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namorthesubmariner · 1 year

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Namor & Talokan

So these are my thoughts upon watching Black Panther: Wakanda Forever twice now.

I loved Namor. I truly feel they captured the characterization so well in so many ways and it’s amazing how good of a job they did in this movie, how Tenoch owns that role, how perfect everything is. This is what it means to adapt a character, changing things but keeping the essence of the character and tbh the changes were such a great choice because in the end it served to enhance the character and bring him to new audiences and fans to enjoy and he is still NAMOR. So many people complaining about how bad it is they stripped Namor of everything obviously think that Namor begins and ends with Atlantis and know nothing of his character.

The overarching theme of Mothers, and their children, Namor & Fen, Shuri & Ramonda, play a central role amidst all the grief of the past/losing someone. Colonization is the enemy, not Namor who was just Wakanda’s antagonist.

Talokan mirrors Wakanda but asks the question: What if Colonization had won, what happens to the survivors who escaped? Wakanda never had to deal with the Invasion of their homeland, while Talokan did.

In the comics Namor is often the “Voice of Reason” when placed within a group dynamic, such as the Illuminati, it’s Namor who points out their plans are stupid or finds the most straightforward path to his goals, he is a very honest character and doesn’t hold back his words/thoughts. So it makes sense that just as Coogler holds up Talokan to mirror Wakanda so he would hold Namor up as a mirror to Shuri and gives her the option that others in Wakanda could not, to take on the world and give into those feelings of Rage. Ramonda (and by extension Wakanda) wants Shuri to grieve properly in a healthy and begin to move on with her life, which Shuri cannot do because in part she blames herself for not being able to save T’Challa. Survivors guilt is strong within her even though she really couldn’t do anything but that’s how guilt works. Which plays off really well because Coogler wasn’t afraid to let Namor be exactly like his comic counterpart and follow through on his word/promises even if that meant he was going to do things no Morally White/Good aka Hero character would do, since Namor is a Morally Grey character he has the space to make and follow through on choices he finds benefits himself and his people.

Spoilers beneath the cut, so this is your warning.

While Namor is much older and had time to rule over his people and deal with the grief of losing his mother for hundreds of years he chose Rage & Vengeance as his crutch to get through losing her. He focuses his anger on the world. He isn’t wrong, the Spanish Colonizers are the root cause for all the evil done to him and his people and by extension the surface world. Namor is a Hero to his people and he is their Protector. Which means he will be viewed as an enemy of the surface world. Namor was superhero comics first anti-hero and Tenoch!Namor is the same.

As a general overview before I get into details, Namor’s arc is very complete. His goal was an alliance with Wakanda, he makes it clear the first time he comes to ask them for help because Namor does not ask for help, not in the comics, not unless he trusts that person or is willing to trust that person. Namor + Trust is a very important trait. Listen if you think Namor couldn’t find the scientist and kill Riri where she stood on his own than you don’t know how capable Namor is. He and his people are not primitive/lacking of skills or smarts, he doesn’t need Wakanda’s help but he recognizes it would be smarter in the long run to have an ally that would empathize with him and his people. He chooses Wakanda because its the Nation his mother told him about, and he recognizes that they and Talokan are both very similar. Namora and Attuma were literally using a hunting trick for Riri, have someone else draw her out into the open before taking them down. Why else would they have been waiting close enough to take Riri if Namor had asked the Wakandans to bring her to him? If Namor had truly trusted them to find AND bring Riri to him he would have waited instead he had a back up plan which were Attuma and Namora. Namor’s trust of the surface, even Wakanda only goes so far.

Let me get into details. You don’t know how much it’s killing me to not have pics to go along with my text but I will have to wait till the movie is out on dvd to be able to gif/screencap everything.

I’m starting off with character design first:

Wings.

His wings are AMAZING. There was no easy Superman gliding and swooping here! His air walking was astounding, at times it felt like he had to really push himself to get up to a certain height level like a bird putting more effort into its wings getting off the ground vs catching a air current. He was so agile and FAST, turning on a whim and aware of his surroundings, honestly some parts felt like he was just swimming or dancing through the air, the way he twists his body/hips to change positions. I am so happy they included the wings because it’s so important to his character.

His wings flap rapidly like a hummingbird, and it’s always been one of my personal headcanons that’s how Namor’s wings move and it was really cool to see! There’s a sound you hear when his wings move, like a rattlesnake/buzzing, I think its because he is called K’uk’ulkan, Feather Serpent God, so that rattlesnake buzzing is a nod to the serpent aspect of that.

Edit: AresisKander on Twitter added this comment after reading this post and I am including their comment:

About the sound of the wings or when he flies, I think the reference is to the ayoyotes or chachayotes many people in Mexico still use to do/reenact traditional dancing

A photo of Ayoyotes.

/End Edit.

I did some searching online today to try and figure out what bird/feather pattern they modeled Namor’s wings off of because in the movie it’s not pure white wings and had some light patterns of grey/light brown with the white. I think its modeled after the Osprey (Pandion Haliaetus).

The parts I’ve highlight here are what stood out to me the most in the movie, the tops of his wings had the same white feathery look and his lower feathers had that pattern. The bird makes sense for Namor as the Osprey is found near rivers/bodies of water and is a fish eating bird of prey, with excellent eyesight to see underwater to hunt their fish. They are excellent divers too.

Tenoch’s ears were so cute, and while Namor has pointed ears, the rest of his people do not, so some people like Namora, use jewelry to give themselves the pointed ears like Namor, others use jewelry on the outside of their ear to mimic the pointed ear shape.

GILLS.

THE TALOKANIL (or is it Talokaneil?) HAVE GILLS. I AM SO HAPPY THEY KEPT THAT FROM THE COMICS!!! The Gills have always set Marvel’s Atlanteans apart from DC, and even Namor has gills in the comics even though artists forget to draw it but it was an important plot point in a couple of comics. Seeing their water masks covered not just their mouth/nose but also the gills on their necks was so cool. I can’t wait until high res stills come out so I can show you all how cool their costumes were! the gill masks were soooo pretty!!! There is just so much detail on their look/costumes/mayan influences that I can’t do it justice with words but it was beautiful, Namora had a few outfit changes through the movie which I loved.

Speaking of Namora, she was not at all like her comic counterpart and like I guessed before she is basically a mix of Namora and Andromeda. It makes sense why they wouldn’t use the character Andormeda since she is Attuma’s daughter in the comics so they wouldn’t have time to explain why his daughter is the same age as him etc. since comic atlanteans are long lived and look the same ageish. Andromeda operates as Namor’s right hand woman, the captain of his guards/army, a highly respected close friend and long time ally who would always fight beside Namor and offer advice.

Namora is smart, loyal, and such a badass in the movie. Mabel played her beautifully and I adored her. Anyways I loved this interpretation of Namora and I hope we get to see more of her and Attuma. Attuma’s character does not get alot of lines, we have no clue to his motivations and if he hates Namor or not like in the comics, in the comics they were enemies, but the recent King in Black: Namor tells the story of Attuma’s origin and friendship with Namor before it all went bad.

Namora, Attuma, and Namor all wear different outfits throughout the movie. The character designs were brilliant, and the costumes were gorgeous, so I really hope they win an award for that again.

It also feels like they each have an “Avatar” of sorts. Namor is the Feathered Serpent, Attuma is a Shark, and Namora is a Lion Fish, remember the Lion Fish is a deadly venomous creature so those spines Namora wears are a warning threat to her enemies.

The Plot

I will be focused on the Namor/Talokan plot mainly.

The first scene we get with Namor is literally ripped from the pages of Marvel Comics (1939) #1. In the comic, two divers go exploring a ship and Namor darts by too fast for them. Later Namor cuts the lines of one diver killing him, then goes after the second diver.

In the movie the divers are sent to check on a drill in the ocean, it had struck vibranium, which the Americans were after since they had a Vibranium detection machine. Namor swims by too fast for them to see, they are too focused on their find, however one diver’s life support signal stops, when the scientist lady on the ship asks the second diver to turn around to check on her partner and see if he was ok, she turns only to find cut life support lines. Namor comes for her next. I want to say very quickly that while Vibranium was included in the backstory/plot of the movie it also has it’s roots in the comics but only since the 90s:

Golden age - two divers on an exploratory mission - Marvel Comics (1939) #1 Silver age - expanded: two divers were sent there because the captain of the ship was Captain Leonard McKenzie on his return to the Antarctic waters after decades to search for Fen. The Sub-Mariner (1968) #44 Modern Age - The original cause of two ships coming to Antarctica is because the first one (The Endurance) was on a mission to find Vibranium, while the second one {The Oracle, Namor’s father’s ship) was on a mission to find The Endurance. Namor, the Sub-Mariner (1990) #52

So as you can see they just cut off the Leonard part since Fen’s origins have changed as well, and they kept the scene from the first comic and their motivation is Vibranium. There was a very Depths!Namor vibe to the character which I adored because Sub-Mariner: The Depths is such a good comic.

Meanwhile above there is a siren song luring the crew to their deaths in the sea. I loved the Sirens, they are a highlight of the Talokanil. The ship is now under attack by the Talokanil, and the scientist lady escapes into a helicopter. Attuma and Namora arrivals are great! The Talokanil are efficient at their tasks.

Namora watches as the helicopter goes higher into the sky but doesn’t do anything because she knows Namor will stop them. The first scene showing Namor’s full strength is amazing, it cannot be understated how Namor is a Power in the comics, he is literally called a one man navy. Namor is the guy the other characters call in when they need the Big Guns. He wrecks that helicopter and the scene ends with a visual of Namor hover over the sea in the dark, it really reminds me of this visual.

Marvel Fanfare (1982) #16

So as you see Namor has been called Devil, Sea Devil, Sea Demon in the comics which makes the Spanish Priest’s words to a young Namor really hit home because humans have always viewed him as something not human, evil, and otherworldly even though they themselves are not good people.

The next time we see Namor he is rising out of the water in Wakanda to speak with Ramonda and Shuri, he carries with him a shell, a conch shell, which in can be symbolic of a declaration of war or something else depending on the context as written here and here by Aztec Empire on twitter. The soundtrack to Namor’s arrival is freaking awesome, and Namor’s first show of pure astonishment/wonder at Wakanda is so endearing. Alot of people complained about this online saying he wouldn’t do that, but the truth is Namor does know how to smile, he loves the wonder and beauty of Nature, he isn’t a scowling angry fish man all the time. Tenoch’s micro expressions are amazing, he goes from wonder to being a Threat in the space of seconds. What I really like is how he captured Namor’s humor which is not an easy thing to do since in the comics Namor has a very dry gallows humor that makes people around him think its very serious but he’s actually telling the joke more to himself than for the benefit of others. Namor says “- I took care of it” meaning he totally killed all those people but he’s acting like it was nothing more than a small chore or something. lol. Also there is something else I wanted to point out about the beginning of this scene, Ramonda and Shuri are alerted by elephants who sensed Namor and ran, in the comics when Namor is running amok in New York for the first time he releases several wild creature from the zoo, which also had elephants. Now I don’t know if that was in reference to that scene in Marvel Mystery Comics (1939) #8 but it did remind me of it.

And as stated earlier, Namor was willing to extend his trust but still Attuma and Namora followed Shuri and Okoye in the later scenes.

MCU!Attuma is strong and a capable warrior, I greatly enjoyed him baiting Okoye on the bridge into a fight. The way he looks at Riri (whom Namora told him to kill) and decides she isn’t going anywhere so he might as well have a fight for fun with Okoye was Peak Character for him. Namora is annoyed and snaps at him to stop playing around. I love their dynamic with Attuma playing the Strong Muscle character and Namora though tiny was clearly in charge. Both of them have consistent characterizations, both are very loyal to Talokan and they get stuff done. Attuma is 100% ready to kill Riri and so is Namora. They are looking out for the future of their people. BUT when Shuri asks them to take them to Talokan alive they confer with each other, they treat Shuri like the royalty she is and they take her wish seriously since they also know Namor wants an alliance with Wakanda. If Namor had ordered them to kill the scientist at all costs, I don’t doubt they would have been done there on the bridge.

When Shuri and Riri are in Talokan, Shuri is treated as according to her social status, a Princess, with all the respect given to her from one Nation to another which really stood out to me. They give her traditional clothing, and they aren’t unknind, they care for Riri and give her food while Shuri goes to speak with Namor. I’m just pointing out that Coogler isn’t depicting the Talokanil as some hostile people who are unreasonable in wanting to kill Riri, they are only hostile when the safety of their people is in question.

The biggest change I would say character wise in regards of the transition from the Atlanteans to the Talokanil is that the Atlanteans actively hated and looked down on Namor for being half human/atlantean, its a major source of isolation for Namor. Namor’s character is rooted in his biracialness, is rooted in being a man of two worlds without fitting into either world and struggling with his two people. Changes seem to have taken away that biracial aspect in the form of two different races of human/atlantean since it seems Namor is a full Mayan/Talokan now however it doesn’t mean it’s lost, Namor is never a part of the Talokanil proper, he is respect and revered yes but also set apart in isolation because of his slowed aging meaning he would outlive all of his people, and that he is seen as their deity. When Shuri meets Namor he is open and honest with her. He RESPECTS her in a way the Elders of her people didn’t, because they saw her as a child. He respects her because she is a Princess and because Namor respects women. I know there is alot of bad Fanon out there regarding Namor’s treatment of women in the comics but as a person who has read all of his comics, so much of it comes down to out of context weird fanon and also some moments of really bad writing however Comic!Namor was raised by his single mother Fen and has great respect for women, so of course Namor would respect Shuri and treat her in accordance with her social stature.

I’ve already begun to see NamorShuri shipping discourse so let be preface this by saying I literally do not care. I don’t care what people ship. However this meta is my, a comic fan’s, thoughts on Namor’s character and the rest of the movie, and I would appreciate it if people don’t use my words out of context nor they drag me into any shipping wars. Once one of my other metas was used out of context to promote racism and I don’t appreciate that. Also I personally believe that shipping is not the end of all things. I believe shipping is a fun addition to the source BUT it’s NOT the end all reason behind character’s actions. So people saying Namor was totally hitting on Shuri, or flirting with her, or whatever, that’s fun fanon for you but I personally do not see it that way.

Namor is charismatic in the comics and Tenoch!Namor captures Namor’s charisma, anger, sorrow, and light heartedness but most of all he captures Namor’s loneliness. When Namor opens up to Shuri and tells her the story of his people, of his mother, he is trying to find a connection, some empathy, a friend.

Princess Fen and her people.

They don’t say Fen is royalty or some high ranking woman in their Nation, however they don’t not say that either. Until we get more information about her then I will only speak on what I saw. Fen and her people are suffering from smallpox brought over by the Spanish Invaders, her people are dying, and she is pregnant. We see Fen place a stone, a funeral rite, into the mouth of a dead man who was placed in a dug grave, he had already passed. The unnamed man died of smallpox, and I personally believe this could have been Namor’s father but also it simply could have been a person who was her family/friend/she had some connection to since we aren’t exactly sure who he was. In the comics Fen is the most beautiful Atlantean ever, and I love the actress they chose for Fen, Maria’s beauty takes my breath away to be honest. In the comics Fen meets Namor’s father after she was sent to spy on the Americans and she falls in love with him. She is strong, smart, and fierce princess of her people. I have very strong feelings about Fen as she is one of my favorite characters.

The Shaman creates the potion/serum they drink to turn into water breathers/Talokanil, however Fen hesitates because her concern is her child. The Shaman promises her that this will save her child and her and then swears that her son will be their new king since he will be the first born of their new people. This new backstory for Namor fits the tone of the movie. I loved both Fen and the Shaman, their actors were so good.

Fen being a central character in Namor’s life is so important and I’m really glad that the movie didn’t skip over that. Fen is a guiding force, the reason why Namor is the way he is in the comics, her love and protection, even her naming him “Namor” which in the comics/atlantean it means “Avenging Son” all shaped Namor into the character he is. Fen and Namor are so important to me.

Namor speaks about how he grew up slowly and his mother aged normally, and how for her death she wanted to be buried in her homeland on the surface. Namor carries out his mother’s wishes. Fen in the comics is also buried in her homeland in the antarctic waters of her youth.

Now. This scene. The Child without Love. It hit me like a ton of bricks. I have not been able to stop thinking about this since.

Namor is the AVENGING SON, he gets his identity from his mother. When I learned she wouldn’t be naming him that I was honestly very upset because its so central to who Namor is, but then I saw the adapted scene and I feel it works in this context. In the comics his name is a warning to the surface world/white people who hurt his people in the original comics. In the movie the name was bestowed upon him by a Spanish Priest who calls him a devil after Namor saw their evil and punished them for it. Namor wears his name as a promise to his people and a threat to his enemies,“My enemies call me Namor”.

Honestly the burial of Fen was so sad, Namor even places a stone in her mouth as well. She missed her home and wanted to be returned there. This really speaks to me about immigration and displacement, I can’t tell you how many times I’ve heard my own family members, the older ones, who don’t live in the homeland anymore talk about how they must be buried there. I think its something that only people who leave their homeland (not out of choice but a need for a place that will be better for lives because their home isn’t safe or they have better opportunities in foreign land) can really understand that no matter how far away they are, the need to return there, be buried there for the rest of time is a such a human need. The themes of immigration/displacement/colonization is prevalent throughout their story.

In the comics Namor’s first motivation is to wage war against the surface (white) people who hurt his people and he does cause a ruckus but then he faces the true Evil of Humanity when he finds out about the Nazis, he fights alongside the humans to stop them in WWll because he knew that they would come after his people next.

In the movie, the Evil of Humanity is the Spanish Colonizers. There is no romanticized version of this, there is no Spanish colonizer myth of them being benevolent people bringing advancement to the Natives. They are shown in their full evil glory as colonizers who hurt, killed, and destroyed Nations of Native people. This is the first time Namor sees humans, and its the worst they have to show.

When Nakia is searching for Namor/a way to find Shuri and Riri, she speaks to an old woman who tells her where Namor was sighted, and how he returns, and those who go after him with ill in their hearts do not return. So it means Namor is standing on a beach, returning over the years, because there is only one thing that would bring him to the surface world, his mother’s grave. Namor was visiting Fen’s grave in her ancestral lands.

The Sub-Mariner (1968) #17

Namor’s core character is that he is a hero to his people, and their protector, which the movie displayed so accurately. After the story of his people’s origins, Namor takes Shuri on a tour of his capital city. Another time one of his jokes comes into play, he is telling her all the ways her body would die under the deep water, and then goes “We have suits!” he neglects to mention its the SAME suits that he had taken from the scientists he had killed in the beginning of the movie! lmao. I love him. I really love this character even more now even though I’ve been such a huge fan of Namor for years.

Talokan’s Capital City is so pretty. I can’t wait to zoom in on all the details.

I honestly wish I could get my hands on that 400 page Talokan design book of it’s history/lore. I wish I had better pictures of the stone ring in which Namor does the Rising Sun hand gesture to activate the water currents that take them from the cave to the capital city. It’s clear the Talokans have advanced science/machines which they use all the time, and how they harrassed the power of undersea vibrainum like the Wakandans. Namor even says “I brought my people the sun”. I know there is like 30 minutes of cut footage so I will be waiting for that to come out in an extra dvd feature soon I hope.

¡Líik’ik Talokan!

The term means “Rise Talokan” or “Talokan Rises” the Mesoamerican symbol is the hand symbol connected to the sun (source & source) Namor and the Talokanil use it in greeting to each other.

The Mesoamerican worldbuilding of Talokan is more than I ever hoped for. One of my main ongoing complaints of Namor’s world in the comics is that Marvel is more interesting in destroying it than building it up so it’s just really great to see that Coogler and team had Mesoamerican experts and a language teacher (who played the Shaman) to make sure everything is the best it can be. I know this is a fantasy take of Mesoamerica but I feel they really respected the source material, and Namor’s transformation from Prince/King of Atlantis to K’uk’ulkan is a wonderful way to bring about the comic fantasy coding of native (atlantean) people to actual native mesoamerican people representation.

After their tour Namor gives Shuri his mother’s bracelet. The bracelet is made with fibers of the blue vibranium plant that the Shaman gave to Fen and her people. I know people are saying “it’s romantic, he gave her his mom’s bracelet” but like, if y’all could just take off those shipping glasses for one second to understand not everything has a romantic intention behind it. Imo Namor gives it to her as a gift, a sign of trust, everything he’s done so far has been to extend his hand in trust to what he hopes will be allies to his people. That has been his motivation, that’s what compels him to go to Wakanda, he is seeking an ally, and why not the Princess who has a chip on her shoulder, who wants to burn the world as he does?

While Namor is gone, answering Queen Ramonda’s summons/falling for her distraction tactic, Shuri and Riri escape with Nakia and in the process one of Namor’s people, a young woman, is killed. Namor and Ramonda’s confrontation is tense, and again he carries the shell, remember it’s significance of a object that represents war or other intentions.

Until now Namor had been trying to reach Shuri and get her to see things from his POV about why the scientist should die, but he makes it clear to Ramonda that he will kill Shuri along with Riri if it ensures his people will be safe. That is a character who all throughout the movie has made his goals very clear and then the rest of his character follows through on his threats/promises.

When Namor comes back to Talokan he finds that the entire ruse had been a betrayal, a trick, to get him to leave and in the process it costs him the life of one of his people. If there was one thing in the comics that was always sure to set Namor off was one of his people dying, and it’s no different in the movie. He gathers his people to make a speech about how his hopes was for naught.

The attack on Wakanda was Namor’s retaliation for the murder of one of his people.

In the comics the first time Namor attacks Wakanda, he was possessed by the Phoenix Force and not in control of his mind/actions. However there is a Namor and Shuri plot where Shuri sends her warriors to slaughter Atlanteans because of the Phoenix Namor attack, and then he sends the Black Order to Wakanda. Shuri in the comics does have innocent Atlanteans killed and Namor retaliates. Again they adapted stuff for the movie, and it plays out differently but I just thought to share that to showcase how different things were done. You can read Namor and Shuri’s interactions (they don’t have alot in the comics) in my Black Panther (T’Challa) & The Sub-Mariner thread here.

Edit:

I forgot to add another scene that was Comic to Movie:

Black Panther (2009) #1 - there is a scene in the movie that is exactly like this, where they fly above and comment on how fast Namor is in the water.

/End Edit

The action scenes, every time Namor is flying around fighting and breaking stuff. Once again they show that Namor is A THREAT, and he will follow through on it. And again, the Sirens are so pretty, I love them. One thing I really found interesting is how we see Namor’s moral code even in battle, even after Ramonda, he knows he could crush them but instead he gives them time to grieve. Some people might go “why did he give them a week, etc.” but like, it makes sense for his character, he isn’t a murderer because he likes killing, everything he does is in accordance to his moral code and no one elses, honor is a huge thing with Namor in the comics too. Not to mention Namor’s over all goal throughout the movie, he wants Wakanda on his side, he will do what he can to get that. He points at Shuri and says “You are queen now.” He puts the heavy burden of caring for an entire nation on her shoulders, now she will finally be forced to either step up or let it crush her. Namor is pressure that presses Shuri’s character into change, either she will crack or become a diamond.

Good characters are not stationary, good characters grow and change.

The final three scenes I want to talk about:

The big Wakanda vs Atlantis fight takes place on the Sea Leopard, now this could just be a fun name they gave the ship but it could also be a deep dive reference into a Namor comic character, a villain called Sea Leopard.

Okoye vs Attuma fight again and I loved it. Namora was such a badass!!!! I didn’t mention the water bombs the Talokanil use but its so freaking cool, they use it all throughout the movie and they also use Whales to launch their people out of the water with their tails, or the people ride them. I just love all the worldbuilding of Talokan. I know I haven’t talked about other parts of the movie so far, but my favorite characters are M’Baku, Okoye, and Nakia. I enjoyed every moment M’Baku was on screen!!!

Namor vs Shuri, the big fight, Shuri has finally taken the mantle of the Black Panther, and this action scene was so freaking good. Shuri’s plan to use Namor’s weaknesses against him gains her the upper hand and to be honest all those whiney fanbois crying “but SHE is a girl and SHE can’t fight and beat Namor!!!!” need to shut up because they are WRONG. They aren’t jobbing Namor, they aren’t writing him out of character, these weaknesses are the same weaknesses Namor has in the comics!

Namor’s main weaknesses are: Pollution/Poisons, Being dried out/overheated, his wings being hurt, and some forms of mind control/amnesia.

The fight was more than fair imo and Namor isn’t flawless, he has weakness that were used against him. Honestly I would have been mad if he somehow was unaffected. ALSO I LITERALLY FREAKED OUT WHEN I SAW “IMPERIUS REX” ON SCREEN. lol, my arms were flailing for real.

Shuri weapon is against Namor’s throat and she has the power to avenge her mother, to kill Namor, to take that step further into violence and vengance, to burn the world and move further away from healing and dealing with her greif.

“When my mother died, the last person who truely knew me died with her” Shuri’s loss drove her to become the Black Panther.

Namor’s mother dies, and the last person who truely loved/knew him for him, for being him, not a protector, not a leader, that love dies too.

Ramonda’s words “Show Him Who You Are!” is echoed to Shuri, it’s the same words Ramonda yells at T’Challa in Black Panther, when he fights M’Baku at Warrior’s fall. This is Shuri’s defining moment, her path forks and she has to choose mercy and moving on, dealing with her grief or accepting vengence to forever take a place in her heart. Shuri demands Namor yields, and Namor yields, he got what he wanted, Wakanda’s alliance.

When Namora confronts Namor about him yielding, he even says as much, that what he hoped to achieve he got, and now Wakanda would turn to them when it was time (for them to face the surface world/colonizers)

The action scenes in the movie are amazing, I could watch it a hundred times, the final confrontation between them ends in peace between their peoples.

As I’ve said, this post was mainly focused on Namor & the Talokanil, and I didn’t go into depth with the other plots/characters because I’ve been a Namor fan for years so all my interest is hyperfocused on him and his people.

My complaint: Everett Ross’s entire plot was not needed in this movie, it literally could have been a phone call with the first scene and we could have gotten more scenes with Namor & the Talokanil.

Personally my one biggest gripe is that in the end Wakanda & Talokan should have gone after the main people who were a threat to their nations which was the american government, it was a earlier plot point with Queen Ramonda at the United Nations that was just dropped as the focus shifted over to Namor. I do wish they had keep that plot thread going and both Wakanda and Talokan had teamed up to fight the Government/Surface World etc. but this is a MCU Marvel/Disney movie and Disney/Marvel is never going to do anything so controversial as calling out the American or other governments in present day for their colonizing ways, which is why I feel keeping Colonization as something that happened in the distant past isn’t true. I know the realities of the studios politics and the message the movie was sending and tbh it really followed through on alot of things and my complaints are minor and doesn’t take away the sheer enjoyment and happiness I felt watching Namor and the Talokanil on screen. Also I’m so glad we got to see Namor’s artistic side, which he has in the comics as well.

Once again I am so glad that Namor is shown as a Man of Color and his people are Native Mesoamerican. I’ve always personally felt the coding in his comics meant that we would lose the impact of his story if they stripped him of his biracial poc coding and cast a generic white man. It was always my biggest worry when it came to thoughts of Live Action Namor.

I love how multifaceted Tenoch’s acting was with Namor. Tenoch Huerta is MY Namor, he is the perfect choice for Namor and I’ve stood by his casting since it was first announced.

Created in 1939 by Bill Everett, Namor is imo one of the best characters ever created in comics, and the mcu version is one that is equally as wonderful and complex. I love both versions very much.

#mcu namor #namor #mcu attuma #attuma #mcu namora #namora #black panther: wakanda forever #bpwf spoilers #meta #comic meta #mod: imperiuswrecked

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heyheydidjaknow · 1 year

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Since you posted Incomprehensible I just wanna ramble for a hot minute:

I think??? That this is one of my favorite characterizations of yan!venti ever?? Considering what else I’ve seen posted for yan Venti, I loved the take that he knows that this is wrong, knows he is going against the thing he is the god of!! But he still goes through with it- and since both incomprehensible and good wine are both Venti POV, we get to see what he is thinking as he acts(and why he does certain things tbh). The way he chooses to not react much when the reader tries to jump in Good Wine despite the fact he is heartbroken that they tried that? The fact he stops himself from crying because despite the fact he knows the tears would be real, he is aware that although it could help now, it would only be used against him as a trick later? How he still tries to be caring and kind while also being completely self aware of the situation he is in? THE WAY HE IS SO CALM AND THINKING OVER EVERYTHING HE SAYS BECAUSE IT MATTERS SO MUCH IN THIS SITUATION?

Venti may be a bard but in case he is an actor performing for the sole audience of one. Both stories remind me a little about how Venti acting during his story quest at part in the statue. Like he is Barbatos the god and not a simple bard. It was a cool take to see!

You and @twosaparty are both trying to make me cry and it is not nice. Knowing people respond this thoughtfully to something I’ve written means a lot and I cannot thank you enough for the kind words.

I’m using this ask as an excuse to answer a quasi-question posed by Two in their reblog of my thing, which is generally bad form for writers but whatever.

It would take a lot. Kidnapping you is one thing. He can justify that in his head, that your time is so limited that every second counts. He can lie to himself, tell himself that what he’s doing really isn’t that bad because, at the end of the day, you’re mortal, and any suffering you may endure is going to last you, at most, less than a century. That does not apply if you are immortal. His immortality is the entire reason he let himself kidnap an innocent person in the first place. To make you experience the pain of being stagnant as the world moves on without you, to him, is a fate worse than death. What if, by some miracle, he died? He couldn’t leave you to suffer the way he did before he met you, leave you to watch the people you love die around you with nobody to help you through it. He wouldn’t forgive himself.

Having said that, I could absolutely see him try to make you immortal if he thought you were in immediate mortal danger. I could see him panic and move to do it without considering the consequences and then never being able to look at himself again because of it. If you tried to kill him for it he would honestly help you because it is what he deserves.

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yejinigami · 2 months

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𝕎𝔼𝕀ℝ𝔻𝕃𝕐 𝕊ℙ𝔼ℂ𝕀𝔽𝕀ℂ 𝔹𝕌𝕋 ℍ𝔼𝕃ℙ𝔽𝕌𝕃 ℂℍ𝔸ℝ𝔸ℂ𝕋𝔼ℝ 𝔹𝕌𝕀𝕃𝔻𝕀ℕ𝔾 ℚ𝕌𝔼𝕊𝕋𝕀𝕆ℕ𝕊

What’s the lie your character says most often? — That she doesn't want to love or develop feelings. How loosely or strictly do they use the word ‘friend’? — Yejin only has one friend at the time. She doesn't use that term very loosely. How often do they show their genuine emotions to others versus just the audience knowing? — Yejin can't really hide her facial expressions well, but she still tries to hide her feelings. Can they cry on command? If so, what do they think about to make it happen? — Yejin's never cried since she's been a Shinigami due to her not being allowed to feel anything. What would you (mun) yell in the middle of a crowd to find them? — "FREE STRAWBERRIES!!!" What would their best friend and/or romantic partner yell? — "FREE STRAWBERRIES!!!"/"I FOUND YOUR DEATH NOTE!!!" How loose is their use of the phrase ‘I love you’? — She never said 'I love you' to anything other than strawberries... Do they give tough love or gentle love most often? Which do they prefer to receive? — If she ever came close to love anyone, she'd probably give gentle love. Even though most people she's met yet wouldn't expect that from her and she sure as hell would make sure they never found out she's capable of being soft and lovey dovey. What fact do they excitedly tell everyone about at every opportunity? — That she's almost immortal and therefore isn't scared of anyone or anything, I guess... What’s something that makes them laugh every single time? Be specific! — Gullible and naive people. She loves to play tricks. What do they notice first in the mirror versus what most people first notice looking at them? — She herself would notice her burning red eyes. Others would (if they could see her) probably notice that she seems to be surrounded by this dark and alluring aura. What would they do if stuck in a room with the person they’ve been avoiding? — Um, probably write their name in her Death Note. What simple activity that most people do / can do scares your character? — To love. What do they feel guilty for that the other person(s) doesn’t / don’t even remember? — She never feels guilty. She hardly feels anything at all. Did they take a cookie from the cookie jar? What kind of cookie was it? — Definitely. Probably a strawberry shaped cookie. What do they tell people they want? What do they actually want? — She tells everyone she doesn't want to develop feelings of any kind. That's not true. She wants to feel everything. How do they respond when someone doesn’t believe them? — Yejin would laugh and prove she's telling the truth by writing their name in her Death Note. How do they greet someone they like / love? — She's probably wave awkwardly. What phrases, pronunciations, or mannerisms did they pick up from someone / somewhere else? — Since she doesn't have many friends, she will probably pick up anything Yuji says or does. If invited to a TED Talk, what topic would they present on? What would the title of their presentation be? — Strawberries and why they're the only food source anyone needs What do they commonly misinterpret because of their own upbringing / environment / biases? How do they respond when realizing the misunderstanding? — She takes mostly everything quite literal, which is why she doesn't really understand sarcasm. When she notices, she gets kinda shy and apologizes or gets defensive. Depends on how the person reacts. Who would they say ‘yes’ to if invited to do something they abhorred / strongly didn’t want to do? — Probably anything that Yuji would want her to do, tbh. (Yes, Yuji, this is a compliment. You're kinda her best friend. Well...also her only one, but you get the point.) Would they eat something they find gross to be polite? — I guess she'd spit it right in their faces. What’s a phrase they say a lot? — "Uh..." Do they act on their immediate emotions, or do they wait for the facts before acting? — Depends on how patient she is related to whatever it's about.

tagging: @wind-wielder @t-hevessel @tenshadcws @bloodieststreethawk @shattered-mind @shortenedlife @kettensaege @drachenfaust

#i'm bored #expect more of these soon #ㄴ𝖈𝖍𝖆𝖗𝖆𝖈𝖙𝖊𝖗ㄱ — 𝘢 𝘴𝘩𝘪𝘯𝘪𝘨𝘢𝘮𝘪𝘴 𝘸𝘢𝘺𝘴 𝘢𝘳𝘦 𝘶𝘯𝘧𝘢𝘵𝘩𝘰𝘮𝘢𝘣𝘭𝘦

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redjaybathood · 1 year

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Hilarious AU idea, but Stephanie, seeing that Matches Malone isn't showing up and that tensions are rising tries to offset them and make the plan work on her own.

IE she tosses the cape and turns her purple uniform inside out and claims to be 'Shadow'.

Stepping in right before everyone starts shooting with a 'dead mans switch' but its actually just a trick explosive she had on hand.

Forcing them all to listen she outlines how the Yakuza have some of the best product but no territory, some of the mafia families they best territory but weak product, penguin the best 'store fronts; but no clients, ETC.

Its clear she's proposing an alliance.

They think it won't work because Batman broke up the last big alliance of crime families, but she argues that's because they didn't know who they are dealing with, she does. (She signs for Onyx and Orpheus to run) Revealing that Batman has been behind some of the escalating tensions with his patsies, Orpheus and Onyx.

They use their forewarning and tech to successfully bail, Steph even throwing her bomb at them to help cover their escape while looking like she's helping. They get away and she promises them a lot of info on Batman she 'appropriated' if they hear her out and stand united.

Intrigued, the gangs agree to parlay.

Steph is now the nominal leader/advisors/Speaker of a Gangster Co-op.

This is very Steph, and it is also the best idea ever.

Steph accidentally Red Hooding her way out of gang war (well, less accidentally and more spontaneously), minus murder.

Also, this is hilariously close (in my mind) to that time when Biz made an Fiverr-like app for henches. But her target audience is the highest management, and the service is more like finding partners rather freelancers to do your job for you/finding projects to do as a freelancer. Her speech is like a presentation where she's selling a platform to find the solution to any of your criminal business problems. What, you need a guy in customs because your shipment of counterfeit European cigarettes got stuck in the port? And you, you do have blackmail on the head of Gotham customs department but you, yourself, are having issues with purchasing armaments for your security? And this guy over here, you have a line to German weapon manufactures who're happy to sell their heavy machinery but you have no way to transport it? Do I have a solution for you.

She shoulda rented a conference room in a business center tbh. She binged all Jordan Peterson videos prior to that and that "Negotiate or die" book, which is very apt for the situation.

Tim Drake CEO fanon is out, my brain is full of Stephanie Brown the youngest most powerful Gotham power broker now. Like. Jason has nothing to do in Gotham anymore, he might as well come back to Gotham and become a stand up comedian and beat Joker on that field. He does have material for several tours and a Netflix special.

I am, however, worried about Onyx and Orpheus, as they got away from the meeting but they're still have their cover busted. Will the Hills turn against them?

#asks #stephanie brown #war games rewrites

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shoceted · 10 months

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Hello, this is like... months late but you were one of the only English KeiwaxAce writers I actually liked and seeing that you've dropped the series is devastating (but understandable, they've been ruining Keiwa since Bullfighting Game and I'm devastated, on the edge of my seat and have a lot words/feelings about it too). Could I ask what was your turning point for the series? Or, I guess, what was the straw that broke your back.

If you don't feel like it, that's fine too. Thank you for sharing your Geats fics at the start of the series.

(Anonymous cuz i'm shy af but mostly because haven't used tumblr in years how does this website even work anymore help-)

firstly, this is an incredibly kind thing to say about my writing, and i appreciate it a lot! i kind of miss being that inspired — like including the ex-aid crossover i wrote, seven things??? that's impressive, actually, go me. the first 16 episodes of geats provided a lot for me to be inspired by, i guess. (i think my heart's always going to do something when i think about the phrase "the tycoon i know", tbh.)

the last straw... well, for one thing, the lack of keiwa focus after episode 19 did bug me, because he was my favorite character and i liked seeing him. people say "oh he got focus during the first dgp" but i don't think that's really the case; i went more into this on my personal twitter account, but him being the audience surrogate for the first arc doesn't mean he's the focus of those episodes. like 1-2 are establishing ace, 3-4 are establishing neon, 5-6 are establishing buffa, and then it's only 7-8 that keiwa gets focus... and he's eliminated. at the beginning of the next dgp, he's not even a contestant, he's just a device used to show the fact that being eliminated without dying gets rid of why you wished for what you wished for. it's not until episode 12 that he's even back.

now, i thought the direction they were going with him — he still wants world peace, but in a more realistic way, wanting to bring all the dead contestants back — was really good, too. and i liked him and neon both developing into characters who could trick ace by the time episode 16 comes around! (i actually still have a kace wip that i might finish someday for the sake of finishing it that takes place between episodes 16 and 17, sorta; like, i have 5k of it written and all it needs is the smut that sure is a part of it, so i might go back to it eventually? who knows.)

and thennnnn the dezastar arc starts, as does the decline in keiwa's writing.

i don't mind characters being comic relief now and then, but having a previously-serious character relegated to just comic relief doesn't sit well with me. 19 was a great episode for keiwa, and that conversation with ace he had over dinner made me lose my shit, and i foolishly thought that maybe they'd take him seriously from there on out.

but, no, they sidelined him. for 12 weeks. waiting for my favorite character to have proper focus episode for 3 straight months really bugged me, tbh, though i didn't say anything for fear of stirring the pot. and we finally get to episode 31 and he gets kicked into a pit. this made me really upset.

the fan reaction to this also didn't do me any favors; i was pissed at buffa (the character, not the actor — i do not care about mokudai kazuto in any direction, though i was accused of hating on him, which was fun) for the whole pit-kicking thing and made this clear, which i realize in retrospect was a mistake, because all of a sudden being a fan of keiwa was not the move. (and fwiw, i don't want to hate buffa; i just get a way with characters who hurt characters i love. i'm the same way about him that i am about kylo ren and sangwoo from squid game, and i do not like this trait about myself.) it reminded me of a bunch of shitty experiences i had in a toxic fandom in 2020 and 2021 that sunk me into a deep depression that it took a long time (and the existence of kamen rider revice, which a lot of geats fans abhor and make clear that they abhor, which also didn't help) for me to get out of. that's when i stopped watching geats live, at least. (i also want to state that this had nothing to do with any ship i like, not even kace. apparently people have this idea that kace enjoyers are really angry folks and it's just like... no? this isn't a popular pairing. nobody is going to get mad at you if you don't like it.)

neon's writing during this time also made me angry; i do not like any of the sponsors at all, and neon's character development coming from a man — and a man who is a toxic fan of hers, at that — didn't sit well with me. on the topic of sponsors, jean felt like forced ace shipping bait, and i didn't like his character much, either. (which also makes me feel bad, since i know the actor's such a huge fan.) it was actually him coming back, as well as punkjack's return (by all means i should adore punkjack, because am i ever a sucker for a flop musician, but nothing about his character has ever worked for me — especially since he unnecessarily flirts with tsumuri and clearly makes her uncomfortable in a setting where she can't complain about this, which, ew), that made me drop geats entirely.

the direction the writing is going right now is also not good. the misogyny of fridging sara and damsel-ing tsumuri, the way they've completely fucked up keiwa's character, it's so frustrating — i honestly want to move zero one up on my toku list for this year so that i can see if ex-aid, which famously gave me a disease, was some kind of fluke. hell, in ex-aid, we have a character who acts illogically because of his grief, and those episodes are perfect to me. doing this with keiwa 40something episodes in doesn't hit the same.

buffa's storyline was supposed to be something similar, i know, but that never worked for me either. much like punkjack, it should have. but his non-reaction to the toru jamato's death when toru's death and his anger over it is supposed to be his entire character motivation... didn't make me feel like hiiro did. his rivalry with ace is also no kaito/kouta. it feels like geats is trying to do a lot of things that worked in gaim without understanding why those things worked in gaim. (and i do hate to be an annoying gaim stan, but... come on, geats.)

maybe i'm missing something because i'm not watching every week, or maybe i just have bad taste, but all of these things piling up makes me want to have nothing to do with geats at all anymore. i've actually considered orphaning all my geats fic in frustration, but i've decided against it because that would mean interacting with my geats fics again. it wouldn't provide catharsis. i'm just done.

so tl;dr: around the dezastar arc i became frustrated with keiwa getting sidelined, the fan reaction to episode 31 as well as its contents brought up bad memories and made me stop watching live, and the return of two characters i just don't see the appeal of made me drop the series entirely.

#asks #this ended up really long so i put it under a read more lol #writers gonna write?#anyway thank you again for complimenting my writing :') i hope i can write something you enjoy in the future!#and i'm sorry if i said anything negative about a character you like in this big ramble #i know what it's like to have unpopular favorites (kaito hiiro people don't like ikki. i love ikki.)#and reading negativity makes me upset even if it's valid criticism yknow?#but yeah tl;dr at the end bc this got long

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outofthiisworld · 4 months

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💞

send me a 💞 and i’ll tell you something I like about your portrayal !!

👽// OOOUGH. the easier way to do this would be what i DON'T like (thats a TRICK there isn't anything i dont like about clarissa & chance)

the tragedy that's veiled over Clarissa's whole life does unspeakable damage against my psyche in the best of ways. in her own story, not impacted by rp partners— her end doesn't go out in a bang but a fizzle. For someone as explosively charged as Clarissa, it's... tragic. regretful. somber. and tbh? not expected if someone jumped in to her story not knowing. Plus, it hurts even more since we get to see what could have been through the good end as Chance! something something looming haunting narrative.

And I think that's what makes it so tragically real. everyone is capable of growth, but sometimes— sometimes it's either too late or not enough, and us the audience is powerless to prevent that— just like how we could be with others in our lives.

ALSO: you've done an incredible job by making this character who is unapologetically flawed in numerous ways and make it AWESOME. You dig so deep into Clarissa's psyche that despite all the terrible things she's done and allowed: I can't help but root for her!!! That's my nasty girl and i want her to WIN!!!!!!

#👽 … ooc #🎤 … asks #dynamoprotocol #//also another side note: when her softer side DOES come out like when she grounded ophelia during dissociation. wrecks me.#//i love clarissa and chance dude

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spencers-renaissance · 3 years

Text

you know that a boy who likes boys is a dead boy

Summary: Spencer's gay. He joins the BAU and befriends the team, but it is 2003. It's a secret he has to keep. He just didn't expect it to be this hard.

Tags: gay!spencer, coming out, hurt/comfort, insecure!spencer, misunderstandings, angst with a happy ending, dad hotch, protective!hotch, protective!derek, childhood trauma TW: one instance of explicit homophobia, but it is referenced a lot, as is Spencer's internalised homophobia at the start of this fic. A shit ton of heteronormativity but tbh that's just canon lol

Pairing: Spencer Reid/OMC, Spencer Reid & Derek Morgan, Spencer Reid & Aaron Hotchner, The BAU Team & Spencer Reid

Word Count: 6k

Masterlist // Read on AO3

Consider this my contribution to pride month 😌 I've waited so long to post it and I'm so glad I'm finally doing it because it's definitely one of my all time favourites <3 Gideon is here somewhere but just like with all my early season fics he's not really part of the plot I combined my moreid and gen taglists bc it was hard to know the audience for this, but just ignore it if you're not interested!

you know that a boy who likes boys is a dead boy, unless he keeps his mouth shut, which is what you didn’t do, because you are weak and hollow and it doesn’t matter anymore. — richard siken, a primer for the small weird loves

Spencer has only told one person in his whole life.

His mother guessed. For as long as he can remember, she’s used gender neutral pronouns when talking about his future partner, read him all the gay literature she could find, promised him that he’s perfect just the way he is.

The trouble is that Spencer only believes her until the first grade, when Ryan Sampson shoves him over in the playground and calls him gay. His mom had only ever used that term in a sweet, loving way, taking care to associate such words with positivity, as long as his dad wasn’t around to hear. When that word comes out of Ryan Sampson’s mouth, it is not said with sweetness and love; it is said with venom, and Spencer learns quickly that his mom is wrong. He is not perfect just the way he is.

And so, he keeps it a secret. When his mom notices him getting uncomfortable at the mention of future partners, she stops bringing it up, though she refuses to give up the diverse education she provides for him outside of school. His dad tells him that one day he’ll be a strapping young man and marry a nice girl in a church, and Spencer nods along. He ignores the way his stomach turns with anxiety at the thought. Ignores the screaming match his parents have that night. Ignores the fact that it started because Diana chipped in with ‘or boy’.

He’s in high school by the time he’s twelve, and the only part he’s grateful for is the absence of pressure to get a girlfriend. His dad’s out of the picture now, and Spencer tries not to let himself think that maybe if he wasn’t like this he might have stayed. Diana’s so out of it most days that she doesn’t remember what she noticed about him when he was a child, only recalling the last few years of shoving himself so far back in the closet he can hardly see the door anymore.

It feels like he’s lost his last ally.

(He hates that a small part of him feels relieved she doesn’t remember; that he almost feels assured by the fact that the last person to know who he really is has forgotten. There is only this version of Spencer Reid now. No other exists.)

He makes the mistake during his second undergraduate degree. He’s just turned eighteen but he is already a doctor and, fortunately, this alienates him from most of his peers, but someone manages to slide past his defences. Ethan Miller is twenty, in the second year of his (first) undergraduate degree in Chemical Engineering, and he’s nice. Spencer doesn’t have a lot of experience with friendship, but they get on well and Ethan makes him laugh. For the first time, he feels comfortable in the presence of anyone other than his mother.

They slip into an easy friendship: waiting for each other after class — Spencer back in the undergraduate buildings now he has his first PhD under his belt — and going out for ice cream and pizza and Thai food. Ethan goes to parties while Spencer studies, and then they reconvene to watch Doctor Who and play cards.

For almost a year, Spencer keeps his secret carefully locked up, hidden behind the mask he’s perfected after so many years. Even though he’s eighteen, nearly nineteen now, he doesn’t try and explore that side of himself. No, that’s far too risky. He doesn’t try and pretend any other way either, he just stays silent and lets people’s assumptions lie for him, but he can’t help the longing that claws up his throat when he locks eyes with a passing guy on campus. One time, he’d seen two men kiss on a bench in the city, and he’d run back to his dorm and had a panic attack. Why couldn’t he have that?

The feelings don’t stop, and he doesn’t know how to make them. He hates that he isn’t normal, but still longs for the touch of a man, the feeling of being wrapped up in strong arms, of being kissed by dry, chapped lips, and falling asleep to a heartbeat approximately 11% slower than that of a woman’s.

It’s a constant battle inside him, emotions raging, and he struggles to control it, suppress it, tame it.

He pays a sorry price.

Ethan makes him feel comfortable, and that turns out to be a detriment. He relaxes around the other boy: he tells him about growing up as a pre-teen in a high school, about how a child feels living 260 miles away from home, even about his mother’s illness.

And one day, it slips out. They’re on the beach, lying on towels as they look up at the blue sky, talking about what their futures will look like: Ethan will be a successful chemical engineer in Berlin, and Spencer will work for the FBI, profiling serial killers.

“You’ll have to marry a German girl,” he tells Ethan. “It’ll be tough to convince an American girl to move all the way to Germany as soon as you graduate.”

“Yeah, and what about you? You’ll be off fighting crime around the country, not much of a life for a family.”

“Oh, I imagine my husband will be the type to—”

“Husband?”

Spencer freezes. It shocks him as much as it shocks Ethan. He doesn’t even pay much attention to Ethan’s disgusted face and his outraged tirade. He hears slurs and insults, hears him say that he can’t believe Spencer tricked him like this, that he was probably waiting to make a move on him, that he was never to look in Ethan’s direction again, but Spencer is frozen in time.

He’s never allowed him to think much about what his personal life might look like in the future, but he’d said ‘husband’ on instinct, without thinking, and it’s clearly something he actually wants. Ethan’s words sting, but the moment brings about a realisation Spencer is thankful for; it instigates a journey of self-discovery and self-expression, of the joy of living as your true self.

He loses his first and only friend, but he gains something much more valuable. He visits gay bars — nervously sipping a non-alcoholic drink in the corner at first, before soon becoming confident enough to respond to the men who sidle up to him and ask for his name. He lets go and dances the night away, sometimes going home with one of the many dance partners he acquires during the night, sometimes heading back to his own dorm happily alone.

Makeup and dresses and skirts and heels make their way into his wardrobe, and he befriends girls and drag queens and other gay men who encourage him to be exactly the way he is. And the best part is, he never has to come out to any of them. All of them know, and that’s good enough for everyone.

The fun comes to a sad sort of slow, however, when he joins the BAU. Everyone knows law enforcement’s relationship with the LGBT community is less than adequate — Spencer’s seen it with his own eyes: butch lesbians and men in dresses getting roughed up by angry police officers for ‘lewd behaviour’ or ‘drunkenness’ when they’re just being themselves. It’s not safe for him to tell anyone, so he doesn’t.

He still goes out with his friends when he’s in town and wears makeup and dresses and crop tops when he’s at home, but presents as rigidly straight Dr Spencer Reid to his team at the BAU.

The hardest part about it is that he loves his team. He’s known Gideon for years — and he wouldn’t be surprised if he suspects something after coming over to his house unannounced one night, only to have a man other than Spencer open the door — but he settles into a comforting dynamic with Hotch. He can’t help but see him as something of a father figure, and he knows Hotch has a soft spot for him, always looking out for him and taking him under his wing without a moment’s hesitation.

Elle, JJ, and Penelope all take a shine to him, too, teasing him without a hint of malice in their tones, only the kind of playful kindness that reminds him of his mother. He forms a special bond with Penelope and they spend hours watching Doctor Who together and geeking out on all the areas their interests overlap, and the comfort he feels with her matches the comfort he’s found with his new group of queer friends.

(She doesn’t hold a candle to Ethan, he decides one night, after he’d cried at a movie she’d made him watch and she felt so bad she made him hot chocolate and jam toast and cuddled him until he felt better.)

Derek becomes a brother to him. He puts him in a headlock at least once a day — which Spencer has been reliably informed by multiple sources is a very brotherly thing to do — and teases him relentlessly, while simultaneously being fiercely protective of him. Enough so, that Spencer sometimes wonders if he even has Hotch beat in that department.

He loves his team and his team loves him. It should be simple. It is still 2003.

He comes in one morning late for a briefing, his shirt buttoned wrong and his hair is a mess, and he’s fairly sure that his attempt to cover the hickey at the base of his neck with concealer has been ultimately unsuccessful. It’s obvious why he’s late. Gideon is too engrossed in the case file to notice, but Hotch raises an eyebrow, an amused look on his face as everyone else immediately takes to teasing him.

“Who’s the lucky lady, pretty boy?”

Elle raises an eyebrow to match Derek’s shit-eating grin, “Someone definitely got some strange last night.”

“When do we get to meet her, Spence?” JJ asks, smirking as he takes a seat.

He’s bright red — as if he needed to look any more debauched — and Spencer tries to ignore the hurt that seizes his chest at the reminder of his need to stay quiet. This team respects him, and he can’t throw that away just because Spencer gets too comfortable.

God, he wishes Penelope was here.

“None of your business,” he mutters, trying to keep his tone light. He fails.

Naturally, Hotch notices and swiftly moves the briefing on, and Spencer keeps his gaze locked on the case file, not missing the absence of a reprimand from his superior. He’s constantly thankful for the older man, but in this moment, he wishes he could hug him.

(A voice that sounds dangerously close to Ethan’s rises up and taunts him in his ear: he wouldn’t want a dirty homo like you anywhere near him—)

Derek doesn’t let up on the case, continuing to bug him about the special lady in his life. He does concede that it could’ve been a one night stand, which is one front he’s right on, but a couple more concessions are necessary before Derek comes close to the truth of last night.

Eventually, Derek stops, and Spencer notes that the cessation of comments comes suspiciously close to the last time Derek and Hotch were alone together. He doesn’t have it in him to feel angry at Hotch for stepping in when he had it handled; doesn’t have the energy to act as though his pride is wounded, because really, neither of those things are true, and he doesn’t need to add another item to ‘Spencer Reid’s List of Things He Pretends to Be.’

The situation is forgotten, and time moves on.

Things change when he finds his first proper boyfriend. He doesn’t know what he was expecting, but it certainly wasn’t the giddying rush of emotions it turns out to be, and Spencer spends his days smiling as he daydreams his time away.

His name is Oscar Wilkins, a History professor at Georgetown University, and Spencer falls quickly in love with him. Ever since their mutual friend had introduced them at a gay bar one evening, they’d spent all their free time together. He’s kind and gentle and understanding of Spencer’s hectic and unpredictable job, and he finally has the chance to experience everything he quietly and shamefully longed for as a teenager.

The only downside is the silent breaking of Spencer’s heart that the most important people in his life can’t meet his boyfriend. He longs to show Oscar off, to hold hands in front of his team, lean up to press a tender kiss to Oscar’s lips. He wants to put a framed picture of the two of them at the Washington Monument on his desk to remind him of why he needs to get through the hard days; he doesn’t want to have to sneak out of the hotel room he shares with Derek to whisper hushed, loving goodnights over the phone.

But he’s too scared. Too cowardly.

It’s different being who he is with his gay group of friends littered with wlws and drag queens and other gay and bisexual guys. They understand.

But Derek and Hotch are two extremely masculine, alpha men: Derek’s a ladies’ man and Hotch is married to a woman he met in college with a baby on the way and both have a strong and dominant energy that still sometimes manages to intimidate Spencer even after all these years. And Elle and JJ are lovely — some of his closest friends, really — but sometimes they remind him a little too much of the mean girls he went to high school with.

The hardest person to keep his secret from, though, is Penelope. She’s his best friend and he desperately wants to give her all of him, but he’s so scared. He’s lost a best friend to this secret before, and even though he’s certain she’d be fine with it, what if she accidentally let it slip to Derek? What if Hotch found out and didn’t see him in the same light anymore? What if the girls started teasing him? What if Gideon didn’t want to mentor him anymore?

The fear paralyses him. And it’s a cycle he doesn’t know how to break.

Fear, though, doesn't stop everyone from noticing his daydreaming, his dopey smile when he checks his messages, his urgency to get home where he would’ve stayed until the small hours of the morning before. As excellent as he is at hiding his sexuality, he’s fucking terrible at hiding the fact that he’s in love: it was easy enough to pretend he was straight, but hiding something this all-consuming is an impossible ask.

Derek comes over to perch on the edge of his desk one afternoon, sighing as he sits down. “Pretty boy, this is getting ridiculous,” he says, snatching Spencer’s attention away from his phone. “You’ve been grinning like an idiot for the last twenty minutes as you’ve texted Future Mrs Reid. When are we going to meet her?”

(He hates the new nickname the team has given his mystery significant other, although Oscar had found it hilarious. “It’s funny because when we get married, we’ll hardly be able to tell,” he’d argued through his laughter. “Neither of us will change our name because of our academic profiles, and we’ll both still be ‘Dr’. Our wedding rings will be the only indicator.”

Spencer hadn’t argued back, because he’d been too tongue-tied and flushed pink at Oscar’s use of ‘when’ in regards to their hypothetical nuptials. It was only made bearable by Oscar kissing him gently and tucking him under his arm, not embarrassing him any further as Spencer had sort of anticipated, warmth settling over his chest at the thought of their future together.)

“You won’t,” he replies, perhaps a little too curtly.

Derek starts at that, clearly not expecting it. He definitely should’ve tried to play it off as a joke. “What— should I be offended, pretty boy?”

You wouldn’t call me that if you knew who I really am.

“That’s up to you, Derek,” he says calmly, although he still can’t meet his eyes, “but you won’t meet the ‘Future Mrs Reid, so I think it would probably be best if you left it alone.”

“Damn,” Derek mutters under his breath, clearly pissed off and probably more hurt than Spencer ever intended. “Suit yourself.”

And with that, he gets up and leaves his desk. Spencer’s only solace is the text message he sees on his phone when he picks it back up: I love you so much. You know that, right?

The light-hearted ridicule comes to an abrupt halt after the incident with Derek, and it’s clear that he had been the biggest contributor to the teasing. He’s thankful that the jokes have stopped, but he wishes desperately that it didn’t come with the growing distance between him and his team. Loneliness takes the place of his previous irritated anxiety, and he isn’t sure what’s worse.

It all comes to a head at the end of a case in Michigan. They’re stuck in the lounge of the small inn they’d stayed in the last few days, a snowstorm having blocked them in and grounded the jet, although Gideon had long since retreated to his room. The fire’s going and they’re the only guests around, so it’s cosy enough, but Spencer can’t help but feel sick at the idea of another night away from home.

It’s only been two weeks since he’d snapped at Derek, but the chasm between him and the team is only widening with each passing day. He knows it’s not a case of ‘pick a side’, but the team’s morale relies on light-hearted banter and teasing, and him not being a part of that anymore has only brewed awkwardness. Everyone’s trying to give him space when space is the last thing he wants.

Oscar’s keeping him company over the phone at least, but it’s not quite enough to quell the loneliness swimming around his stomach, and the 'discrete' sideways looks he gets from the team only make him feel worse.

“At least it’s nice and toasty in here,” JJ sighs as she takes a sip of the hot chocolate the kindly inn owner had made for them all.

Elle hums in agreement. “There are worse places to be grounded.”

“I dunno, man, I just wanna get home,” Derek says, not taking his eyes off the fire. Spencer can’t help but agree.

“Oh, come on,” Hotch muses, considerably more jovial now the case is over, “we’re here, and that’s not going to change any time soon. We should make the most of it.”

“It’s at least nice to be somewhere sort-of Christmassy now it’s December,” Elle points out. “We could be stuck in a dingy police station like we probably will be next week.”

“Ooh, I noticed that Jemimah and Kiran started planning the Christmas party last week,” JJ says, smiling at them. “I offered my help, but they seem to have it covered.”

Hotch raises an eyebrow“That’s probably a good thing. You don’t need more work on your plate.”

“Not gonna argue with that,” she murmurs, smiling as she brings her mug to her lips again.

Spencer doesn’t miss that Derek is still stewing on the opposite side of the room.

“Are you looking forward to the Christmas party, Spencer? Will you come?” Hotch asks, clearly trying to rope him into the conversation, which he appreciates. He’s been making a lot of effort with him the past few weeks, and it’s just about the only thing that’s getting him through each day.

Before he can reply, though, Derek erupts from the other side of the room; an already pissed-off man being pushed over the edge. “He won’t even let us meet his fucking girlfriend, Hotch, he’s not gonna want to come to the Christmas party!” he yells, throwing his hands in the air as he glares at Spencer with a stormy expression raging across his face.

Suddenly, Spencer can’t stay silent anymore, and his retort shocks himself just as much as it does everyone else. “I don’t have a girlfriend!”

It might be the loudest he’s ever shouted in his whole life. He’s always been quiet and restrained, the type to state his feelings as calmly as possible no matter how he’s feeling on the inside. Even in the biggest fight he’s had with Oscar, his voice was barely loud enough to qualify as a shout.

There’s a brief stunned silence, but Derek quickly slices his way through it, voice raising to meet Spencer’s fiery emotion, fierce and loud. “Oh, don’t even go there, Reid, you’re really gonna try and argue that? You’re gonna lie about her as well as not let us meet her? What a boyfriend you are.”

“I don’t! I don’t have a girlfriend!” he repeats, voice catching this time as tears rise unbidden to the backs of his eyes and all the emotions of the journey he’s taken with his sexuality over the years flood him in a wave of intensity he’s not prepared for.

“You’re fucking lying—!”

“I have a boyfriend!” he yells. “Alright? I have a boyfriend. I’m gay.”

The anger and emotion quickly dissipates, and he’s left standing alone in front of the team he’s put so much effort into hiding this from, watching shock spell out across everyone’s expressions. He’s never felt smaller than he does in that moment, and he quickly grabs his phone before running upstairs to his room, locking the door behind him.

“Oh God, Oscar, I fucked up so bad,” he cries over the phone as soon as his boyfriend picks up.

“Hey, hey, breathe, baby,” Oscar says gently, but Spencer can hear the anxious concern in his voice, “it’s gonna be okay, I promise. I’m here. Do you want to tell me what happened?”

“I just— Oh God, I just told the team.” A new wave of horror rolls over him as he realises what he’s done. Times might be changing, but it’s still only 2006, and he doesn’t know each and every nuance of his team members’ political positions and, fuck, he hates that his existence is a fucking political position.

Oscar’s been so understanding of his reluctance to not tell the team, even though Spencer’s met pretty much everyone in his life. He isn’t sure what he’s done to earn such a gracious and understanding boyfriend, but he’s not about to question it.

“Baby, I know it’s scary, and I know you’re really worked up right now,” he counsels, voice soft and reassuring, using the nickname he knows Spencer loves the most to make him feel as safe as he can from 700 miles away, “but it’s probably not as bad as you think. From what you’ve told me about the team, they love you so much, and even in the case that in the past they've had some issue with gay people, I can't imagine they’d ever actually think of you any differently when it comes down to it, Spencer.”

He’s crying too hard to reply, and Oscar understands immediately, gently transitioning into a story about his day that slowly starts to calm him down, and by the time he’s wrapping it up, his tears are starting to subside.

“Thank you, Ozzy,” he whispers into the phone, lifting himself up off the floor and making his way to sit on the bed instead.

“You know I’d do anything for you, sweetheart,” he murmurs warmly. “Do you want me to stay on the phone for a bit?”

“Yes please,” he whispers again, holding it as close to himself as possible, drawing all the comfort he can from his boyfriend’s voice.

He lies there listening to Oscar’s voice and trying not to think about the disaster downstairs for a good ten minutes before there’s a tap at the door.

“Oz, there’s someone here,” he says, voice panicked.

“I think you should probably speak to them, baby,” he urges. “I’ll stay on the phone with you while you do, if you like?”

“Please.” He gets up from the bed gingerly, keeping his phone tightly gripped in his right hand as he slowly unlocks the door with his left, revealing Hotch on the other side.

“Hey, Spencer. Do you mind if I come in?”

He’s riddled with nerves, but Hotch is smiling warmly, and he’s never said a harsh word to Spencer, so he steps aside and lets him into his room.

Hotch quickly notices the phone in his hand, visibly still on a call. “Is that your boyfriend?”

Spencer nods.

“Do you mind if I talk to him?”

His brows knit in confusion and his lips part slightly in surprise, but it’s all he can do to hand the phone over, watching Hotch carefully.

“Hi, Spencer tells me this is his boyfriend?” Hotch inquires politely into the phone, his tone still warm. “I’m Hotch, Spencer’s boss.”

He can vaguely hear Oscar speaking on the other end of the line, and he worries slightly that Oscar will somehow give away the familial feelings he holds for Hotch, but the conversation doesn’t last long enough for the anxiety to really take over.

“Everything’s fine here, I just want to have a conversation with Spencer, so is it alright if we hang up and I talk to him alone for a minute? He can call you straight back afterwards.” After a brief pause in which Oscar says something, Hotch looks back up at him. “Are you okay with that, Spencer?”

He nods hesitantly, and Hotch says a quick goodbye to Oscar before surging forwards and wrapping Spencer in a hug. It catches him off guard, but he doesn’t waste any time in burying his face into Hotch’s neck and soaking in the comfort and warmth that always radiates from his father figure.

“Come on,” Hotch says softly as they pull away a good minute or so later, “let’s sit down, shall we?”

“You’re not mad?” Spencer can’t help but ask, the question burning his tongue as anxiety — however quietened from Hotch’s hug — still swims around in his stomach.

“There are many things that could make me mad, Spencer,” he says earnestly, “but this is not one of them. I would never be angry at you for being who you are, okay? I might… I might be overstepping here, and if I am, then tell me and I’ll back off, but I’ve always seen you as a mentee, and over the years that’s developed— well, I see you more as a son these days. And part of that is wanting to protect and support you no matter what you do or say or who you are.”

Spencer wastes no time in diving back in for a hug, clinging onto Hotch for dear life as he hugs back, rubbing his back gently.

“I’m so sorry you didn’t feel like you could tell us sooner, Spencer,” he says in a voice soft with affection and regret. “But I’m so glad you’ve told us now.”

He only presses closer at that, tears springing back to his eyes. “I didn’t want to lose you.” He knows what he’s implying, and even in a roundabout way, he’s glad he’s telling Hotch.

“Oh, Spence,” he sighs sadly, “you couldn’t do a single thing to lose me. I’m in it for the long haul.”

“Really?” he asks, hating how insecure he sounds.

“Really,” Hotch promises, pulling away as Spencer does. “Now, you have a whole team of agents downstairs who are feeling very sorry for themselves and really want to see you.”

Nausea rolls in his stomach and panic springs back up as he looks at Hotch, desperate for some sort of grounding. “Are they angry at me? Do they hate me now?”

“No one hates you, Spencer,” he says firmly. “I promise you that. Everyone just wishes that they’d made you feel more welcome and comfortable. We all hate that you felt you had to lock up something so integral to who you are, and we can’t help but feel we played a part in it.”

“No,” he protests — the last thing he wants is family blaming themselves when it has nothing to do with them, “it’s not your fault, it’s just…”

Hotch nods. “I understand, it’s okay. Now, do you want to go down and see them? You don’t have to if you don’t want to, but it might help ease your mind to see that they really don’t hate you.”

Spencer pauses, taking a moment to think. “Can I see Derek first?”

“Of course,” Hotch says understandingly, and the comforting smile that crosses his face makes Spencer feel safe and taken care of. “I’ll send him up?”

Spencer nods and Hotch hugs him once more before leaving the room almost reluctantly. He wastes no time in picking up his phone and sending a text to Oscar. You were right. Hotch is fine. He’s just sending Derek up before I go and see the team but he says that no one’s angry and I think I believe him. Thank you, Oscar. I love you.

Not even half a minute goes past before his phone lights up with a text back. I’m so glad, baby. Call me later, okay? I want to make sure you’re okay before I go to bed. I love you more.

Before Spencer can argue that actually, he is the one more in love with the other, a hesitant knock sounds on his door. Nerves suddenly flip his stomach, and he clenches and unclenches his fists a couple of times before forcing himself to cross the room, revealing a very worried and regretful-looking Derek.

“Oh, pretty boy,” he says sadly, before crushing Spencer in a warm and tender hug. Immediately, he relaxes into the arms of one of his best friends, and relief courses through his blood at Derek’s reaction. “I am so sorry that I ever made you feel like you couldn’t tell me that you were gay or had a boyfriend. That’s completely on me. I don’t care who you love, Spencer, I just want you to be happy, okay? And if this guy makes you happy, then that’s fine by me. But if he ever lays a hand on you or—”

“Derek, Derek,” he laughs, “it’s fine I get it. Thank you, though, I’m… I’m sorry I couldn’t tell you earlier and for snapping at you in the bullpen that time…”

“I understand, Spence,” he promises. “It’s in the past, okay? And I’m sorry for pushing so hard. I mean, I’d love to meet him but if you don’t feel comfortable or you don’t want to, that’s fine, too. It’s your life, man.”

“No, I… I think I want you guys to meet him. It’s been so hard to keep him away from the people I consider my family, you know?”

“Yeah, I know. Maybe after Christmas, we can all have dinner or something.”

Spencer smiles shyly. “Well, Oscar’s a great cook, so I reckon we could work something out.”

Derek grins, throwing an arm around his shoulders as he immediately jumps back into teasing him as they make their way to the door to go downstairs and see the rest of the team. “Ooh, lover boy’s got him a chef, hey? What else does this Oscar have going for him?”

Spencer chatters eagerly about his boyfriend to Derek, barely skipping a beat when he joins everyone downstairs, his friends taking his cues and joining in with the conversation seamlessly. He’s had enough fuss for one night, and the warmth and understanding on everyone’s faces tells him everything he needs to know.

“Do you have any pictures of him?” JJ asks, raising an eyebrow with eager expectancy as they all settle back into their seats by the fire, a warm and unbelievably happy feeling settling in Spencer’s stomach.

He blushes, digging out his phone from his pocket and unlocking it. “More than a few, I think.”

He finds the most recent picture of his boyfriend — a candid shot of him cooking in the kitchen, spatula aloft, and a huge grin on his face — and hands the phone around.

“Oh wow, you like them buff, huh, pretty boy?” Derek teases as soon as he gets his hands on it, and Spencer’s stomach twists in a sudden bout of fear, expecting to see some hesitancy or even disgust on his friend’s face. What if he thinks that Spencer has a crush on him? What if he’s uncomfortable around him now?

But if Derek’s having any of those thoughts, they don’t show on his face. He’s smiling widely and openly, all the pent-up anxiety and frustration borne from hurt gone from his body language, and he looks completely comfortable sat next to Spencer, his arm stretched out behind him on the back of the sofa.

They sit happily around the fire for a couple of hours, settling into a happy, intimate familiarity Spencer hadn’t realised was missing when he was hiding something so integral to his being from his family, and he’s still smiling when they finally part ways to head to bed, the clock ticking closer and closer to 1 am.

He gets ready for bed quickly, brushing his teeth and throwing on the top he’d stolen from Oscar the first time he’d stayed at his place; a welcome change from his worn and wrinkled suit. As soon as his teeth are brushed and the lights are all off except for his bedside lamp, he pulls out his phone, knowing there’s one more thing he has to do before he goes to sleep.

“Spencer?” Penelope’s voice sounds down the line, clearly concerned. “It’s almost 2 am here, are you okay?”

“I’m gay,” he says, getting straight to the point. The main reason he ever kept it from her was because of his fear of it accidentally getting out to the team rather than fear over her reaction. After all, multiple of his drag queen friends are also hers.

“Oh my God,” she says in that small voice she uses when she’s not actually talking to you, before finally actually replying to me. “Spencer, I’m so happy you told me!”

He doesn’t miss her choice of words, or the way she says them and he tilts his head suspiciously. “You already knew, didn’t you?”

She sighs. “Yeah. I’m sorry, a couple of months ago I saw a text from Oscar on your phone when you went to the bathroom during one of our Doctor Who marathons, and it wasn’t hard to figure out the relationship.”

“And… wait, you’re not mad at me for not telling you sooner?”

“Spencer! Of course not. I was waiting for you to be comfortable enough to share it with me. I felt awful that I knew without your consent but I didn’t want to tell you because I didn’t want to catch you off guard or make you feel uncomfortable. It’s fine that you waited, baby genius, I’m just so happy you told me now. What finally gave you the courage?”

“Well, it might have slipped out in front of the team this evening,” he admits sheepishly, “and the only reason I never told you was because I was scared that it would slip out somehow — accidentally, of course, I didn’t think you’d tell anyone on purpose — and now everyone knows. It’s been killing me not to tell you, Penelope, it really has because I love you so much and you’re my best friend and I trust you with my life, it’s just…”

“Whoa, slow down, Spence,” she laughs fondly, “you don’t have to explain yourself to me, I understand. But I’m glad you finally told everyone and you can be yourself completely with us, now. We all love you no matter what, you know that right?”

“I do now.”

“Good. You should get some sleep, baby boy, it’s late and you’ve had an emotional evening.”

Spencer smiles. “Yeah, I know. You should, too, Pen. I’ll see you when we can finally make it home, okay? Love you.”

“Love you, too, 187,” she says softly, and Spencer can hear the smile in her voice. “Goodnight.”

As soon as he hangs up, he settles down into the bed, turning off the light and pulling the duvet up over his shoulders before dialling one more number.

“Hey, baby,” Oscar says, voice as gentle and caring as it always is, although thicker with tiredness now. “I take it everything went okay?”

“Yeah,” Spencer murmurs, already feeling tired as the safety he always feels at the sound of Oscar’s voice settles into the fibres of his being. “It went so well. I can’t wait for you to meet everyone.”

“I can’t wait either, sweetheart. Are you in bed now?”

“Yeah,” he sighs. “Can you talk to me as I fall asleep?”

“Anything for you, Spence,” he says softly, before transitioning seamlessly into a story about the professors on campus, and his gentle comfort and the knowledge of the unconditional love his family has for him finally lulls Spencer into the best sleep he’s had in weeks.

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crescentsteel · 3 years

Text

Keeping a Secret - Part 6

pairing: Tsukishima x f!manager of Sendai Frogs genre: sexual tension/crack/fluff/slow burn wc: 7.1k

Part 5 || Part 7 || masterlist

[a/n]

I’m sorry for the slow update (As you know, I finished my other mini series last week and I was just a ball of exhaustion, until now tbh)

I think we’re halfway along the story now. I think. Lmao.

AO3 link is on the masterlist’s page.

Let me know if you want to be part of the taglist uwu

No one budges - not Tsukishima, not the team, not even you. You scram the insides of your brain, trying your absolute hardest to come up with a panic-stricken solution on how to remedy the carelessness brought by your surge of pride from winning.

You can feel your heart pounding on your chest. Or maybe it's Tsukishima’s against yours. You can’t tell at this point and you don’t bother trying to. You push your cognitive skills to its maximum as you strive to think for a fix for your current predicament.

Luckily, you’re not a university scholar for nothing.

You release Tsukishima and open your arms wide to the next person you lay your eyes on.

“Kyou-kun! Good job,” you manifest the joy on your face as you come up to Kyoutani for the similar hug you just gave Tsukishima.

Like Tsukishima, Kyoutani also stills when you embrace his perspiring body. Kyoutani is not a touchy person, but unlike Tsukishima, you know he’s fond of you. So he doesn’t push you away. Rather, he awkwardly pats you at the back.

“T-thanks,” he says with his low, raspy voice. You beam at him and move on to the next player until you’ve hugged all six on the court.

When you come back to the benches, there’s an organized line of the rest of the Sendai Frogs.

You blink quizzically for a few seconds, wondering why, until you realize that they’re waiting for their turn as well.

“Aww, you guys!” you gush dotingly at how adorable they are. Yet, you can’t indulge them.

“Maybe next time? You need to line up already,” you remind them. They all groan downcastedly, but Coach Mira castigates them immediately.

“What the hell are you all sighing for? You won. Stop dawdling around and fall in line over there, not here!”

The guys snap out of it and do as they’re told. Before Coach Mira joins them, she shoots up an eyebrow at you, probably looking for an explanation for your behavior.

“Sorry, Coach.” You chuckle as you apologize for getting the team a bit sidetracked, but provide no reason why you did so. “Won’t do it again,” you supplement the apology.

She lets it go casually and lines up with the team as well.

Once the match is officially done, you head over to the restroom. You enter one of the cubicles quickly and lock its door, you knock your head on it.

‘What is wrong with you, you dumb bitch!’ you lambaste yourself while staring at tiles with petrified eyes as you replay the scene again.

When you made the deal with Tsukishima, you were confident that there wouldn’t be problems with hiding what you two have. He is one of your athletes first and foremost; that hasn’t slipped out of your mind. Yet for one moment there, you blurred the line that you and Tsukishima had established.

You got cozy with him when you’re not in private--when you’re not supposed to. It was just a hug, but still, it was something when you’ve made the whole Sendai gymnasium your audience.

You’re the one who even assured Tsukishima that no one will know about your set-up. Tough luck, you’re also the first one to mess up.

You bang your head on the cubicle door again. The sound of your frustrated groan echoes through the whole bathroom. After a while, you take a deep breath and unlock the cubicle. You go back out to the halls.

When you turn left to head for the bus, you’re startled at the presence of the blonde that was just in your mind. Tsukishima is there, leaning against the wall next to the door you emerged from.

“Fuck! You scared me,” you exclaim.

“Tell me about it,” he replies with a straight face. Despite the nonchalance, you know there’s meaning behind his short retort.

You scan the area, looking for any other member of the team who might be present. When you see none, you drag Tsukishima outside to a secluded area at the side of the gym. Once there, you check around again just to be sure no one will pass by.

Tsukishima just watches you acting in distress, waiting for whatever it is you’re going to say. Obviously it’s important enough to you that you tugged him all the way here. Once you’re done confirming that the coast is clear, panic sets in your face.

You clutch his jacket and start lamenting. “I’m so stupid, Tsukki! Oh God. They’re gonna find us out. We’re screwed!”

He thought that you were just going to explain and apologize for your slip-up earlier. He was stupefied when you did it. He’d probably be giving you an earful right now had you not resolved your mishap before it became an object of inquiry to the others. Admittedly, he was still planning to scold you a bit. However, seeing you this freaked out about it makes him change his mind..

“I’m so sorry!” you go on as you drive yourself deeper to hysteria.

He can’t understand why you’re having this kind of reaction. You solved the problem. You hugged five huge, sweaty men to make up for it. That was a convincing distraction for testosterone-filled players who just won a match.

“Can you calm down? I do-”

“Maybe we should stop it already,” you suggest strongly, cutting him off as perturbation clearly clouds your judgement.

This throws him off. The idea didn’t cross his mind at all. He was just going to reprehend you to be mindful, not call off the agreement you two made.

He doesn’t mind it anymore - kissing you. Sometimes, they’re more enjoyable than he initially anticipated them to be. Most importantly, they’re harmless. They’re just meaningless kisses born out of what little attraction you two have for each other. No one is getting out of line. You don’t go beyond kissing. You both act like the deal doesn’t exist unless it’s just the two of you in your room.

That’s why he is willing to let your mistake go, apart from the fact that you were successful in covering it up.

But instead of contesting your suggestion, he says, “If you say so.”

Even though he’s accepted that kisses from you are allowable, if you want to back out from it, why the hell should he stop you?

“Right??” you persistently convince him even though he basically said yes already.

“Right,” he presses on as well to satisfy your apparent need for him to agree with you.

His answer effectively calms you down as you let go of his jacket and sigh a breath of relief. You swiftly regain composure and face him with your trademark sassiness. “Awesome,” you say with a reassured smile.

“You go ahead first so Coach won’t ask me to chew your ass for taking too long to get on the bus.”

“And you?”

“I’m the manager. I’m always the last to get on the freaking bus.”

He turns around and walks back to the bus. That’s strange. He thought you love taking advantage of every opportunity there is for you to pick on him. He might be wrong.

He can be sure about one thing though: you really are the manager who looks out for everyone, including him.

Maybe that’s why it bothers you so much. Above all else, you are their manager. So when you acted upon something other than such in the court, you lost your cool.

Oh well.

It’s not as if scrapping the deal off is a loss of any kind. He’s gained some sort of fun from it. That’s that. Nothing more. Nothing less.

Tsukishima knocks for the second time. He wouldn’t have bothered knocking since it’s your scheduled time to meet today, but he also doesn’t want to barge in without your permission. So he knocks again.

Sure enough, it opens this time. Yet, no one’s there to meet him.

“Tsukishima...”

His eyes drop further down to where your voice came from. You’re on your knees, your head faced down on the floor, and your arm reaching on the doorknob where your hand is latched onto.

What is it this time? What kind of antic will you throw his way? He waits for you to do something unearthly again, readying himself for anything you might surprise him with.

But nothing. You just stay where you are while he stands still.

You groan weakly and ask, “Did you not get my text?”

He slouches down and gets on your level, still not discarding the thought that you have a trick up your sleeve, and you’re waiting to spring it on him.

“What text?” He didn’t check his phone on the way here so he doesn’t know.

You lift your chin to face him while he anticipates your big reveal -- your comedic idea of the day -- but it doesn’t come. What greets him are your squinted eyes, almost beet red cheeks, and pale lips.

“Not today,” you struggle to say which comes out raspy and frail.

He instantly reaches for your forehead to confirm his speculation. His eyes widen with worry when his palm touches your skin. Even without a thermometer, he can confidently conclude that you’re sick. Not just sick, you’re burning with fever.

He looks behind you and sees your laptop open with a mug filled with brown streaks of fried liquid he can only assume to be coffee.

“Jesus Christ,” he hisses. You really won’t fucking stop at nothing even if you’re literally sick already.

He peels your hand off from the doorknob. He scoops your legs and waist with ease and stands up.

“H-Hey,” you protest. You’re gravely debilitated so you do not move at all aside from a hand feebly clutching his shirt for support. He kicks the door close and walks over to your bed.

“Do you have a fucking death wish, y/n?”

Even with his harsh tone, he’s extra careful to duck down from your top bunk because he’s too big for the damn thing. If he’s not mindful, he’ll surely bump his bed on the metal frame.

He delicately lies you down on your bed as he manages to sit beside you without hurting himself.

Your eyes are closed and your whole face screams of discomfort. Your mouth opens as you scuffle the words to come out.

“Go home. You’ll get...sick too. Game soon,” you whisper hoarsely.

As usual, you’re still thinking about the team. Is it always everything else before yourself? Don’t you really know how to take a fucking break? It’s an eyesore. Watching you slowly but surely deteriorate yourself is more taxing than handling your childish nonsense.

He’d love to give you an earful of his thoughts about your pressing behavior, but it’s not what you need to hear at the moment. “Who should I call to be here?” he asks instead.

You force your eyelids to open and look at him. “No one. I can take care of…,” you trail off as your eyes begin to flutter close again.

He can’t decide if it’s funny or foolish that you think you can take care of yourself when you can’t even finish your sentence. “Right,” he says, unable to help himself from sounding sarcastic despite your situation. It’s just so stupid how this easily could be avoided if you didn’t push yourself too hard.

He’s in no way responsible for you. He should just walk out like you said. You did this to yourself. There’s no reason for him to stay there.

Yet, he puts down his bag and takes off his jacket.

“Do you have a medicine kit?”

His question is no longer heard. You’re already passed out. He stands up and starts looking around your room for anything that resembles a first aid kit. If you do have one, you didn’t place it where someone can easily see it.

He sighs as he’s left with no choice but to go out and buy the stuff you need. He can’t possibly go through your things. It feels like an invasion of your privacy.

When he comes back from the pharmacy, he’s expecting that you’d ease up even a bit since you finally stopped working. But when he sits beside you again, he can see the same worrisome distraught wrinkling your pretty face.

Alt hough he doesn’t want to disturb you, he has to. He needs to feed you, get you to take medicine, wipe you with cool compress, chang e your clothes, then tuck you back in bed. After that, he still needs to stay to make sure your stubborn ass won’t get back to working once you feel a tiny bit better.

He feels all his facial muscles droop down at the amount of chores he needs to do for you. He really shouldn’t bother. He can just turn a blind eye and go home, leave you alone since you brought this upon yourself.

But there he is, tending to your needs for no substantive reason other than him being a decent person. Well, he’s already taken the first step, so screw it.

He can still work on his own uni requirements while he watches over you anyways.

Although you resisted a bit at first, your own lack of strength makes you give in to his attempt to cater to your sickly needs. The feeding and the medicine was an easy task. You were practically a lifeless doll and just went with whatever he tells you to do.

Now that he’s in your bathroom with a small basin of cool water and a small towel hanging on his shoulder, he contemplates on how to proceed with the next step: a sponge bath. He should just hand you the towel along with a new set of clothes, leave the room, then come back after a few minutes.

Because he is not doing it.

He won’t be undressing you and wiping your naked body. Just no. You should gather whatever energy you have left because you’ll be doing that all on your own.

He dips the towel in the basin and squeezes the excess water out of it. He puts the moist towel in a container and goes back to your bed.

“Hey, sit up for a bit.”

You groan softly, but does as you’re told. He puts the small plastic case with the towel on your bed and helps you get up. “I’ll get you a new set of clothes, then wipe yourself down,” he instructs you.

You let out one short hum of approval, so he goes to your drawers. He pulls the first shirt and bottoms he sees. As long as you have your blanket, it should be fine if you’re not wearing thick clothing.

When he turns around, he finds you holding the wet towel to your shoulder, completely still as you rest against the wall by your bed. You fell asleep with the towel soaking up your shirt.

“Crap,” he curses as he rushes back to you.

He places your fresh clothes to the side and hurriedly removes the towel off of you. He’s about to shake you back to consciousness but aborts his plan as soon as he touches your other shoulder.

You look like you really want to do it yourself as well. Even now, he can see minute movements from your fingers as if you’re still trying to follow his directions earlier.

Goddamn it. It’s really up to him now, isn’t it?

He glances at you one last time, thinking of another way out. If you hadn’t gotten your shirt wet, he would have ditched the sponge bath idea already. Now he’s left with no choice but to proceed with it.

Whatever. It’s just a human body for Christ’s sake. He shouldn’t be as alarmed as he currently is. He’s seen a female human body before. Yours should be no different.

He takes a deep breath and gently tugs up the shirt you’re wearing.

‘They’re just mammary glands,’ he repeats in his head but makes sure his eyes never land anywhere near the blob lump of fat on your chest.

He gets to work, brushing the cool towel starting on the sides of your face, then down to your neck. You must only be half-asleep because you lift your chin up a bit to allow him access to the column of your neck. He keeps his eyes on it as his hand travels down a bit further.

He spreads the coolness of the towel on your chest, but as soon as he feels a particular softness, drags his hands back up. With his hand still on your chest, he feels the pace of your breathing quicken a bit. When shoots his eyes up to your face, you’re already looking at him with dazed eyes and slightly agape mouth.

Beautiful. Too fucking beautiful for his liking.

It’s ridiculous. People are supposed to look like shit when they’re sick, not inviting.

A certain delicate temptation kicks in, urging him to back away a bit to reward himself with a quick sweep of your semi naked figure.

‘No,’ he grounds himself.

He’s not that barbaric. He’s not doing this so he has an excuse to ogle at you.

So why is he doing this?

With the turbulent thoughts reigning in his mind, he unknowingly squeezes the moist towel he’s holding against your skin.

The cool water drenching from his palm distracts him from his pondering. Reflex makes him look at his hand and involuntarily follows the slow trickle of water down the supple mount of flesh he’s been meaning to avoid looking at this whole time.

He realizes he’s been staring, but he’s too enthralled to stop. He lets his eyes wander further down, still watching how the droplet glides to your stomach. It gets absorbed by the fabric as it reaches down the waistband of your shorts.

The absence of the water he’s been trailing with his eyes snaps him out of his trance.

What the fuck is he doing?

He quickly moves on to your arms, patting your skin aggressively and haphazardly so he can finally get this cumbersome chore over with.

When you recover from this, he’s going to barrage you with a litany of fulmination on your self-destructive habits.

He’s supposed to wipe your thighs and legs too, but the idea is already tossed away as his train of thought is antagonizingly twisted today.

As fast as he can, he puts on the shirt he got for you. He was being gentle previously, but his priority at present is to cover up your exposed body away from his sight.

When he successfully clothes you, he gently lays you down again. He pulls the blanket to your shoulders and looks at your overall state.

You look a bit better now so he goes to your study table. He tidies up your stuff and puts them aside for him to set down his own.

Finally, he can get his shit done while he waits for your fever to go down.

He’s halfway through his elective course when he hears you whimper. He ignores it the first two times, but he hears it again louder the third time, he concludes something is wrong.

When he gets to your bed, you’re shivering frantically even with your blanket covering your whole body. He quickly searches for another one and piles it over the one you already have.

It only lessens your trembling but it’s still there. Your pretty face is still ruffled with unease. He touches your arm and finds out that you’re shaking way worse than you look.

In just seconds, he slips inside the blankets and draws you in to provide you the body heat you might need. You desperately cling onto him, pressing your body to share what he silently offered. Your fingers that are clutching the back of his shirt are quivering. You sink your face on his chest with agitation, badly in need for an additional source of warmth.

His displeasure towards your self-negligence dwindles when he feels your trembling body against his. Yes, this might be your fault, but he’s certain you hate this more than he does. Not only are you in pain, but you probably see this as a waste of your valuable time. You brought this upon yourself, but you don’t deserve it.

He encases his arm on your waist and tugs you even closer. He lowers his body a bit and gently nestles your face on his neck so you can feel the direct warmth of his skin on your cheeks.

Within a few minutes, you begin to relax within his embrace. The tremors become less and less until your fingers on his shirt loosen up.

You faintly pull back to look at him. “Sorry, Tsukki,” you mumble groggily with forlorn eyes.

“Shut up,” he utters without any trace of hostility as he cups the back of your head and buries your face on his neck again.

Your grip on him slackens but you don’t let go. You ease into him with your breathing getting even and your heart beating softly against his chest. When your chills completely fade away, he’s left with nothing but the softness of your body within the confines of his touch.

He becomes more aware of your bodies tangled against each other now that you’re completely still. The plumpness of your breasts are pinned on him. Your ample lips are grazing his neck. His pinky and ring fingers are hovering just below your spine, almost touching the curve of your behind.

To make things worse, you begin letting out small moans of succor which he can hear only because you’re too close.

He should be immune to this. He’s already had his fair share of kisses with you and sometimes, it involves a lot of touching. However, it is never as intimate as this. The furthest you two have gone was when he slipped a hand underneath your shirt before your friend barged in.

Before today, he had never seen your bare body. He had never held you to the point that almost your every curve melds with his. He has never thought about what it’d be like to do more than just making out. Only now when you’re not even doing so.

He considers himself a level-headed person driven by logic and rationality, but for crying out loud, your thigh is nudging on his crotch as if challenging his self-control.

As much as he wants to keep himself in check, his own body betrays him when his dick starts to nudge back at your right thigh.

‘Breathe in, breathe out,’ he reminds himself repeatedly to calm himself down.

“Hmmm,” you snuggle even more on his neck, your moist lips tracing his skin before you press it on him as you relax even further.

Fuck.

The shameful tent in his pants is becoming painful on his jeans as his imagination runs wild. How will you sound if it's the other way around, if it's his lips that’s traveling on your neck? How will you react if it’s his palms kneading the supple flesh pressed against his chest right now? Would you blush a deeper shade of red than the one you’re wearing if he slams his…

Fuck, fuck, fuck.

He can’t decide who is more sick: you or him, who’s lusting over you despite your situation. His plan to chastise you for your own inattentiveness for your own health is back in action. He’ll make sure it's ingrained into that irresponsible, beautiful head of yours.

To distract himself from his inane fantasies, he forces himself to recall the scientific names of all the reptile species he’s aware of. And when he’s exhausted his mental list, he moves on to whatever animal species he can think of until he dozes off with you.

You haven’t opened your eyes yet, but as you regain consciousness, you can tell that you had an amazing nap. For the first time, you reap the benefits of a power nap. It feels like you slept for a complete eight hours or even more. You no longer feel sick. You celebrate the after effects of the nap, stretching your legs before you get up.

You look out your window and see that the light is still a dark shade of blue so you still have the whole evening to finish what you need to do.

When you turn your glance to your table, Tsukishima’s seated on the floor with his laptop in front of him.

Why is Tsukishima here? You texted him and called off your meeting today.

Something’s off.

You don’t really remember going to bed. You just remember doing one of your subjects when you heard someone knock.

“Tsukishima,” you call his attention urgently.

He turns to you, but you can’t see his eyes from the light reflecting on his glasses from his screen. “What time is it?”

He looks back to his laptop. “It’s 5 am.”

What?!

You didn’t take a nap. You fucking slept. A more horrid realization comes to you when you remember what happened before you did. You passed out and Tsukishima fixed you up.

Shit! He’s been telling you all the time to stop overworking yourself and he had to be there and clean up the mess you did to yourself.

You panic when he sits beside you. You sit properly, hands on your lap, pressed lips, eyes on the floor as you prepare yourself for a long, tedious arduous lecture from the blonde.

“Hey.”

You slowly turn towards him, anticipating the slew of curses about to unroll from him.

“Y-yes?”

You keep your eyes leveled on his chest, embarrassed of yourself for burdening him with your unwell ass.

Instead of speaking, he inserts a thermometer in your mouth, causing you to shoot your gaze up to him. Neither of you say anything and just hold each other’s stare until the thermometer beeps.

He takes it out of your mouth and checks your temperature.

“You’re okay now,” he announces, then starts getting ready to leave. “Don’t bother coming to training later or else I’ll tell Coach that I caught you extremely sick,” he threatens nonchalantly.

Your mind is running laps on how to process everything all at once, but you decide to deal with the most pressing one.

“Uhhhh..”

He glances at you, silently waiting for what you’re going to say, but you only gape at him as well.

What were you going to say again? Shit, you actually can’t remember what it is.

He disregards your quietness and proceeds to your door. “You should just stay in. One day of missing classes won’t cost you your scholarship,” he says before he closes the door behind him.

“Wait.”

He’s gone. It’s only then you remember you wanted to say thanks.

When you come back to the gym two days after, everyone expresses their worry about you. You assure them that you’re completely fine now. Even with the love and concern you are showered with, your eyes scan for someone who isn’t among the players in front of you.

There he is, dribbling the ball and is about to do a jump serve. Just before he tosses the ball in the air, he looks at your direction.

“Y/n?” Kogane’s voice pulls you back to them.

“What was that?” you ask because you didn’t hear whatever they were saying.

“He was asking if you’re really okay now,” Eiji says.

You nod enthusiastically. “So stop wasting your training time on me and practice instead,” you say with cheerful authority that they’re very pleased to hear again.

Once the crowd disperses, you spring your way to the middle blocker who didn’t welcome you back.

“Hello!” you greet him sprightly.

“What?” he asks with a bored tone.

You step closer to him for the next thing you’re going to say is for his ears only. “I really appreciate what you did the other day.”

Tsukishima sees the earnest, grateful expression on your face, but what grips his attention is how refreshed you look. You look brighter than you usually do.

He was almost sure that you were going to ignore what he said about going absent on both in classes and in here, but you seem to have taken his advice with how well-rested you are.

But most of all, he didn’t expect you’d bring it up during your working hours. Neither of you talks about what happens in private when you’re the ‘Sendai Frogs’ manager,’ not his classmate, or occasional kiss-buddy .

“I don’t,” he responds vacuously to your thankful sentiment. It was a very tough night for him. When he woke up, his erection was still raging through his pants. As undignified as it was, he got himself off in your comfort room just to ease the unbearable sexual tension that was still there in the morning.

As usual, you don’t take offense from his sour remark. You chuckle whole-heartedly and pat him hard on his shoulders. “Of course you don’t,” you say mirthfully before you walk over to Coach Mira.

It was a very tough night you made him endure, but he’s relieved to see you back on your feet.

The team is going to the fourth match of the regular rounds. Three more after this and you get the chance to have a game from the bottom two teams from Division 1.

As you and the team march towards the court, you hear someone call Tsukishima.

“Tsukki!”

You look at whoever it is and stop when you see Kotarou Bokuto, the wing spiker of MSBY Jackals, crazy energy on court, super clean line shot.

He’s waving energetically at Tsukishima while the latter just nods at him. You grab Tsukki by his shirt and stop him from advancing any further.

“You guys go ahead. We’ll be there in a sec,” you tell Kogane who’s the person in front of you. He nods at you then walks off with the rest of the team.

“Why did we stop?” Tsukishima asks with a frown.

“How do you know Bokuto?” you ask.

“I used to train with him during high school,” he says like it’s nothing because to him it really is not a big deal. Bokuto and Kuroo practically coerced him to join their free practices when he already wanted to call it a day. Training with them was a drag - a drag that pushed him to become a better blocker.

Among the four of them who regularly practiced in the third gym, it was him and Bokuto who went professional. Even if the wing spiker is in a higher division, he still sees Bokuto as the same person who told him it only takes one hit to be hooked on the sport. Bokuto just got better at it.

Other than that, he still seems like the silly guy Tsukishima knows him to be.

“Can you introduce me?” you say as you try to hide the zeal in your eyes, but horribly failing to do so.

“Shouldn’t I go warm up?” he counters instead of responding to your question.

“I promise to be very nice to you in the three succeeding training days. Introduce me, please, ” you beseech graciously at him, insistent on meeting the athlete.

“Make it five days,” he tests to see your conviction.

But you easily agree, “Deal!”

Seeing that you won’t let this go easily, he thinks it would be better to just give you what you want.

You both walk over to where Bokuto is. Beside him is another part of the third gym, Kuroo, who’s now the official promoter of the Volleyball Association.

“Hey hey hey, Tsukki!”

“Hey,” the lack of enthusiasm in his response totally contrasts Bokuto’s. “This is-“

“Hi!! I’m Y/n, Tsukishima’s manager,” you cut him off which makes him jolt. Why even bother asking him to introduce when you’re more than capable of doing it yourself?

You grab Bokuto’s hand and shake it vigorously. “It’s such a pleasure to meet you,” you dramatically state, your eyes twinkling with idolatry.

Bokuto, as expected, is exceedingly glad from the adoration. He uses his two hands to shake yours and reciprocate the same energy you gave him.

“I’m such a huge fan. Personally, you’re my favorite player from Division 1. I don’t care what others say. That chest bump. Flawless save!” you drag on, endlessly showering the spiker with compliments which Bokuto is totally eating up.

He’s egging you up even more by constantly nodding, laughing, and agreeing in everything you’re saying.

Meanwhile, Kuroo and Tsukishima are just standing there watching the whole exchange.

“I’m sorry if this is a stretch, but can I hug you?” you ask almost like a tame puppy.

He’s been disregarding the entire conversation, but really? A hug? Have you no shame? Not that he cares but should you be ogling at another athlete when you’re wearing the uniform of Sendai Frogs?

Great. Go worship a big brawny dude from Division 1 minutes before your own team’s game. How thoughtless.

He imagined it would be a civil hug but then you open your arms to Bokuto and envelop him in the warmest hug he’s ever seen you give. His eyes drop to Bokuto’s limbs which are ensnared around your waist as the spiker hauls you closer to his body.

How imprudent. It was a mistake bringing you to Bokuto. You should have known it’s unwise to mix up your personal agenda with your work. You should have known that it was better if you just ignored Bokuto and made him warm up, than make him introduce you to your favorite player.

What is wrong with you?

Kuroo’s attention slips from you to Tsukishima’s change of demeanor. Tsukishima is usually unbothered, but as soon as you embraced Bokuto, Tsukishima’s mood became sour. It is an amusing sight to watch.

He never thought Tsukishima would associate himself with an individual as lively as you. But who could blame him?

He, himself, has just been watching since you fanned the ego of his old buddy. You have not graced him even a glance since you approached them. Your eyes were all set on Bokuto. You’re probably not aware that another presence is also there.

So he’ll make you be aware.

“Ehem,” he clears his throat to grab your attention, which works as you shift your gaze from Bokuto to him. “Hello,” he flashes you the best smile he has, but has no effect whatsoever at you.

The difference in treatment is drastic. While you revere Bokuto with adoration, you regard him like a nuisance. It’s not that palpable, but it’s there. You look at him like he’s an obligation to deal with.

Your smile is rehearsed and so is the cheerful “Hi” that you give him.

“Kuroo Tetsurou,” he introduces as he offers his hand. You take without hesitation, firmly gripping his extended hand for a brisk, professional handshake.

“Y/n, manager of the Sendai Frogs,” you respond in an amicable, yet refined manner. He gets his business card from his pocket and hands it to you.

“So, Miss Manager, how are the Frogs doing?” he asks to strike up a conversation.

You scrutinize his business card for a quick while then pockets it. “I believe as their manager, I, myself, represent the team more than my words can. So what do you say, Mr. Promoter?” The professionalism chips off and reveals a real slice of you - sly and mischievous, as you compose your stature and put a hand on your hip, accentuating your curves.

He crosses his arms as he eyes you from head to toe without any reservation, then back up again.

“I say the Sendai Frogs are looking hot this season,” he says with his own grin that’s just as devious as yours.

“There’s your answer then,” you give him a wink that almost makes his heart flutter.

‘Geez, lady. Take it easy on unsuspecting men,’ he thinks to himself but easily recovers as his grin spreads out.

“Oy, we should be getting back,” Tsukishima says, breaking Kuroo’s trance towards you. You snap out of it as well, agreeing with Tsukishima as you give the blonde a nod.

“It’s so nice to really meet you, Bokuto,” you tell Bokuto before turning around. Even though you’re treating Kuroo as if he doesn’t exist, he can’t help but be intrigued even more by you.

“Bye, y/n,” he says a bit loudly for you to hear since you’re already a few steps away from them.

You’re about to look back but Tsukishima puts a hand on your shoulders and starts talking to you. Kuroo would have disregarded it, but he doesn’t miss the quick glare Tsukishima throws at Kuroo and Bokuto. What’s even more eye-catching is how Tsukishima’s hand travels down a bit on your back.

You don’t take notice of it though. It might because you’re preoccupied or because you genuinely don’t mind. But for Tsukishima to do so, it’s a different story altogether.

“Hey Bokuto, did you see that?” he turns to his friend.

“Uh huh. She’s so pretty!” Bokuto squawks out, obviously not catching what Kuroo did. Kuroo just lets it go since it wouldn’t really do much even if he tries to explain. He looks back at you and agrees with Bokuto instead.

“Yeah, very pretty.”

Even though you’re the one who broke off the deal, you still feel the urge to kiss Tsukishima at times. He does too. You notice the way he glances at you briefly then returns to his work as soon you catch him.

It’s not awkward. There’s none of the tension-filled air, probably because you’re both aware that the impulse is there. You just silently agreed to dismiss it.

It’s all good though. It’s for the best. You don’t want another slip-up like the one from the Jaguars’ match. What’s weird is that even though you’re no longer making out, it feels like nothing has changed.

You still sit beside him. He still lets you lean on him. He still lets out nasty side comments but he’s not as rancorous as they used to be.

“You’re spacing out again,” he points out.

“That’s cause I’m done, Tsukishima,” you counter immediately while still gazing at your window across you. “Anyways, I’m gonna nap,” you announce.

He stops typing and looks at you. That’s weird. He’s always the one strenuously suggesting that you take a break when you’re feeling tired. What gives?

“Are you sick?” A bubble of unwarranted concern rises within him from your sudden inclination to take a nap.

“Oh, no. But I’m going to a party later so I need to recharge a bit.” You head to your bed and start straightening out the crumpled bedsheets.

Party? Are you out of your fucking mind? You could rest instead, make the most out of the night by catching up on sleep. But you’d rather attend a pointless party? Here he thought you were being thoughtful of your own health.

Not to mention, there might be perverts getting their hands all over you again. Obviously you can protect yourself, but wouldn’t you prefer not having one ogling and harassing you?

“Mind enlightening me how a vomit-smelling gathering is of any benefit to you?”

“Mind enlightening why it’s any of your business?” you retort instantly.

“It’s not,” he responds just as swiftly. “I’m just curious because I honestly don’t get it,” he says calmly. If you want to go to the damned party, then by all means. He really doesn’t care what you do with your free time.

“If you’re so worried, Tsukishima, you’re very welcome to come,” you tell him, mockery dripping from your invitation.

“I’d rather not,” he says dryly.

You shrug as you slip under your blanket. “Lock the door when you leave.”

“Unbelievable,” he mutters.

‘Truly unbelievable,’ he tells himself again as the smell of cigarette and alcohol tickles his nostrils while he sits at the bar, mulling over whatever the hell possessed him to come there.

It definitely isn’t because of you.

He’s not looking for you either nor is he worried about you.

It’s worse than he remembers. There are more people than last time and the music is banging on his eardrums.

“Are you getting anything?” the bartender asks him.

Although he absolutely detests alcohol, he feels like punishing himself tonight for lack of better judgment in coming there.

“Your worst drink.”

Even though you slept that afternoon, you still don’t plan on staying out too long for the party. You just wanted to catch up with some uni friends and instead of meeting them all one by one, it would be efficient if you attend this party and meet them all at once.

Although you would prefer if you just slept or watched a documentary, you think it’s necessary for you to be here. You almost don’t have any time to spend with friends. This might be your last chance to do so since it’s almost graduation.

As usual, you avoid drinking since you hate dealing with hangovers. You learned that the hard way when you had to keep up with who’s scoring points in an official match while an invisible hammer pounds your head.

So, despite the endless free shots given to you, you persistently decline. You also did not pay much attention to the dance floor to save your energy.

After a while of talking to everyone you know, you look around to check if you missed anyone. That’s when you catch a glimpse of a familiar blonde slouching by the bar.

‘ No. It’s not possible ,’ you say to yourself but you’re already smiling hard as you saunter to where he is. It’s very unlikely that it’s him but on the rare chance that he is, you’re not going to let it slip by.

He’s facing down his glass which is joined by two empty shot glasses. You lean back with both your elbows on the counter.

“You new here?” you playfully ask. If it’s not who you think it is, you’ll just dance awkwardly to throw him off.

“I actually am,” he says as he encircles the rim of his glass with his index finger. Then he raises his face to turn to you.

When he reveals his face, you confirm that it is indeed Tsukishima, but at the same time, he looks nothing like his usual self.

The tips of his ears up to his neck are burning red while his eyes are dazed like you’ve never seen them before. But that’s not the weirdest thing.

He’s smiling. He’s fucking smiling like a happy idiot.

“Tsukishima?” you ask him for confirmation in any case that it’s just someone who looks extremely like him.

“Hmmm?” he asks with a little bit of a slur that throws you off.

As if you’re not astounded enough by the scene unfolding before you, he grabs you by the waist and lugs you until you’re situated between his thighs.

“Who did you think it was, manager?”

Part 5 || Part 7 || masterlist

taglist (those crossed out can’t be tagged)

@ameliaxo @suikrem @akaashisslave @tsumurai @loving-unicorns106 @flairlust @geektastic84 @anaiss97 @berna-dette @just4readingfics @suteorra @xxekitten69xx @simp4tsukkii @music-is-all-i-need @keshinslittlegirl @raspberrysunshinebby @iminlovewhaikyuu @pdiddy11 @lightyagamami @sailorscout1902 @lovershaikyuu @expectonothinfromme @finnydraws @namelessidentity @hqbeesun @yatoatyourservice @mrkozume @suzuyamitsuki @celestialarchiveshq @yongboxerrr @gomenpudding @kutiekoge @fizzfrick @flamingosis @korean-bbq @ihaterainbowsprinkles @red-lint @backtonormalthings @borpcorp @lonelyheartxn

#tsukishima x reader #tsukishima smut #tsukishima fluff #tsukishima angst #haikyuu x reader

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thegodshideouscreation · 2 years

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For someone who’s just getting started in sex work, what are some of your best tips/tricks to gain an audience and make decent $$$ 😁

Honestly the best piece of advice I can offer you is to make content constantly because there is so much competition for new sex workers right now that if you don't stand out, You never get out of that breakout zone to start making money. Also if everybody could stop assuming that they would make $5,000 a month from selling feet on only fans that would be cool. Just because someone has read that one celebrity has done it does not mean that will happen for everybody who signs up to only fans. I mean you can make feet content. But don't expect to make a lot of money if you're not showing your body tbh. There are so many people I know who said that they're going to get started selling feet fix and sell like one and can't understand why people aren't lining up a mile down the road to get their feet pics.

I would definitely consider this industry to not be one for people who are sensitive, in my time as an adult worker I have literally received every hate message possible and death threats. I think there's also a pretty big misconception that as long as you are online you are somehow more safe than in person, but you still need to be very mindful of keeping your identity safe, especially if you are in a situation where it would be frowned upon being sex work, such as your school would be upset or you will get kicked out of your house or your parents would disown you. A lot of people think that stuff won't apply to them, because they're going to keep it a secret. but a lot of my friends have gone through some pretty horrible things from being exposed online to people who they didn't want to know about sw.

All of your social media for sex work should not include any photos you keep on your public profile because people can use those photos to track you and find you on more personal social media. You should also watermark all content that you make and post online. People will steal your content and it will end up elsewhere. If it's water marked it will be a lot easier for you to find.

I also have a group that revolves around social media networking with sex workers on Tumblr. Right now it's only for verified adult workers but if you are not on a verified website and would like to learn how to get verified I can definitely help you out with that too. I mentor quite a bit, The main thing I ask when you sign up to those websites is to use my referral code if I'm helping you

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him-e · 3 years

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what did you think of shadow and bone? have you read the books? i only read the duology

Thoughts on Shadow and Bone, now that you've probably seen it?

I think the show is alright? It lacks a real wow factor as far as I’m concerned, but it’s enjoyable. It’s especially enjoyable in those parts I didn’t anticipate to like / didn’t even know would be there.

Whereas the main selling points leave a lot to be desired.

The good stuff: the visuals. The aesthetic. The overall concept. Production, casting and costumes are excellent, the setting is fascinating. The worldbuilding isn’t perfect and is sometimes confusing, which is probably due to the show jumping ahead of the books and introducing elements that happen much later in the book saga, but I’m loving the vague steampunk-y vibe of it mixed with more typical fantasy stuff and slavic-inspired lore, the fact that it’s set in dystopian Russia rather than your usual ye olde England.

I find it interesting that in this ‘verse the Grisha are simultaneously superstars, privileged elite, legendary creatures and despised outcasts, according to the context and the type of magic they wield. It’s A Lot, and so far it’s all a bit underdeveloped and messy, like a patchwork of different narratives and tropes sewn together without an organic worldbuilding structure. (there are hints to a past when they were hunted, but how did they go from that to being, essentially, an institutionalized asset to the government isn’t clear yet. There’s huge narrative potential in this, and I hope future seasons will delve into those aspects)

Many of the supporting characters are surprisingly solid. I appreciated that Genya and Zoya eventually sort of traded places, subverting the audience’s assumptions about them and their own character stereotypes, despite the little screentime they were given.

Breakout characters/ships for me were Nina/Matthias, and even more so the Crows, i.e. the stuff I didn’t see coming and knew nothing about (having only read the first book). (I thought the entire Crows subplot was handled in a somewhat convoluted way, at least in the first episodes; it was hard to keep track of who wanted Alina and why, but the Crows’ chemistry is so strong it carried the whole Plot B on its shoulders).

HELNIK. As an enemies to lovers dynamic, Helnik was SUPER on the nose, I’d say bordering on clichéd with the unapologetic, straight outta fanfiction use of classic tropes like “we need to team up to survive” and “there’s only one bed and we’ll freeze to death if we don’t take our conveniently damp clothes off and keep each other warm with the heat of our naked bodies” (not that I’m complaining, but i like to pine for my ships a bit before getting to the juicy tropetown part, tyvm). And then they’re suddenly on opposite sides again because of a tragic misunderstanding - does Bardugo hate high-conflict dynamics? It certainly seems so, because between Helnik and Darklina I’m starting to see a pattern where the slow burn and blossoming mutual trust is rushed and painted in broad, stereotypical strokes to get as fast as possible to the part where they *hate each other again* and that’s... huh. Something.

^That’s probably why I’m almost more interested in Kaz x Inej, because their relationship feels a bit more nuanced, a bit more mysterious, and a bit more unpredictable. (I didn’t bother spoiling myself about them, so I really don’t know where they’re going, but it’s refreshing to see a dynamic that the narrative isn’t scrambling to define in one direction or the other as quickly as possible)

Now, as for Darklina VS Malina... I found exactly what I expected.

Both are ship dynamics I’m, on principle, very much into (light heroine/dark villain, pining friends to lovers) but both are also much less interesting than they claim to be, or could have been with different narrative choices. I’ll concede that the show characters are all more fleshed out and likable than their book counterparts, and the cringe parts I vaguely remembered from the books played out differently. And, well, Ben Barnes dominates the scene, he’s hot as HELL, literally every single second he’s on screen is a fuck you to Bardugo’s attempts to make his character lame and uninteresting and I’m LOVING it, lol.

But yeah, B Barnes aside, Darklina is intrinsically, deliberately made to be unshippable.

It makes me mad, because it’s - archetypally speaking - made of shipping dynamite: yin/yang-sun and moon, opposites attract, COMPLEMENTARY POWERS AND SO ON. And what does Bardugo do with these ingredients? A FUCKING DELIBERATE DISASTER:

^ Placing the kiss so early on (season 1, episode five) effectively kills the romantic tension that was (correctly) building up until that point, and leaves the audience very little to still hope for, in terms of emotional evolution of the dynamic.

Bardugo lays all the good stuff down as early and quickly as possible (the bonding, the conflicted attraction, the recognizing the other as one’s equal, etc) only to turn the tables and pull the rug so y’all sick creepyshippers won’t have anything to look forward to, because THEY’VE ALREADY HOOKED UP AND THAT BELONGS TO THE PAST, IT’S OVER, THEY’RE ENEMIES. This, combined to the fact that she falls for him *without* knowing who he really is, is the opposite of what I want from a heroine/villain ship (it’s basically lovers to enemies, and while that can be valid too, I wanted to see more pining and more prolonged, tormented symbolic attraction to the Shadow/Animus on Alina’s part).

But here’s the trick: it’s not marketed as lovers to enemies - it has all the aesthetics and trappings of an enemies to lovers (the Darkling is, from the get go, villain-presenting, starting from his name), so it genuinely feels like a trollfic, or at the very least a cautionary tale *against* shipping the heroine with the tall dark brooding young villain, and I don’t think it’s cool at all. It makes the story WAY less interesting, because it humanizes the villain early on (when it’s not yet useful or poignant to the story, because it’s unearned) but it’s a red herring. The real plot twist is that the villain shouldn’t be sympathized with, just defeated: there’s a promise of nuanced storytelling, that is quickly denied and tossed aside. So is the idea of incorporating your Shadow (a notion that Bardugo must be familiar with, otherwise she wouldn’t have structured Alina and the Darkling as polar opposites who complement each other, but that she categorically refutes)

Then we have Malina. The good ship.

Look, I’m not that biased against it. I don’t want to be biased on principle against a friends to lovers dynamic that antagonizes a heroine/villain one, because every narrative is different, and for personal reasons I can deeply relate to the idea of being (unspeakably) in love with your best friend. So there are aspects of Malina that I can definitely be into, but it troubles me that in this specific context it’s framed as a regression. It’s Alina’s comfort zone, a fading dream of happiness from an idealized childhood, to sustain which the heroine systematically stunts her growth and literally repressed her own powers, something that in the books made her sickly and weak. But the narrative weirdly romanticizes this codependency, often making her tunnel vision re: going back to Mal her primary goal and centering on him her entire backstory/motivation, to the point that when she starts acting more serious re: her powers and alleged mission to destroy the Fold, it feels inorganic and unearned.

Mal is intrinsically extraneous to Alina’s powers, he doesn’t share them, he doesn’t understand them, he has little to offer to help her with them, and so the feeling is that he’s also extraneous to her heroine’s journey, aside from being a sort of sidekick or safe harbor to eventually come back to. People have compared him to Raoul from Phantom of the Opera, and yeah, he has the same ~magic neutralizer~ vibe, tbh.

The narrative also polarizes Mal’s normalcy and relative “safety” against Aleksander’s sexy evil, framing Alina’s quasi-platonic fixation on the former as a better and purer form of love than her (much more visible and palpable) attraction to the latter. This is exacerbated by the show almost entirely relying on scenes of them as kids to convey their bond. I’m sure there are ways to depict innocent pining for your best friend that don’t involve obsessively focusing on flashbacks of two CHILDREN running in a meadow and looking exactly like brother and sister. LIKE. I get it, they’re like soulmates in every possible way, BUT DO THEY WANT TO KISS EACH OTHER?

Which brings me to a general complain: for a young adult saga centering on a young heroine and full of so many hot people, this story is weirdly unsexy? There are a lot of shippable dynamics, but they’re done in such a careless, ineffective way that makes ZERO EFFORT to work on stuff like slow burn, pining and romantic tension, and when it does it’s so heavy handed that the viewer doesn’t feel encouraged at all to fill the blanks with their imagination and start anticipating things (which is, imo, the ESSENCE of shipping). The one dynamic that got vaguely close to this is, again, Kaz and Inej, and coincidentally it’s also the one we didn’t get confirmed as romantic YET. Other than that, where’s the slow burn? What ship am I supposed to agonize over during the hiatus to season two? Has shipping become something to feel ashamed of, like an embarrassing relative you no longer want to invite in your home?

Anyway, back to Alina/Darkling/Mal, this is how the story reads to me:

girl suspects to be special, carefully pretends to be normal so she can stay with Good Boy

the girl’s powers eventually manifest; she’s forcibly separated from Good Boy

the girl’s powers attract Bad Boy who is her equal and opposite but is also a major asshole

girl initially falls for Bad Boy; has to learn a hard lesson that nobody that sexy will ever want her for who she is, he’s just trying to exploit her

also, no, there is no such thing as a Power Couple

girl is literally given a slave collar by Bad Boy through which he harnesses her power (a parody of the Twin Scars trope)

you know how the story initially suggested that the joint powers of Darkness and Light would defeat evil? LOL NO, Darkness is actually evil itself and the way you destroy evil is using Light to destroy Darkness, forget that whole Jungian bullshit of integrating your shadow, silly!

conclusion: girl realizes being special sucks. She was right all along! Hiding and suppressing her powers was the best choice! She goes back to the start, to the same Good Boy she was meekly pining for prior to the start of the story.

... there’s an uncomfortable overall subtext that reads a lot like a cautionary tale against - look, not just against darkships and villain/heroine pairings, but also *overpowered* heroines and, well... change? Growth?

Like, it’s certainly a Choice that Alina starts the story *already* in love with Mal. That she always knew it was him. The realization could have happened later (making the dynamic much more shippable, too), but no.

#anon #asks #*#sab for ts #long post #darklina for ts #malina for ts #sorry it took me a while but i wanted to see the whole season first

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out-of-this-dimension · 3 years

Text

Hypothetically Rewriting Assault’s Story + Some General Assault Opinions

There’s a game my husband and I like to play when we watch a movie, play a game, or read a book that has a story that we don’t really enjoy or we enjoy certain parts of but not others. We look at things we’d keep and things we’d change and we build a story from there-- sort of like an AU but we don’t really go into the writing part, we just stick to theorizing and mapping a general story.

I decided to play that game with Star Fox. Not because I think Star Fox has a bad story but because sometimes I think the stories could have been handled better. Note: for the rewrite game, I only really look at story, even for video games, I don’t really look at gameplay mechanics, but I do understand those have a lot to do with story potential so I do take it in as a factor... I just don’t bother to “rewrite” the mechanics, if that makes any sense at all. Some of my list today will include boss encounters but I wouldn’t necessarily say those are mechanic-related... more like “event-related”.

I’ve mused a bit in the past about rewriting Adventures and Command and I do have plans to do a mock up of an Adventures remake eventually. However, today I was thinking about how I would go about handling an Assault re-write in particular. Much like Command and Adventures, I don’t have any beef with the core story but I do think there’s a few things that could’ve been better about Assault’s storyline-- like they had good ideas rolling but they didn’t quite refine them.

Under the cut because SUPER long.

My basic feelings on Assault are pretty positive. I think the game is generally just fun and I like that it feels like the natural progression from SF64. I liked getting to see planets we haven’t seen since the N64 era in better graphics and I liked seeing Star Wolf return. I also just thought the aparoids were neat enemies.

Generally speaking, though, when it comes to Assault, I think it suffers from the thing it tries to push the most-- the story. I think a lot of people get caught up in thinking the story is better than it is because it’s the first game since SF64 that really follows the same Star Fox vibe without retelling the Lylat Wars. Don’t get me wrong, the overall plot is great but the execution and pacing are... wonky. Certain characterizations also take a hit in some regards but no one really talks about that when Command exists. That’s something we’ll talk about later on with this post.

That being said, Assault really does have a lot good going for it. An absolute banger of a soundtrack, some great dialogue, a neat story synopsis, the introduction of cool characters like Panther and Beltino (who existed but was always off-screen), and just good levels.

So, here’s what I would add, I suppose, if I were to somehow have the ability to rewrite Assault. Originally I had this in paragraph form, but I’ve made it into more of a list under topic segments with main points bolded for your viewing pleasure. Some of these points might be considered nitpicky and while I do understand that yes, this is a game about space animals, I do hold the developers in high enough regard to make a game with a continuity that makes sense.

The Story Changes

- Reduce Pigma’s storyline in Assault. This is the biggest one for me because a bulk of the plotline feels like a giant chase to just get at Pigma and it feels like it derails from the actual plot with the aparoids. We only go to Sargasso because of Pigma. We only go to Fichina and then back to Meteo again, because of Pigma. That’s 3 levels in a 10 level game devoted to just tracking down Pigma and chasing him. While it makes the build up to fighting Pigma kind of nice, I personally feel like the plot could be reduced to 2 levels. If Assault overall was a longer game, I could see them making it 3 levels. Overall, though, in its current state, I feel like the side plot overstays its welcome and the aparoids promptly get shoved to the side in favor of “Oh no, we gotta get to Pigma!” And I get the main motive here is to show how the aparoids affect people and because of the build up, it does a good job at showing how utterly terrifying the aparoids are. But it’s still too long given the length of Assault’s story. The only alternative to this is make Assault longer, which... honestly, it should be.

- Revise the scene with Tricky. I’m obviously not well-versed in dinosaur biology but I’m pretty sure dinos didn’t grow that fast from what studying I HAVE done. And why is he suddenly king now? Did his parents die? He seems not affected by this at all? Like it’s a funny scene with him, Fox, and Krystal, but it’s odd if you really look at it. Give us, as players, more context because I’m still not even sure what happened to make Tricky suddenly the leader and... big. As a note, you’re gonna hear me gripe a lot about the Sauria level in this post.

- The Star Wolf + Peppy sacrifice is a low effort way to raise tension/stakes and then cop out. Oldest trick in the book, imo, is to act like you’re going to kill off important characters only for them to be alive miraculously. And let’s face it, as an audience we all know they aren’t going to kill those characters because it’s Nintendo and those characters are too beloved. I would’ve forgiven them for only doing this with Peppy or Star Wolf, but when you tack them both together and throw in the fact they make it seem like you’re going to have to kill General Pepper too... yeah, it’s just a bit much of the same trope over and over again. I wanted to put a note in here about how I’m fine with the Great Fox being “sacrificed” but overall, it needed to return to the series because of it’s icon status, but I think that’s more of a gripe at Command instead of Assault.

- Keep Pigma alive. This will conflict with a point I have later on about the game consistently having characters cheat death for easy drama points but with Pigma, I would’ve kept him fully alive... but maybe with some physical damage from the aparoids. I understand he’s semi-alive in Command and tbh I don’t know where I stand on that. Why keep Pigma alive, you might ask? I feel like his character has a lot more potential than being “just the greedy guy”. Like he’s got good potential future villain material for future games and... if I’m honest? I just don’t see Nintendo wanting to keep Pigma dead so why even bother killing him off? They couldn’t even commit to him being dead in Command anyways so it seems very moot.

- Bring Bill and Katt back. Assault is acts a bit like a big reunion of all of our SF64 favorites but our two favorite side characters are suspiciously missing. Wouldn’t Bill be out on the front lines fighting against Andrew in the beginning? Or maybe back in Katina? And wouldn’t Katt inevitably show up in the midst of the invasion, maybe to pointedly check in on Falco?

- Bring Andrew back for the final fight. I think Andrew being defeated early into the game is fine overall but I think bringing him back in for a reunion final fight against the aparoids would serve to really solidify that it’s really everyone vs the invading aparoid force. It would show that not only is Star Wolf willing to put aside their differences but so is basically everyone in the Lylat System in the name of survival. Imagine the Venomians and Cornerians working together against an aparoid fleet, giving Star Fox and Star Wolf time to attack the queen? I just think it’d be neat and it’d open up the potential for some fun banter mid-mission. I do understand that quite a few people consider Andrew canonically dead after Assault but personally, I feel that his defeat left his fate questionable (I’m a staunch believer that unless there’s a body, they’re probably alive, especially for Nintendo games because, again, they never like to kill people off) so him returning in Command never really bothered me.

- In general, reconsider some of the character portrayals. Unfortunately, when a series has a different studio for each game, character portrayals will inevitably have inconsistencies. While I give Namco a lot of credit for putting in oodles and oodles of detail into the game (particularly the levels), I think they failed in their portrayal of Fox, at the least, and Wolf is a considerable offender as well. While it’s obvious that Fox in Adventures was effectively modeled off of Sabre even in terms of personality, Rareware was at least able to justify Fox’s newfound jaded attitude with the passing of many years and a distinct lack of steady income, resulting in the team being in disarray. Assault’s Fox is a stark contrast to his cynical interpretation with seemingly no explanation other than maybe “Oh, I have more money and a gf, maybe I should behave myself”. As if the sudden change in personality wasn’t random, Fox also just seems very blah, like a blank slate stereotypical shooter game protagonist dude with little to no emotion. Wolf is less obvious but gets slated into a mentor-like role midway through the game and ends up in a respectful rivalry with Fox... which there’s nothing inherently wrong with that except for it happening abruptly (and, I mean, Peppy is right there). But I take less issue with this and more of an issue with the fact that there’s an entire level establishing that Wolf now runs a crime den with effectively what seems to be an army and no one bats an eye at this. He doesn’t even call on them to help with the aparoids. Did they all die when the aparoids attacked Meteo? Are they safe somewhere else? Where do they go? How was Sargasso able to operate without the CDF being on their doorstep with warrants for arrests?

- Don’t kill all the dinosaurs. A bit of a dramatic statement but the ending screen that showed all the damage to Sauria really bothered me. While I understand that the dinosaurs had less of a chance against the aparoids than a more technology-focused society like Corneria, I was a bit disappointed that the decision was made to just state that a lot of tribes had been wiped out. I know this could easily be retconned in a future game and I feel like it should be. “But why, Amalia? Why are you disappointed by that?” 1) It’s a little too grimdark for my tastes. 2) The fact it all happened off-screen felt very hand-wavy. And 3) It brings into question the entire point of Adventures. Why did we bother to save this planet if it was going to be reduced to rubble and ash 1 year later? Where were the Krazoa in all of this? Why did they not make an appearance at all to try to stop the invasion with their alleged powers? It just raises too many weird questions and I feel like Namco didn’t think it through too much. Which I mean, sure. Family, kiddo game. I’m not asking for bigbrain plot and lore but I’m squinting at this bit because it does feel very contrary to the lore from the previous game.

- Make the aparoids more relevant. As nice as it is to have a random bad guy from another galaxy, I feel like there was more that could be done with the aparoids in terms of their origins. Tiny things, mind you, not huge revelations. Off the top of my head, they could have been tied into Krystal’s backstory to help alleviate some of the complaints that she was too random to be added to the series’ main cast. Alternatively, they could have been a product of Andross or even a weapon prototype from Corneria that fled the lab (I actually thought the game was leaning in that direction for a bit then just Nothing Happened). I get that the vagueness of their origins leaves room for people to speculate and speculation is nice but... when you leave too many things unknown, it starts to feel less like giving fans room to interpret and more like just doing random things for the sake of it. I think a lore tidbit here or there would work wonders for the aparoids instead of leaving them as just borg/zerg clones.

Level-Based Changes

- Add either Aparoid RedEye or Aparoid General Scales as a boss to Sauria. Given that this level mysteriously lacks a boss, which is just weird compared to the other levels, I think that they had the opportunity to add something cool to go along with the cinematic feel they were going for with Assault. Assault’s cutscenes do play in a movie-like fashion and it’s clear they’re trying to make the game as epic as possible. It’s a shame they had so much fodder for a great boss here but they failed to go through with it. Alternatively: Add a Krazoa-Aparoid fusion. Why? Because Star Fox is about cool epic sci-fi and that would be cool epic sci-fi incarnate.

- Add a boss to the Aparoid Homeworld Level, aka the penultimate level. Another one I felt was personally weird that there was no “final defense system” to challenge the team. Would be cool to do an aerial battle over the aparoid planet with some giant flying aparoid.

- Be kinder to Sauria. The level had some good homages but overall was incredibly small and incredibly short. It felt like a bone tossed to Adventures fans but was not entirely true to the setting built by Rareware. I’m... not even sure where the Sauria level is supposed to take place? I presume it’s Walled City but it doesn’t really have the same color scheme or aesthetic? Also where is my revised Adventures music? Why do all the other levels get it but Sauria doesn’t?

- Put some of those funky items from the multiplayer into the main campaign. I don’t know why some of these things, items especially, were omitted unless it was purely due to time constraints. I remember having missile launchers and jetpacks in the multiplayer and was a bit sad that they were not in the main campaign. Retuning the levels and adding those in would be a nice breath of fresh air for the more tedious on-foot missions.

- More levels. Self-explanatory. Still sad we didn’t get the Zoness or Titania levels in the single-player mode.

I think all of the above changes would improve the game, though I recognize all of this is being said 16 years later after lots of time to contemplate Assault’s weaker points. I’m not entirely certain how long Star Fox Assault took to develop but given that there’s obviously quite a bit scrapped from the game (an entire arcade mode was scrapped as well), I’m going to assume that the studio felt pressured to shove the game out the door and into the hands of customers. It’s a shame, really, because I think a little bit longer in the oven would have done a lot of good. Still, the product we got was good in its own right and a game that many people look back on fondly. I haven’t gotten to replay it in years but I hope to quite soon.

You might wonder why I bothered typing this all out and I guess my point was this-- Assault was great but it wasn’t perfect, and while a lot of other games fall under a crushing amount of scrutiny, Assault seems to dodge it. And don’t get me wrong-- I adore Assault. But given that not many takes exist out there about rewriting it, I decided to give it a shot. For variety’s sake.

I do want to a mock up of a revised Assault story, which I think I will get to work on after completing this while all my ideas are still fresh in mind. So stay tuned for that sometime in the near future. I will also be doing my Adventures mock up at some point but probably not for a little bit as I do wanna focus some of my free time on actual fic-writing.

Anyways, if you stuck around this long, thank you for reading! Have any changes you’d like to see to Assault if you could time machine your way back to the early 2000s? Feel free to post in the comments, I’d love to read your ideas!

#star fox assault #starfox assault #super long #queue'd

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dylanobrienisbatman · 3 years

Note

In relation to your previews asks, let's mention that most of the physical interactions that Alina had with Darkling were against her will or not initiated by her. The Darkling had to use Mal's face at one point to actually make out with her, which makes the line "tell him what i showed you in the dark" that d4rklinas romantize so much so fucked up. He is mocking her for interactions she didn't want to have with him.

Okay ik you sent this like... a while ago, but i wasn't sure how to respond tbh. But you're 100%, completely, totally right. (lol sorry, i let this get away from me... it's kinda long)

Even the physical interactions that she has with him in the show, which she initiates, are still... not great in terms of consent? because yeah, she initiated it, but the person she thinks she is kissing is not real. She has been lied to, consistently, and as a result, by his design, she believes that she is kissing someone who does not exist. The version of Darkles that she begins to have feelings for is the product of his manipulation of her. Every scene he has with her where he is trying to get her to develop feelings for him, he lies, about who he is, what he's done, his history, his intentions, ALL OF IT. Also during this time he is stealing her letters that she has written to Mal (and never sending them), AND stealing the letters Mal has sent to her, and reading them all. So while she is 'falling for' this false version of him, he is manipulating her, lying to her, and isolating her in order to control her. So even though she initiated the kiss, it doesn't make a damn bit of difference, because consent is only valid if it is informed. Because everything she thinks she knows about him is a lie, she doesn't have informed consent about the relationship she believes she is entering into. Alina is a victim of abuse, full stop, and every interaction they have is a part of that abuse.

And in the books, she has even less agency over the situation she is in. He initiates all of their physical contact in S&B, and it is a tool of manipulation. He kisses her because he believes that a physically romantic relationship is going to benefit him in the long run. He kisses her the second time, at the party, specifically because he knows Mal is in the castle, and he is trying to control her. In both the show and the books, that scene gets romanticized a LOT, but if you consider what he is actually doing in that scene... it's super fucked up. He is not suddenly overcome with lust and passion for her, it's not this scene of pure, romantic desire taking hold. He is trying to control her, and he is manipulating her. He knows Mal is there, and he believes that a passionate kiss will help to steer her away from him when they inevitably reconnect. Think about it, in the show, he meets Mal, he uses information he got from Mal to try to woo her further, and then, while he believes Mal is being held somewhere safe so that he can get the location of the stag from him, he spirits Alina away for a passionate kiss. Instead of telling her that Mal is there, and trusting that she would chose him over Mal (spoiler alert: he knows she wont, and that's why he does what he does), he lies to her, and manipulates her. That kiss isn't romantic, it's showing the audience the lengths he will go to to try to maintain his ruse over her.

That's what Ben Barnes was trying to articulate when he said he added the extra kiss where he runs back to her and kisses her one more time. Because the next scene is where Alina (and the audience) discovers the truth about him, so he needed to REALLY play up the "romance" and the sweetness of it. Because that's why he's doing it. He can see that something is about to happen that will threaten his control over her (he thinks its Mal, but its actually Baghra) so he uses that kiss (both in the book and the show) to try to confuse her and make her doubt people who would speak against him. That extra kiss was Ben understanding the assignment.

And don't even get me started on the scene in S&S when he LITERALLY SEXUALLY ASSAULTS HER while wearing Mal's face. He knows that she would not want to kiss him, or be physical with him. He is not pretending to be Mal because he loves her so much or what the fuck ever weirdo D*rklina's wanna say he's doing. He is trying to terrify her. To make her doubt her own mind. He is using his power against her, violently, and in a way that i'm sure he also hopes will poison her against Mal by making her associate being assaulted with the image of his face. She believed she was safe, and that the boy she loved was coming to be with her in the way she wanted him to be, she was vulnerable and she was giving herself willingly to the person she loves, and as she is doing that he changes his face. He does it to terrify her, to assert his power and his dominance over her, and to remind her that she is not safe anywhere, even in her own mind.

So, back to the line, "did you tell him what you showed me in the dark", you're 100% right. He is mocking her, and he is trying to shame her, for things that happened between them either without her consent, or without her having all of the information needed to fully consent. He is using his control and manipulation of her to manipulate her MORE.

That's the thing I just want to reiterate, over and over. There is no 'ship war'. Not really. Nothing that happens between Darkles and Alina is romantic. In the beginning, it seems that way, because of the first person POV writing, but thats the trick. Because we are only in Alina's head, we are being manipulated too. But those scenes, they aren't actually romantic. They are moments of abuse. Leigh is trying to show the audience how much those things can muddle up, and how it can be hard to tell the difference sometimes, when your abuser is charismatic and charming and handsome, but that doesn't mean it's not abuse.

#anti darklina #shadow and bone #alina starkov

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bokunoheroanalysisforthefuture · 3 years

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With the second half of chapter 11, I am ready for people thoughts / questions / comments on the opening arcs. Were there favorite parts of it? Parts you wish had had a little more to them? Who’s your favorite / least favorite of the characters as shown so far? Anything you found particularly interesting about certain scenes / panels / etc. that you want to share? Have at it!

I’ll probably be doing some of that myself as I go back through for any little moments I liked, and sort of summarize my own thoughts on the opening arcs. Then, of course, we get to get into the USJ, and see some real action! <3

[No. 11 - Bakugou’s Starting Line]

We come back to the nurse’s office, where Toshinori is awkwardly hovering by Izuku’s bed while Recovery Girl tears into him for Izuku’s third time in her office despite the school year only just starting, and why he hasn’t prevented that damage from happening. Toshinori apologizes to her, and she tells him it’s not her he needs to apologize to.

(Also, man he’s swimming in his hero costume - really gives a sense of the size difference between the two forms to be honest.)

She notes that Izuku’s come to her both that day and the day before completely fatigued, and that this sort of damage isn’t so easily healed. He’s on an IV drip and has gotten emergency first aid, but all that can be done now is wait for him to recover on his own.

Which brings me back to chapter 4 with her managing to heal him while he’s completely unconscious and in way worse shape - I really do believe at this point that she CAN use her own stamina to help a patient in critical condition who doesn’t have the energy to heal themselves, but it’s not as effective and, well, drains HER to the point where she won’t be able to help others who might be in need. Ergo, in situations like this, she sticks to hoarding her stamina and letting kids heal their own reckless behavior. (She probably could do a lot more in her prime, but alas.)

She states that she knows Toshinori gave Izuku his power, but regardless of favoritism, Toshinori has to stop indulging Izuku. Toshinori scratches under his ear in embarrassment and says she’s right - he was sympathizing too much, so he hesitated. He then goes on to hesitantly ask her to keep it down while at least discussing One For All.

She huffs and turns away, mocking him with his ‘natural born hero’ and ‘symbol of piece’ titles. He goes on to explain (for audience benefit alone tbh) that while the staff of UA know about his true form and injury, only Recovery Girl, the principal, an old friend of his (who will later be revealed as Detective Tsukauchi), and Izuku know about his quirk. To everyone else, it’s a secret.

(We know from later on that this isn’t quite true - there are a few others who know - but I suppose that this is the ring of people who he interacts with at this point in time, which is… really fucking depressing.

Of course, Horikoshi might not have come up with either character beyond vague thoughts and outlines at this point, so I suppose he didn’t want to box himself in on a character design before he was sure they fit his needs. Gran probably was outlined vaguely at this point? But I think Nighteye might not have been created until around Kamino.)

Recovery Girl asks rhetorically whether that talk is just him resting on his laurels, then a bit more seriously asks whether it’s really that important that he be a natural born hero and the Symbol of Peace. We get another up-close shot of Toshinori’s intensity as he states that without him, superhuman society would fall to evil.

(A bit egotistical there, much? But I think it’s also a bit of the toxic mindset he’s had build up over the ages - that he’s alone in being able to hold things together, that there’s no one to fall back on, that he can’t afford to be ‘helped’ even as he keeps falling apart.)

Toshinori then goes on to explain that this is the responsibility that wielders of One For All must bear. Recovery Girl contemplates this quietly for a moment, then says that it’s then all the more important for Toshinori to learn how to guide Izuku properly.

We transition to after school… which does end up leaving me to wonder whether I was off about heroics being the last class of the day, but at the same time, I don’t see how the teachers expect the kids to be able to focus on academics after two hours of heroics training, not to mention that the kids do need time to digest lunch, so,,, eh. I’m going to presume that here it’s more that with the battle trials ending a bit early, there was time afterwards for discussion before the school day ended.

Anyways, Izuku is just trudging back to class, still in his damaged costume and wearing a sling for his right arm. He’s slouched over, thinking about how Aizawa-sensei is ‘really gonna let him have it’ - which says a lot about his expectations for teachers at this point. He opens the door to the classroom, and is surprised when Kirishima notices him and announces his return, as well as welcomes him back.

Izuku is quickly surrounded by several classmates (Kirishima, Mina, and Sato), all of whom are excited to talk to him, much to his confusion. Kirishima says that even without knowing what was being said, the battle was wild. Mina complements Izuku’s dodging (which makes sense now that I think about it - she does a lot of dance and incorporates it into her fighting, so she might have thought Izuku was similar? Maybe?) Sato says that everyone was pumped after the crazy first round.

Kirishima, Mina, Tsuyu, and Sato all then introduce themselves in order, with Kirishima saying that they were discussing battle training, Mina restating her admiration for Izuku’s dodging skills, Tsuyu that she just prefers to be called Tsuyu. Izuku is a bit overwhelmed. To the side, Tokoyami grumbles about them being noisy while sitting on the desk - much to Tenya’s concern as he demands Tokoyami get off of it. Someone else tells Tenya to not get bent out of shape.

The true crack ship - KamiChako. Which is immediately ruined when Ochako makes her way over to Izuku, noticing and worrying over his arm and whether he’d gotten it healed. Izuku says it wasn’t quite healed, since he was so worn out, and then he apologizes and says he has something to do. That something being rushing after Katsuki.

(Literally, that boy walks in, looks around, sees Katsuki isn’t there, and immediately goes ‘sorry I have to go immediately’. Like, I know this is a shounen, but at the same time…)

Izuku catches up to Katsuki on the way to the gate out of the grounds, and is, uh...

Not looking that great, captain. Those bags under his eyes have really seen some cultivation in the time since the battle trial.

Izuku’s internal thoughts note that where everyone else wanted to talk to him, Katsuki just clammed up and went home. Or maybe it’s Izuku’s memory of Toshinori recounting the aftermath of the class? But Toshinori left right at the end, so uh… I have no idea.

Anyways, Izuku catches up and gets his attention, drawing Katsuki’s shadowed stare (it’s not quite a glare? So yeah.) Izuku is looking down a bit, narration noting that he hasn’t even told his mom his secret as he states that he can’t say much, but that Katsuki should know this. Izuku thinks about Katsuki’s comments during the battle trial about tricking him, and then…

Well that was a face adventure Katsuki went through. It’s a really good thing he was also too distracted by his own existential angst to really think about Izuku’s words.

But to dig more deeply into this, we can start from the top - literally. Starting at all that space at the top, and then the empty panel (asides from the two) where Izuku states he got his quirk from someone else. It really sort of gives a beat before such a weighty reveal, and more so how, in that moment, Izuku is only focused on Katsuki as he says it.

Izuku goes on to explain that he can’t say who it’s from, and that it’s a bit like a conversation out of a comic book, and that on top of that he can’t even really use it yet, so the borrowed power is pretty useless to him, which is why he tried to beat Katsuki without it… only to fail and be forced to rely on it. While this is happening, Katsuki’s expression goes from confusion/what the fuck towards outright pissed as Izuku rambles on, seemingly nonsensically from his point of view. Izuku states that he has a way to go, and then looks up and meets Katsuki’s gaze as he states that he’s going to make that power his own someday, and then overcome Katsuki with his own power.

This seems to derail Katsuki’s anger for a moment back towards shock - possibly for the sheer boldness and earnestness of the statement. Izuku’s a bit embarrassed at his rambling reveal, thinking that he’d just meant to tell Katsuki he hadn’t been tricking him, but, well.

Katsuki wobbles a bit in place, likely to keep himself from instinctively going after Izuku for being, well, Izuku. He repeats Izuku’s comment about borrowed power, then says he has no idea what Izuku’s talking about, but that Izuku is clearly determined to keep making a fool out of him. His anger boils back up as he grits out another swear, and then gets into how he lost to Izuku, and then if that weren’t enough, there was another student - Shouto - who he knows he can’t measure up to. He slaps a hand to his face, nails digging into his hair as he swears again and notes how ‘ponytail girl said it all’. He snaps his arms back down, swearing more, and demands a mostly rhetorical why from Izuku - likely in response to his fear of being able ot measure up to someone he had until then looked down on. Katsuki then declares through tears - and some repetition for emphasis - that from there on out he’s gonna beat everyone.

He then spins back around and starts to walk off, rubbing at the tears while telling Izuku to enjoy his win, since it won’t happen ever again. Izuku holds himself firm a bit longer, then sighs and seems to lose whatever energy he’d dredged up for that conversation - methinks it’s also a bit exasperated with Katsuki? I mean, I have to admit trying to have a serious convo with the kid has to be a struggle sometimes.

Incredible. Thanks, All Might. And I can’t help but cackle at Izuku swaying in the wind created with All Might rushing right past him to get to Katsuki, as well as that ‘ow!’ from Katsuki. All Might is latched onto Katsuki’s shoulder as he kind of greets the kid, with Katsuki looking about five seconds from turning around and biting the man in the arm like a semi-feral cat.

All Might is wheezing a bit in holding this form while rushing to catch up, starting to offer some advice - that Katsuki’s self-respect is important, and that he definitely has the makings of a pro, just so long as he-

Katsuki cuts him off by telling him to get off, since he can’t walk. He then goes on to say that it’s without question that he’ll be a hero who surpasses even All Might. All Might is surprised at that rebound, taking his hand off while thinking that the usual egomaniac is back. All Might mutters about how being a teacher is tough while watching Katsuki stalk off.

Izuku’s narration notes that Katsuki’s fuse had been lit, but his own goals hadn’t changed - that he would keep chasing after him. While he’s staring dramatically after his childhood friend, All Might starts asking what he said to Katsuki.

We have a last transition to a few days later, the narration noting that the class learned an important lesson that All Might had warned them about - about how they should fear the cleverest of villains. The scene is set in a different area, with the frontmost building being a bar. Someone is shown reading a newspaper article about All Might teaching at UA, as well as his temporary leave from his hero agency.

The person sets the newspaper down folded neatly, noting how All Might is a teacher now. The voice then goes a bit raspy (or maybe it’s a different speaker) as they wonder out loud about what would happen if villains killed the symbol of peace.

Whoo boy, what a first introduction to the main antagonist of the series.

It seems like he has all five fingers on the newspaper in those panels? But it might just be the weird angle that keeps us from seeing how careful he is to not do so, which might have given away his quirk before it gets shown in the next arc.

Also, hello misty character who definitely doesn’t have some deeper, tragic backstory we eventually learn about.

About those hands… you know, I know what the ‘official’ story behind them ends up being, but like, they all look the same, so I wonder if those are just… random hands from his victims over the years. ...while the design is suitably disconcerning, it also makes sense that Hori would eventually chuck them aside thanks to how much extra drawing and detail they all need.

Anyways, that closes out the chapter and the opening arcs, so again, open for any sort of thoughts/questions all of you have. I should have my own out in the next few days, I think.

#readthrough #chapter 11 #opening arcs #boku no hero academia #my hero academia #midoriya izuku #bakugou katsuki #yagi toshinori #recovery girl #shigaraki tomura #kirishima eijirou #ashido mina #uraraka ochako #izuku really be like 'sorry i have to go immediate' when his fated rival wasn't there for him to talk to #what a legend #what a way to end an arc and get into a new one #what tonal whiplashes all around #damn these were interesting chapters to introduce the series with

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vaguely-concerned · 3 years

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The Mandalorian Chapter 13 rewatch thoughts; the reduced salt edition

or at least I’m trying to be more constructive with the salt in this one let’s goooo

- god I miss the armourer so much. look at how fucking cool she looks, this is the mando design I hunger for so deeply, WHY would you give me boob plates back instead haha

- I will say with the way it’s presented this place feels way too small to be called a city lol (and I think that limited scale hurts how much I’m willing to accept the magistrate as a credible opponent to go toe to toe with ahsoka freaking tano. maybe if we’d seen directly the extent of the magistrate’s power and influence and not just the burned out wasteland that power leaves behind I’d be more on board with it. canonically she’s clearly been extremely rich and influential on a galactic scale, while the aesthetic filoni takes from samurai movies in this has a lot more to do with local warlords and smaller stakes. this is not the only time the adherence to that aesthetic without adapting it for the emotional story at hand or giving it a spin for novelty hurts the episode #hot take. it’s empty homage without quite understanding why the moments you’re emulating work so well in the context of the story they serve.)

this might be because how it’s filmed makes it seem like there’s just one big main street towards the magistrate’s palace, it’s implied to be quite a bit bigger from the establishing shot as the crest comes flying in?

- LOVE the implication that din lets baby play with the silver ball pretty freely while they’re on the ship but sets the (completely sensible tbh) boundary that he can’t bring it with him somewhere outside where he might lose it for good. that seems like reasonable dad-ing, din, well done.

anyway my heart is hurting because that silver ball is like a comfort item for the kid and it’s pretty clear from the very start that he has some kind of understanding of what might happen on this planet and so does NOT want to go out there, but also... that thing is narratively introduced as the baby’s way of saying ‘dad, don’t forget me, don’t go’. it’s what made din go back for him the first time, and that’s a connotation it still has both in the audience’s mind and for the characters. and I need to go cry in a corner for a while be right back

- not for nothing but in this scene of the baby being faced with din and a jedi standing side by side as if to present a choice, din literally has the sun right behind his head like some kind of fucking halo

gee I wonder what the baby’s choice is going to be fsadfjkhasdkjfhs. (he! loves! his dad! so much!!!!!!!)

- I wish they’d done more with the bored punch clock villain, hey-I’m-just-here-for-the-paycheck-man vibe of the guard captain guy and maybe given his nonchalance a bit of a darkly comedic tint, I think it would’ve made a better moment when he’s facing off with din towards the end if he had more... character. make him a bit more of a dark mirror of the soulless gun for hire people have seen din as in the past (and as the magistrate seems to now), do something interesting here. maybe even make it more of a mexican standoff with him holding a gun on an innocent or something so there’s something here for din to lose, it still does the western thing and lets you have that ramping tension you need for when you cut between the sword duel and this. hell, have him actually give up and walk away to show that he doesn’t fucking care about any of this, he did evil for money without any driving passion or conviction behind it, and let din decide if he’ll let him walk away scot free or not after what he’s been part of, that’s a neat subversion of the trope as well! as it stands it’s just so... empty

- baby says ‘mada! mada!’ again when they try to approach the vendor who appears to be serving foodstuffs! so maybe a word he has for food or maybe something like ‘lady person!’? (he says it when frog lady is gone on the ice planet and also as she’s walking into the razor crest for the first time. he did seem more interested in the eggs at that point, sooo lol)

din reacts to him speaking too, he glances down at him <3<3<3

- the baby seems to sense ‘ooof this is scary, time to hide’ on his own before they go into the magistrate’s place, din doesn’t appear to signal anything to him

- there’s a lot of deliberate silence in this episode, but the sound design that gets space away from the music somehow isn’t as immersive to me as it usually is on this show? I have no idea why, though

- ‘a jedi plagues me’ is somehow so fucking funny to me. the tl;dr for a lot of star wars villains through the ages

it also still cracks me up that din is immediately like ‘ma’am you can’t afford me’ fsdhfaskf

- I’m so happy din talks to and reassures the baby when he puts him down in these situations now, I remember being SO SAD when he didn’t back in chapter 7. he’s learning all the time!

- I think we should all be very happy this fight is cut off almost as soon as it begins, because I’m pretty sure ahsoka could kick din’s ass real bad and that would be terrible because I love him (listen din definitely has his moments, but up against a force user for the first time and said force user being one of the most powerful and battle-experienced jedi alive? probably not huh, if he survives that it’s on pure fatherly love and desperation and nothing else)

- this seems to be the baby asking ahsoka to carry him back to be with din (mando certainly seems to be what they’re ‘talking’ about right before) and it’s the cutest thing I’ve ever seen

din’s fingers are also doing the nervous curl-uncurl thing as she puts the baby down, and it remains the sweetest goddamn character tic, he’s adorable

in the long pause after he tells her “he needs your help” he’s sitting SO TENSELY, it’s only when she at least promises to test the kid that he relaxes a bit

baby (well, grogu, but he’s also baby) recognizes yoda’s name and seems to almost ask ahsoka ‘yoda is here???’, and her blink in response is like ‘no, I’m sorry’

- I still deeply dislike how it’s actually done in the episode, it’s so clunky and it annoys me on a craft level, but I do like the overarching thematic narrative of both mando and the baby being on this journey towards specificity and remembering themselves, of reclaiming the particular nuances of an identity that make up a self after a series of traumas have stripped it away from them. at the start of the show neither of them has a name (and din doesn’t even have a face) and they’re basically presented as broad archetypes, The Mandalorian and The Child. and now we’re slowly unearthing things that make them this specific child, grogu, this specific mandalorian, din djarin. it’s rediscovering parts of yourself you might have thought lost as you heal from trauma and I do like that very much, it’s touching and the emotional throughline this show should never lose sight of

- oooooh no baby glances over at din when she asks him to push the stone back ;______________; it’s so awful because you can just tell... he understands that if he does this thing din might leave, but also people have clearly tricked him into using the Force before and given him this traumatized kneejerk association that if he uses it where people can see him Bad things might happen

oh okay so I think din just subtly misunderstands the baby’s appeal to him here, he thinks that look towards him means ‘dad help I don’t understand what’s being asked of me’. I guess he doesn’t have any way of knowing how complicated the baby’s past is with this yet, it’s a good try

- I’ve seen people take ‘he understands’ as baby understanding everything that’s said to him all the time, which is patently not true haha. he understands quite a lot, in the way toddlers actually understand quite a lot of what’s going on around them, even a bit of words spoken to them before they’re especially verbal themselves, but he clearly mixes up his colours still sooo

I also suspect he’s played this game before -- surely that must be one of the most obvious activities the jedi would do with the smallest children, playing Force catch basically? but he still doesn’t trust it, or her. (on the other hand he does trust that din would never hurt or trick him. help me I’m drowning in my own tears)

- personally and from anything else in this show I don’t think din would be this impatient with the baby after hearing, less than half a minute before, that he’s terrified

but hey I’m not the man in the cowboy hat what do I know (yes I’m bitter characterization matters okay lol)

- it’s both funny and so sweet that the same music plays during this father and son playing catch scene as when baby lifted that mudhorn fkdfha

- for my money din reacts exactly perfectly to grogu finally Force pulling the ball -- he’s excited and happy, signalling that this thing doesn’t have to be scary and dangerous and that when shared with the right people it can be a good joyous thing, he moves over to the baby so they can share in this victory and attune, and crucially he doesn’t demand more afterwards, which the baby must have gotten before from some of the assholes who’ve been experimenting on him. it’s just the celebration and satisfaction of having done the thing without demands or threats or any ulterior motives. HIM!!! DAD!!!!

tattoo this straight onto my heart... the way baby cheerfully offers it back to din... sdkjafhksdfhsakdjf

- din breaths out roughly and unevenly through his nose almost like it’s been punched out of him and starts fiddling with the silver ball (which is still his primary tell for anxiety/stress!) when ahsoka says “he’s formed a strong attachment to you” :) listen if I have to know that all of you fuckers are going down with me

- see the thing is... if you don’t know who ahsoka is in pretty deep detail, you might take her at face value here instead of understanding that she’s actually projecting her own feelings and traumas onto this. if you absolutely have to use this character for this part of the show you have to set her up better specifically so someone who’s never seen a single episode of clone wars can grasp the basics of where she is emotionally and what her motives are, so that her role in this story makes sense. as it is it’s sort of a compromise between pleasing old fans (who can do quite a bit of inferring to figure it out) and approaching audiences who don’t know anything, and it falls flat

(for the purposes of this show I aggressively do not care where thrawn is, and so I’m just annoyed when we find out what this was actually all for haha)

- still feel reluctant to discuss too much about ahsoka because of the whole... situation with dawson, but I do like that she lets one of the guards leave after disarming him because he’s cowering and giving up, and that she still has her padawan braid wound into her belt. also I think the effects on her and her outfit are completely fine, my problems with her this episode are all writing craft and real life stuff

- when you get first the jet pack sound, then din coming down kicking that dude in the face, then the mando flute kicking in as he lands properly... the only time the action in this episode made me go ‘fuck YEEEAAAAH’ it’s awesome

- again, just like with the idea of having a samurai/ronin movie standoff and a western standoff at the same time: having the scene be mostly silent except for the almost musical sounds of the light sabers hitting the beskar spear is such a cool concept, and it does not work in action. I don’t know enough about filmmaking to tell you why it doesn’t, but it doesn’t.

there’s also something about... the ahsoka vs. morgan scene apes the deliberately staged, ritualized, exaggerated almost like how you’d perform it in live theatre aspect of the duels in the genre, but in an empty way? why are they acting like this, what’s their relationship to each other, what’s their individual code of honour that makes them let the other person slowly theatrically disrobe before going for them? just plucking the aesthetics out of a tradition and plopping them down in your own thing without thinking about the whys or original context of it leaves it without meaning

(also let morgan express something of her own character other than I Am Evil rather than having ahsoka drop the entire exposition on her. maybe you could have her snarl some illuminating lines while they’re fighting so you get the feeling of the bitterness and brokenness that has fuelled her and burned the woods of this whole planet. in some ways she’s not that unlike din and ahsoka, she lost everything in the clone wars too and was motivated very differently by it than they were, play that up so the situation’s relevant to our protagonists! I’m sorry for all this nitpicking but I HAVE to figure out how this could have been done better for my own sake haha)

- ooooooh the way din says “I can’t accept” when offered the spear is in fact almost an exact echo of when the armourer offers him the signet in chapter 3! I thought it sounded familiar, it’s delivered in such a similar way. huh. din has some Feelings about earning things and when he hasn’t earned something, doesn’t he

- din also cares A LOT about not breaking his word, to the point of being willing to stoop to some quite dishonest methods to avoid giving his word in the first place, and I find it utterly delightful

- baby closing his eyes again after din wakes him like he’s thinking ‘maybe if I don’t wake up dad won’t go’ or even ‘at least this way I won’t know it happened until later, when it’s over’... pure emotional torture :) thank god din’s entire soul is clearly howling in protest and he took the slightest chance ahsoka gave him to not actually go through with it

- so this is the second time we get someone telling din he’s like grogu’s father. well, the armourer gives it more like a command/almost a religious obligation, ‘until it is of age or reunited with its kind you are as its father’, ahsoka is stating what’s obvious at this point but says ‘you are like a father to him’... maybe they’re doing a rule of threes thing and the last time it’s ‘you are his father’ and it sticks?

- anyway din cradling the baby so close to his chest with both arms all the time instead of the more practical way he carries him around in the crook of his arm sometimes... my suffering is deep and endless

#star wars #the mandalorian #the mandalorian spoilers #the mandalorian meta

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