand 100% on your own at all times with zero resources to be considered capable. It’s human to depend on others. Yes I am chiding myself as much as Fitz here :))))

Burrich’s earring is the repressed gay earring. No I will not elaborate.

Fitz refusing to sell Burrich’s earring is frustrating yet something I would 100% do lol

Direct from my notes: Celery hiding out in caves?? Bad bitch

“I felt I was within the flames looking deeply into the Fool’s eyes” um okay gay

It’s actually surprising that Fitz admits he would not have gone after Molly even if he had known she was pregnant when she left. On one hand so self aware yet this doesn’t stop him from completely idealising their relationship.

And then you have Molly who says he was supposed to come after her “so she could forgive him”, that he was supposed to be the one to light the candles for her childbirth etc. The fact that she in any way thought he was mature enough to be a father just shows how little they really knew each other.

Burrich treating Molly like a horse while delivering Nettle is way funnier than it has a right to be jskakjasd makes me think of Dwight treating Phyllis’ back injury in The Office lol

The first thing Burrich notices about Nettle is that she has Chivalry’s brow are you fucking kidding me. Gay!

Fitz is Demisexual, Exhibit B: He had no interest in Tassin whatsoever until she literally started kissing him. At this point his body reacted, which is normal, but as soon as he got a second to actually think about it he stopped, because for him it would not be satisfying to sleep with someone he didn’t have feelings for.

“It seemed to take years for the dried beans and lentils to soften.” Okay mood

I love how Fitz just assumes Molly will take him back. “I have a woman and child awaiting me.” Says who bitch?

Small ferret? More like big legend

Ya know, we give Fitz so much shit but honestly with so much physical, mental and emotional stress on this journey how can we expect his mental faculties to be at 100%? I wouldn’t be making good decisions either, in fact I would be long dead.

Starling telling Nik that the earring once belonged to Chivalry is truly a smooth brain move

“Do not fear, little brother, I am here to take care of you again.” Words can’t explain how much I love Nighteyes and how often his dialogue makes me smile :’)

It’s so cute how Nighteyes is worried about Molly and Nettle until he knows that Burrich is taking care of them

It’s really interesting when Fitz claims “I’d rather be with Molly even if it meant rocking a crying baby in the middle of the night” because, well, he’s literally made other claims to the contrary, saying he wouldn’t have gone with her even if he’d known she was pregnant. Because at the end of the day as much as Fitz is compelled by others to do work for the greater good, I think deep down a lot of the time it is what he would do anyway. Like I really don’t think he could actually enjoy being with Molly knowing that the world is burning down around them. He would want to get out there and help somehow; not only to secure their own future but to reduce other people’s suffering as well. He’s an empathetic boy even though he’d like to be selfish.

Every time Fitz calls Molly his wife I lose ten years off my life

Again, I understand why he’s thinking like this, but Fitz’s ownership of Molly is just so uncomfortable. The fact that he can’t imagine her not having a place ready and waiting for him in her life when he returns just illustrates that she is not a fully realised person to him. She is just a comforting idea.

Oh yes, it was definitely Starling’s “pillowtalk” that got you captured and not the fact that you fit the exact description of the witted bastard right down to having Chivalry’s earring and a whole ass wolf

Somehow forgot that Jhaampe is basically a city of tents with only a few permanent buildings and people constantly coming and going

Fitz’s first words to the Fool are “I’ve come to you.” I’m gonna fucking die

Literally every single word from the moment Fitz realises it’s the Fool and starts describing him is a full body assault and personal attack I am seeking reparations

God the tenderness, the angst, the relief……… shall i pass away

“I doubted he was much taller, but his body was no longer a child’s.” My dude this is a gay awakening if I ever saw one

Fitz be like *spends 87 pages describing the Fool in painstaking detail* anyway I love being a heterosexual male

I’ve heard ppl cite Fitz’s descriptions of Kettricken as evidence of a crush (hard disagree) but literally nothingggggg even comes close to the way he describes the Fool. Not just this once but over and over again it’s insane.

“Talk fell off between us. The bottle of brandy was empty. We were reduced to silence, staring at one another drunkenly.” skjakfnajghajgnaLNGJ is it gay to silently gaze into thine homie’s eyes

The Fool protecting Fitz from everyone - especially Starling - in Jhaampe is often hilarious and always heartwarming

Realising Fitz was skinny enough for the Fool to lift on his own ahhh no wonder he said the famous “When I recall how beautiful you were” line, Fitz is a total wreck

I love that the Fool actually gives Chade shit for his plan to take Nettle. I love him.

“Too few folk cared for me. I could not hate a single one of them.” Oh, Fitz :(

I always wonder how the Fool really feels about Molly. Is he jealous? Does he compare himself to this woman Fitz idolises and he doesn’t know? Does he know that Fitz is barking up the wrong tree or is he stuck thinking Molly must really be Fitz’s soulmate since he won’t shut up about how much he loves her and can’t wait to get back to her? He just never really lets on how it makes him feel when Fitz has relationships with women. We know Fitz gets jealous of the Fool (for litch rally like no reason lol), so with the Fool being much more honest with himself/in general about his love for Fitz and having much more legitimate reason to be jealous, is he? Or is it just something he’s made his peace with, that these women give Fitz something that he cannot? Is he okay with that cos he has to be or does he have a different, less monogamous view of love and relationships (he does have three parents after all). I dunnoooo dude I just have so many questions. Like obviously - OBVIOUSLY - if Fitz and the Fool didn’t have romantic feelings for each other before, there is no doubting that romantic feelings appeared the moment Fitz appeared in the Fool’s hut. Fitz won’t admit that but mere chapters later the Fool is talking about how he loves Fitz in every way so like. He knows. So how does he feel when Fitz is calling out for Molly in his sleep, or openly speaking of seeking her out when all this is over, and lying to the Fool to protect Molly and his daughter. Really makes u think!!!!

Fitz reuniting with Sooty and going to see her every day in Jhaampe is so cuuuute and made me so happy. Sooty is a good girl :’)

Fitz be like *leans against the table where the Fool is carving and watches his fingers at work like a true repressed gay*

Verity is literally so strong???? He submerged himself in skill and was able to pull himself back from the stream can u imagine? Go off king!

Bro I literally can’t with the Fool mentioning Jofron so casually and Fitz immediately thinking wow oh my god they’re definitely fucking oh my god the Fool has a girlfriend - Fitz sweetie calm down

I love how Fitz and the Fool just naturally walk together :))) and Nighteyes babysitting Kettle is so cute

Molly never once says that she misses Fitz. She says she always expected him to do the right thing, to come after her and not leave her alone with a child. But she doesn’t look back on their time together fondly or have much positive to say about him as a person. And all that is fair, but it’s also just… Not really the behaviour of someone who’s been separated from their soulmate. It’s more just someone who’s been left in a shitty position by someone they cared about but hardly knew.

Fitz asking the Fool what is between him and Starling when they’re literally just being civil is sooooo fucking funny. Not everyone finds the Fool as irresistible as you do, Fitz.

The Fool just casually finding a pretext to call Fitz the light of his life

Fitz telling Kettricken firmly that he will not travel if the Fool is ill is one of the only times he ever puts his foot down with her GEE I WONDER WHY

I’ve said it before I’ll say it again…… there really do be something about the way Fitz can’t meet the Fool’s eyes………. It’s not like they’re weird and colourless anymore like they used to be!!!

The Fool already talking about Clerres in this book!

Fitz and the Fool and Nighteyes playing in the stream is too fucking pure omg, it’s what they deserve

And then Starling has to bloody ruin it bc she’s homophobique

But seriously, Fitz actually lets go for the first time in ages and has a nice evening only for Starling to go tattling to Kettricken, and Kettricken having the gall to confront Fitz about it. And then Fitz solves the problem by saying he doesn’t disdain her when like!! He has every right to!!!! She sold him out, sold his daughter out. She never even apologised but instead has just been totally petty and self-righteous and stirring up trouble amongst the group. She hasn’t earned or even asked for his forgiveness. So fitting that she’s the one constantly judging Fitz for his relationship with Lord Golden in Tawny Man lol, she just cannot let Fitz and the Fool be the queer icons they are!!!

Verrrrrrrrrrry interesting that Fitz only “suddenly missed the human warmth and comfort” of Starling taking his arm or sleeping against him literally IMMEDIATELY after the plumbing and love confrontation with the Fool. I mean he has been doing all of those things with the Fool (sleeping together, walking arm in arm etc.) so it’s not about human touch at all, it’s about convincing himself that a WOMAN’S touch is somehow inherently different.

He does the same thing with Starling as with Kettricken. She technically apologises but it’s not sincere and that’s not why he forgives her. Same as Kettricken, she tells her sob story and he can’t hold onto his anger. It makes sense, but it’s just very toxic. It would be nice if at least one person would really recognise how much they’ve hurt Fitz and really, genuinely want to atone for it, or apologise without expecting forgiveness. The onus should not be on Fitz to forgive Starling but on Starling to grow up and not need Fitz to like her in order to remain civil and do what they have to. Also “I do not find your wit bond offensive” has the same energy as someone telling you out of nowhere like “It’s fine that you’re gay :)” like wow thank u?? lol

Fitz is Demisexual, Exhibit C: “I wanted her with a desperation that had nothing to do with love, and even, I believe, little to do with lust.”

“By his love he is betrayed, and his love betrayed also.” So fate agrees with me, Fitz and the Fool are in love? :)

Anytime the potential that Fitz might have to choose between Molly and Nighteyes I lose brain cells. That’s ur brother Fitz!!! It’s not even a choice!! How dare u

It’s just sooooo intentionally laid out for us in this book that Fitz’s relationship with Molly really wasn’t good or healthy and that his fixation on it is misguided, and I think that’s why I struggled sooooo hard with the ending of Fool’s Fate, because it kind of implied the exact opposite. I’m hoping on this reread I will pick up on it being laid out as a result of Fitz getting his memories/teen feelings back rather than it just feeling like a lowkey retcon, but I guess we’ll see lol

“I felt I was a bit in love with him, you know. That sort of lift to the heart.” the confirmation that the Fool KNOWS HOW IT FEELS TO BE IN LOVE sends me deep into the swamps goodbyeeeeeeeeeeee

“The one who loves him best will betray him most foully.” So fate agrees, the Fool loves Fitz best :)

“You do love me! … Before, it was words. I always feared it was born out of pity.” Godddddd Foooooooooool!!!!!!!!!!! 

Everything about Fitz, the Fool and Nighteyes meeting in the skill for the first time is just truly perfect iconic unparalleled.

Fitz’s love for Verity hurts my heart so much. Just think of the relationship they could have had if they weren’t stupid royals.

Kettle’s whole speech about Fitz and Molly… Just yes to every word.

Look I’m just gonna say it… The way Burrich reacts to Molly’s advances … like I know it’s probably not intentional but it just reads as very much fitting in with my headcanon that he is gay. As soon as she makes it clear she wants to sleep with him he like leaps across the room lol. I do believe he cares for her and loves her in his way, but it does feel mostly like he’ll just do whatever he needs to to care for her and the baby.  Sowwy

I wonder why the Fool wasn’t as affected by his giving up of memories to Girl-on-a-Dragon?? Or was he, and he just gets them back before we see him again in Tawny Man?

“Take my hurt that I never knew my father, take my hours of staring up at his portrait when the great hall was empty and I could do so alone.” um this is so fucking sad

It was the Fool who sent Starling to find Fitz after Verity uses his body and again I have to ask, wtf is going on in your mind, Fool!

Fitz is Demisexual, Exhibit D: Even once he actually sleeps with Starling he has no enthusiasm about it, he just kind of goes along with it, likely to prove to himself that he has really let go of his past/Molly. 

I always wonder why the Fool leaves now. Is it because he thinks their work is done and doesn’t want to risk messing things up by hanging around his catalyst like at the end of Tawny Man? Does he intend to come back and find Fitz again but get sidetracked by a lead or a new dream? Like it’s just weird because at first he was like “Prophet and Catalyst stick together” and was gonna stay with Fitz - or was that just an excuse because he was obsessed with Girl-on-a-Dragon? Fool u spicy lil enigma

It’s blood and the wit that wakes the stone dragons so does that mean King Wisdom was witted? Or is that obvious lol

Fitz isn’t even bothered by the Fool’s kiss, just shocked. I am looking.

Patience shouting orders at Verity-as-Dragon is beautiful ksjjk

Of courrrrrssse Burrich names his first son Chivalry

In the epilogue, the Fool is the only one Fitz actually says he misses. Exquisite.

I know some people have an issue with Regal’s death but personally I find it delicious

Okay that’s all (I say as if this wasn’t 139841989 pages long). See y’all in 92 years when my sister finally starts reading Liveship!

[ante--meridiem]

do all the hozier ones you haven't already!

Take me to church - are you religious?

No. Religion confuses me to be honest. I was raised in a pretty strongly Christian (Catholic & Eastern Orthodox) environment - my parents aren't really religious either but my extended family is and both Irish and Romanian culture very much are - but I can't remember ever actually believing. I tried to make myself believe a few times when I was younger but the closest I could come that I found convincing was a vague pantheistic "I guess God can be everything if you want" which I eventually concluded was basically meaningless to me as a statement.

Work Song- Is there anyone you’d sing a love song to, romantic or platonic?

Given the quality of my singing voice, I think singing to someone would be less a display of affection and more a cruel and unusual punishment. I did sing with my ex a few times, which worked because I could copy his tune rather than floundering around trying to find the right notes myself. I would sing a love song to my partner on request, but. I advise them against requesting :P.

Someone New- Do you fall in love easily?

Definitely not. I've been properly in love twice, one of the times it took me about four years of knowing them to develop romantic feelings and for the other I'm not sure exactly of the timeline but I think at least one year, probably at least two. My list of crushes might be somewhat longer, but it's hard to tell tbh between the fact that I find it hard to distinguish intense admiration from romantic interest and the fact that most of them would have happened before I realised me having romantic interest in women was even possible.

Cherry Wine- Do you have a sweet tooth?

Somewhat, yeah. I don't like things that are excessively sweet but I do like sweets in moderation.

From Eden- Do you think theres “something tragic about this” life?

Yeah, definitely. Both just in raw terms of "bad things can happen" but also in terms of, like... the things that make tragedies tragedies and not just compilations of awful events: missed opportunities, realisations that come too late, sequences of events that could have been changed from the outside but were inevitable from the inside, so forth. (Someone whose writing I like once suggested that last one as a definition of "tragedy" in literary terms and I like it as a definition.)

Movement - Do you perform in any way?

Not really. I'd say I'd be unlikely to because I'm too socially anxious for it, but actually I think I might prefer performing over other forms of interaction because I get to script it beforehand. I did take part in a few music competitions when I was in school which involved performing, and more recently I took part in an open mic poetry night which was surprisingly fun, but that's about it.

Angel Of Small Death and The Codeine Scene- Any addictions?

No. I know my blog title is a joke about coffee but I'm pretty sure I don't actually have a caffeine addiction, I never really have more than one or two cups a day and I can and have gone periods of time without it without any negative effects (...though I did still have tea). I've enjoyed alcohol a few times but I don't really feel the need for it outside of occasions where I'm offered it. I'm unlikely to ever try any other kind of drugs because the idea of being less in control of myself scares me.

Like Real People Do- Have you kissed people?

Yep. Unsure if my ex counts given he doesn't match my gender preferences but while I haven't had any serious relationships between that one and my current one (which is long distance) I have gone on a few dates in between, one of which did involve kissing. Among other things.

Jackie and Wilson- Do you want kids?

God, no. The thought of pregnancy is viscerally repulsive to me and while I'm slightly more open to considering adoption I can't see myself ever really wanting it. And even if I did have a sudden urge for it, my emotions are too unreliable and hard for me to access for me to be confident I'd develop and maintain the kind of attachment needed to be a good parent, unless I was adopting a kid I'd already formed that kind of attachment towards somehow. Which seems unlikely so blanket no.

Moment’s Silence- What do you find beautiful about the situation you’re in now?

I like getting to go for walks around the nearby lake in the evening. It's peaceful and pretty and I can finally make an attempt to sort out my thoughts.

To Be Alone - Do you prefer other people’s company or your own?

My own, without a doubt. Love other people in theory, they're fascinating, but in practice being around them is confusing and exhausting. There is maybe one exception but even in their case I wouldn't want to be around them constantly, I need time to myself.

In the Woods Somewhere- Have you ever had a supernatural experience?

No.

My Love Will Never Die- Are you dating anyone?

Yes :)

It Will Come Back- Do you like to write?

Yes, though I stopped for a while because I was busy with uni and I've been having a hard time getting back into it.

To Noise Making - Do you like to sing?

Not so much that I dislike it as I'm very bad at it, so I don't much.

Nobody - Who in your life is important to you?

Currently my parents and my romantic partner, mainly.

Foreigner’s God - Do you ever talk to yourself or something above?

Myself, yes. Something above, no, since as mentioned I'm not religious.

[joiedecombat]

and now for something completely different:

The Longbourn Quarantine

Before I talk about The Longbourn Quarantine I feel like I should acknowledge two things. One is that I'm pretty sure all of us have some shit to work through from the past year or so, in one way or another. The other is that writing is hard, y'all; it's really, really hard.

The Longbourn Quarantine isn't the worst adaptation of Pride and Prejudice that I've read during this whole adventure. It's not even the worst adaptation I managed to finish. It is, however, definitely the most surreal. I stayed up until 3 am on a Sunday morning reading this thing because I just could not look away, and by the time I finished, I felt like I was hallucinating.

At times, Caroline would close her eyes and reach out with eldritch fingers to gently cradle a golden orb floating like a benevolent star warming all around it. This gentle presence was the still and deep peace known as Jane Bennet. Jane's calmness poured balm upon the angry cauldron of Caroline's soul. There also was another: a richer, almost spicy red aura that burst from the gray plane stretching behind Caroline's eyelids. This bouncing, buzzing sphere would come close and brush against Caroline's ethereal being, nourishing it with crimson packets. The exultant essence--both an Elizabeth and a Lizzy--was bountiful with joyous energy.

Don't ask me, I read the whole thing and I still have no clue.

The premise in brief: an epidemic of smallpox is ravaging England, forcing Darcy, Georgiana, and Charles and Caroline Bingley to take shelter at Longbourn (Netherfield has been rendered uninhabitable by looters), where they are obliged to remain under quarantine for two weeks to confirm that none of them have brought the plague with them from London.

The threat of illness and contagion doesn't really bring a lot of tension to the story, though; Darcy and Mary Bennet have both already survived cowpox, and Jane, Elizabeth, and Georgiana have been vaccinated, so the narrative treats them all as effectively immune.

In fact, surprisingly little really happens in this book. A lot of it is taken up by the Bingleys mourning the deaths of the Hursts, and the rest by Wickham turning up about halfway through the story as a squatter in Longbourn's abandoned gamekeeper's cabin, dying of smallpox he contracted via Mary King. For some reason, Darcy takes it upon himself to nurse Wickham through the final stages of his illness, and eventually Wickham asks to unburden himself to Elizabeth, which - for some reason - Darcy finds appropriate to agree to.

There's not much real dialogue in this book so much as strings of connected monologues, since once someone speaks they almost inevitably go on for a good two pages without a breath.

But the prose, y'all.

Even as her thoughts returned to the conference above Mr Bennet's worktable, Mr. Darcy's distinctive scent, reminiscent of sandalwood and spice, rose afresh in her memory's corridors. Once Mr. Darcy perceived an area where he could be useful, his being exuded musk--like a roebuck in rut, perfuming everything within reach.

Have you ever read something and just viscerally known it was written by a dude?

The muscles that rippled beneath Mr. Darcy's superfine topcoat sent shivers from her palm up through her arm. Then the jolt coiled around itself to fly down the mystical cord stretching from behind her breastbone into the chalice of her hips. There its thrumming vibrations unleashed sensations she had felt only in her dreams. Those had been triggered by fantasies. These manifestations rose from her immediate reality, from the presence of the man matching her step for step.

Yeah.

Anyway, Wickham's 17-page speech to Elizabeth more or less resolves what plot there is: he confesses all his sins, explains Darcy's character to her in detail, informs her that Darcy is in love with her and will almost definitely make a hash of his confession and proposal, and asks her to give the man the benefit of the doubt for... some reason.

Once Wickham has conveniently expired, Darcy does indeed drop a variant of the Hunsford proposal on her - worse in this context since they've all been in each other's pockets for two weeks during a terrible crisis and he really ought to know better - and in a truly breathtaking example of missing the goddamn point, Elizabeth politely heads him off to tell him it's okay, she knows he's just nervous, and of course she'll marry him.

Then again, you have to have consistent characterization to have anything resembling character development, and since this is the book that also includes Mrs Bennet giving Kitty and Lydia a detailed lecture on effective grief counseling I'm not sure what I was expecting.

Do not read The Longbourn Quarantine. I'm fairly sure I lost brain cells to this book. I'm only posting about it because I was asked to and because it was such a bizarre experience I feel like I need some kind of proof it actually happened.

[gaslightgallows]

quaidpoppinjack replied to your post: UGH okay so my current fic-wrangling issue is that...

I feel this so hard. I have some 10 year old WIPs I am reanimating from the dead and some current WIPs and I keep seeing the same themes. I need to really smush it together.

I find that a looooooooooooooot with older WIPs. And that’s the best way to tackle them, I find: just slice those puppies up and sew them together into a delightful fanfic Frankenstein’s Monster that you can treasure. 

However this is the first time I’ve ever had two fics I’m currently working end up being so incredibly similar that they might as well be clones.

[joannechocolat]

ORFEIA: on grief, and the dark side of fairytale.

When my daughter was eight years old, I began to write a crime novel about the death of a child. Nine pages in, I abandoned it. The thought of losing a child like that, even in fiction, was so viscerally upsetting to me that I ditched the idea permanently. Or so I thought.

Twenty years later, I wrote Orfeia, the story of a woman, Fay, who loses her adult daughter Daisy through suicide, and of her journey through the different levels of London, through Faërie, and finally to the Land of Death, where she must face the Hallowe’en King, and enter a battle of wits with him for her daughter’s return. It is a battle she cannot win, as she is losing her memory; and yet I like to think that victory, like love, is in the eye of the beholder.

Why I decided to write this story then, and in that fairytale genre, I didn’t ask myself at first, except that it seemed right, somehow, and because somehow the story wanted – needed – to be told.

In some ways Orfeia closely follows The Strawberry Thief, in which Vianne Rocher has to come to terms with her beloved Anouk growing up, getting married and moving away. At the time of writing it, my own daughter was embarking on the same journey, and it was inevitable that some of my own experience would make it into my fiction. I know it isn’t the same sort of loss, but for a parent, there is a kind of bereavement when a child leaves home, along with a sense of questioning their purpose and direction, now that the child’s upbringing is no longer at the centre of their life. But Fay’s real story comes from elsewhere, and has taken me a long time to process.

We often find in fairy tales accounts of people who die of grief. But I saw it happen first-hand, and it was anything but fantasy. My great-aunt, my grandmother’s sister, had been living as a cleaner in Paris. Her only son, whom she adored, but with whom she was estranged, had been living abroad for years. From time to time she would hear news of him and his family, but he never wrote to her. She had a single – very old - photograph of him with his wife and their daughter, which she always proudly showed me when I came to visit.

One day a friend, assuming that she already knew, made a casual reference to her son’s suicide. My great-aunt found out in this dreadful way that her son had died some years before. The shock of the news sent her into a sudden, dramatic decline. The tough Parisian resilience that had helped her survive a war, an acrimonious divorce and near-financial ruin just collapsed almost overnight. In only a few months, she became completely unable to function, or even to remember who she was. She would look at herself in the mirror and complain that “an old woman” - or sometimes a “witch” - was spying on her through a secret window. She died in a retirement home, less than six months afterwards.

That memory has stayed with me, and I used it in Orfeia. I wanted to take a familiar story (the myth of Orpheus and Eurydice) and use it as a metaphor for a woman’s journey from grief to a kind of acceptance. The fairytale and fantasy details act as a reflection of Fay’s mental state, as her life (and maybe her sanity) begins to unravel. I also wanted to hint on some level that her growing confusion and memory loss might be something to do with grief-induced dementia.

             If that sounds a little bleak, it is - which is why I also wanted to give Fay some kind of resolution. It’s also the reason I chose to tell this story through the lens of fantasy; because the truth underlying it – the raw grief of a mother robbed of her child – was still too much for me to explore within a real-world setting. But fairy tales are dark tales; in spite of attempts to make them into harmless stories for children, they deal with the darkest of issues – grief, loss, murder, abuse, monsters both human and inhuman, and of course Death, that ultimate monster, and our constant struggle with him – which is why they speak to us on a deeper, more intuitive, more primal level than stories of the real world.

In pre-Freudian times, fairy tales were the only means to express deep and unspoken feelings that could not be otherwise expressed. Now that we understand more about the workings of the human mind, they emerge as a kind of counterpart to the human subconscious; a direct conduit to what we feel; the secret language of Humankind.

During my time as a Languages student I fell into the rabbit-hole of German psychoanalysis. During that time I came to believe that there’s a direct parallel between the levels of the conscious and unconscious mind and the different narratives that we use to express our identity. History is the ego; the conscious, rational, factual mind and the official identity of a culture. Story – that is, fantasy, folklore and fairytale - reflects the human subconscious; its needs, fears, and dreams throughout the centuries; the secret, hidden identity running alongside the official version. So the further we look into ourselves, and the more we explore our cultural identity, the more likely we are to find value in these “fantasy” narratives, which are in fact the truest expressions of our collective unconscious.

In Orfeia I wanted to challenge the distinction between what we think of as “reality” and “fantasy.” Just as Fay slips from one state of consciousness into another, the story slips between both worlds, from the familiar ego-London to the World Below of London’s subconscious and its secret, forest heart.

The framework of existing folklore is surprisingly receptive to this. The two Child Ballads I chose as the foundation of the story lead naturally to each other. King Orfeo – the Celtic adaptation of the Orpheus myth - already contains many fairytale elements, which made it easy to incorporate the further elements from The Elphin Knight. And the idea of riddles as a means of communicating with Death (the unknown, the unconscious mind, etc) just seemed like the next logical step. To expand my theory of the conscious and the unconscious mind as a universal analogy, I was trying to introduce the idea that fantasy and reality are all part of the same world, just as the conscious and the unconscious mind are all part of the same brain. Anything that can be imagined is real on some level of existence. That means that all my books – including the ones not generally seen as fantasy - are actually part of the same extended multiverse. Whether I’m writing fantasy as Joanne M. Harris, or literary fiction as Joanne, I like the symmetry of that - and also how much it will annoy those among the literary community who refuse to acknowledge fantasy as the legitimate art form it undoubtedly is.