#character vs audience pov

[coffeebeanwriting]

Reasons your Novel Might get Rejected

Thinking of publishing traditionally? Here are some reasons why a publishing agency might reject your book. Don’t let any of these reasons keep you from writing, but rather help you strengthen your craft!

1) Your target audience is unclear. Are you writing for middle-grade boys or adult females? Suburban single mothers or war-enthusiast who love everything weaponry and explosive? Of course, your story can end up appealing to multiple categories of people (take Harry Potter for example). But if you know who your prime reader is, you’ll be able to use the correct language, voice, and reading level for them.

2) Your query letter or synopsis is lacking and doesn’t hook the agency. A query letter and synopsis are two different things presented to an agent or publishing company. You must be able to properly sum up your  book in an interesting way for an agency to want to peruse your novel. You have to pique their interest.

A query letter is a brief summary used to capture the attention of an agent/publishing company. A sales pitch one might say. It typically contains your story's main hook, some details about the book (genre, similar books, etc.), and some facts about yourself. If the query letter is successful, the agency will go on to read your synopsis/pages.

A synopsis is a summary of your entire book from start to finish and what happens in it (including character arcs and plot). This is all done in less than two pages.

3) Predictability. It may be predictable characters, or the plot itself. Either way, predictability isn't good. What's the point of reading a book if you can already predict the events? Conflict is the heart of all stories and if your book lacks conflict/stakes, it can become predictable. Give your characters inner conflict just as much as you do physical. Make it difficult for readers to know what your character will do.

4) Your story starts way too early. From what I’ve researched, a huge reason why books get declined is that they start wayyy before anything happens. You’re revealing tons of background information or your character is doing pointless things when they should be approaching the inciting incident. The inciting incident is the scene that launches your character on their journey and should happen sooner than later! 

5) You aren’t balancing showing vs. telling. Contrary to popular belief, a novel should have a bit of both (but... probably more showing). If you spend every scene in extreme detail, you risk slowing your story down. If you tell everything, you aren’t immersing your reader.

6) You’re spending too much time in Act 1. A story consists of three Acts. The beginning, middle, and end. The rising action/set-up, the middle/climax, and the resolution. Don’t spend too much time in Act 1 setting things up. You’ll want to properly pace your story so that it doesn't drag on too long before hitting the heart of the story.

7) Simply... bad writing/grammar. Also, consistent POV is important. This one is self-explanatory, but if you care about what happens in your story, you should also care about the grammar and prose! Typically, hiring editors is a step you must do before taking your novel to a publishing agency.

Instagram: coffeebeanwriting

#writing tips and tricks #writing tips #writing advice #creative writing #writeblr #writing blog #how to write #writing help #writing fiction #writing prompts #fantasy writing #authortips #authoradvice #writingtips #writingmemes #writers blog #writingblog #authorsblog #howtowrite #writingtipsandtricks #writerscommunity #writers community #writinghelp #writingprompts #writertips #howtowriteascene #writingfiction #fictionwriting #fantasywriting #writing memes

[enquiringangel]

Thinking random thoughts about the filmmakers’ decision not to give any of the vampires explicit backstories in The Lost Boys and the show vs. tell element of storytelling:

- They wanted the viewer to be drawn in by the vampires but to ultimately not root for them. A futle endeavour of course, but that was the intent imho. Joel Schumacher went out of his way to add the beach massacre because he thought audiences would like the vampires too much - AND HE WAS CORRECT lol

- They also wanted to keep up the mystery. The way the film is shot during the attack scenes through vampire POV is intended to keep a distance and build suspense. The vampires are meant to be something Other, and knowing too much about them would go against this.

Marko and Paul have barely any dialogue. The only reason people know Dwayne’s name is because of the credits. Joel himself points out that David has the least amount of dialogue of the three main characters (which he considered as Michael, Star and David, despite the meagre size of Star’s role). This is again, done deliberately for the cool guy mystique

- We do get glimpses of backstory and characterisation through costuming, setpieces and (less so) through dialogue. David implying that he was familiar with the hotel before the 1906 earthquake is about as subtle as a brick to the face.

So yes, deliberate storytelling decisions there. I quite like it, it gives a lot of creative freedom. But I do understand the frustration too. As I always say:

This is why we have fanfic.

#no real point to this post just me thinking thinky thoughts #the lost boys #the lost boys 1987

[queermania]

I desperately want to talk about how Sam being played by Jared unintentionally made him so much more interesting because Jared sucks as an actor

SCREAM A;LSDJFJKASFD YES LET'S TALK ABOUT IT

i am very conflicted about what i think was supposed to be happening in the early seasons regarding a lot of different aspects of the show but i do at the very least think sam was supposed to be the pov character and i think the audience was supposed to identify and sympathize with him.

unfortunately, jared.

BUT! jared's inability to be super sincere makes sam so much more interesting. like, you can sympathize with sam's story. his mom died seemingly because of him. his girlfriend died seemingly because of him. he wants revenge. he wants a normal life. he doesn't know what he wants. everything sucks. it's all very sympathetic. he's mad at his brother. he hates his dad. but actually he loves him. he's trying to relate to these victims.

but like. jared looks constipated whenever he tries to relate to the victims aslkdfjasdk; so it just kind of seems like sympathy is an action sam performs because that's what Normal(tm) people do and that is, to be perfectly honest, so much more interesting than sam who is actually just so full of sympathy and compassion.

like, sam has learned social rules and social rules dictate that when someone's loved one dies, they deserve sympathy. so he provides it, however awkwardly. (and he gets mad when dean doesn't adequately perform Sympathy because he doesn't understand that it's not a performance for dean. dean either feels it or he doesn't and then acts accordingly. and dean doesn't understand that sam is performing it and they have communication breakdowns over this and it's very crunchy if you choose to view the show this way).

i feel like this also plays into sam always having a look of mild contemplation/constipation when, for example, cas dies, vs dean who looks like the entire world is crumbling to pieces right before his eyes.

and it makes sam seem like a much angrier person than he probably is intended to be. there's always a boiling tension simmering just under the surface because jared [redacted] [redacted] [redacted].

and because jared is actually pretty good at physical comedy, it also makes sam such a snarky annoying little brother.

and it makes sam seem kind of like he's given up in the later seasons because jared has somehow both checked out and gotten better at acting? there is more nuance to his performance when he does decide to pay attention to what's going on. sam seems to have more emotions than just anger. but also... so much of the time sam is like an empty husk just existing in a room.

so yeah. basically i agree. a different actor might have made sam a lot more likable but god how boring would that be?

#replies #anonymous #sw

[queenofmalkier]

Moiraine being 70 vs 40

(Alright this one took me a minute because corralling my thoughts is a challenge in the best of times.)

To begin with I will admit... I am one of the people who was indifferent towards the age change in the beginning. They're Aes Sedai, they live nice, long lives, and I wasn't like, emotionally attached to a younger, canon-aged Moiraine. It does make her early years more poignant, but I'll touch on that later.

Primed for older Moiraine, the show started and after two seasons I can safely say I am so gung-ho for 70 year old Moiraine I might actually be feral.

Here's why I, personally, think it was an excellent choice: Rosamund Pike is 44 as of writing this, so she visibly fits into the book age. As an audience nobody is really questioning her age - a few show-onlys I watched season 1 with actually remarked on how refreshing it was to see an older female character allowed to just exist and be part of the narrative without trying to sex up and/or grandma-ize the role.

Little Did They Know.

So you've got an audience that's mostly accepting of this character being in her 40s, and then you hit them with "Oh she's 70 and lets explore just how horrific that fact actually is together, it'll be fun!"

It was not fun, it was gutting.

One of my main critiques of the book has always been how we have these long-lived women, powerful women... but we never really take much of a look at the reality of that concept. Nor are we given POV characters who are really old enough to remark on it. Pevara at least thinks about her family, but Cadsuane doesn't give two figs about hers.

And here's the thing... they're Aes Sedai, but they're still human. What happens to them as they get older, but the people who fill their life are the ones aging? How does it feel to watch a mother, a sister, a child, friends, acquaintances, EVERYONE succumb to time in a way you won't for a very long time after?

That has to be impactful and I wanted to see those stories - and the show delivered. Seeing Moiraine with Anvaere? Chilling, horrifying, heartbreaking. Liandrin and her boy? A kick in the teeth. Even Alanna with her family, knowing very well she's probably the oldest one sitting at that table.

The point is, being an Aes Sedai means being powerful and respected, but it also means living through a very specific kind of suffering and trauma. They're basically vampires in terms of lifespan and we should see how that shapes them.

In regards to Moiraine being older and therefore not basically a child during the foretelling, it does change that particular hit... but by no means did the show let the viewers not understand how that moment altered Moiraine's life forever.

Instead of her being sort of an unformed girl hardened and honed by a lifetime of searching for Rand, one who never got much chance to be anything else, we get a woman who was already beginning to build her life, who had achieved the shawl, found love, and was exactly where she wanted to be.

And then all of that is taken from her.

It's devastating to watch the double-barreled whammy of Siuan and Moiraine giggling about being fishwives and walking into what was in many ways their deaths. Because the Moiraine and Siuan they were before walking into that room were gone forever. They would never be able to go back to the women they were before. They never even had a chance to mourn that loss. Moiraine went hunting and Siuan set her sights on the Amyrlin Seat.

I do understand for a lot of people her age is a sticking point, and that is completely fair and valid! It's a change that I fully agree did not need to be made... but by making that change we're given such a stark insight into the lives of older Aes Sedai who are just beginning to experience what it means to outlive everyone they know, watching one by one as cherished friends and family members pass on.

Soon all they have left are the children and grandchildren of those people, fractured mirrors that are just enough of a hint at the original that it must be painful to know them - which explains even further why so many Aes Sedai cut off contact entirely with their families. It's too painful to keep them in their lives.

#wheel of time #wheel of time tv series #wheel of time book spoilers #moiraine damodred #can i make it work responses

[notfreetoday]

MPW: Segasaki & Yoh - Language Analysis Part 1

Subtitle Corrections: EP 1 || EP 2 || EP 3

My Personal Weatherman is a story about the relationship between Segasaki and Yoh, so rather than being introduced to the characters, we the audience are dropped right into the middle of their relationship, and the only way we learn about the characters as individuals is through the way they interact with each other, and how that contrasts with how they interact with the people around them.

The show does an incredible job of keeping the portrayal of their relationship consistent across the use of character design, wardrobe, lighting, cinematography, acting choice, directorial choices and of course language use. But not everyone who watches has equal access to that last one, so I try to be as detailed as possible in my subtitle corrections posts. I'm also a bit of a language nerd. Now, I want to get into their actual relationship, because I think there is a lot of information about how they feel towards each other that's just getting missed. Also I love them and this is how I spazz.

This post is the first of four in which I hope to show how the dynamic between Segasaki and Yoh is reflected in the way they speak - specifically, in the way they address each other, and the style shifting, or speech level shifts that they both demonstrate with each other, using scenes from Ep 1 - 3. I'll be using my own translations for this, some of which differ from the Eng subs. (Please bear with the nerdiness - I don't want to assume how much people know about Japanese)

Prefacing this by saying that this language analysis is made specifically in the context of Segasaki and Yoh's relationship. There is a power imbalance here both in terms of social hierarchy (senpai/kouhai, age gap, successful/non-successful) as well as self-image (self-confident/self-conscious). Now, most of the time we see this manifested linguistically as the party with more social power using casual language forms, whilst the one with less power remains polite or formal. However, there is much more to human interaction than that, as we see in MPW where both Segasaki and Yoh shift in and out of Speech Styles often, depending on what they want to say and accomplish, as well as their emotional state.

1) Quick & Dirty Guide To Speech Styles/Formality Levels

Formality/Politeness is a spectrum and is expressed mostly through grammar and tone (sorry for the shitty word doc screencap):

1) desu/masu = formal/polite. Standard go to with the anyone you meet. 2) Generally speaking, the longer the sentence/the more syllables you hear, the more polite the sentence 3) The less direct you can be, the more polite you will sound 4) Word contractions (tsuzukereba -> tsuzukerya) = informal + impolite (but not always rude) 5) Slurred end vowels (iranai -> iranee) = informal + mostly rude, but not always (you just sound uncouth) 6) Most words have "formal", "informal" or even "rude" variations 7) CONTEXT DETERMINES EVERYTHING Btw when I say "speaks roughly" or uses "rough speech", I mostly mean (4) + (5)

2) Speech Styles and Shifting Between Them

tl;dr Japanese Speech Styles function like the verbal equivalent of personal space - the more formal/polite the level, the bigger the circle of personal space you maintain. Shifts in speech styles indicate: 1) perceived changes in vertical and/or horizontal distance 2) the assumption of a position/role of the speaker in relation to the listener 3) changes in emotional state/the desire to convey emotion 4) the consideration of "polite company" In this post we will look at examples of the first one - Vertical and Horizontal Distance.

Speech Styles: The Long Version (English Speaker POV)

Consider the way you speak if you were to say, give an important presentation in front of potential clients, versus the way you'd speak to an acquaintance you ran into on the street vs the way you'd speak to your closest friends. Different situations call for different ways of speaking - you're more likely to speak in full sentences and pronounce your words clearly for the first situation, and say "yes" instead of "yep" or "uh huh". You're also more likely to be blunt/direct with your friends than you are with clients - "You know ILU but do not under any circumstances buy that ugly ass shirt".

These context-dependent changes in speech patterns are similar to the changes in speech styles/formality levels in Japanese. Think of speech styles as the verbal equivalent of personal space. The more formal/polite the level, the bigger the circle of personal space you maintain. Dropping a level when you shouldn't is the verbal equivalent of invading someone's personal space and can make people uncomfortable and sometimes even angry. In Japan, the baseline "distance" with the average person is the way you would speak as if you were giving a presentation. Dropping to casual/informal speech might be tolerated (just like how you can tolerate someone sitting close to you and asking some questions, but it's uncomfortable), especially if you guys are around the same age, but dropping to "what's up bitcheees" when you should be at "hey how're you doing" basically tells the other person "I don't have even the basic level of respect for you".

In the same vein, the closer you are to someone, the more welcome you are in their personal space, and thus the lower the level of formality/politeness you'll keep with them. You trust that even if you speak bluntly, they'll understand you aren't trying to insult them. When and to what extent you drop a level is usually negotiated between individuals (either directly or indirectly). Once a level of casualness is established, your friends are going to look at you funny if you suddenly get all formal with them. They might even come ask if anything's wrong, or if you're angry at them or why you sound "cold". These shifts in speech levels therefore mark more than just the vertical distance between two people (ie, differences in social hierachy), they mark the horizontal distance (ie, how close people of the same "in-group" are to each other) too.

Having said that, there are times when you will shift to a more formal tone even with your friends or family - for example, when you're hosting a game at a large party and want to explain the game rules to everyone, you might enunciate your words better or keep the jokes to the minimum in order to convey the information is clearly and efficiently as possible. Similarly, if you've been appointed the leader in a group project and need people to pay attention and listen, you might change your tone of voice to command attention. In other words, when you assume a particular position, the way you speak changes too.

Finally, the way you speak to your friends/family in the presence of others (or "polite company", as they used to say) might also change - you might have no qualms cursing up a storm with your best buddy at the bar, but you might do your best to avoid being too vulgar when you're in front of their parents or your boss/university professor.

3) Segasaki and Yoh: Vertical & Horizontal Distance

Segasaki and Yoh are part of the same "in-group" in that they are in a relationship, so the horizontal distance between them is very small and before sunny days it's a negative distance - this is shown in how both Segasaki and Yoh use informal speech with each other (they generally omit the desu/masu forms aka use plain forms, and both use the informal pronoun "俺/ore" for "I" with each other).

That said, there is also a hierarchy within that relationship (though their individual perceptions of that vertical distance differs) which stems not only from the nature of their living agreement, but also is likely to have carried over from their university days, when they shared a senior/junior relationship. Thus, generally speaking, Segasaki speaks quite roughly with Yoh whilst Yoh tends to use polite forms more often. Keep in mind however, that Japanese is a gendered language, and "rough speech" tends to be seen as a masculine speech pattern and can sometimes be normal between close male friends/family (otherwise, it is the verbal equivalent of getting up in someone's face and pushing them). The key here is that Yoh sticks to an informal, but more polite level than Segasaki does, and it is that difference that shows the power differential.

Horizontal Distance aka "We're Very Close"

Despite Yoh's very valid complaint that Segasaki takes "man-of-few-words" to the next level (itself a liberty you'd only take with someone close to you), Segasaki only drops to rude forms in Ep 1 once:

晩飯いらねぇ(banmeshi iranee) - slurred vowel [literally - "dinner, not needed"] Banmeshi is a more informal way of saying dinner (normal = yuu gohan). Despite the slurred vowel, this sentence is not dismissive nor rude - it's what you'd expect between close friends/family.

In Ep 2 we hear Segasaki speak a lot more roughly to Yoh, as below, and of course during the almost-argument. But though his words are rough his intonation is often soft and he's quite tender with his touch. So, we can see that Segasaki isn't being disrespectful per se - he's not speaking roughly because he sees Yoh as beneath him in the social hierarchy - rather, he's demonstrating intimacy, familiarity and possessiveness, all at once. In fact, the more possessive he feels of Yoh, the more he drops his levels. As mentioned earlier, you only do this with people in your "in-group", with whom you know will understand you aren't insulting them.

遅くなるからいらねぇっつっただろう (osokunaru kara iranee ttsutta darou) - slurred vowel, word contraction, informal end particle [I told you I wouldn't need it cause I'd be late right?] Though somewhat in keeping with Segaski's curtness, this is still a pretty harsh sounding line - but note how Yoh doesn't seem offended or intimidated in the slightest - he understands that Segasaki is tired after a long day, and in return Segasaki softens his tone when he next asks "What did you make?"

Vertical Distance

It's easy to focus on Segasaki's use of rough, assertive langauge as an indicator of vertical distance, and I pointed out quite a few scenes in Ep 3 where he ends off what is essentially an order with assertive sentence-final particles. But focusing on this alone gives the mistaken impression that relationships with vertical distance go one way only - down - when in fact they are bidirectional. There is a mutual dependency between both parties, as we see clearly in MPW. Linguistically, this is portrayed through Yoh's choices to shift up a speech level.

Just like how Segasaki is introduced to the audience through his proposal direct, informal and very forceful speech style, the first interaction we see Yoh have with Segasaki is a proper, standard greeting:

おかえりなさい (okaerinasai) [Welcome back] Okaerinasai is the full, proper way to say this, but a more casual and common way to say this would simply be "okaeri". See Ep 3 for discussion on standard greetings.

When Yoh thinks about Segasaki in his head, he often uses rough speech the same way Segasaki does, including the rude pronouns "aitsu/koitsu (that guy/this guy)", and yet when he speaks directly to Segasaki, he maintains an informal but still polite/neutral speech style. He rarely shifts down to rude forms, barely coming close even when drunk and emotional, but he does often switch up to a more polite level. In the above example, Yoh uses the full standard greeting in response to Segasaki's unspoken request:

俺、帰ってるんだけど (ore, kaetterun dakedo) [I've already come back, you know] Ending with "dakedo" implies that speaker is going to follow up with something, usually a request or a question. In Japanese, this request/question is often left out, because the context given prior to "dakedo" is usually enough for the listener to fill in the gaps themselves. In this case, Segasaki might want a greeting or dinner, but at the very least, it's clear he wants Yoh's attention.

We know the standard greeting earlier was a style shift upwards because later in the episode, when Yoh says good night, he uses the casual version "oyasumi" instead of the full "oyasuminasai".

Even outside of standard phrases, Yoh's baseline is informal but not rude:

あ、いま準備する (Ah, ima junbi suru) - plain form [Ah, I'll prepare it now]

Probably the most telling is in Ep 3, when he's caught off guard whilst folding laundry.

あ、なに？ (Ah, nani?) - plain form [Oh! What?] He answers Segasaki naturally, with just a word, as opposed to a proper “Hai/Yes?”, which he’s done sometimes when he’s unsure of himself, or if he's addressed directly.

So, we've established that Yoh’s baseline with Segasaki is informal but not rude - he feels comfortable enough with Segasaki to default to casual speech, but he acknowledges the power differential between them by simultaneously accepting Segasaki's rough speech as well as not dropping to it himself. This also tells us that the shifts up to formal/polite speech are deliberate and mean something. In EP 2, the shift demonstrated his insecurity surrounding his jealousy and their lack of physical affection, whereas in EP 3, he does it as a way to convey his gratitude.

In the next part, we'll look at how both Segasaki and Yoh use speech style shifts to convey emotion as well as to assume a particular position. Hope you enjoyed this!

#my personal weatherman #taikan yohou #体感予報 #MPW language analysis #sociolinguistics #japanese language #mytranslations #MPW subtitle corrections #segasaki x yoh

[persiesposts]

Something I love about Lore Rekindled..

So by now everyone knows about the lovely @genericpuff and their LO rewrite (if you don't you have to check it out!!!) and I've been re-reading it alongside LO just for the sake of comparative analysis and I noticed something within the first few eps that was so amazing.

Persephone noticed and approached Hades first in Rekindled.

It seems like such a small change at first but looking at it in comparison to the original it's a HUGE shift and immediately sets the tone for who Persephone is as a character in Rekindled vs LO.

In LO based on first impressions of Persephone we see a young woman who is hopelessly out of place and severely in the "damsel mindset." The first time Hades ever sees her is when she's in distress after being knocked over. We see her through his POV and don't see the situation through her eyes at all.

In Rekindled the focus is on Persephone and her POV, she sees Hades at the bar and through her we see this immediate connection (though not instantly a positive one, i.e. "he's terrifying"). It leaves the audience immediately interested by what she means by "terrifying". Despite that initial impression she chooses to still approach him which shows remarkable agency and boldness on her part in comparison to her OG counterpart.

She also approaches with a decent amount of social awkwardness, she's more forward than most who were raised on Olympus, handily securing her "small fish in a big pond" characterization without making her seem like a ditz. It makes her showing up in his car later (another change there that I could write a whole other post on) less weird and creepy since they've at least had a conversation before that moment.

TLDR: I love Lore Rekindled and the shifts that were made to make these characters feel more realistic and less flat.

#anti lore olympus #lore rekindled #anti lo persephone #lo critical #lore olympus critical

[theheirofthesharingan]

I just found your blog recently, I hope you don't mind that I've been crawling through and liking so many posts. I've always loved Sasuke and never minded Itachi, he was a good villain but it may be saying something that his crimes (while not insignificant) are only rated so highly (from my pov) because he did it all in one night. There are plenty of ninja who did far more heinous things for worse reasons (Orochimaru is a far worse person let alone dangerous villain), so while the big reveal of the plot around Itachi's betrayal was somewhat surprising, it was not exactly "shocking" so much as it felt like it recontectualized things.

I don't really think it makes sense for ss fans to even bring up that "S*kura would never put Sasuke through what Itachi did" considering she was never and would never be in a position to act as Itachi did... but very few ship vs ship arguments are made with "good sense" in mind. (I actually liked her genin arc, she changed from her rather damaging pushy behavior to taking ownership of her own emotions but that then backslid during shippuden... making her once again pushing her own agenda without anyone's input)

I just found your blog recently, I hope you don't mind that I've been crawling through and liking so many posts.

I don't mind that at all. Don't worry about it.

I've always loved Sasuke and never minded Itachi, he was a good villain but it may be saying something that his crimes (while not insignificant) are only rated so highly (from my pov) because he did it all in one night.

I believe it's true but it's also a dreadfully one-dimensional way to look at the situation when a myriad of information is later provided to give context to the whole thing. He's introduced as a cold-blooded killer with zero redeeming qualities, which after the reveal turns out to be more nuanced and layered than we earlier thought. While his actions are still unforgivable, there's so much more to it. So, sticking to what he's shown as initially and refusing to acknowledge anything and everything that follows afterwards isn't how you assess a character or a piece of media in general. It's just looking at his actions and motivations on the face value and refusing to take a deeper look like a petulant child.

There are plenty of ninja who did far more heinous things for worse reasons (Orochimaru is a far worse person let alone dangerous villain), so while the big reveal of the plot around Itachi's betrayal was somewhat surprising, it was not exactly "shocking" so much as it felt like it recontectualized things.

I would not be comparing Itachi with the likes of Orochimaru who was evil and never showed an ounce of remorse.

He did this. This is creepy as hell. Itachi would never, ever do this.

Now, Itachi's crimes are horrible but there's more to them than just "he followed the orders and killed his clan" and "he traumatized his little brother." People tend to downplay his trauma because he isn't a perfect victim and his reaction to the life he lived deeply affects Sasuke. He's only seen as a perpetrator, when, in truth, he's a perpetrator because he's a victim first. There are lot of things he had to learn and acknowledge, but he never rationalized his crimes.

Among his many objectives to die at Sasuke's hands one was that he wanted to be punished for his crimes by the person he'd hurt and wronged the most, because of all things, Sasuke didn't deserve to go through any of what he did.

The guilt he lived with would have been colossal because forcefully prolonging the life so he could be punished for his crimes that weren't even entirely his own fault is a big deal. This is why he's so well received among the audience as well. He doesn't feel entitled to being treated right or with respect. He doesn't think he's worthy of forgiveness or deserves justice.

During his fight against Kabuto, his interaction with Sasuke is also quite interesting. He keeps telling Sasuke and Kabuto both he's not worthy of the praises they shower on him. And he actively avoids looking into Sasuke's eyes.

There are moments he looks in Sasuke's direction, but mostly he avoids looking at him. This is just one example. It's the body language of someone who's heavily guilt-ridden, someone who feels disgusted with himself especially the way he asks both Kabuto and Sasuke to not see him as a good guy.

I don't really think it makes sense for ss fans to even bring up that...

Oh, obviously. She was never placed in the circumstances where she had to make hard choices keeping someone else in mind. Not just that, Itachi did what he did because he wanted to keep Sasuke alive, because the life he'd lived showed him death was the worst thing to happen, so he wanted to protect the person he loved the most from this. When it came to her, though, instead of learning his reasoning, she jumped to the conclusion that Sasuke needed to die. She wanted to do this to "save him from the darkness." Funny, because he was the same boy who'd sacrificed himself to save Naruto's life not too long ago. Who'd wanted to save her life at any cost from Gaara. Who had killed Orochimaru and Itachi - the most dangerous criminals. He'd also freed Orochimaru's prisoners. Considering Konoha was following his trail, the news of this would have reached Konoha too. Despite this, her first response to learning Sasuke falling into darkness was that he should be killed.

I actually liked her genin arc..

Same. I liked those bits. And she was brilliant in Pain arc as well when she saved lives of the wounded Shinobi and civilians, and also during the war arc. But she should have moved on from the person who'd done nothing but brutally humiliate her, reject her. It's not even a character flaw, it's just... Idk what it is.

#itachi #sasuke #anti sakura #anti sakura haruno #ask #anon

[magnorious]

The Reveal that Changed Percy Jackson

*Spoiler Alert*

I’m talking about the Nico vs Cupid scene in book 8, House of Hades. I picked this scene, even though there were a great many in the original series that defined Percy Jackson as a story far more meaningful than just “cool tweenage demigods with magic and superpowers who fight evil”.

When this book came out, Nico vs Cupid was almost all anyone talked about. Why? Because Nico came out. Nico, an explicitly gay character in a book published by Disney, in a rather high profile series. Nico, the little angsty brat displaced from the timeline, comes out of nowhere with a world-shattering reveal.

House of Hades is already the darkest book in the series and, I think, the most polished and successful with this tone and how it feels so complete. While Percy and Annabeth are in Tartarus, the constant clever and horrific callbacks to quests from prior books quite literally come back to haunt them. The others trying to carry on without them, the ridiculously high personal stakes, the drama, the storytelling, it spares no expense in this book.

The Nico vs Cupid scene was something else, though, and all these years later… I’m not so sure it was done for the better.

—

Independent of the Big Reveal, this scene does a lot of things we’d never seen before in this series, namely this: Cupid is scary, and no one expected him to be.

Percy Jackson, though it does have its serious moments, is the series where the god of wine wears leopard print shirts and the god of the seas has a fishing chair for a throne. These characters quip and joke even when they’re trying to be intimidating and Percy’s personality, snarky and sassy and very rarely shooting straight, undercuts a lot of the attempts at looking competent and threatening (and we love him for it).

They’ve fought gods and monsters and demigods and characters have died really tragic deaths, but for the most part, these serious moments all come when we expect them to.

This scene comes out of nowhere and for anyone who hasn’t read the book in a while, here’s the context: Percy and Annabeth are in Tartarus and Nico is kind of the de-facto leader in their absence, knowing the most about Tartarus of the remaining crew. He and Jason are sent on a side quest to go retrieve the Staff of Diocletian from Cupid and Nico is not at all happy about this venture, but we don’t know why beyond that he’s Nico and he’s never happy.

Right out of the gate, Cupid is not at all who we expect him to be and this fight scene, absent of Percy, is suddenly very serious. Cupid doesn’t quip, he doesn’t show himself, and he fights dirty. The god of love, not the god of war or anything we expect to be violent and dangerous.

He’s whispering in characters’ heads, throwing them around like ragdolls, and taunting Nico ceaselessly all in Jason’s POV. Cupid gets some seriously badass lines, too.

“I’ve been to Tartarus and back,” Nico snarled. “You don’t scare me.” I scare you very, very much. Face me. Be honest.

Love is no game! It is no flowery softness! It is hard work—a quest that never ends. It demands everything from you—especially the truth. Only then does it yield rewards.

“Oh, I wouldn’t say Love always makes you happy.” [Cupid's] voice sounded smaller, much more human. “Sometimes it makes you incredibly sad. But at least you’ve faced it now. That’s the only way to conquer me.”

In all this, unfortunately in Jason POV, we’re primed only once by a previous god finally acknowledging that gays exist in this universe. This universe, based on Greek Mythology, famous for its not-straightness. Even then, audiences have spent 7 and a half books accepting that there won’t be any gays. No one is expecting this from Nico.

So when it comes, when Nico reveals he has a crush on Percy… the fandom lost our minds.

—

And I’m not so sure that’s a good thing, looking back. On the one hand, obligatory “we need representation,” but on the other, there was this one reviewer who knew what was up long before anyone else did.

She’d said something along the lines of raising damning concerns that Nico’s entire character arc was now defined by his homosexuality, that this scene frames all his anger, all his hate, all his rage and depression, about this one aspect of his character, and diminishes him because of it.

All these years later, I’m disappointed to say I agree with her.

This book series’ only major canonical gay (so far) is forced out of the closet with a proverbial gun to his head

Now, Nico likely never would have come out without that gun, but the way it happened, especially in front of Jason who he’s not friends with, showing Jason his memories because it’s not Nico’s POV and Jason has to see somehow because Nico sure won’t detail those scenes himself is... not good?

Jason handles it well, as well as he can given that this is Nico, and Cupid is an explicit villain so him forcing Nico out is in-character and not my problem. The narrative forcing Nico out is the problem—that this is a big reveal both to Jason and the audience is the problem.

The book isn’t new and with respect to when it was written and who wrote it, it’s not a terrible scene or terrible representation. But it’s not just forcing Nico out of the closet, either.

All of Nico’s character development is retroactively pinned on his sexuality

I get it. Nico’s… 14? 14 and from an era where being who he is was a death sentence, with zero education on the matter. Internalized homophobia is a thing (though Nico doesn’t actually seem to hate himself for being gay, he hates himself for crushing on Percy. Nor does he hate other gays or the concept).

Nico, though, is the one demigod who can summon any ghost he could dream up to teach him to hate himself a little less. He could have summoned the ghost of Freddie Mercury and what a dazzling mentorship that would have been.

The way the scene is framed makes it look like all of Nico’s rage comes from this one relationship, when it comes from so much more. He’s a son of Hades, a god no one trusts or likes and is synonymous with death, evil, and deceit. His sister, his last living relative, died on a quest as just a teenager. He has no friends at camp, powers that scare people, and is almost a century removed from everything and everyone he knew in his old life.

And he went and left camp *only* because of his crush on Percy? Not for any other reason?

When he does get his crush on Will, that only makes it worse. Nico did have friends, even if he didn’t believe it. He did have Percy and he’d earned the respect of his fellow campers after the Battle of Manhattan. He back-slid in HOH for this reveal, as if a romance is the only thing that could make him happy.

Cupid’s message is the narrative’s message: The only way to conquer love is to face it [in combat]

With a gun to his head, in front of a veritable stranger, instead of in, I don’t know, therapy with Apollo? There couldn’t have been any other way to fit this reveal in? He couldn’t have made his own group therapy session with other ghosts? Persephone or Demeter never sat this boy down for The Talk with a literal captive audience?

And that it’s a “reveal” at all, in incredibly dramatic fashion, a plot twist for shock value. The book couldn’t drop hints in Nico POV? Couldn’t casually state it anywhere at any time in the previous 3 books? Couldn’t treat it at all like this is normal and not a life-or-death situation?

I just feel bad for the kid. Nico can’t be the only demigod who has a guilty, unrequited crush. Cupid is forcing this out of him because that crush happens to be on another boy.

It’s in Jason’s POV

This world shattering, deeply personal reveal, and the character who’s having it isn’t even the narrator. Jason is a fine character and I know why it’s him out of everyone who could have gone with Nico, but this should have been solely Nico’s moment, not Jason’s commentary about Nico’s moment, being a non-consenting voyeur into Nico’s very personal memories about Percy.

Even if it’s not Jason’s POV to retain the surprise, it certainly starts to feel like Jason’s POV to retain the surprise. Jason can still be present, but even then—Cupid needed Nico to face Cupid, not Cupid and Jason.

—

It sucks because the scene as a whole, removed from the context, is incredible. The choreography, the pacing, the intensity of the battle, Cupid as a villain and Nico and Jason’s desperation to just stay alive.

Its impact on the series can’t be ignored. Blood of Olympus is no one’s favorite. It’s a terrible last book and not all that great as a book, period, but the ending?

Among other travesties, Nico confronts Percy, tells him he had a crush on him, and then *immediately* starts pining after Will. Percy doesn’t get the chance to talk to him, stunned at this reveal. They never have a heartfelt conversation about it, what this means for their friendship, how Percy never noticed or how this makes him feel, if he’s at all guilty for potentially leading Nico on and being a bad friend.

We get none of that. Nico just finds a pretty blond boy after, what, four years pining after Percy? One awful confrontation with Cupid and a few lines of dialogue traded with Jason and all his angst and moodiness is cured off-screen.

Can’t Nico go five minutes where he figures out who he is before he’s trading one crush for another? Can he not define himself independently of who he likes for just a couple chapters? He tells Jason after the Cupid fight that he’s over it, but… c’mon, he’s absolutely lying there, or he wouldn’t have been so hurt and upset and hesitant to reveal himself.

I love that he’s popular now, I love that he does have a healthy relationship (one that eclipsed the whole fandom for better or for worse), but the way he went about becoming popular still leaves a bad taste in my mouth. Nico did walk so the rest of the series' extended universe could run. We did get Solangelo, we got Apollo being Apollo, we got a world based off Greek Mythology that stops straight-washing history. It's just a shame that he had to be forced out the way he did, and that his whole character is now defined by his relationship with Will.

#percy jackon and the olympians #percy jackson #pjo #nico di angelo #solangelo #house of hades #blood of olympus #retrospective

[jo-harrington]

As Above, So Below - Chapter 5: Via Domus

Previous Chapter: Chapter 4 - Malum Malus

Summary: You wake to find yourself in the Upside Down and discover a world-altering revelation.

Word Count: 13.8k

Pairing: Eddie Munson/Fem!Original Character (Written in 2nd Person POV - You/Your - No Use of Names of Physical Descriptors)

Warnings/Themes: Van Helsing Inspired, Kas!Eddie, Religious Themes, Criticism of Religion/Catholicism, Fate vs. Free Will, Death and Injury, Graphic Depictions of Violence, Mentions of Major Character Deaths, Grief, Mourning, Yearning, Discussion of the Upside Down, Supernatural Encounters, Angst, Smut, Fluff, Unprotected PinV Sex (he's undead it doesn't matter), Oral Sex (F Receiving), Bloodletting, Biblical and Other Literary/Media References

Note: Sorry this is a little late but this snow storm had my internet down right as I went to post. There isn't much to say but...this moment has been one 10 months in the making and I might not have edited it...but I don't care, I'm literally the proudest I can be. I'm sure there's people to tag and thank for their support. I'm so ready to sit back and reread this. I didn't write it; it just came through me like a prophecy. And that isn't condescending, it's the truth.

This series will not be for the faint of heart, nor is it something that was written with a general audience in mind. Please check the above warnings and ask yourself if you are in the correct headspace to proceed. I am happy to answer any questions via PM or Ask.

You can find my masterlist here.

Please do not interact if you are not 18+.

Enjoy!

“The devil doesn't come dressed in a red cape and pointy horns. He comes as everything you've ever wished for.” - Tucker Max, Assholes Finish First

November 6, 1983 October 15, 1987

Everything was wrong.

From a dreamless sleep, consciousness hit you like a freight train and drug you to the land of the living under its wheels, one painful mile at a time.

You were aware of every nerve, every bump and bruise, every cut.

Every bite.

Because surely there were more than just the ones on your throat now.

And when you finally opened your eyes, you burned.

Not just your body; the very essence of you sizzled and popped like hot oil in a pan.

It was overwhelming, overstimulating.

There was both an absence of feeling--of being--and an abundance of it.

Images flashed through your mind. Memories. And not just yours.

Leaving Hawkins the first time.

Kas, the brides, and their seduction and subsequent attack of you.

Billy--a different one than the one you knew now--screaming and clawing his way up a rickety wooden staircase while a creature lurked just out of sight below.

A man in tattered and bloodied white clothes, his skin burned and mottled. Blind in one eye. And a creature that met him and allowed him to--

The smell was next as you finally remembered to breathe. You swallowed great gulps of air then choked as they burned your lungs and tasted like a mix of wet, cloying mold and dry, putrid battery acid.

Finally, a high pitched ringing as your spirit finally settled back into yourself. You clenched and unclenched your hands--stretched your fingers and toes--to regain some kind of recognizable feeling back into them.

As you tried to recognize who you were now, in this body.

In this world.

Everything was wrong.

No...when you woke up, everything was different.

The first coherent thought through your head was that you were dead and this was surely hell. Proven not only by the pain and the affliction of your body and mind, but because the skies overhead flashed and burned bright red with infernal lightning.

The brides had drained you dry and this was your eternal punishment. It was the only explanation.

If you steeled yourself and turned your head, would you see your father's face--frozen in an eternal scream--staring at you?

You wrenched your eyes closed for a moment, steeled yourself to test the theory, and you winced as the bites on your neck pulled and stretched.

When you opened them again, you screamed. It was a weak, strangled sound, and echoed as you shuffled away as much as your sore body would allow.

It was not your father's face that you found beside you, but it was a face nonetheless.

Petrified.

Screaming.

Flesh half-rotting off a skull, petrified golden hair layered with soot and muck. There was a neck and torso too--arms--and the further you dragged your eyes down the body, the more decayed and damaged the bones became. The skin and flesh sloughed off.

Until they all tapered off--melted off--into bone, then into nothingness, where the ribs ended abruptly in a half-jagged, half-charred state.

It was where the ground ended too, the body teetering on the precipice.

"Mother...fuck..." you hissed and swallowed thickly.

You weakly melted into the ground again; your eyes slid shut so you could take stock of yourself once more.

Sluggishly, you returned to your senses. Head, torso, limbs all accounted for, even if they were a little worse for wear. You'd survive. You'd heal eventually...hopefully.

Before long, your abilities jumpstarted from cold at the proximity of a dead body. Great. Though you supposed you'd almost considered yourself grateful that they were returning, if not for the phantom fingers that scratched at the back of your mind; the lingering spirit that belonged to this body wanted to communicate but didn't quite know how.

You didn't have the patience to ferry the remnant of someone's soul closer towards consciousness right now.

But it was a reminder.

There were no bodies in Hell. No death in Hell.

For all intents and purposes, the damned would be considered alive.

So no, this wasn't Hell.

This was--

You forced your eyes back open and stared at the gaping, mangled maw of jagged walls that stretched and reached into the roiling, starless sky.

--an attic.

There were visible slats and support beams, boxes and furniture covered in sheets, and burnt, decayed vines clinging to the walls and along the floor. Most notable was the fact that the structure--this house--was simply broken. Shattered. Not only was the roof broken, as though a giant had torn into it--peeled the slats and shingles open and left them rent and tattered beneath their hands--to curiously peer inside, but the whole structure was as well.

The side of the floor you and the body were on tilted at an awkward angle; not unnavigable but still odd as you found the strength to hoist yourself to your feet and stumbled at the unevenness. Once you were upright, you could see the other side; across a strange valley that revealed broken beams and wide structural mouths that promised rooms below, there was a set of stairs that led downwards.

Uneasy with the minimal strength you currently possessed, you used your power to send some sort of signal down through the jagged, rotten foundation to ask the earth for help. And not just help, you asked for a sign of where you were and what happened to you. However, you were immediately turned away. A hiss at the back of your mind, that settled adjacent to that incessant scratching, warning you from trying again.

This earth was not like the earth you connected with regularly. It was incompatible with you, but only just so.

There was a blink of a thought in your head that you could make it bend to your will if you really wanted. If you were tempted enough.

But temptation was what got you here, wasn't it? Your jeans were still unbuttoned and you felt some kind of internal, medieval shame as you fixed them and fastened them back up. Shame, not only because the brides had fucked you if you could call it that, but because they'd gotten the better of you. They'd used your weaknesses against you--used Eddie against you--and now they'd stolen you away to the Upside Down.

That's what this place was right?

And it wasn't a stretch to guess the why's here either.

Kas had used them to bring you here so he could finally be rid of you.

Well, you weren't going to sit here and wait for your death like a lamb to the slaughter. If Kas wanted to kill you, you were gonna put up a fight.

The fires of wrath were stoked inside you and you let them restore your strength and fuel your journey onwards. You readied yourself to make the jump across the broken floor.

Suddenly, the scratching at the back of your mind got horribly loud. A voice, a young man's voice, strained and croaked inside of you.

"Help me. God, please help me."

The broken remnants of the being you'd woken beside finally found its voice.

You scowled as resentment decided to mingle with your wrath.

"No one's going to help you," you grunted and shuffled your foot into the side of its rib cage. You kicked the body into the gulch below and as you took your leap, you delighted in the sounds of the bones shattering as it impacted the ground below. "God is dead."

The descent was precarious.

Despite the strength you had gathered, your body ached and your movements were clumsy. It was like you left a part of yourself behind and struggled to continue without it. Additionally, as you progressed along the path, you found that the house itself was broken in ways that defied logic.

Hallways switched back upon themselves or dropped down into a deep burning abyss, floors tilted upwards and then stopped abruptly, doors opened to brick walls, and then, your favorite, a ticking grandfather clock seemingly floated in the air on its own.

Did physics exist in the Upside Down? Gravity? Or was it like Superman, where differences developed without the interference of a certain color sun?

Eventually you made it to what you believed to be the ground floor, and although there was a looming sense of dread that only got worse the further along you walked, your footsteps felt sure and stable. It felt better, safer.

There was a crack in one of the walls you passed where you spotted the shadow of tree limbs, and just up ahead you could see the sky over a half-demolished wall.

Once you rounded this corner and that to reach your supposed freedom, you found yourself faced with what could only be described as an altar. Some site of a wicked ceremony. The walls of the house split open and revealed the expansive red and grey waste of the outdoors, but instead of finding dead grass and trees like you thought, there were structures made of stone and vines and twisted tentacles, just like you remembered from the tunnels.

Towers.

Stalagmites.

Pillars.

Something rustled behind you and you turned on your heel to find the source of the noise, only to find the dank hall you'd just exited empty. It rustled behind you again and you spun back to face the pillars, but you were still alone.

You were being taunted now, teased. Surely that was it, wasn't it? This was a game; you survived the pitfalls and traps of this nightmarish house and now the hunt was truly on?

"I know you like to play with your food motherfucker," you hissed aloud. "Let's play."

You progressed confidently, unwilling to let yourself falter as the ground underfoot transitioned from wooden floorboards to decorative checker tile to uneven earth and the air became heavy with ominous anticipation.

Despite that, you took a moment to inspect the pillars as you passed them, only to be met with an even stranger sight.

Chrissy. Fred. Patrick.

They were eerily still, petrified even; faces serene, as though they were sleeping. The pillars seemed to encapsulate them; a wing melted into the stone here, claws elongated into branches there.

There were four pillars...but three Brides.

You vaguely recalled a flash of Max's memories, of her running through a red landscape almost exactly like this; you took the chance and reached out to touch the empty pillar, only for your suspicions to be confirmed. It was meant for her. The pillars were the final resting places for all four of the victim's of Vecna's curse.

A place for their bodies to be displayed like trophies, signifying his triumph.

It was a sickening thought, but brought about further revelation that this place didn't belong to Kas, but the Lich himself.

The Creel House.

"I was right," you huffed a small laugh of victory. Your hunt for Kas had led here; if only fate hadn't tempted you off the path to the cemetery, you would have been that much closer to defeating Kas now.

Fresh off a small win and with your body primed for psychometry, you moved and touched each pillar curiously. You witnessed each Bride's transition from the husk of a body to the monstrous beings they were now. They hadn't meant to be the puppets of an atrocious master when they were resurrected; it had all been done in an act of defiance. Their forms had been carefully crafted by his clawed hands, and life breathed back into them by a hopeful heart.

That heart was broken here too; those same clawed hands were formed on the very floor behind you...

"No," you tried to shake the thought off you. You didn't want that; didn't need that. Didn't need to empathize with Kas...right?

Still...the intrusion continued.

You wanted to connect to this earth didn't you? So you must gain all manner of information, whether you want it or not.

More images flashed against your will; you didn't need to touch the silt and soil beneath your feet for it to reach out and touch you. The blood that soaked this ground leeched up from the depths to provide you hair-raising clarity of the brutality committed a mere few feet from where you stood. No care had been taken when a body on the brink of death was implanted with bones and teeth and claws. You watched the flashes in unblinking horror until screams suddenly echoed in your ears, terrible and ear-splitting; you were witnessing a transformation--a metamorphosis--from something to nothing then back to something again.

"No!" you shouted and your voice echoed, into the eerie night. Wings flapped and a creature roared in the distance. The images fled along with them, and you heaved several labored breaths as you settled back into yourself.

There was a rustle behind you again, and you froze; you were so lost by the intrusion of the birth of a monster in your mind that you didn't notice said monster approach you.

This was it.

You'd faced monsters before, countless times. Of course, you'd always been armed with weapons, your powers. Now you'd been stripped bare; the brides had rid you of your weapons, and this dastardly dimension had denied you access to many of your abilities as you recovered from your weakened state.

Unless they were useful to the Upside Down itself, so it seemed.

Still, your eyes honed in on a glint of silver beside you. Brilliant amongst the squalor of the Upside Down and folded neatly in Chrissy's claws that rested across her chest:

Your crucifix.

Your hand shot towards the cross of its own volition, but as your fingers caressed the carved hyacinths, you suddenly doubted yourself.

Was Chrissy's grasp on it truly that strong or was it just a trick of the mind? If you couldn't even resist her and Patrick...how could you possibly fight Kas?

Except, you'd already fought Kas hadn't you? Already got the one-up on him. That's why he'd relied on so many cheap shots to get to you. You would make it through this, with your teeth gnashing, your bare hands, and your raw faith. Or you would die trying.

"Lord, I am not worthy to receive you," you whispered as you pried the relic out of the harpy's hands. "But only say the word and my soul shall be healed."

Footsteps slunk closer to you, audibly clearer now, and you readied yourself, focused on all the holy light within the sludge of your corruptible human body. When they finally stopped just inches behind you, you could feel cold breath cascade over you, and you knew it was time.

You pivoted on your heel, sneakers crunching the ground beneath them into dust, and you raised your hand to brandish your cross at your assailant. His hand clashed against its other side and stopped it dead between both of your faces; your eyes went wide as he gripped it tight and it burst into flames in front of your eyes.

You wrenched your hand away and backed into Chrissy's body as Kas let out a mighty, wretched wail.

You were so singularly focused--horrified--as you watched the symbol of your family's legacy burn and melt in his hands, so expectant of his form being consumed by holy flames as he crumpled and bent at the waist and screamed in agony, that you didn't really look at him until it was too late.

The fire extinguished suddenly and Kas flung the remnants of your crucifix to the side, and as he stood, you could feel all the blood rush to your head. There was a buzzing in your ears and you swore the dark circles that crowded your vision were only to spare you from the sight.

Whatever vision you had in your head of Kas was gone...and in its place was suddenly something both old and new at the same time.

There was a smirk carved into his face, so smug and triumphant, and made only more pronounced by the deep scars that went from the corners of his mouth and back along his jaw towards his ears. Still, his enticing lips twitched, failing to bely a smile. His deep eyes were locked with yours, abyss-like, but warm and welcoming in this otherwise unforgiving world as he stared at you with a fondness that you couldn't fathom.

He was tall--taller than you remembered--and even taller still as your legs failed you and you collapsed to your knees before him; he took two rapid steps forward, hands stretched out as though he would try to catch you before you hit the ground. All you could focus on were the sharpened, blood-stained points of his fingers though, and when you flinched as they got too close for comfort, he stopped in his tracks.

Your breathing got heavy and your shoulders and chest heaved the longer you witnessed him. Because it truly was the witnessing of something beautiful and terrible, wasn't it? Something you'd wished for over and over again until you simply couldn't take it anymore.

"No, no, no," you couldn't stop your mouth from its fumbling repetition. "Nononono. No. N-no, no, no!" Over again the word erupted from you until you were shouting. Until you were sobbing.

You covered your eyes with one hand to stop yourself from seeing, and your mouth with the other to keep what remained of your soul from spilling out.

You shook with grief--three years worth of grief that only became more surmountable with each day that passed--then anger.

How dare he, how dare Kas use this final thing against you, how dare you let him?

But that was just an excuse wasn't it? Some kind of excuse so you wouldn't have to face the reality that was just on the other side of your hands. One that you would cling onto to help your poor heart survive.

You would deny it, until you couldn't any longer.

"Sweetheart." You shook your head at the decadent rasp of his voice; your ears strained to catch more but you couldn't handle it. Tears began to leak from your eyes and collect in the creases of your fingers as you pressed them harder into your face. "Angel, please."

The urge to roll your eyes at the ironic nickname battled against the need to bask in it.

You could feel him get closer, feel his massive form invade your space. Your aura buzzed excitedly as it brushed against his with the proximity and your heart beat in your ears; your body knew what your mind refused to accept. It made you feel lightheaded.

Don't fucking pass out.

The claws worked their way beneath your fingers and you resisted as much as you could until you simply couldn't hold on any longer.

And once they were away, there was nothing that you could have done to stop yourself from responding to him.

The you that you had been just seconds earlier no longer existed. That being, forged by resentment and pain and grief and the will to succeed beyond all hope, was torn apart by those claws--gently peeled apart bit by bit--and as your eyes opened, you were suddenly the you that you were before. Or maybe, more accurately, the you that you were beside everything.

Despite everything.

The being that only existed with him.

You.

You were here with him.

Eddie.

And he was here with you.

Alone together and together alone.

No one else existed but the two of you as you opened your eyes and your gaze washed over him once again.

Lightning flashed overhead as you absorbed the sight before you.

Hands. Eddie's hands. Calloused from hours of guitar playing and scarred from that one time he got too eager pulling a stouffer's lasagna out of the oven and forgot the gloves. Only now they were scarred further, with lines along his phalanges and razor-sharp talons at the tips of them.

Hair. Eddie's hair. Soft and curled just so and sometimes shiny, but oftentimes just a frizzy mess from head banging so hard. It would get in his mouth, leaving him spitting and sputtering as he got some idea mid-headbang. Only now it was held up and out of his face by a fluffy green scrunchie, and only his bangs and a few loose pieces framed his features.

Face. Eddie's face. One that looked at you with so much relief and gentle love. Your memories couldn't hold a candle to having him here. Your eyes went blurry with tears again at the fact that he was actually here just inches from you. His eyes and lashes and his round nose and his kissable lips. Lips you needed to kiss like you needed air. Only those lips started to move to form words again and as they did, you spotted the sharp tips of fangs.

He looked the same, exactly the same...but simultaneously different in every way that counted.

Time stopped.

You thought about being in the trailer with Chrissy and Patrick, all the words that you had excused in the moment, as you allowed yourself to be tempted by Kas.

In actuality...had it really been Eddie? Words that had been borderline insidious suddenly took on a much more intimate connotation.

"You're not real." You breathed shakily, one last attempt at pulling back the veil at some trick of the mind. "I can't...I can't..."

On the other hand, you remembered the graveyard, the way Eddie had been there in a way...beyond your sight, refusing to be seen by you. Refusing to be known by you. And again countless other times. Including the day he'd...

"I can't look at you," you said weakly. "I'm not supposed to look at you."

What had he said to you then? That he'd never really left? That he would wait...as long as it took...and here he was now. That hadn't been Eddie; how could this suddenly be him? He was...

"And why not?" he chuckled gently. "I think we both deserved to see one another; I've crossed the oceans of time just to see you again."

"That's..." you stared at him in disbelief. Tremors wracked your body and his gaze went from fond to worried again.

Your mind went a mile a minute trying to come up with something, some way to deny all of this. Rapid fire, you thought. About Vecna and the Upside Down and the earthquakes. You thought about Wayne and Dustin and Max. Over and over, ideas flashed as all the pieces finally clicked together. Vampires that weren't vampires, and the Brides; the trailer and the visions and the grave and...and...and...

He was alive.

"That's..." You began to laugh, the small shakes of a giggle turning into big, bright guffaws that shook you. You grabbed his face with your hands and squished his cheeks together, gleefully watching as it smooshed and shifted in the way only his play-doh-like features could. "That's not the quote, you big dumb idiot."

Home had been an abstract concept for you for some time.

For most of your life, when you thought of home, you thought of your Nonna's house. Her flat, just downstairs from yours; you spent most nights there anyway, your father's childhood bedroom repurposed for you. You had a home in the dinners you'd cooked together and late nights where you'd watch Johnny Carson until it was time to hold hands and pray together before bed. Home meant turning the key in the lock of her door and her giving you big cheek kisses.

Tesoro di Nonna.

Her treasure. She was your treasure too, your best friend, but she, herself, was not your home. At least not anymore.

You found that when you came to Hawkins. When you met Eddie. From the moment you met him, he had been that warm place of comfort and love. When you left, and even when you believed him to be dead, going home meant returning to Hawkins.

Returning to him.

So when you both overcame the euphoria which accompanied the realization that you had found each other once again, and he said "let's go home," you knew that there wasn't far to go.

You were already there.

There was something about returning home after a long time away, though. Things changed and it didn't take very long for you to notice the changes in Eddie.

He held your hand as you walked through the barren waste of the Upside Down, and it was actually quite a long walk. Practically across the entirety of Hawkins, and you were truly in awe that it actually was Hawkins. You walked down familiar streets, through the town center that was fully intact unlike its decimated state in the real world, and Eddie even pointed out the windows of your old apartment over the deli, as if you forgot.

Very few words were shared between you at first, aside from short and fond little tidbits to reminisce old times spend together--something that you'd constantly been doing since your return; your heart ached to think that your ghost had followed him around, both in Hawkins and here, reminding him that you'd left him to this fate.

There was not much more conversation than that though, and while you basked in the sweet memories, especially being reunited, you couldn't help but wonder why he was so...uncharacteristically quiet. The Eddie you knew was never at a loss for words; why was he holding back asking you questions? Telling you how much he missed you?

You held back your own thoughts, questions, and admissions too if you were being honest. Something about being so open in this dimension, something about the strange din of silence due to the lack of life made you feel...strange.

You wondered if he felt the same way?

If you could feel the creatures that shuffled just out of your line of sight, given what you knew about the hive mind that existed between them, you knew Eddie could as well.

But if that was the case, he didn't show it. You supposed Kas he was the master of this realm; he didn't need to be afraid of it.

In fact, the more you observed him, the more you noticed how at ease he was here. He'd always been confident walking around Hawkins, shoulders straight and head held high despite the suspicious stares and whispers that seemed to follow him just because his last name was Munson. But now Hawkins--the Upside Down--seemed to bend to him the further you walked, proving his mastery over it.

Down one street, the tentacle vines slithered and shifted as Eddie led you ahead, and when you dared to look back they returned to their original places. Shadows at the corners of your eyes shifted as he pointed something out to you with a fond smile and a laugh. Finally, when you reached the woods, gnarled and dark as they were, his presence seemed to cause a group of bats that had been resting there to stir.

Instinctually, you flinched, divine sense tingling in response to their unnatural energy as they began to fly overhead; Eddie even squeezed your hand to calm you down, but your defenses were up now. You readied yourself for an attack as they circled and swooped down a little too close for comfort.

You watched, dumbstruck, as Eddie tsked and then reached up with his free hand; one of the bats got lower and its many flailing tails brushed against his fingertips before it screeched and then soared away. You felt that there was something more to it, though; there was something else there as his fingers twitched against them.

A yearning, maybe; a desire to...what? Join them?

"It's alright," he reassured you softly, an undertone of happiness in his voice. "See, they're harmless."

"Harmless?" you scoffed in disbelief, having witnessed their devastation first hand. He looked back towards you and lowered his arm, brow furrowed in confusion at your tone; you felt a strange rumble, an undercurrent, just beneath the surface of his skin as he flexed his hand around yours again. "I..."

"Sweetheart. Just trust me. What are you--"

Like that, the illusion was broken.

It hadn't taken that long. A couple of hours, mostly spent in silence and the overwhelming awe of being in one another's presence again, but suddenly you realized he was different.

Of course, you were different too.

You never really fathomed a moment like this; you'd always thought--hoped--you'd be reunited in Heaven. That everything would work itself out there. All wounds healed, all sins forgiven.

But this was not Heaven, and you'd never imagined your reunion like this.

You looked at him again, really looked at him this time. Tried to look past your Eddie, to see what had become of him here in the Upside Down. You started with his hands, the long scars you noticed just a short while ago, and you traced a finger along them. It was almost cathartic as you felt a phantom ache in your own hand, as you began to truly digest and understand what had happened to him.

Dustin had refused to tell you...and with good reason.

The ache burned through you the further you went. His arm was covered with the sleeve of his leather jacket, but still your fingers traveled, touch penetrating the worn leather; he looked and felt...bulkier somehow. Even his skin looked too tight on him. Gone was your noodley, human boyfriend and in his place...something else. Broader shoulders, a thicker torso, and a slightly elongated neck that proudly bore scars as well.

Just like your own bites, you thought, as Eddie's aches were momentarily replaced by your own. You both displayed the healed remnants of shredded, devoured flesh.

The memory of the pain they once brought him practically sang through his skin the further you went and you couldn't help but listen and absorb it. Unlike your scars, even the most recent ones from the Brides, that had been the product of your will to survive, Eddie's were the evidence of something dastardly that sought to destroy and consume. In fact, they had succeeded; you felt the burn of a thousand mouths filled with sharp little teeth ripping through flesh. Ripping through his flesh.

The longer you held on, the more you felt and understood. Mouths led to claws, consumption turned to torture, and eventually he was ripped further--pulled apart--until he was left broken, raw, and screaming.

Just like you'd seen back at the Creel House.

Vecna cut him open and emptied everything that made him him, and filled him with darkness and malice and--

You wrenched your hands away from his and rubbed them together as they tingled, suddenly numb. All of the echoes of his pain vanished and instead you just felt...conflict.

"What's wrong?" Eddie stepped closer, worry etched deeper creases into his face now. "What did you do?"

"I--" you flinched away from him and he paused.

This wasn't just Eddie anymore, your Eddie who survived a few scrapes and bruises and came out of any conflict--large or small--with a few choice words for his assailant and a story to tell.

This was Kas, forged through the burning flames of Hell to fight. To destroy.

And if not by name, then by acts.

Acts done with Vecna's influence, at first, and now atrocities in their own right.

Eddie always knew when your mind buzzed with a thousand thoughts; he'd say that you were thinking too loud. Time hadn't changed that, it seemed. He still knew exactly how to read you.

"Listen," he started carefully, treating you like a spooked animal because that's exactly what you were. "I know you have questions. We just need to get home first."

Unfortunately, you were also a stubborn piece of shit.

"Where is home?" you questioned. "What...Eddie...how?"

"I'll tell you everything," he promised. "But you're hurt...and I'm sure you're hungry. Thirsty? I could only bring you so far before--"

"Before?" you urged.

"The hungrier I get," he began. "The harder it is to control everything. Control myself. I couldn't be around you like that. But now you're awake...and I have to get you home. We need...to get home..."

You wanted him to explain it all to you; you'd seen the fangs, witnessed the Brides and other vampires feeding, it wasn't a secret that he must hunger for blood too. You just needed more. But he needed something too. There was a singular, desperate focus that edged his words--the need to get you home, get you safe--and you knew you weren't going to get answers unless you obliged his request.

If he could be patient...so could you.

You gestured ahead and the two of you continued your journey.

However, you made sure to keep your hands to yourself this time, unwilling to inadvertantly see more of his becoming, and Eddie clearly noticed.

"My hand is pretty cold," he said after a short stretch of silence. His eyes slid over to you and he wiggled his fingers. "Sure is a shame that there's nothing to warm it up."

You scoffed and your heart ached; this was how he got you to hold his hand in your coat pocket during the winter as you'd venture out and about. It was his thing, refusing to wear his gloves so he wouldn't fumble with them when he wanted to smoke, while also taking the opportunity to feel your hand against his.

It was one of your favorite bits of attention that he gave you; he was still your Eddie. You knew that, and deep down inside you only wanted to know that.

But things were different.

"Ed--"

"What? You don't love me anymore or something?" he teased; however, when he glanced over at you, there was a real worry in his eyes. "Don't want to hold my hand? Hmm? That it?"

"Come on," you scoffed. "Don't. You just said we'd talk once we got home, wherever home is. We've been walking forever."

"Well we're not there yet," he bristled and laughed; it was a bitter, condescending chuckle. One you'd never heard come out of him before; not to you, at least.

"Can't you just tell me where we're going? To...Rick's or..."

"It isn't in Hawkins."

"You can't expect us to walk to Muncie," you attempted a joke.

There was a tense pause and he turned his head downward and quickened his pace.

"Don't worry," he said, tone stiff. "We're almost there."

The confidence you'd noticed earlier was suddenly gone, and as he walked, he seemed to make himself smaller.

You really fucked this up.

You tried to reach out for him, abandoning your resolve of keeping him at arms length, but he failed to notice.

He just kept walking.

Before long, the town seemed to melt away.

Everything did.

Gone were the buildings, the trees, even the roads. Until there was a vast grey nothingness, accentuated by floating particles and a swirling, cursed sky. If you thought the Upside Down was a wasteland before, this only solidified that thought.

After some time, even looking back didn't seem to help things; there were no milestones that you could ascertain. Just flat terrain, the sky, and the horizon.

And Eddie.

You tried to stave away the hateful thoughts that this was a trap, that there really was a Kas out there and he was manipulating you again. Or, even worse, that Eddie was the one manipulating you.

What good did those thoughts do? Except negate the elation that still bubbled hopefully within you, elation you were also trying to hold back.

You were here now; he could kill you any time if he wanted. You weren't dead. Yet.

Lost in thought, you failed to notice that he stopped, and you walked right into his back. You shook yourself off and stepped around him, only to find a decrepit-looking ranch-style house. The attached carport's roof was partially collapsed, the siding a little cockeyed, and the mailbox was broken; it looked unremarkable, and still...

"We're here," he pressed his lips together and gestured towards the house. "Home sweet home."

"I don't recognize this place," you remarked as he led you forward.

"You wouldn't," he shook his head. "I never brought you here; it doesn't exist anymore, actually. They tore it down to build some fancy condos in...what...80? 81? Only place you're gonna find it now is up here."

He tapped against the side of his head and then waved his hand around.

"This is what it looked like the last time I saw it. Broken, a little sad. Right before it came down.”

"Why is it here then?" you asked.

He sighed and looked around.

"Let's just get inside."

The interior of the house was worlds different.

Well...comparatively.

It was bigger on the inside, the walls somehow taller than they had been just moments before you stepped through the threshold. You entered into an open concept living room that was attached to the kitchen, not unlike the trailer. Both rooms were wood paneled and there was a carpet that was split-pea green, making the already drab atmosphere darker.

Eddie brushed past you to get to the kitchen and you moved ahead to the sofa, weariness of the day finally catching up to you. You collapsed onto the brown faux-suede loveseat and laid your head against the granny-square blanket that was draped over the back; beneath the musty, mildewy smell of the Upside Down, you could faintly detect something lighter and sweeter.

Your mom wore orange blossom perfume just like this. Aqua Manda. Your father brought a bottle home for her on her birthday one year.

You cleared your throat and chalked it up to a trick of the mind; you were tired and hurt, of course little things like that would escape your psyche.

Eddie shuffled around in the kitchen for a few minutes and when returned, his hands were filled with packaged snack cakes, a six-pack of grape crush, a bottle of hydrogen peroxide, and a roll of cloth bandages. He fell onto the loveseat beside you and dropped his plunder between you.

"Wayne," he stated simply and gestured to everything, as though that explained it. Maybe it did, to him; on your walk you figured that everyone knew that Eddie was here and alive, Wayne included. It didn't make you as angry as you expected yourself to be. Not as angry as you'd been when you read about Kas in the Dungeon Master's Guide.

What use was it to get angry, when you just wanted answers?

You stared at Eddie expectantly, hoping that he would start talking, but instead, he moved to pick a package of Raspberry Zingers from between you. You watched, in slight awe, as he flicked his thumb against the plastic and the sharpness of his claw sliced through it quicker than any knife. He did the same with one of the pop cans, puncturing the aluminum instead of using the tab.

You, knowing these were some of his favorites and having seen him inhale more of the sweet treats than you dared count, expected him to tuck in. Instead he placed the open package and can in your hands with a longing look, careful not to touch your skin, before he went on to unwrap the bandages.

You said his name gently and he ignored you.

"Eddie," you dropped the zingers and grabbed his hand to stop him. He was the one to flinch now, but regardless, he looked you in the eye. "I need you...to tell me where we are, and tell me what's going on. Everything. We're here now...you promised."

His eyes darted between yours rapidly; if he felt that your thoughts were loud before, his were blaring right now. Broadcasting panic and worry; confusion as to what to say and where to begin.

He opened his mouth and inhaled, but his sharp fangs glinted in the low light of the room and your gaze, naturally, was drawn to them. He planted a hand over his mouth and after a second, rubbed over the scars that stretched over his cheeks.

Finally his hand dropped to his lap and he shifted in his seat; he leant back against the cushions and got comfortable.

"Before I lived with Wayne," he started, "before mom died, we lived here. It wasn't big; big enough for the two of us, a little less when my dad was still out. Everything looks a little bigger, but I guess everything does when you're younger. This...this is just how I remember it.

"That's what this place runs on. Memories. Feelings. It...generates them but also cannibalizes them. Nancy Wheeler said something...before...about it actually being 1983 here. Really, it can be any place and time you want. Henry...Vecna...showed me that. So when I started needing space...away from him, I came as far as I could past the outer limits of Hawkins and I made this place. Where he would have a harder time finding me. Where I could be alone.

"With you."

"Me?" you questioned.

"I can't explain it," he shook his head. "I can't explain any of it. It's...fuzzy. Who I am now...and who I was before...I'm not the same person.

"I was hurt so badly when you left...I thought I hated you for a while. But then...you were there, in everything I did. I had hope because you gave me hope Sweetheart. Every day I thought about getting in that van and...finding a way to find you. Some way. But I had patience and I could wait for you to come back. On the toughest days, though, you were there. You were there when the blankets on the bed felt especially warm. Or the frozen lasagna I put in the oven tasted especially cheesy. Or when I'd have a bad dream and go to get cookies out of the cupboard. You were there, and it was ok. I could hold on until you made it back to me.

"You were even out there at Skull Rock with me," he smiled. "The night...after Patrick died. I was wet and cold and so god damn traumatized and when I closed my eyes, I swore I could feel you there. I heard you tell me it would all be alright. You're the reason I didn't give up."

You knew that feeling well; more than you could really put to words.

He went on and gave you his account, his perspective and feelings, about what happened last year. Told you about witnessing Chrissy and Patrick's deaths, about running and hiding, about being hunted. He stopped to make a joke about how brave “the kids” were, braver than he was. And then his tone turned fearful and distant when he explained how he decided to be brave for them in return, brave for Dustin.

You of course knew some, but hearing all of it, especially the role he played in it all, was devastating. The what-if's returned; what if you hadn't left, what if you could have been here to save him--save all of them--what if he hadn't died. Of course the last one was void now. Still, as he closed his eyes in pain and you felt it choke you up as his emotions projected outwards again—voluntarily this time, instead of you plucking pieces off of him—you thought:

What if you could have spared him this suffering?

"He took everything," Eddie whispered. "I thought the bats were bad enough. The pain. They were just hungry but the pain. The others were supposed to kill him, to chop his head off or something, and the bats fell and the pain stopped. It was supposed to be over.

"But then he found me."

"Vecna."

"I thought I was a goner," he bared his teeth painfully, somewhere between a grimace and a smile really. "Death took forever, sweetheart. I do not recommend it. Not a bit. I don't even think I died. One minute Henderson was crying over me and the next, Vecna was tearing through my head. I always thought...well, you know when Obi-Wan tells the storm trooper these are not the droids you're looking for? I thought that I could resist that. Turns out, I was just as weak-minded as the rest of them."

He recounted his torture, the mental and the physical, and you felt it again. More acutely this time. His memories projected onto you felt fuzzy and strange, though, as if he hadn't even been there for it all himself. You recognized, through the echoes of agony, that was only so much the human mind could take, and Eddie toed the line of survival through sheer luck. He had gone through Hell, and came out alive in the end; how had he done it?

"It's because I had you," he explained. He leant in closer, voice hushed like he had a secret; he made the edges of your being feel tingly with his proximity. "Just like I told you. You were there; I know it. I held on because of you."

"Please, Eddie," you whispered. Please...what? You didn't know.

Please don't try to lessen the guilt.

Please don't try to make you feel better that you left him to this fate.

"It's true," he continued. "Vecna could take everything away. Made me hate everything, everyone. Made me kill for him. He made me his monster, his beast, his weapon..."

You swallowed painfully. How karmically poetic; a weapon of good and a weapon of evil...in love.

Fate was cruel.

"...But he could never take you away from me."

You saw it then, a flash. Some recollection of his, some coping mechanism that he'd used to survive. You saw through Eddie's eyes, felt his body; there was something quite...off about him. Shoulders broader, arms longer, fingers wet with blood.

Wings? You could feel them jutting from his shoulder blades. But he didn't have wings...

And in front of him, instead of some poor innocent soul...there you were. Strange, once again, seeing a version of you that you didn't recognize. She looked...younger...more lively than the one you saw in Billy's mind. She was smiling, eyes bright.

Speaking of eyes, you could see his reflection in your own eyes; you strained to decipher it, because it simply did not look like Eddie.

Not the Eddie of your memory. Not the Eddie who sat before you now.

You gasped and it was gone, and you were back in the living room with Eddie again. You stared at him, really took stock of him, trying to reconcile the different images of him that floated in your mind to truly accept who he was in front of you.

Broken but seemingly still whole. Alive.

Human...but not.

And that's what made you hesitate.

"Eddie," you licked your lips nervously. "Dustin said...that you couldn't leave." His brow twitched.

"I can't," he answered through gritted teeth, entire demeanor changing in the blink of an eye. He clenched and unclenched his hands, grasping at something that was beyond the fabric of reality. "I'm stuck here."

"Do you know why?"

"No. It's driving me crazy; I just want...to leave. Vecna couldn't leave either. He needed Max."

He noticed the way you stiffened at his words and his eyes went wide with fear. All of the tension that had built up within him was released again and he held his hands out to prove he was harmless.

"I don't...I'm not...I don't think that's what it is for me. The Upside Down doesn't want me to leave; I'm just not strong enough somehow. Not ready. I feel like...if I can figure out what I need, it'll let me go. I just don't know what that is.

"I did enough to save lil Red, though, twice," he ran a finger over his heart in a cross, in promise. "Not gonna just throw that all away and kill her."

"She's afraid that you are."

"Well, you'll just tell her I'm not."

"You've killed other people though," you rebuffed, almost too quickly.

It was at the forefront of your mind. Your dumb boyfriend who fed stray cats and raccoons around the trailer park...ordering an army of dark creatures to kill; it didn't make sense.

"You've killed too," he scoffed, a challenge in his eyes. "Don't act like I haven't watched you out there, angel. I've seen everything; this whole time."

"I thought you were a vicious monster," you argued.

"Who says I'm not?" That threw you for a loop. "I've told you my story, it's your turn now."

"No, we're not done with you," you reached across and jabbed a finger into his chest. "You send the bats...the Brides--nice name by the way--" You sneered sarcastically.

"Thanks," he grinned widely. "Got it all from Sven."

"--into Hawkins every day to feed. To kill."

That made him falter.

"No," he denied. "Not every day."

"Every day."

"Every three days, every week. Not every day."

"Tell me how that's possible," you narrowed your eyes. "When your friends back in Hawkins have gone out every day since I've been back for their clean up brigade, and they've been attacked every time. I've heard about it and I've seen it."

Eddie got quiet; he blinked once and his eyes became unfocused. He stared through you for what felt like ages and at some point you contemplated waving a hand in front of his face to get him to come back to you. You were about to raise your hand to do just that when a thin, opaque membrane slid sideways across his eyes, and then retracted back into the corners of them.

You thought it was a trick of the low light for a moment, then it happened again. A blink, just like a bird did with their third eyelid.

"What the fu--"

"They haven't," he interrupted you, consciousness casually sliding back into his body like he hadn't just vacated it. "They've only been leaving through the gates when I tell them to. It's been three days."

He shifted and shook the sleeve of his jacket further up his arm to reveal his wrist, then carefully unfastened the watch that sat there.

"They need to feed," he explained as he fiddled with the buttons. "I need...I need to feed again too. Otherwise I don't have control. And I need to be able to control them. They take their fill, and whatever they can spare, they bring to me. Since I can't leave. What uh...what day is it?"

"The fifteenth," you answered stiffly.

"Of?"

"...October."

"Hmmm..."

"What?"

"Guess I hadn't...nevermind." He cleared his throat. His hand shot out and grasped your wrist, then he carefully fastened the watch on your arm. "There. They're supposed to go out tonight and then you can see for yourself. Three days. Wayne will be by then too; I'll ask him to bring you your things. I know you left them behind."

"Because you...because your Brides cornered me...they...Fred...Chrissy...ugh..." You wrenched your hand from his grasp and scrubbed them over your face. "I...Eddie...I need to know why...why you---"

"I think I've told you enough," he interjected with an air of finality. "I've been trying to get to you, trying to find you, ever since I saw you back in Hawkins through their eyes. And now you're here with me where you belong, and it's time I got some answers too, sweetheart. It's been long enough. I deserve to know the truth."

So you told him.

Eddie was right, he deserved to know the truth, and you'd been itching to tell him since the moment he kissed you after your very first date.

Now was the chance to get it all off your chest.

You told him everything, and not just the condensed version that you told Mary Victoria. You bared your cursed soul to, probably, the only person on earth that had ever seen you. Really and truly seen you.

Despite all that time apart, he still saw you as though no time had passed at all.

He had no qualms interjecting when you told him about your family history and about the curse. He questioned everything and you had no doubt that if it wasn't for the conditions you were in now--if life had not been as cruel to the two of you as it had been--he would have had his Hellfire notebook open and been furiously writing ideas for his next campaign.

Better yet, he would be the one figuring out the way to break it. He would have every fantasy book from the Hawkins Library checked out and spread across the floor, just to save you.

When you got to the more contemporary parts of your story, when you filled in all the gaps in your life that you left when he first got to know you, he was pensive and empathetically quiet. He still made his little jokes here and there, tried to make you laugh at the parts where all you wanted to do was cry, and he didn't hesitate to bridge the gap and hold your hand when you needed to find the strength to keep going.

And keep going was all you did.

For hours.

You told him about every monster you faced, every demise you escaped, every person who used you as a tool and held your salvation over your head to get you to act on their behalf.

Your story couldn't hold a candle to his when it came to personal agony, but he made you feel like everything you'd endured was just as soul-splitting.

Maybe it was.

But this...getting everything out in the open...it was so freeing.

Gone were the shadowy secrets that lurked in the corners of your mind, gone was all the doubt you felt in yourself.

You cracked your chest open, pried out every rusting nail you had driven into you to keep it shut, and let Eddie see all of you--see your heart--and still he stared at you with awe and resplendent devotion in his eyes.

Just like he always had.

"Not gonna lie sweetheart," he started once you'd reached a lull in the story. "That was all, uh...pretty fucking metal."

"Fuck you," you slapped the back of your hand against his chest.

"All this time you let me go on about demons and the devil and Hellfire," his tone was teasing and a smile threatened the corners of his mouth; he couldn't fight it for long and neither could you. "And really you were out here studying the Lesser Key of Solomon and the Necronomicon for fun?"

"Not for fun. For survival" He grabbed your hand and held it against his chest, used his leverage to tug you closer. He stared at you in awe.

"My girlfriend! A real life paladin!"

"God damn it Eddie!" You giggled.

"Protecting the masses, no wonder you wanted to play as a rogue, you would have been bored as a paladin. Can you smite people?"

"I swear to--yes, I guess so."

"So many secrets! And then you told me all of your little stories and lessons--"

"Eddie I swear.”

"--let me believe you fucked the Mothman?"

"Excuse me," you erupted into a cackle. "You came to that conclusion all on your own."

He stared at you with hooded eyes and a fond gaze, humming his doubt.

You shifted the hand that he held, moved your palm across his chest from over his jacket to the thin, threadbare t-shirt he wore underneath. At first, you felt for his heartbeat, to reassure you one last time that it was really him...that he was really alive.

It was a flutter, but it was there. A soft thum pum, thum pum that transferred from his chilled skin, through the shirt, and into yours. His hand enclosed your wrist and squeezed tightly, and you wondered if he was doing the same. Feeling your pulse, making sure you were really there too.

He huffed a breath as you shifted closer; your fingers brushed against something hard that was just under the collar of the shirt as you had made your little search, and upon closer inspection, you discovered a cross on a silver chain.

Your necklace.

"You kept it?" you asked.

"Mmhmm." You shook his hand off your wrist and you ran your thumb over the tiny metal flowers; your crucifix might have been gone but this was still here. "The day you left...I was so upset I threw it. Threw it in some random corner of the trailer. When I realized that it was one of the last things I had left of you I went to try and find it, only to realize it was gone. I kicked myself, cried to Wayne...I was so fucking stupid.

"Then after everything, after Vecna was gone and I healed Max back up...I found it. Here in the Upside Down of all places. Must have fallen through when the gate opened up...but it made its way back to me. Just like you."

"You're a sap," you whispered.

"Guess what? So are you."

"I am," you laughed. You felt yourself choke up then, happiness turning to sorrow in an instant. Well, maybe it was still happiness…just the sad kind. "Hmmm."

"What is it?"

"Nothing, nothing," you cleared your throat to try and let it go, but it got the better of you and tears began to prickle at the corners of your eyes.

You couldn’t help yourself, you touched him again. You’d denied yourself for too long; you needed to be as close to him as you could for as long as you could. You touched his face. Beneath his bangs, over the crest of his eyes, ran a finger over his lips, even shoved your fingers over his fangs to inspect them, to see how dangerous they were, much to his displeasure.

“Don’t,” he hissed. “I have to feed, I could hurt you.”

”I don’t care.” The words burst from you. “I don’t.”

“Sweetheart,” he said in a warning tone but you ignored him.

“I spent all this time thinking you were dead and now here you are, right in front of me. Something I never thought I would have ever again. So excuse me if I don’t care that you might bite me. Hurt me. Nothing could compare with the hurt I felt when I lost you.”

“I get it.”

“I burnt down a building.”

“That’s—”

“Pretty metal, I know.”

“I was gonna say it sounds a little crazy,” you snorted. “Cmon? You burned down a building for little old me? With a lighter and gasoline?”

“With that smiting power you were so interested in earlier,” you explained.

“Ok well…shit. That’s pretty hot.”

“Fuck. Off.” You laughed wetly.

“You keep telling me to fuck off, I’ll leave you here.”

You could tell he was trying to make another joke but you didn’t have the patience for it.

“I’m trying to kiss you right now, Ed,” you told him matter-of-factly.

He was shocked, mouth opening and closing like a fish out of water, like the thought of actually kissing you, actually being with you, hadn't crossed his mind either. As though he hadn’t just used the brides to bring you to completion through the mental bond they shared. To be close to you, to share in pleasure and proximity, together again.

You were about to back down, about to say it was ok, especially if his hunger--fuck, you were gonna have to keep that in mind now, weren’t you--made him nervous. Instead, he surged forward, lips mashing into yours.

It was clumsy and a little painful at first. Both of you were out of practice, it was obvious, and there were, of course, extra teeth to be mindful of. Still, once you crossed the divide and settled yourself in his lap for easy access, you found your rhythm again.

It was as though you hadn’t been apart for a single minute, let alone three years.

Kissing him was nice, it always had been; tender sweetness, even in the throes of pleasure. You always used to joke that if Eddie could find a way to meld the two of you together with his mouth alone, he would; now was no different, as the plush pillows of his lips caressed and pecked at yours.

It didn't take long for the spark that was ignited between you to grow into an inferno and you couldn't really tell who was the needier of the two of you as breathing got heavier and tongue and teeth began to explore. All you knew was him. A sensory experience, being surrounded by each other again, and it was one that you had to learn all over again because it was different. Gone was the smell and taste of cigarette smoke and cheap laundry detergent and soda or bazooka bubblegum he enjoyed, and in its place something more visceral.

The bite of arctic air and nature and musk and dirt and blood.

Aside from the few times you'd bitten your tongue or split your lip, you'd never experienced the taste of blood before, and certainly not blood other than your own. Tangy, but not unpleasant. You could get used to it blooming along your tastebuds if it meant you never had to leave Eddie again.

He departed your lips then, as though he could sense the thought and didn't want you to endure it any longer than you had to. He left one, two, three pecks to the corner of your mouth before he descended down your cheek and along your jaw. He tsked as he reached your neck.

"What did they do to you huh?" he muttered and pecked and laved over the tender, ravaged flesh. He vacated one side of your throat for the other, inspecting the damage there; it was the side that Barb had bitten too, and you knew that it was surely worse. His tongue slithered out and he growled as it slowly ran along the ridges of each wound; the sound transferred from his body to yours, a rattling chittering vibration that sent chills up your spine.

"I didn't tell them to do this. When I realized..." he began an apology, but you stopped him.

"It's ok," you huffed a weak smile. "I'll heal. I always do."

"Hmmm."

He nudged his nose against yours, a soft rub of its bulbous tip, before diving back into your mouth.

From soft touches against faces and shoulders, hands suddenly moved to grip hips and thread into hair. The scrunchie was quick to go and his curls cascaded over his shoulders; you immediately buried your fingers in their depths, steering you where you wanted him to go, on the off chance he didn't already know.

His hands moved then to settle on your thighs, and gravity shifted as he hoisted you into his arms and stood. You broke away and stared at him in question. Where had this unexpected strength come from; was it more the result of this transformation in the Upside Down? You'd found unbelievable strength as your abilities developed over the years too.

Moreover, where had he found the idea or desire to carry you anyway?

You could spend as much time here on the loveseat as you wanted; it's not like you hadn't fucked on a sofa before.

"Where are we going?" you asked as he took his first steps.

"Bedroom."

"My legs work."

"They won't before long," he grinned and you rolled your eyes. Vampire or undead or whatever amalgam of an upside down creature as he was, Eddie was still your boyfriend who would quote bad porn just to annoy you.

He brought you down the short hallway to a bedroom; it was unremarkable and had a look and feel about it that was similar to his room in the trailer in some ways...but still not at all.

There was a poster on the wall, and Sweetheart sitting on an amp in the corner--had he been the one to play Sympathy for the Devil that you'd heard on the radio; you hadn't been going crazy--a stack of t-shirts and clothes sat on a broken dresser, and a dented old thermos rested on the windowsill.

He laid you down on a mattress that had been placed on the floor and was laden with pillows and blankets. He started to rid you of your shoes and your jeans, taking as extra care as he had been not to rip into them with his claws; as needy as you were, you were also curious, and you took that moment to inspect this bed of his further.

One of the pillows was stained with blood, some of the blankets shredded to ribbons, and, buried amongst a soft comforter...two long bones that were sharpened to points.

Eddie faltered in his movements as you lifted them closer to your face to inspect and he immediately pulled his hands away from you; his arms crossed over his torso and he shrugged.

"Guess I'm a little messy," he explained sheepishly. "There, uh...might be some more in here...somewhere. Be careful."

There were a million thoughts racing through your mind; where did these bones come from, what did they belong to, had he...eaten some creature? Once again, you needed to internalize all of it quickly. This was just going to come with the territory of having Eddie back, wasn't it?

"It's...ok," you swallowed thickly and turned your eyes back to him. "I can just use it to stab you in the heart if worse comes to worse."

He snorted and licked his lips to stop himself from smiling; in the end, you both failed. You were giggling and you let out a honk of laughter that you hated but Eddie adored; he'd told you so many times. You covered your face with your hands to hide from him, but he was quick to kneel down in the cradle of your thighs to pull them away.

"I want to see you," he whispered. "I need to see you."

He kissed your hands, one, then the other, and then pulled you to sit upright; you helped him remove your jacket--he recalled it had been Mickey's...and then noted that Mickey had died by his hand as he thumbed the rips in the shoulders from Chrissy's attempted-abduction of you in the square--then your t-shirt. He was extra cocky as he used those talons to slice through your bra.

"You're an asshole," you muttered as he ducked to capture your lips again.

"Remember," he pressed a kiss and then backed off to grin, "when I kept fumbling with the hooks."

There wasn't much talking after that, as you began your true reunion, your worship of one another.

He knew where to lick, where to kiss, to get the sweetest and most desperate noises out of you. Of course, he also had his favorite little places to put his hands and his mouth.

He was careful of your throat, but that didn't mean he couldn't suck a hickey to your jaw, or your collarbone, or the side of one of your breasts. He sniffed your skin and sighed dreamily every now and again, pressed his face into the softness of your chest and your belly and just rested there for a moment, before continuing his descent.

He didn't leave an inch of you untouched when it came to these new discoveries and devotions.

He paid special attention to each prominent scar he found. Whispered words of apology, of understanding, as he bore witness to all the ways you sacrificed yourself for a God who'd essentially abandoned you. Abandoned both of you.

Every nerve in your body was alight; not because he kept pulling pleasure to the surface, but simply because of the proximity. You luxuriated in having him there, in carding your fingers through his hair, in hearing the timber of his voice and feeling it as it hummed along your skin. Even when he got too carried away and his claws scratched you or punctured your skin, as blood began to pool to the surface, you found some sense of joy. The little zings of pain only added to the pleasure.

For Eddie, though, they simply seemed to test the strength of his willpower to tame the beast within.

He finally reached the crux of you, and instead of touching or kissing as you expected him to, bringing you pleasure that way--something he'd always enjoyed before--he got to his knees and began working the belt off his jeans.

"What are you doing?" you demanded breathlessly, desperately. "You were..."

"I just...I'll..." he fumbled over his words, head still ducked as his hands worked. His voice sounded muffled and he refused to look at you. "We...we'll just finish up here and then I need to go."

"Go!?"

"I want to make you feel good, baby, I just...I can't stay. I'm already hanging on by a thread as it is."

You thought that he just meant that he needed to find his own release, which was understandable, but to need to leave? He flung his belt off to the side, and as he did, you saw. Really saw.

His eyes seemed more sunken in, surrounded by shadowy-bruises, scleras bright red. His fangs, which had just been two lone points in his mouth, seemed to have multiplied; four sharp teeth, now elongated, on his upper jaw, and two on the lower.

You called his name once, then again more forcibly, to get him to stop as he shed his jacket. He froze, and then stared at you, practically ashamed.

"They'll be back soon and I'm hungry," he explained. He let the jacket drop to the ground and then stared hungrily at his hands, at the fresh blood at the points of his nails. "I'm so...hungry."

He had mentioned that, that he'd been hungry, before. Which was why he couldn't be there when you were brought to the Upside Down.

But he said that he'd fed days ago; how long had you been here?

Was it just the drawing of your blood that had him hungry again? Needing to be sustained.

You spoke instinctually.

"Feed on me."

His eyes widened in shock.

"Sweetheart--" he tried to warn you, but you stopped him.

"Chrissy and Patrick already did," you rationalized. "Barb did. You're not going to do anything that they didn’t; just...try to be gentle and don't kill me."

"I'm trying not to kill you."

"I know," you encouraged. "I trust you. Drink my blood. Feed on me."

You held your hand out and nodded to your wrist; your neck was already bitten and healing. You both would probably have a better...uh...experience if he fed from there instead.

Eddie released a long breath and rolled his head backwards, hands coming up to his eyes as though it was the most difficult decision in the world. The only decision that mattered.

But, faster than your eyes could see, he was on you, lips and tongue caressing your wrist, lavishing over your pulse. You closed your eyes for a second...until it felt like his tongue elongated and wrapped around your wrist entirely...and they shot open again.

He was too quick though. Another blur of movement, and your underwear had simply vanished and Eddie was nuzzling the softness of your thigh with his nose, smelling the path your arteries, smelling the musk of your sex. You strained your neck to watch him--settled on his stomach, half off the mattress, with one of your legs thrown over his shoulder--but you couldn't hold it for long as he caressed your slit. As he stroked his fingers through your wetness and found your clit, slowly and torturously, as his nose followed the path upwards.

A delicate caress was all it took for the pleasure to invade your senses, ready as you were from all of the foreplay. Your body was primed for more after being starved for so long and only given a taste of salvation from him and his puppets previously. He rolled his fingers over and over, bringing you higher; he was mindful of his claws with each touch and caress, still you felt the cold huff of his breath chuckling when you bore down on nothingness as he rasped the sharp edges over the softness of you just so.

It had always been a game with you, pushing each other further to see who could hold out longer and who would break first--a delicious give and take--but it seemed he was focused on one thing now: a delicious prize for the both of you.

And needed to get there as quickly as possible.

You whined as your body tingled; your pleasure climbed and he hummed, his ministrations getting quicker. Sensing you were close to the edge, he pushed a finger into your heat, then a second, and your hips bucked. If the rasp of his claws outside had created a mix of pleasure and pain, inside it made you question everything. And as he pistoned his fingers once...twice...and pressed on your clit, you found euphoria.

You found Heaven.

And so did he.

You barely registered him biting into you at first, such pleasure raced through your body, but the sting of the first mouthful of blood being pulled from you brought you back to reality.

You rapidly came down from your high, so pleasantly numb, to the sounds of his lewd slurping and gulping of one mouthful then the next. If you had the capability of higher thought, you might wonder if you'd built some sort of tolerance to being feasted on like this, but your focus was on the remnants of your pleasure...and on him.

Eddie let out a delicious groan with a particularly painful pull, and you winced. He mouth released from your thigh with a satisfying pop, and, like a predator, he turned his gaze to meet yours.

Half hidden by the slopes of your body, you could still see the way his nose and lips were stained red. He bared his teeth at you--in a smile or a warning, you couldn't tell for sure--then set his sights back on your center.

Blood made an interesting addition to your own slickness, as he lowered his mouth onto your pussy; you twitched as he licked your essence away, one hunger sated and replaced by another. Gone were his fingers, as he moved your leg off his shoulder and spread you open to feast once more. You bucked against him as he stoked the fires within you again, tried to fight him so you could grind against his mouth, but he didn't let up.

"E-Eddie," you whined and he moaned, tongue thrumming against your clit and then sliding to your entrance to collect the ambrosia that you blessed him with.

You didn't want to beg, especially when you would gladly take every ounce of attention he bestowed upon you, but you wanted him. Wanted all of him. Wanted to see him.

Wanted to be with him, as one.

And the fucker hadn't even taken his clothes off yet.

"E-eddie, please," you cried, unable to convey exactly what you wanted. "I need you."

He clearly took that to mean more and more is exactly what he gave you, enough that should have made you surrender, made you melt for him.

He rolled his tongue against your sensitive nub, let his fangs rasp over you, before he began to suckle your clit and you had to grab his head and tug to try and get him to stop.

This was everything you wanted. But maybe not everything you wanted right now. The denial would be delicious.

Your nails scraped his scalp and pulled at the long strands of his hair until he finally finally released his focus from your quivering cunt.

Both of you heaved and gasped heavily.

He cuffed a hand against his chin to try and wipe off the mix of your blood and slick and you groaned; he didn't have to look so enticing doing something like that.

"So bossy," he grinned naughtily.

He didn't have to look so enticing saying something like that either.

"I am," you told him. "Because I need you--"

"And I was about to let you come right there, sweetheart."

"I need you...I need to feel you," you told him.

"Hmmm, tempting," he inched his way up your body, pressing bloody kisses to your mound, then your stomach. He stopped and rested his chin there.

There was some spike of unidentified emotion inside of you. Wrath, maybe. Annoyance, definitely.

"Don't tell me," you hissed at him. "That you're not looking for your own release."

"I am," he nodded and kissed up. Further and further. Your ribs, your breasts, laying his head there now. You couldn't help but caress his forehead, push his bangs out of his eyes as he stared up at you like you hung the stars.

You could feel him shift, feel the hardness of him straining against his jeans as he squirmed against you.

"Don't tell me that you don't want to fuck me," you whispered. "Don't tell me that you aren't just itching to come inside of me Eddie."

He kissed once against your clavicle, once on the hickey he left on your jaw and then hovered over your lips...

"Please," he whispered. "Let me fuck you."

You grabbed him and pulled him to you, lips crashing and hungry as you took what you craved from him.

Frantic movement on shaky limbs as you both knelt on the mattress and stripped him of his clothes between the clashing of your mouths in desperation.

It wasn't until you needed to part so you could pull his shirt over his head that you paused.

Tension.

It was sudden and suffocating as you finally saw all of him. Your hungry eyes found his cock first, lengthy and hard and fisted in his hand as he rolled his head back on his shoulders with relief for the first time all night. Which was funny because he was not shy about humping a bed once upon a time; had he learned some kind of virtuous patience in the years you'd been away? It was almost impossible to fathom.

But then, your eyes were drawn to the rest of his body.

Your hand went to your mouth in horror as you finally witnessed all of him. Witnessed what came out of the other side after he'd been chewed up and spit out by Vecna and his minions. By the Upside Down.

It was the bite scars that caught your eyes first. Maybe because you had felt the ephemeral echo of the assault for yourself, maybe because they were wide swaths of mangled flesh. Layers and layers and wrinkles and valleys. A piece of his torso practically gouged out on one side, his pectoral muscle shredded on the other, nipple missing.

When he had been attacked, he had been Eddie; when the attack was over he was just...meat. And this was the evidence of that. Some parts had healed to silver or pink, both others were left angry and red. If you didn't know better, you might think he was still hurt; that they were still bleeding.

He had kissed your scars and apologized; he was truly the one who deserved the apology.

The seams were next. Down his limbs, at each of his joints; like he'd been ripped apart and put back together again. Strange lines that carved into him like a dissection. Vivisection, if the screams that you'd heard through his memories were true. There were two prominent ones along his ribs that looked...particularly vulnerable. Then again, it could have been because he bulged strangely there.

He didn't look like your Eddie anymore. Maybe it was because he wasn't.

Well, he was...all of him was. All of him...belonged to your heart. Or, more accurately, your heart belonged to all of him. Been through Hell, and survived.

You'd always thought--and you'd told him once and he'd laughed in your face--that he looked like one of the statues that you loved at your favorite cemetery back home. Carefully carved through time and patience, flaws intentional, but made to be witnessed and celebrated and have people kneel before them.

Yes he made a cocksucking joke.

Now though...he was like stained glass in the chapel. Overall whole, one beautiful piece of art that was made to let the resplendent light shine through. But so obviously complex, evidenced by the thousands of little pieces that made it up. Each one so important to the greater whole.

Different, but still beautiful.

Eddie finally noticed the state of you and he paused; you could feel the waves of doubt come off him as he looked down at himself in shame.

"I'm sorry, I should have wa--"

"No," you closed the distance between you. "Stop. It's...I just...I..."

"It's horrible," he told you. "And there's so much more that you...that you don't know."

"It isn't horrible," you replied. "We have plenty of time; all the time in the world. I'll find out the rest eventually, Eddie. But no matter what...I love you."

His eyes shifted between yours, that unsettling red tinge still there but made less intense by his feast; you knew he was looking to see if you were lying to him.

You hoped he knew that you could never lie to him. Especially about something like that.

If there was something that didn't change about Eddie, it was his smile. Sure his teeth might have been comprised of fangs, and his cheeks stretched in a slightly tense way...but the way his eyes crinkled, the way--even in the darkness--he seemed to light up from the inside. That would always stay the same.

You pulled him to you and kissed him again, soft and full of intense devotion. His hands found you and he guided you back down to the mattress, sweeping away the extra blankets and pillows and remnants of previous carnage, and he settled onto you.

Into you.

He guided himself to your center and with one last glance to make sure you wanted this--you always would, always--he slid into you, and found himself where he truly belonged.

Home. With you.

One hand held him above you and the other roamed, caressing over the slopes and curves of your body, running over your cheek and over your heart for a moment, until it settled at the crux where your bodies met. Your hands searched him as well, determined to commit all of his scars to memory--if not tonight, then one day--when they finally landed on a set of scars along his shoulder blades. Thick and deep, he closed his eyes and you could feel his body twitch with pleasure as you lavished them with attention, your delicate touch dancing over the raised skin.

His pace quickened and he grit his teeth; his fingers danced over your clit to carry you to the peaks of pleasure, caressing your cunt worshipfully as you caressed him within.

As you accepted him--all of him--over and over.

It was a marathon that tested your stamina and willpower but neither of you would let up or stop; you needed this. You both needed this, together; finally with each other.

You could feel it rising within you, your limbs tingled and you began to see stars. You refused to close your eyes, even as Eddie got desperate and ducked his head into your shoulder, hips stuttering as they chased his release, fingers relentless as they chased yours.

You couldn't blame him when he bit your throat, when his fangs slid through the already-abused flesh as you inevitably came. You couldn't be too sure that you didn't pull him into you yourself. The bite, the sting, and the pull of your blood took your rapture to an intensity you'd never experienced before.

You saw the strings of fate, floating around him in that moment, connecting him to you; sparkling lines that shifted and tangled over his skin and onto yours. It was blinding and brilliant, and it made you finally close your eyes to bask in it all.

There was some old story, that humans used to have 4 arms, 4 legs and two heads. And some God thought them too powerful, so They demanded them split for the rest of eternity; those humans spent the rest of their days searching...searching for their other half until they could be one again.

And as Eddie's hips stuttered into yours, as he lost his stamina and finally spilled his release inside of you, as he finally made you his--fully and completely for the first time in what felt like an eternity--that search was finally complete.

“I love you. Even if the Fates unraveled our destiny, I would find a way back to you.”  - Scarlett St. Clair, A Touch of Ruin

Next Chapter: Revelation

#aasb #as above so below #eddie munson fluff #Eddie munson x oc #Eddie munson smut #kas!eddie munson #Eddie munson fic #Eddie munson stranger things #tw: blood #tw: smut #tw: violence #tw: mentions of death

[scarefox]

idk maybe we wait till the drama is over before we do the big judging?

Because so far the drama always played with social expectations vs reality AND we constantly get evaluations and realizations from Nont summing his opinions or change of opinions up in monologues (he is one of the characters kind of representing the popular opinions at first just to learn the other side!)

You have to look at the whole drama and characters developments. not just moments because they all go through good and bad (example) phases.

Let's see where the last 2 episodes go before swinging the hammer?

Reminder: Playboyy is NOT about how the ideal world would look like but it is about how it is right NOW (in Thailand especially). Of course our characters get punished for certain sexual behaviors because that IS how society reacts. Part of the characters even represent some of those stances now and then as example. And us audience feeling bad about it is the goal. Also I think it is very well established that Captain is an ass with the worst morals sometimes. Of course we are not supposed to take his opinions and actions as valid life lessons or message even. We are supposed to dislike him (literally the cast says he is annoying and hate-able).

PLUS very important, a misunderstanding I feel happens with some dramas interpretation: sex positivity does not mean to ignore issues that come with sex and pretend as if there were none... But is especially also about talking OPENLY about those things as well as sexual freedom. There are certain possible dangers of working in the sex industry or if you constantly sleep with different people you don't even know who they are.

(bear with me a lot of rambling ahead about topics I have seen here and there the past weeks)

Playboyy is literally about what Nont says in the fist minutes of episode 1

[..]

(* "can create problems" might be a better wording here in the context. basically "sex is more than just some nasty business" and "sex causes problems sometimes" are two things that coexist)

A lot of the plot is Nonts POV which so far had the theme of Nonts discovery of the variety of sex, human feelings and relationships. GOOD and BAD. As well as the dark side of the sex industry (+ drug and mafia connections). He knew nothing about this world and was / still is very judgy of certain things... like the whole doggo video was about him thinking it's murder when it was actually kink play at the end, which he never considered (that's what I mean with expectation vs reality). The treatment of sex worker (btw intentional of the drama that we see both sides here! Please DON'T ignore that in your judgement of what the drama is telling!), the harsh way he judges Nants drug addiction.

aaand all that combined with these 6 categories for each pairing they introduced via one of Nonts monologues as well:

"Mutualism, Protocooperation, Commensalism, Parasitism, Competition, Predation" (btw not set in stone, they can grow out of these)

Do you guys remember that "Y-Destiny" (same director) was based on the week days characteristics and superstition in Thailand? I feel like Playboyy is a bit similar to Y-Destiny just with these relationship categories.

--

Here just some of the things I remember characters said in response to the happenings in the drama or despite the things happening in the drama (which are mainly based on real life issues I remind you)

on the society AND some characters judging virginity:

(Nants downward spiral only happened because he got coerced into losing his virginity to strangers in an industry you shouldn't go in naive. Meaning he wasn't ready for it and stumbled into things just to prove it to his judgy friends)

ignorance in the LGBTq community (is a thing obviously, see trans & queer exclusionists as worst example)

(this statement was about their physical appearance and age. But is by the only 2 characters who wear support trans and 'fuck gender norms' message shirts)

sex as a taboo topic in society:

the whole sex tape issue:

We have Puen calling Captain out on his bs. We see everyone suffering the consequences of leaked sex tapes. As well as the victims of it but also Captain himself (boy just has no self reflection abilities). But also the question on WHY leaked sex tapes are such a big deal (sex as taboo topic) that someone loses their whole career over simply just bein caught having sex. Making sex tapes such a good blackmail tool as well...

the "sex worker get treated like trash" issue:

again, yes that's the point of showing something like this as real life issues. You can't take Captain, First or even Nonts statements as "this is the shows statement" when they are all portrayed as morally grey till morally twisted even. AND we still have this whole big plot point of Aob and Puen AND Phob constantly showing and talking about the issues they have to deal with as sex workers. (+ the Soong, Teena, Jump at the beginning saying it wouldn't be that bad of a job under better circumstances, if their boss wasn't so horrible. again not just a black and white image here). THIS TOO is part of the show and it's message, which weights way more than Nont calling Puen "that sex worker" or whatever (maybe he doesn't even know his name). Nont is pissy and biased of that whole topic and specifically about Playboyy employees because of his brothers death.

And First being a selfish sadistic prick to said sex workers, when they gave him basic consent is a similar issue he had with Soong in the beginning (him not realizing when Soong is not into it or too tired). He knows that he messed up here, he even admitted it to Soong. My guess is that First and Captain just don't want to admit to the others? That just because they got hurt, they can not hurt others (oh that's a recurring theme in the drama btw). And idk I got the feeling First & Captain being hurt wasn't about Zouey accused them of but them both having some issues which makes them act that way?

Because the following is such a weird thing to say in that context??? (is that their "every episode we remind you this may or may not be a fictional story" thing)

"You think of us as clowns or people who make yourself look like a better person." Spoken like someone who doesn't want to admit he may be not a good guy 🤷‍♂️ aka "Oh you think you are better than me just because I am worse. Everyone hates me because I am an ass" uhm yea.

Anyways Zouey is right about criticizing them for hurting others (not the part where he called them perverted. Look not even Zouey is perfect). And I bet everyone watching it agrees with him on that. It does suck that they made him apologize. But again, First and Captain are both not characters you get your life lessons from, especially not Captain. Also the way the whole apology went was weird with these word plays?? Pretty unserious and deliberate confusing:

Like wtf does that even say? Also we know he only apologizes to get them back to work with them on the case.

---

AND regarding BDSM representation: guys, we don't just have Soong x First on that topic! We have:

Prom x Nont / Nant as GOOD example: contract, consent, aftercare, negotiation, communication (regarding sex! not the case)

Jump x Porsche as BAD example: questionable consent, literal abuse cycle and they basically just vent on each other until they realize how shitty that is. While they do have a contract apparently... they don't really follow it. It's just really sad the creators didn't spend more on screen time with developing their change properly... (bruh they literally cut one scene of Porsche kissing sleeping Jump one morning after, it's in a BTS, they should have kept that to show that they do develop feelings for eo...)

Soong x First is a mix, they both have good traits with each other, but also have/had bad traits (Soong consent issue with Nant) and First DOES have a sex addiction since episode 1. That is one of the main issues Soong has in their relationship. And it then happened that First fell down the bad mental path after some people (+ society) treated him already like a monster (treating someone like something evil they will eventually believe it themselves) and then his support system (Soong) left him. He stopped caring since nobody seemed to care about him. The thing with his dad is that the show mislead us here once again (they love to do that but sometimes it's not well done tbh). His dad is not homophobic. But was just worried about the amount of sex and BDSM / kinks his son participates in (based on prejudice tho). Unfortunately he contributed into that self-fulfilling prophecy that way.

That:

VALID and NOT kink shaming!! Having sessions all the time is big effort and can be overwhelming and exhausting if you have that constantly (especially if Soong does the most work in a role that's maybe not his preference)

The key in those BDSM relationships here is to display that bad communication and bad treatment leads to bad outcome (breaking up, causing eo harm) while good treatment and communication leads to them getting together. Them having a bit less violent sex in between (there are more kinks than just rough sex, fam) doesn't mean they turned vanilla. Like Soong x First in ep12 had some food play again 🤷‍♂️ and idk if Jump x Porsche have sex at all atm and considering their circumstances it makes sense if they don't continue the rough path for now (they didn't even had rough sex all the time prior either. It was just that Porsche used power over Jump + one time switch, now they are probably equal). Even as weirdly uncanny it might feel seeing Prom all sappy and softy when he actually tries to get Nont into a relationship outside of their sex sessions. That's not unrealistic either. Most BDSM folks have more personality and interests than just being into BDSM.

While First had his little downfall we have this statement from Prom as well:

Aaaand I will end it here for now. I am at my picture limit for this post and have a migraine ✌

Bottom line is: wait till the finale is over AND view the whole drama together with all characters paths and statements.

I agree on that some parts are rushed, came too short, some bits appear a bit tone deaf (but that can also just be judged at the end since they still have a chance to come around). 14 main characters at once + all the topics they try to address + the different vibes for each pair + connecting all of that in a murder case somehow is definitely a whole ass mammoth project. It's really difficult to manage the storytelling of that and then also consider the limited time frame.

#playboyy the series #hhhh why did I write that much #anyways cut them some slack man #and maybe don't twist the whole meaning of the drama upside down or even assume maliciousness of the writer when that's not the intention #playboyy

[lvmity]

byler tag these days simulator

🫂 bylerairporthug Follow

Hey guys .am i the only one who doesn't know whats the Waterfalls and village? Can someone let me in on the joke?

#byler #byler endgame #waterfallgate

3 notes

💀 iknowwhatyouarevecna Follow

The way they look at each other in this scene.... please be fr they're so in love like. suffer brothers i will come for you if you don't make Byler canon . im storming into the Netflix studios idc

#byler #st5 #byler is endgame #byler is real

11 notes

👨🏻‍🦲baldmikhailfanaccount Follow

POV its 2025, you're sitting on your couch ready to watch st5 . FINALLY. you press play on netflix. the opening scene . youve eaited years for this moment. tbe camera shows one waterfall. then another. then another one to complete the three. someone's voiceover comes on. it sounds weirdly like finn's voice, but there's something off about it... he comes on screen. it is mikhail. and he is bald. he tells the main characters to not worry, they've found the local village and will be safe from the ud here. you wake up screaming

#byler #mikhailgate #mikhail

19 notes

🎨 what-did-you-think-really Follow

let's not forget what happened with that other actor. please stop speculating on someone's sexuality, it is none of our business and he would have said something.

#byler #<- target audience

12 notes

✉️ lettergate-writing Follow

hii I was thinking and im working on this new au, it would be if mike wasn't that oblivious in ST4 and there was only one bed. anyways lmk what you think im also thinking maybe lettergate? wr all know it's real tbh

#byler #byler fic #also new chapter of my rewrite of freezer scene is up if u. are interested in that then also check out my other works #letterwrites

9 notes

🎉 partyrockismikewheely Follow

Uhhh i was away for literally two weeks what is a waterfall?? Village?? and did we get episode titles

#byler #target audience

15 notes

🐢 bylering4ever Follow

honestly soooo so tired of bi mike vs gay mike discourse. in the end he wants to kiss will byers. who cares

#byler #"it doesnt make sense narratively for him to be x or y" UHHH have you heard of having fun with hcs. #is this your first fandom.

6 notes

🎂 birthdaygate1407 Follow

always thinking about how mike and will are each other's first true loves and they're probably married nowadays, making comics together being successful. i mean, they're old now. and they are still together. man.

#byler #sometiems it hits me. they're so meant to be #endgame byler

23 notes

💇🏻‍♂️ blue-n-yellow-meet Follow

Ok here's some more tweets from that account. Honestly take all of this with a grain of salt as we can't know who's behind this, they say they're working on the set. Possible spoilers.

Read more

#st5 speculation #st5 #anti milkvan #byler #<- Target audience. #stranger things 5

26 notes

💛hearteyes-cgi-truther Follow

HEJQJAHEJJWHSSJ OMG . wraaagehehdgeh

#byler #the way im insane abt them #might even say #crazy #like. they need to kiss. on the mouth #boyfriends

14 notes

#byler #if u have one of these urls plwase do not sue me im nice i swear. this is for fun #so i didnt include assholes in general. biphobes. real life shippers. etc. #fabis stuff

[purpleheartskies]

Robby is the protagonist

... in terms of the role a protagonist plays in a story

Also titled: Robby is the underdog - Part 3

Other posts in this series:

Robby is the underdog - Part 1

Robby is the underdog - Part 1.5

Robby has a Hero's Journey (Robby is the underdog - Part 2)

Robby is the underdog- Part 4

Putting Johnny and Daniel aside for now, I'm going to first focus on Robby as the protagonist amongst the younger generation. Then, I'll go into Robby's importance in Johnny's and Daniel's stories, followed by Robby's importance and role in the dojo war. I'll be making comparisons between Robby and Miguel, specifically.

Protagonist vs main pov character

The protagonist of a story isn't always the main pov character, or may not be a pov character at all. By definition, a protagonist has a specific role in the story compared to a pov character. It's not often that the protagonist and main pov character are separate characters in a story, but there are stories like this. Popular examples include Sherlock Holmes, The Great Gatsby, Willy Wonka and the Chocolate Factory, and To Kill a Mockingbird.

There are different reasons writers may do this:

One reason may be because the perspective of the protagonist isn't as easy to understand and relate to. The Cobra Kai writers have said that Johnny and Miguel are archetypal characters that fans can relate to.

Another reason is to allow for observation, and moreover, to disguise the motivations and intentions of the protagonist. The role of any pov character is to provide the view into the story. They are the audience surrogate. By keeping the protagonist's pov hidden, writers can provide an air of mystery to them, until the writers want the protagonist's view to be known. They can do this either by shifting to the protagonist's pov or by having the pov character(s) learn the protagonist's pov. Interestingly, the CK writers have said that the story is from the bully's perspective. Johnny and Miguel are two of the main pov characters. Miguel has provided the perspective of his and Robby's rivarly so far.

The third reason may be to create irony and juxtaposition. This is in the case that the pov character and the protagonist have opposing characteristics, some that aren't always explicitly portrayed. Although Miguel seemed to be the "good kid" and Robby the "bad kid" at the start of the series, their true characters are weaved into the story. For example, throughout the series, Miguel is entitled, lacks empathy, and doesn't take accountability, whereas Robby exhibits humility, is empathetic, and takes accountability.

The irony can be stretched to outright unreliability. The pov characters' views of the protagonist may be entirely wrong. This is definitely the case for Robby. The story is being told mainly through Miguel's and Johnny's povs, and they are "unreliable narrators". Their povs and the povs that other characters have of Robby are skewed because of how they perceive themselves and how they perceive Robby.

Ali: "You both think there's only one side to the story." Johnny: "I know. There's two." Ali: "No, there's three. There's your side and your side, and then there is the truth."

The purpose of dramatic irony is to present a juxtaposition between what is presented on the surface of a story and what is really occurring under the surface. Doing this adds layers of meaning to the story, offers deeper insights into the thematic principles, and shows the audience something that the characters themselves are missing. In Cobra Kai, these additional layers in the story are present throughout. For example, the contrast in Johnny's behavior with each boy is presented with this juxtaposition in all 5 seasons. Some examples of juxtaposition in s5 include the scene where Johnny calls out Daniel for reeking of booze and then hands him a beer, which Daniel thanks him for later. In this same scene, Johnny claims to have gotten Robby out of Cobra Kai, which is far from the truth. Daniel also said that Johnny cares for both boys, which doesn't match what's portrayed in all 5 seasons. After the apartment fight, Miguel told Robby that he learned karate to find balance and not hurt people, which isn't true. He learned Cobra Kai first, which doesn't involve finding balance. He's also used his karate to hurt Robby multiple times, including choosing the apartment fight so that he could hurt Robby again as he's always felt justified to. Afterwards, Johnny said that the boys beat each other into submission. Also not true. Submission means that one party becomes compliant to the other, and the audience was shown that Robby submit to Miguel. The list goes on. All of this is intentional as it's meant to show the audience that, for example, Johnny hasn't changed---he just believes that he has and tries to present to others that he has---, and that Miguel is the bully and not the underdog character between him and Robby.

If the role of the pov character is to provide the view into the story, what is the role of the protagonist?

The protagonist in a story is the character who offers the most conflict in situations, has the longest emotional journey, and has a primal goal to root for. Their transformation shapes the story's theme. Their choices and motivations affect the direction of the story. They're at the center of the conflict and their decisions push the plot forward. In a story with multiple characters with journeys, there is ultimately one character who is the primary driver of the overall story and their story tells the theme of the overall story. The other characters' can be protagonists in their own journeys but these become subplots of varying levels of importance. The protagonist is the character whose fate matters most. They have the highest stakes and the greatest obstacles.

Compared to Miguel, Robby has all the characteristics of a protagonist.

What makes Robby the protagonist of the overall story?

Robby has a Hero's Journey that is related to the story's theme of "finding balance".

Robby has a "want", "need", and "internal struggle" that drive his Hero's Journey. The "internal struggle" is usually tied to the "need". Miguel has "wants" and he probably has a "need", but he doesn't have an "internal struggle" related to that "need". In fact, he doesn't have much of an overarching emotional journey throughout the series. His injury arc and the Mexico arc for example could have been used to give his story more emotional depth, but they weren't used for this. In fact, those two arcs were used to emphasize that Johnny is willing to sacrifice his relationship with Robby and sacrifice Robby himself to maintain his relationship with Miguel, which in turn resulted in more trauma for Robby and made both his "want" and his "need" harder to achieve. That is, those two arcs served Robby's overarching journey more than they served Miguel's. Along with Miguel's lack of relevance to the overall plot (the dojo war), Miguel's lack of an overarching emotional journey is becoming more and more apparent each season. Miguel overall is a static character. For example, in the school fight, he did "strike first, strike hard, show mercy sometimes". In the apartment fight, he did the same thing, despite his injury and learning some Miyagi-Do. In contrast, Robby is a dynamic character who is constantly growing, positively and negatively, throughout his journey.

Robby's character introduction / Ordinary World for his Hero's Journey was his scenes in s1e4 to s1e5, up to the Inciting Incident. In turn, Miguel has no character introduction that fits the "Ordinary World" stage of a Hero's Journey. His first scenes are introducing himself to Johnny, being saved by Johnny while being bullied, asking Johnny to open a dojo for him, and Johnny eventually telling him that he'll be his sensei. All of those scenes are about the role he'll play in Johnny's character story. His scenes in the next few episodes continue to build on the plot and his role in Sam's story, while not building on his character or his Ordinary World.

Each season, many of Robby's decisions play a crucial role in the story. Moreover, he has a very character-driven story, where his decisions and actions as he reacts (mostly trauma responses) drives his own story, but greatly affects the plot and other characters' journeys as well. In general, Robby's character provides the most uncertainty in the story. For example, Robby showed up unexpectedly at the s1 avt, and Johnny's students using "no mercy" on Robby, specifically, changed Johnny's view on "no mercy" and prompted Daniel to reopen Miyagi-Do. Also, Robby's actions at the end of the school fight impacted all of the characters' stories moving forward. At the end of s3, the most resounding shifts in alliances occured because Robby chose to stay with Kreese at Cobra Kai and Johnny allied himself with Daniel. Even Hawk changing sides was most greatly influenced by Robby's change in alliance. In fact, Robby has played an important role in Hawk's journey despite them barely interacting throughout the series. In s4 and s5, Robby continued to make decisions that impacted the other characters, such as officially joining Cobra Kai and teaching them Miyagi-Do in s4 and deciding to stay and help Johnny find Miguel after Johnny ditched Robby at the bus stop in s5.

Robby's had independent arcs and is the only teen with side characters meant for him only and whose involvements served purposes in his arcs. In s1, he was dealing with his partners-in-crime and bullies, Trey and Cruz. In s2, he was dealing with Shannon abandoning him. In s3, he had his juvie arc with Shawn. In s4, he mentored Kenny. In fact, Kenny's introduction and character journey were created as an extension from Robby's character journey, which hasn't been done for any other kid. Robby continues to play an important role in Kenny's journey.

Robby is distinctly given the same importance as the senseis. He mentored a student, taught an entire dojo a style of karate, and was the "next one to land on their arms" when Silver and Kim were talking about Daniel, Johnny, and Chozen being pests. Robby is the only kid to fight alongside a sensei (Johnny). Robby is also the "mentor" trying to resolve the rivalry between Kenny and Anthony.

Robby is being built up as a leader / central figure for the kids. In s5, Robby was shown in a front & center position for both dojos in s5.

Robby is the only character to be in one of the conflicts in every mid-season episode and finale since s1e10:

s1e10 - avt final match

s2e5 - mall fight

s2e10 - school fight

s3e5 - juvie fight

s3e10 - dojo fight with Kreese and Johnny

s4e5 - Cobras shaving Hawk's mohawk

s4e10 - avt final match

s5e5 - apartment fight

s5e10 - dojo brawl

Robby is the most connected overall to all the other characters. For example, in s5, Robby directly influenced or interacted with the following characters: Johnny, Daniel, Miguel, Tory, Kenny, Carmen, Sam, Hawk, Demetri, Anthony, Chozen, and Silver. Robby was mentioned in important scenes by Shannon and even Kim when he wasn't present.

Robby's portrayed to have deeper connections with Sam and Tory than Miguel has with them. While Robby was in Miyagi-Do, he had the "love story" with Sam, the main girl in Miyagi-Do. While Robby was in Cobra Kai, he had the "love story" with Tory, the main girl in Cobra Kai. Robby's relationships with each of them were developed slowly as friendships first. In turn, Miguel started dating each girl soon after the first time he talked to them. Robby had the "meet cute" with Sam, while Miguel just stared at her from afar because she was with another guy. Robby got the prom entrance and main dance, despite not being a student in school, while Miguel watched Robby steal the show. Robby has fought successfully alongside each girl: Sam in the s2 mall fight and Tory in the s4 prom fight. Despite being broken up and in other relationships, Robby and Sam still have a deep connection, like Robby appearing in Sam's dream and them still being able to do the wheel technique in s5. In turn, Miguel and Tory have shared just one "moment" (during the prom fight) together since their break up.

Between Robby and Miguel, Robby has the traits of a traditional hero, rejects the toxic empowerment of Cobra Kai philosophies, and is the best example of positive/healthy masculinity in the story. Rocky is referenced a lot throughout the story as someone Johnny looks up to. Rocky is a popular protagonist, underdog character, and example of positive/healthy masculinity in film.

Throughout s5, the narrative did an interesting recap of Robby's journey. References to or redos of moments from Robby's character journey from s1 to s4 were sprinkled throughout the entire season. (This is yet another post or series of posts I can make.) This makes sense because Robby is the protagonist, and s5 was priming the audience for Act 3.

Although the story started with Miguel as seemingly the protagonist, Robby's role as the actual protagonist becomes more apparent at the end of s1e5 and more so as the series has gone on, making Miguel a "false/decoy protagonist". In s1e5, Robby's story picked up with the Inciting Incident in his Hero's Journey.

Miguel hasn't been an underdog since he beat his bullies in s1e5. Even after his injury, Miguel has resumed his position as one of the top fighters, if not the top fighter. Robby wins important fights, but by the end of s5, he has lost two avts and lost to his bully/rival. Robby started out the series with the most odds against him. Going into the final season, he still has the most odds against him and is even worse off than at the start of his journey. He faces the greatest obstacles and has the most uncertainty and stakes for his future. The Karate Kid story is about the underdog winning in the end against all the odds that are against him/her. Robby has the greatest odd against him, making Robby the underdog in the story.

Robby's importance in Johnny's and Daniel's stories

Robby has always played an important role in Johnny and Daniel's rivalry. In s1 and s2, Robby was the link between Johnny and Daniel. He was a reason for contention between them in a lot of their scenes in s1e9/10, s2e1, s2e5 (Johnny found out that Robby was living with Daniel), and s2e10. In s2e10, Robby suggested that Johnny and Daniel can learn from each other. In s3e2, Daniel and Johnny teamed up to look for Robby. In s3e8, they both came to juvie to pick up Robby and argued. In s4e1, Sam approached Robby believing that he was needed to unite Johnny and Daniel. This was despite Robby choosing to stand against them and with Kreese the last time they saw each other. Sam even went behind Miguel's back to do this. In s4e5, Robby and the Cobras shaving Hawk's head led to Johnny and Daniel's already weakened alliance falling apart because they disagreed on how to handle the situation. In s4e10, Robby teaching the Cobras Miyagi-Do led to Daniel teaming up with Johnny to coach Sam in her match. Even though Robby wasn't physically present with Johnny and Daniel, he played a critical role in affecting their alliance in s4. In turn, Miguel was clearly used as a plot device in Johnny's rivalry with Daniel in s4. Miguel has no significance in Daniel's story otherwise. Meanwhile, Robby has deep connections with both Johnny and Daniel since s1.

Amongst the kids, Robby narratively plays the most important role in Johnny and Daniel's stories.

In the opening shots of Johnny's story and the series, Robby's picture is shown on Johnny's fridge setting up Robby's significance to Johnny almost immediately. Johnny's relationship with Robby is the first relationship introduced for Johnny's character in this series. They have very few scenes together other than the Mexico arc in s5, but their relationship overshadows Johnny's character journey. The goal of Johnny's redemption as a character is his "need" to fight his inner demons and make amends with Robby.

"I love you too Robby"

Subtle similarities are shown between Johnny and Robby throughout the series using various shots or actions. For example, Robby and young Johnny put their headphones on to block out their parents, the way Robby is dejectedly sitting and eating a sandwich in s3e2 is exactly the way Johnny is dejectedly sitting and eating a sandwich in s2e5, the shot of Robby going to Kreese at the end of s3e8 is framed similarly to the shot of Johnny stopping Kreese at the end of s2e1, Robby's fight with Kenny in s5e10 is similar to Johnny's fight with Robby in s3e10, and Robby's most used move is sweeping the leg (Johnny's iconic move from kk1) though Robby is never shown learning that move.

Johnny and Miguel's popular and seemingly generic sensei-student story has always been overshadowed by Robby's existence in the story. It makes Robby an unpopular character, however his existence is the basis of Johnny and Miguel's relationship. Robby was right when he said that Johnny is just using Miguel to feel better about screwing up with Robby. Robby's existence is one of the greatest subversions in this "deadbeat loser meets a kid who changes his life" and "underdog kid meets a mentor who helps build him into a champion" generic story. In fact, the generic layers of Johnny and Miguel's story have lost emphasis as the series has gone on, and they're both somewhat sidelined in the dojo war, Miguel much moreso than Johnny has been.

Meanwhile, Johnny and Robby's relationship continues to be a highlight. Kreese and Silver make a point to remind Johnny that Robby is his "real" son and remind him of his failures with Robby. Kreese wanted to pass down his legacy to Robby because he's Johnny's son. Narratively, Robby is Johnny's weakness, and Kreese and Silver use Robby against him. In s3, Bobby met Robby in person and experienced Johnny choosing Miguel over Robby. Ali asked about Robby specifically, despite seeing Johnny's Facebook page filled with pics and videos of Miguel.

Throughout the series, there is an overarching plotline since s1e4 that Johnny chooses Miguel over Robby. In s5, the Mexico trip and apartment fight were used to portray the continued dysfunctional dynamic in Johnny's relationship with Robby: Johnny will choose the Diazs over Robby, even if Robby is compliant to Johnny. After Johnny found out about the baby, Johnny kept bringing up his failures with Robby, even late into s5. In fact, the last statement made by a character about Johnny becoming a father again is Silver's jab that Johnny will "screw up another kid", a reference to Johnny's abysmal behavior with Robby. The statement was bookended by scene transitions between Johnny and Robby. (End of this post.)

In s5, Johnny kept mentioning his failures with Robby when it came to the baby plot device. Johnny obviously hasn't been redeemed, as he himself keeps bringing up his failures. (Another example of irony and juxtaposition in s5.) The plot device baby had the greatest impact on Robby's character journey though, not even on Johnny's. Johnny once again went through his round-about arc of trying to change but ending the same, as in previous seasons when he's tried to make positive changes. The impacts of the plot device on Carmen and Miguel were barely explored. Johnny used the baby to force a violent "resolution" to the rivalry, which Robby lost. (Again, more juxtaposition. Johnny is failing Robby more as Johnny selfishly prepares for the baby coming and tries to use the baby to make up for screwing up with Robby.) After Johnny accidentally dropped the baby new, Robby completely adopted a fawn response and spent the rest of the season people-pleasing.

In Daniel's case, Robby is the student that Daniel has the greatest attachment to, aside from his own kids of course. Robby, not Miguel, is the most connected and cared about by the LaRussos, especially the OG Karate Kid. Daniel wanted to be a Mr. Miyagi to Robby (though Daniel has failed in doing so since s2e10).

Compared to the other mentor-mentee pairs (Miyagi-Daniel, Johnny-Miguel, Robby-Kenny), Daniel offered to train Robby (Robby's Call to Adventure). In s1, Robby is shown receiving the Miyagi-style training from Daniel that Daniel had received from Miyagi in kk1. In s2, Robby helped Daniel rebuild and bring back Miyagi-Do. Daniel brought Robby into his home and called him family at one point, fulfilling parental responsibilities for Robby in addition to being his sensei. After the school fight, Daniel searched continuously for Robby for 2 weeks. After Robby got out of juvie, Daniel went to pick him up and told him that Miyagi-Do will always be a home for him. Later, Daniel was so worried about Robby that he was taking it out on his students. In s4, Daniel went to warn Robby about Silver. In s5, after Daniel gave up his fight against Silver, only Robby was able to convince him to come back to the fight, showing just how important Robby is to Daniel.

Robby played a role each time Daniel closed Miyagi-Do. At the end of s2, Daniel closed Miyagi-Do because of Robby's actions at the end of school fight. At the beginning of s5, Daniel closed Miyagi-Do because they lost the tournament. Although they lost because of Silver paying off the ref, Robby teaching the Cobras Miyagi-Do had put Miyagi-Do at a noticable disadvantange, to the extent that Daniel gave Robby a talking to about giving Miyagi-Do "secrets" away.

Although Miguel is Sam's boyfriend, he barely has importance in Daniel's story or to the LaRussos. Daniel had no conversations with Miguel in s5 despite the time they spent together in s4. Amanda and Anthony haven't even spoken to Miguel alone, while Robby has had one on one conversations with each of them. Anthony praises Robby's karate and looks up to him, while not interacting much with Miguel. Anthony was excited about karate for the first time while watching Robby fight Hawk in the s1 avt. Anthony is connected to Robby through the rivalry with Kenny, which is Anthony's most important storyline.

Robby's importance and central role in the dojo war

Throughout the series, Robby has been at the center of the dojo war between Miyagi-Do and Cobra Kai. In s1 and s2, Robby linked Daniel and Johnny. In s3, Robby was the only kid approached by all 3 senseis. Each offered him a place with them. In s4, Robby was the only kid to have one-on-one scenes with each sensei. In s5, he was the only one in Miyagi Fang who had people in Cobra Kai that he cared about. (I'm not counting Johnny and Devon cause Johnny forgot about her pretty quickly, while Robby kept making efforts with Tory and Kenny and had rejoined Miyagi-Do to take down Silver to help them.)

Robby is the only one of the kids to have had full season arcs in each dojo. Robby is also the only kid to have fought in a final match in both avts and for each dojo in a final match: Miyagi-Do in s1 and Cobra Kai in s4. Interestingly, both times he wasn't wearing the dojo's emblem when he finished each match. He was wearing the plain white gi in s1 and took off his gi top in s4. At the s4 avt, the two main dojos in the dojo war were introduced with reference to Robby.

In contrast, Miguel's role in the dojo war has noticably diminished since the school fight. This is another reason Miguel fails to fulfill the role of a true protagonist in the story, as many are starting to notice. Overall, he's mostly been a supporting character to other characters and is a foil to Robby's character. The injury and Johnny creating Eagle Fang effectively sidelined Miguel in the dojo war, while still giving him some scenes here and there to make it seem like he has some relevance to the overall plot in s3 to s5. Johnny is still pulled into the dojo war from time to time because of Daniel, Kreese, or Silver. Johnny also helped coach Sam in the s4 avt final, making Johnny as a sensei significant during the avt finals, while Miguel ran off to a plotline that essentially went nowhere for him.

Of all the kids, the cycle of generational trauma is being passed down to Robby specifically from all the senseis: Kreese to Johnny to Robby (as emphasized in the s3 finale flashbacks and confrontations at the dojo) and Silver to Daniel to Robby. (Daniel's history with Cobra Kai affects his view of Robby, "too much Johnny in him".)

Robby in turn has tried to mentor Kenny better and actively try to break the cycles of generational trauma from both Johnny and Daniel. In s5e4, Robby told Kenny a combination of what Johnny told Robby about Kreese in s4e4 and what Daniel told Robby about Silver on s4e6 wrt Cobra Kai. In addition to dealing with external rivals, he has the greatest internal battles out of all the kids. As Daniel said, "The biggest battle is always the one within."

Robby has been using both styles of karate to try to cope with his "hate"/traumas and "find balance", the goal of his character journey. From late s1 to the end of s2, he tried to follow the Miyagi-Do way of finding balance but failed. In late s3 and to the end of s4, he tried to use Cobra Kai to channel his anger into fighting to help him find balance but he quit Cobra Kai after his match with Kenny because of "what it turns you into".

In s5, Robby wasn't focused on finding balance but was instead focused on dealing with his situation with Johnny and Miguel and with trying to take down Silver and Cobra Kai. Interestingly, Robby rejoined Miyagi-Do, instead of Eagle Fang, in his fight to take down Cobra Kai.

Robby carries the essence of Miyagi-Do with him, wherever he goes, including juvie (The Heart of Miyagi-Do - Part 1 and Part 2). Although, this show is called Cobra Kai. Cobra Kai represents the generational trauma that is being passed down from Kreese to Johnny to Robby and from Silver to Daniel to Robby. Miyagi-Do is presented as the opposition to Cobra Kai: The goal of Miyagi-Do is to teach a better way. In fact, all the important avt final matches and the ST trial matches were Miyagi-Do vs Cobra Kai. The whole goal is to take down Cobra Kai. In s4, Robby beat the whole Cobra Kai dojo using Miyagi's teachings. Of course, the kid who carries the essence of Miyagi-Do will be the one to take down Cobra Kai for good in the end.

In a story about every character having their own pov, Robby's pov not being shown is significant. At this point, Robby has been wronged by the most characters, especially the "good guys". In s5, he had one-sided "resolutions" with these characters. So far, the "bad guys", Kreese and Silver, haven't hurt Robby to the extent that the "good guys" have. The writers have said that every character is gray. Robby's pov of the characters would support this notion. The fact that, in s5, Robby can stand up to Silver fearlessly but can't stand up to Johnny without fear of abandonment speaks to this.

s6 is Act 3 of the story. Act 3 is when there is usually a significant paradigm shift for the characters. In s5, Robby's one-sided resolutions and the "recap" of his story from s1 to s4 indicate that his side of the story is yet to be told but is now set up to be told. In s6, the writers could shift to telling the story through Robby's pov, or they could continue to tell the story through the other characters' povs and have them learn and understand Robby's pov.

Johnny's redemption as a character lies in his relationship with Robby. If Johnny were already redeemed, he wouldn't be repeatedly bringing up his failures with Robby himself throughout s5, while he is shown continuing to fail Robby. Since s1e4, Johnny has been using Miguel as a do over. Since s5e3, Johnny has been using the baby as a do over. The Diazs and the baby are plot devices to make Johnny's relationship with Robby worse. By the end of s5, Johnny has everything to lose, which he even foreshadowed in his self-centered speech to Carmen, while Robby has nothing to lose including himself, which he gave up to stay in Johnny's good graces. Miguel is Robby's bully in the story. If Johnny starts to learn Robby's pov, not only would Johnny truly realize how and how much he has hurt Robby, Johnny would also realize that he trained, supported, and enabled Robby's bully to hurt him and get away with it as long as his bully "shows mercy" in the end.

In s5, Daniel relied on Robby to get back into being a sensei. He'd told Johnny to ask Robby how much he'd helped Robby. Robby is the student that Daniel has failed the most. In s5, Daniel repeated exactly what he'd said to Robby in s3, and Robby side-stepped Daniel's apology. To repair their relationship properly, Daniel has to actually listen to Robby's pov. Daniel also has to come to realize and accept that the teaching "no bad student, only bad teacher" applies in his relationship with Robby. He has to let go of the belief: "I'm willing to admit when I fail, or maybe Robby has too much of you [Johnny] in him."

This is Johnny's redemption story, and Johnny has failed his Robby his whole life including all 5 seasons. Robby is also Daniel's most important (non-related) student, and Daniel has failed as Robby's mentor. Johnny's and Daniel's character journeys won't be complete until they start repairing their relationships with Robby, start helping him overcome the odds that are against him, and support him to win the world tournament and succeed in his future.

Robby is the protagonist in the story. He has been since the start.

Cobra Kai has always been Robby's story.

Some references:

https://www.helpingwritersbecomeauthors.com/

https://www.studiobinder.com/blog/

https://thewritepractice.com/

(Note: Please don't reblog/reply with any dismissive comments/tags about the show writers, the writing, or the serious aspects of the show. Such comments/tags minimize the contents of the post. This blog (link) explains my general thoughts about posting after s5.)

#cobra kai is robby's story #robby keene

[chirpsythismorning]

This post reminded me that Mike didn’t ask Will if he was okay at all in season 4… however:

You were rolling your eyes, you were- you were moping, you were barely talking, you basically sabotaged the whole day!

*admits subtly that he noticed based on Will’s behavior that he wasn’t okay*

I didn’t say it! / You didn’t have to.

*admits subtly that Will doesn’t need to spell stuff out (or even say anything at all) for him to understand*

At times when the audience is getting signs that Will isn't okay, Mike has been right there asking because he rightfully sensed it. Like, this has gotta be the most consistent thing about Mike's character over the course of the series, which that original post proves (though it's missing the iconic He's quiet today.! Are we forgetting anything else?!).

Despite s4 presumably stopping this trend, they're still showing us subtly that Mike is taking notice:

This shot above is unique because what it does is use framing/camerawork to hint to the audience that this is arguably Mike's perspective.

At the start of this shot, both El and Will are framed fairly equally, with Mike being the last to join the frame as the camera dollies out. This allows us to feel like we're seeing what Mike is seeing, whether we realize it or not. By framing the shot this way, they're telling us that Mike views both El AND Will as an option. El, because they have a history romantically and it's sort of an easy path for Mike to stay in for the rest of his life. Will, his best friend with whom he has very strong (romantic) feelings for, and so he ranks high up in Mike's line of focus among El, his girlfriend.

This shot above also shows us Mike staring at Will, if only for fleeting moment. But, it's there.

These tiny moments are important, because despite them existing, a vast majority of the audience didn't pick up on them, including most bylers. They're your standard blink and you'll miss it moments.

Because yeah, maybe Will does feel Mike's eyes on him, but the second Will looks to check, Mike isn't looking. Or most of the day, Mike did in fact look like he was having a jolly old time.

This is what's being presented to us blatantly, out in the open, and with Will at the center of it all..

The truth is, while we think we're getting Will's POV exclusively, most of the time, we're getting his and El's AND Mike's. It's just that they go about all of their POV's differently, but especially Mike's. His follows a formula of subtlety like 99% of the time. That small meager 1% where they let us see the truth, varies from outrageously subtle to subtle.

Here, Will is understandably confused by Mike giving him a play-by-play of his behavior throughout day. After all, from Will's perspective, aka the unreliable perspective the audience is being fed, Mike wasn't even looking at him. Again, if anything Mike seemed like he was having a good time up to this point. And so upon hearing this, Will, and arguably anyone watching this scene for the first time, was probably left thinking, 'Wait?.. What?"

I have a theory, which honestly isn't that far fetched, seeing as it works in tandem with how a lot of this season has presented POV in a multitude of ways, whether it be lighting, framing, blocking, camerawork, editing, dialogue, etc., they are definitely giving us hints.

These posts (here, here) will be helpful to understand everything that follows in terms of context, so I do recommend checking them out!

Basically this theory holds weight to me because of what is being blatantly shown to us: Mike ignoring Will/having a great day aka Will's POV vs. what is being subtly shown to us: Mike glancing at Will when Will isn't looking/telling Will that him showing signs of not being okay ruined the day aka Mike's POV.

I've also done a post on El's POV which may very well hold the truth to everything, even more so than Will and Mike's POV's , so please check that out if you want your mind blown.

Now, when I say POV, I'm being as loose as possible in my definition. We know that it's a camera, not literally the eyes of the person's perspective we're in (though that can be a technique in and of itself).

An OTS (over the shoulder) shot is the best example of how perspective tends to operate in film. And we saw how that technique in particular was used a lot in the van, monologue, and cabin scenes. Those are arguably more blatant examples in s4 of POV shots.

However, shots that are hinting at a specific POV don't start and end with OTS, nor shots using more literal POV techniques. There's other ways to hint at POV/inner feelings. It's even possible for one shot/sequence to represent multiple POV's at once. It sounds complicated, but it's really not.

Although Will's perspective is the main one we're being fed, it's not the whole truth, or it's at least missing an important detail...

It's not until we're given that crumb from Mike himself, in which he spit-fires out a list of Will's actions throughout the day, that we get any sort of context for Mike's aloof behavior. This line alone reveals to us that there is apparently a lot more to these scenes than meets the eye, when it comes to how Mike is behaving vs. how he's actually feeling.

Because if most of the audience is convinced Mike never looked at Will, just like Will is convinced, then that puts into question when exactly Mike would’ve even been looking to pick up on all of this, enough for it to ruin the day, and despite him behaving like he was happy as ever...?

And so, the answer?

Arguably, literally any time Mike was out of the frame, but especially when Mike was out of the frame while Will is in the frame, front and center (aka most of s4?), are fair game for times Mike could’ve been looking at Will. It's just that what we're being shown is not Mike actually looking and reacting each of these times. Instead, we're shown what he just literally sees, which is Will...

And that's what makes the following scenes with Angela and El extremely important, because they support this theory, heavily.

As El, Angela and her minions all skate away, we see Mike and Will stay behind in the booth. We then get a reaction shot with both of them in the frame. But the thing is, reaction shots usually require reactions.

While Will is standing up, looking visibly concerned for El, because he actually has the context for what's going on, Mike contrasts greatly in comparison.

Mike goes from looking back and forth between where Will was sitting across from him, to the direction El and Angela just rolled off to, only to look away the instant Will is fully standing and staring off in that same direction.

Mike then proceeds to give us no reaction, in what is presumably a reaction shot. It's as if Mike is not feeling any emotion at all, which is kind of a hard thing to do if you really think about it.

Especially when it comes to a character like Mike Wheeler, whose literally known for his dramatic facial expressions, meaning him not showing any emotion at all, for most of this sequence, likely required quite a bit of effort on his part...

Mike's 'reaction' is so vague that I can guarantee most of the audience wasn't even paying attention to him for this shot. And quite honestly this could apply to a lot of Mike's scenes this season, where whenever the two of them are having a heart to heart or something of that nature, the viewer's eye gravitates towards Will (also my theory for why the ga is convinced Finn is a bad actor, which is bc he is acting as a character whose also acting. Mike is leaving us in the dark about everything he is thinking and feeling, by only showing us what he literally sees, which is WILL WILL WILL).

The van scene is one good example of this, where so many fans still aren't aware of Finn's micro-expressions and what they clearly mean, all because they were too busy giving all their attention to Will's speech and his emotions (we're just like Mike fr).

And so here we have Will in the forefront showing a lot more emotion in this particular shot (he has our attention), while Mike is in the background, casually taking another sip of his milkshake.

But why is Mike busying himself with his milkshake in the first place? Why isn't he still looking at El and her friends like he just was? Or why doesn't he just look up at Will to start a conversation?

Instead, what we get is Mike distracting himself...

And it's because, just like Will's perspective of this day, Mike's context for everything up to this point is nowhere close to the truth, if anything it's even further from the truth than Will's.

Although I already linked the refresher course(s), I'm going to give a more detailed refresher, bc a lot of it was only images w/out context:

Mike thinks Angela is not only one of El's new friends in Lenora, but also the girl Will made the painting for (both of which he read about in her letter at the start of s4). Mike tests out this theory when he asks Will about the painting at the airport, only to be shot down. In Mike's eyes, this supports El's theory that the painting is likely for a girl. Still, it appears Mike hasn't totally given up on getting some answers, and so (glancing at Will) he mentions the possibility of them running into friends. This causes Will to interrupt with the comment, Friends? What friends?! To the audience, this is Will making a confused remark about the fact that El has no friends. But to Mike, Will's comment comes off as a nervous Friends? What friends?? Which friends? You mean her?? And so when El says, You know, Stacy and Angela, Will's worried response Angela? is again, a worrisome realization on Will's part that El is lying to Mike (WE the audience understand this). However, to Mike, it's Will singling out this girl's name because she is THE girl (Maybe it is for a girl! I think there is someone he likes...)! But then El is saying that they'll meet her friends another day, reassuring Mike that today is just about him and her. And Mike looks pretty smug about this reassurance, followed by kissing El's forehead dramatically as they walk out of the airport. Mike then begins to associate Will's moping for the rest of the afternoon, with him being bitter that they're not going to run into Angela like he'd probably hoped, so that he could give her the painting. Mike continues to play the part of perfect boyfriend, especially now after assuming Will is, for the very first time, pursing a girl... "I mean what did you think? Really? That we were never gonna get girlfriends.--" Oh, how the turntables.

And so now, looking back at this shot and this whole sequence, within the context of Mike thinking Angela is the girl Will made the painting for, makes Mike's behavior a whole lot easier to understand.

Also, what makes the very end of this shot, just so fucking crazy to me, is that, for a split second, we see Mike's facade start to crack. For a split second, as the camera starts to hone in on Will, with Mike slowly exiting the frame, it's at this moment that his signature annoyed scowl makes an appearance. But then poof, he's gone.

And isn't it so convenient that they're cutting us off, right before we could get to the part that would've revealed Mike's true emotions during this moment? And that it ends with us focusing on Will...?

Let’s try to understand this even more, because I feel like so much gets overlooked about these scenes at Rink-O-Mania.

Mike had spent all day trying to ignore the fact that Will was clearly not okay. What he would usually do in that situation, is just ask Will, 'Hey, you okay?'. But Mike wasn't being his true self during these moments. Argyle even prefaced Mike's behavior in this episode by calling his shirt a shitty 'knock off', just like how Mike was acting, FAKE!

If it were any other season, Mike would've asked Will if he was okay. Instead, for the first time, he's now bottling up that instinct. But why?

I think it could be a combination of things honestly, and that's probably most likely.

I think after the reunion at the airport, Mike came to the conclusion Will was showing symptoms of experiencing a crush on a girl, genuinely, for the first time. And so as this is starting to unravel, Mike's going from wanting to get to the bottom of it, only to backtrack, wanting to abort the mission entirely.

I also think a part of it could be that, Mike himself is obviously not okay. And so maybe he feels slightly unequipped to handle asking Will if he's okay, knowing deep down he's not okay himself.

I also think that, this is a TV show. And so if they're choosing to not let us see Mike's true emotions outright, specifically in relation to him picking up on Willis behavior, then there must be for a reason for that, right?

It must be because the surprise they're saving, relies on us assuming for now, just like Will, that Mike doesn't like him back. Everything taking place as of now is moving the plot forward, with a plan for this revelation to be revealed closer to the end, as opposed to now, in the beginning of the end.

Having Mike blatantly stare at Will the whole season, out in the open, would've made the revelation that Mike feels the same in s5, anti-climactic. However, having subtle evidence that Mike was staring at Will most of the season, which most viewers missed all the signs of, despite them being there, is going to make the revelation that Mike feels the same in s5, epic.

On top of everything going on, I think it's important to also acknowledge that Mike feel's indebted to El. He will never not feel like he owes her everything, and that she deserves the world. And so this whole situation isn't just about Mike's repressed feelings or insecurities or whatever. It's also about Mike trying as hard as he can to be who he thinks El deserves and therefore who she needs him to be. It's the least he can do.

Only problem is, that person is not him and it can't be him.

And so we see Mike overcompensating because he feels like El deserves these gestures and there is this expectation of what they should do because they're bf/gf (THATS BC SHES MY GF, WILL). There's the pressure of that on its own, combined with Mike grappling with Will's behavior over his crush on a girl, which just makes Mike feel even more insecure about his relationship with El.

Arguably, for a while now, Mike has probably become somewhat aware that he doesn't have as strong of romantic feelings for El as he might've thought he did at one point, or even lead her to believe. And Will presumably gifting this girl a painting... like, it's got Mike really self reflecting like, 'SHIT! I'm clearly not down that bad for El... and so, does that mean--'...

This huge insecurity for Mike, with the whole I love you thing, is just getting so big that he can't ignore it anymore, because he KNOWS what he sees as real love, ie, his feelings for Will + what he assumes to be Will's feelings for this girl, and that.. that's not what he feels for El. And so he holds himself back from taking that step in saying it, all this time, because he doesn't want to lie.

And yet, he still tries.

He tries to act interested in everything El has to say. And it's not even that he's not interested in what she has to say, it's just that this act of ignoring the fact that Will doesn't appear to be okay, while also acting like he's having the time of his life, requires a lot of focus. And even despite his performance being pretty believable, the truth behind his actions still falls through the cracks.

I saw someone post about this recently (if anyone knows who, pls comment), and it's this shot with the three of them in the booth at Rink-O-Mania, where we see El resting her hand, palm up on her lap under the table, in a way that makes it look like she's waiting for Mike to take it.

Holding hands under the table is the kind of gesture a couple does when they want to share a moment of intimacy, without making others around them uncomfortable over their PDA.

But that's the problem isn't it? Mike is overcompensating with a lot of these gestures he does with El, like bringing her flowers, putting his arm around her, kissing her forehead, holding her hand. He's not doing these things because he wants to have this kind of intimacy with El (we know that he doesn't because he literally squished his gift for her, in between them when they reunited, so that he had an excuse for them to separate), but because he wants to be who El needs him to be. He also wants to be believable in his performance that he's not shitting bricks over all of this back and forth with his best friend.

And so what even is the point, if no one can see Mike's hand holding El's under the table? If Will can't see it?

Then to top it all off, in the middle of Mike's subtextual dig about how his milkshake is 'better', suddenly Angela is rolling up to them.

And it's at this point that Mike's whole facade really starts to crumble, where he can't even fully pick up on what is happening with El and Angela, because he's too distracted by Will, followed by trying way too hard to act like Will 'longing' for Angela is not affecting him (NO BUT WHY IS MIKE LITERALLY THE 'IM FINE THIS IS FINE' SIPPING HIS COFFEE WHILE THERE ARE FLAMES SURROUNDING HIM GIF HERE???).

What I love about this shot is that it can easily be overlooked and confused with Mike genuinely not caring about Will at all. And that's what is so incredible about subtlety. Something as subtle as no emotion at all on Mike's face, a renowned facial expression enthusiast, can somehow say so much more about Mike's true feelings for Will, than an outright look.

For this whole shot, we're assuming we're in Will's perspective, which happens A LOT of the time in s4 (even in Milkvan scenes) because like I said, whenever Will is in the frame while Mike is also present, we tend to hone in on him a little more than the others (THAT'S INTENTIONAL).

Still, whenever you see Mike creeping out of the frame, we now know it's arguably fair game that Mike could be staring at Will at this very moment, while Will, and the audience, are distracted.

Which is why this happens...

We do not get any shots of Mike at this time. Until....

The second Will voices worriedly, "Oh no!" Mike is jumping out of his seat, standing next to Will, turning to face the same direction as him, like, "What?"

I'm sorry but, it's just not natural for Mike to have responded to Will instantaneously like this, within the context of what he was doing the last time we got a shot of him, especially in this case, where Will wasn't even speaking directly to Mike.

The only way it makes sense for Mike to have spawned beside Will like that, is if Mike was already looking at Will...

Him responding that quickly, meant looking at Will while he spoke, hearing what he said, and seeing where he was looking, so that Mike could jump up that fast, ready for whatever Will was reacting to.

Will is reacting to the scene of El and Angela in front of him.

Mike is reacting to Will react to the scene of El and Angela in front of him.

I want to bring up @dinitride-art's Lighting and Mike and Will and El - Full Analysis posts (specifically the ones related to Rink-O-Mania, but there are plenty of others they have in that thread, that could help everyone try to better understand a lot of s4 scenes as well). Without them, I never would've realized a lot of this.

The main points I want to touch on from their analysis', is the use of the disco ball in these scenes at Rink-O-Mania and how they often operate to tell a story, one that often has Will at the center...

Let's try to keep in mind that disco balls often act as focal points whenever they are in a space, in this case, the rink at Rink-O-Mania. Disco balls are covered in mirrors, which reflect tiny beams of light throughout a room... Are you catching my drift?...

Yes, undoubtedly, lighting plays a big part in telling the story, along with music!

@lesbianmindflayer has done a video on this, but basically the lyrics to the song You Spin Me Right Round (Right Round) are also hinting at POV and context to these scenes, like music often does in ST.

One specific example she uses of this disco ball in action (combining both lighting, framing, camera-movement and music,) is when we go from Mike's POV, with the disco ball above Will (Mike being bummed Will didn't even look at him or laugh at his sock joke) to El's POV with the disco ball above Mike (El after being called out by Will that Mike is going to be mad when he finds out she's been lying).

So, keeping all of this in mind, watching Angela drag El to the middle of the rink, directly under the disco ball, with that snarky 'stay put!" comment, only to laugh knowingly... followed by Mike finally paying attention to El properly???? And this is what it took??? A spotlight?? And not only that but Will directing Mike's focus to it like, 'Hey, dude! Maybe pay attention to your gf bc she's having problems here' (I'm sensing a pattern...).

Unfortunately, it's too little too late.

As this is all coming to a head, Mike feels horrible about being too distracted with the fact that Will wasn't okay, that he wasn't able to pick up on the fact that El wasn't okay either. And so tries his best to fix things by getting the music to stop and to go comfort El.

But then El's running away, out of the spotlight and fittingly out of Mike's focus.

While looking for El, him and Will begin bickering.

Now, Mike knows the painting must not be for Angela. He's embarrassed and he's pissed and he's upset, but he's also just even more confused. The instinct to figure out why Will was upset, is unwavering. Now that his theory has presumably been debunked, Mike slips back into this old habit.

"You were rolling your eyes, you were-- you were moping, you were barely talking, you basically sabotaged to whole day!" aka "You're clearly not okay. I thought I knew why, but I was wrong. It's been miserable".

What Mike gets by subtly calling out Will for his behavior, is the revelation that, yes Will was upset El lied to him, but he was also miserable over the fact that he felt like a third wheel all day.

More angst and miscommunication ensues.

Though all too soon, El is hitting Angela with a skate and everything is happening so fast.

In the following episode, things get even more interesting.

We start with Mike standing next to Will, away from El. We get another shot that's arguably Mike's POV (@dinitride-art did a really good analysis on this shot, please check it out for further details)... but basically it proves Mike's whole 'I've never been scared of you, EVER' part of his monologue, followed by thunder, was indeed not exactly the truth.

And what follows in the next scene is even more damning.

Because what we get for the first time this season, is a shot of Mike, front and center, looking at Will, and interestingly enough, while Will isn't looking ..

Even though they are giving this to us outright, it's still not blatant. And I say this because, again, I can guarantee you most of the audience didn't pick up on it.

This shot was arguably necessary for the context of everything that followed, with Mike saying that rude remark to El at dinner.

Because it turns out Will was right for being upset about El lying, just considering everything that's played out this evening. And on top of that, Mike's also still reeling from the fact that Will was upset because he felt like they weren't best friends anymore. This was apparently enough to be a big part of the reason Will was miserable all day, aka Mike was miserable all day because of his perceived misery of Will who himself was also moping because Mike wasn't paying attention to him. This is news to Mike, as he's been lead to believe the opposite up to this point, seeing as he's also the one whose been making most of the calls, unanswered.

TBH this scene in particular provides a really important aspect of this theory as a whole, because although it seems minor and blink and you'll miss it like all the others. Unlike the majority, it shows us something that could very well hold the truth to something we still don't quite understand. More on that at the end.

I also don't want to forget the most hilarious Mike POV evidence of all, and it's the infamous 'triple take' in the junkyard.

Some bylers noticed this pretty early on, while others probably still don't have a clue about the implications.

Allow me to explain.

Within the context of subtle Mike POV vs. unreliable Will POV, let's think about how this sequence starts with the audience looking at Will. He's hoeing (because he doesn't have a shovel). Then suddenly, after a few seconds of the camera being focused on only him, we see Will now looking up at Mike, with him stopping and staring as he does so.

Once we get a reaction shot of Mike, we see he's not shoveling, he's actually standing still with the shovel resting on the ground, staring down, almost in a daze, zoned out. But then suddenly, he's looking up at Will. And the expression he makes once his eyes reach Will, is....

Pining. It's pining, your honor.

For a split second, this is the expression of a person looking at someone with whom they assume isn't looking.

Mike goes from still and focused, to wide eyed, as he scrambles back to shoveling.

The general audience actually interpreted this scene fairly accurately, it's just that they got it wrong it terms of whose actually doing the pining.

Because arguably, if Mike could sense Will looking at him, whose to say Will couldn't sense Mike?

Whose to say it wasn't Mike who was initially staring at Will, which is why he stopped shoveling in the first place. Though at some point while he was watching Will hoeing, with the camera focusing on him, just like Mike, Mike zoned out to collect his thoughts. And so, when he looks back up, to return to staring at Will again, only to discover Will was already looking at him, he understandably went, OH SHIT MISSION ABORT.

THEY ARE USING EDITING TO SAY HEY LOOK AT WILL! SEE HOW HES GLOWING? SEE HOW HE'S IN THE CENTER OF THE FRAME? IN FOCUS? ALMOST ALL OF THE TIME? ALMOST AS IF WE CANT TAKE OUR EYES OFF OF HIM???

WAIT!?...

WHERE'S MIKE?

OH THERE HE IS!

WE ARE MIKE!!

All this time we were convinced the POV was definitively Will's, with Mike's POV missing. And so therefore, a lot of bylers at least, have made the likely claim that Will's POV cannot be reliable. But what if it is reliable, in that finding out a lot of these moments of us getting Will at the center, was also a part of Mike's POV all along... meaning it's not inherently unreliable, in that in and of itself it holds the truth...

Now, you might be thinking, why couldn't they have shown us Mike staring at Will, at least once, if this is in fact what's happening a lot of the time?

And oh honey... They did.

Isn't it almost poetic, that the moment they FINALLY decide to show us the truth, a shot, with both Will AND Mike in the frame, equally, with Mike continuing the stare at Will the second Will looks away (even if it's for just a small, albeit drawn out moment) this is what follows:

Will handing the painting over to Mike.

Everything. All of this miscommunication about a girl and the painting, essentially Mike's very own unreliable POV has been leading up to this moment.

Which brings me back to this...

WHY!?

WHY HAVE PARALLEL SHOTS OF MIKE NOT LOOKING AT EL IN THE VAN SCENE IN 4x03 VS. MIKE LOOKING AT WILL IN THE VAN SCENE IN 4x08???

WHY HAVE MIKE BE IN FOCUS AND UNBOTHERED IN HIS SHOT WITH EL, WHILE HAVING MIKE BE OUT OF FOCUS AND APPEARING.... EMOTIONLESS ALMOST (REMEMBER WHAT I SAID ABOUT PRESUMABLY EMOTIONLESS MIKE??? HMMMM) IN HIS SHOT WITH WILL?

WHY HAVE MIKE'S MOST CONSISTENT, REDEEMING TRAIT, HIS ABILITY TO SENSE WHEN WILL'S NOT OKAY, BE PRESENT EVERY SEASON, ONLY TO REMOVE IT BLATANTLY THIS SEASON, BUT LEAVE SIGNS THAT HE IS STILL INDEED PAYING ATTENTION IN THE SUBTEXT, ONLY TO HAVE IT ALL COME CRUMBLING DOWN, TO NOTHING, WITH THIS SCENE!?!?!?!?

Does this mean I'm trying to indoctrinate everyone into fully believing Mike knew Will was lying and even crying in the van scene? No, because honestly, I don't think I fully believe that myself. I also think that to say a scene is definitively this or that is naive because, for all we know the story depends on certain scenes having certain truths over certain periods of time.

Like right now, maybe they want us to believe that Mike didn't understand Will, and the story requires us to look at it that way, for now, and also going into s5?

We know that the Duffers would prefer that the average fan doesn't pick up on byler. And so arguably, there are a lot of layers of awareness happening here, regardless of this specific theory. Just in terms of all the assumed truths and the actual truths. There's what the ga assumes vs. what bylers assume, but I think there could be another hidden truth beyond that, perhaps what they knew bylers would assume based on what they said ('he just missed it, not in a bad way/while he may not fully pick up on it--' Duffer's talking about Mike in the van scene), and they were anticipating all of that, meaning despite all of our expectations, there's very likely a surprise in store for us as well.

I do want to make clear, despite me thinking this all makes a lot of sense, as a byler it's like DAMN why couldn't we get the exact moment Mike realized it and like, get to see him act on it?

I think that's the ideal situation? But even still, this theory explains a lot.

It means Mike never stopped paying attention. It also explains why he gravitated towards Will at the end of s4, after his failed love confession. It explains why he looked heartbroken after Will encouraged him to confess his love to El.

We talk about this all the time, but because there are so many tiny moments, where it seemed like Mike realized something over the seasons, we'll find posts saying this moment or that was THE moment. But what I really think it is, is the uncertainty and the hope and the denial all working against each other. Arguably, Mike has already has his realization moment plenty of times by now, in little moments. It's just that what he's been experiencing is, something along the lines of, he loves me! he loves me not. he loves me! he loves me not, and so on and so forth.

His behavior over the seasons, has been impacted by this confusing, back and forth miscommunication between him and Will.

All very remanent of the lyrics to Time After Time if you ask me...

#stranger things #byler #byler analysis #stranger things 4 #idk i think mike is scared #what if the reason that he hasn't asked will if he's okay is because he's repressing so bad lately he's not okay #and so he feels weird asking will if he's okay #when clearly he is miserable himself #which is why their roles reversed this season!!! #we went from 3 seasons of mike being the one checking on will #to the second to last season focusing on will being the one checking on mike #i can totally picture this coming to a head in the final season #with us being blindsided by will asking mike if he's okay... #like imagine the spores are getting to them #or vecna's messing with their heads #or their all just aren't getting enough sleep because of the situation #and mike has a nightmare and we think it's really happening #but then he surges forward and we realize he was sleeping #then we get will sleeping on the couch above him like #Mike? You okay? #BITCHHH! #stranger things 5 #st5 headcanon #st5 predictions #time after time gate #makes an appearance at the end

[generic-anime-boy-bracket]

Round 1, Group B: Matchup 3

Makoto Naegi vs Kirito

Reasons for being generic + Propaganda below

Makoto Naegi

Reasons:

BOOOORING GENERGIC FLUFFY BROWN HAIR. BOOOO. BORING!

Lol he is literally normal in a group of weirdos . His only defining traits are an ahoge and green jacket. If you put him in a room of generic anime boys he would Not stand out. He would be lost :(

sorry for submitting a danganronpa character but his whole thing is that he's average. he says at the beginning of the game that even among the average, he's completely average. he's the one character in the game who doesn't have a real talent, having only have gotten into hope's peak academy because of luck, being the ultimate lucky student

Look at him. His talent is luck. Literally. Only normal person at the academy because he's literally just some guy and everyone else is "the best of the best" at something. Spends a lot of the first chapter (and a little of the next ones) being like "I'm literally just some guy"

He is a highschool student who describes himself as average in everything, liking whatever's popular, has messy brown hair and a hoodie, and is the protagonist despite only getting into the situation in-game out of luck. He gets two female love interests, he is the ultimate generic anime-style protagonist. He does become less average in the finale of danganronpa v1 and danganronpa v2, but until then he is the most generic boy one can be, and that generic boy swag is what somehow gets him women.

That's the #1 thing people know about him. His whole thing is that he's just A Guy. He's what you think of when you think of generic anime protagonist. He's got the power of friendship. He's handheld by the smarter/more powerful characters to a point where it's unnecessary but still ends up the leader because he has Hope and Believes in his Friends. He's just a decent guy! Also, my favorite character.

I mean. C'mon. His entire introduction is surrounding the fact that he's so average and boring that even among average people he'd be considered too average, his character development is the usual "With the power of friendship we can overcome anything!!!!", and his personality is that "nice mc with no backbone" type. He even has that generic anime dub voice

Propaganda:

he's pretty funky

he's so silly tbh that's all also i actually like him more than hajime

He's bisexual and a short king (who is unfazed by the fact that he is short; unlike many characterswho are short he never mentions it once and I'm 98% sure that if someone else brought it up he'd just be like "ok...?"), also a very decent guy

He acts pretty adorable, and I find it hilarious how other characters outshine him in protagonist potential, which makes him an even more fun protagonist in my opinion.

His whole thing is that he's just A Kid in a peer group of what's basically super-kids. He's the epitome of what you think of when you think of generic male anime protagonist: - He's got the power of friendship. - He's handheld by the smarter/more powerful characters to a point where it's unnecessary. - Acts as the polite straight man to the insane personalities around him in an "well... whatever you say then 😅" kinda way. - Obviously in way over his head but still ends up the leader because he has Hope and Believes. - Also because he is the main/POV character and so inexplicably gets to figure out and survive things. - He has a little sister and parents who look just as generic as him.

he is also portrayed to be clumsy and flustered easily. Which feels like a very Generic Anime Teenager trait to have.

Kirito

Reasons:

He is mr short black hair audience insert power fantasy himself. There isn't really that much to him aside from being strong in the game and a "lone wolf" who attracts multiple girls.

Look at him face, completely plain black hair, completely basic face. He doesn’t even have like a cool scar or anything.

progenitor of the entire species

KIRITO GOTTA BE HERE KIRITO IS THE MAN YOU'LL SEE EVERYWHERE HE'S THE MOST AVERAGE GENERIC LOOKING BOY EVER I DIDNT EVEN WATCH SAO BUT I SEE KIRITO EVERYWHERE IT'S UNCANNY MOST ISEKAI ANIMES HAVE KIRITO IN HE'S MANDATORY

I've watched all 4 seasons of the show and I genuinely would not be able to pick him out in a lineup of other black haired teenage anime boys

Every season a new isekai comes out and every season the main character looks just like kirito. I can’t tell em apart. Truly just some guy.

THE cookiecutter anime boy MC ever. he INVENTED generic anime boy (unsourced claim) 

I don't like him but he's literally just a stand-in for any gamer ever lmao. "Yeah I was in the beta test" "If I were put into a VR MMO that could kill me i simply wouldn't die" etc

You literally CANNOT get more generic than this man. He's got the generic messy bowl haircut. He has black hair. Black/grey eyes. He's the main character. He has no personality. He's got zero emotions. But all the girls love him. He is LITERALLY the introductory character to the isekai genre for an entire generation of mediocre white weebs. 

Main character with secret op ability. Hero of the game. "Lowkey" got a harem. Wears all black cuz he's the black sheep/ostracized. He's 16.

Look at him. He's so boring. Hes just the edgelord protagonist. Throw him in a bowl with the others and i doubt i could even pick him out

Look at him. All black outfit , the generic harem lead self insert haircut, also no personality but that’s irrelevant. 

I mean look at the man! I'm literally just here seconding what i assume are tons of other votes. 

Literally THE generic isekai protagonist. Has no real defining features, no distinct personality aside from being edgy and """badass""" and having a love interest. He is notorious for this. Not an asshole, but not really likeable either. Standard messy black hair, high schooler (I think? its been a while since ive watched SAO and i dont plan on watching it again), looks like any other plain dude. He is so boring and he sucks as a protagonist because of this.

Literally just some dude with black hair who ends up in a harem somehow

They are the blueprint for generic anime boys made for viewers to project onto 

Short black hair, black eyes, pale skin- average Japanese teenager

Propaganda:

Kirito swordartonline my beloathed >:(((( He and his show inspired so many generic isekais with even more generic main characters

He’s so plain. When I was into sao at 12 years old, I would routinely mistake fanart of other characters for him. Very basic design. Terrible show but his ggo design was the best, and that’s because they gave him long hair! But then they immediately took it away, so he could remain a complete blank slate.

I think I accidentally wrote the propaganda above. I actually never watched SAO but Kirito... Kirito is an archetype y'know?

He's dumb and boringly OP but loves his girlfriend and pseudo daughter very much so good for him

I never watched sword art past episode 3 but I couldn’t Not submit him

i have none, honestly im not even a fan of him he is literally just the most generic man i have ever seen in an anime 

he was pretty cool in ms/hs

I love him and he's perfect just don't watch past the first season shhhhh (i mean i actually liked the whole show, but you have to look past some very questionable writing decisions). He is sweet and badass and cares so much for asuna and their relationship is the shining star of all isekais. I love him. Vote for him

Just... extremely bland. The white bread of anime protagonists. He's perfect for this poll imo.

There are some good characters in SAO like Asuna, Sinoh, Alice, and Eugeo but this man gets more boring as the show goes on. Like he's okay in the first season but the girls literally had to save him during Alicitzation.

I don’t even like him but I still think he’s significant <3 

Idk SAO was my first anime so nostalgia

#generic anime boy bracket #makoto naegi #naegi makoto #danganronpa #kirito #sao #sword art online

[sadhorsegirl]

@ all the people who dislike how big of a role moiraine played in season 1 of wot on prime.......i feel so disconnected from u i think we might actually be living on different planets lol

expanding and focusing on moiraine's perspective is the best (if not ONLY) way to adapt the early parts of the story in a new medium that doesn't allow for alternating pov the way chapters in a book can. on its face, the initial elevator pitch for wheel of time is a somewhat generic chosen one narrative. as the story progresses it becomes increasingly complex and unique, particularly in how it discusses the nature of prophecy vs interpretation/individual will and rand vs philosophy/religious themes. all of which are ideas that make the series so good in the first place but are also impossible to really capture fully upon initial introduction. this is a series that builds, its rewards are found the longer you stick with it and realize just how much of a falling dominoes situation rj has carefully lined up. and don't forget rand might be The Chosen One™ but you also need to find a way to introduce and set up the rest of the ef5

how do you make that beginning more engaging and give it a better hook? how do you adequately communicate the scale of the threat facing the world and what the dragon reborn even means? how do you make sure everyone in the ef5 is given an adequate amount of screen time? don't focus on the chosen one, focus on THE SEEKER!!!

moiraine can handle world building and exposition a bit better than the rest of the cast, given that she has literally been alive longer and seen more of the world aka can potentially answer audience questions as they come up. she also functions as both insider (aes sedai vs ef5) and outsider (ef5+moiraine vs white tower) as the story progresses, an interesting shift for her character and a cool way to mimic rj's whole thing about showing how easily characters can end up in over their heads. ALSO from a craft perspective, some of the strongest material to come out of the books, and arguably one of rj's greater talents as a writer, can be found in how much characterization is laid out in how characters see/perceive other characters. if you make moiraine the guiding force of the start of the narrative, you can translate this strength rather well to television -- you get to see how she sees the Edmonds field kids.

also. would you deny her the gift of receiving head bc they decided to confirm and expand on her gay little backstory. would u really go as far as to say she doesn't deserve a little (gay) head for all her trouble + suffering

#like i get it i have my i love moiraine goggles but come on lol #she brings so much more focus to the narrative??? without her it would just kind of be?? a split pov mess i feel? #television is different from books idk if anyone knows this #and i say this as a rand girly!!!! it wouldnt have worked to focus too much on him in s1 bc the cast is too large!!! #making moiraine the primary audience guide lets everyone else be introduced more naturally #its like the ppl who dont like rosamund bc shes not short like bro. we literally got an oscar nominated actress who is HOT and u r all #arguing about how they should have had a this tall to ride sign at auditions...be serious.... #wot on prime #wheel of time #moiraine damodred #meta

[physalian]

POVS and Past vs Present Tense (Or, the Pros and Cons of Limiting your Narrator)

This blog got over 300 notes in a single day, I'm almost at 1000! Thank you to everyone who likes, reblogs, and subscribes, you all keep me motivated in these dark times.

—

Today we’re looking at the pros and cons of the different points of view through which you can tell your story, but full disclosure, sometimes it all comes down to how you as the author feel most comfortable writing, regardless of the story you are telling.

So this is less *what you should do* and more *what you might want to think about but don’t have to do*.

Narrating POVs come in these flavors:

First Person (FPOV)

Second Person (SPOV)

Third Person Limited (TPL)

Third Person Omniscient (TPO)

What you decide for your story doesn’t really matter, only that whatever you pick, you *must* stick with (unless you’re James Patterson who doesn’t give a damn). The same applies with whether or not you decide to write in past or present tense, so I’ll be covering both topics in this post.

You can choose whatever you want, but the type of story you write can benefit from different POVS. An intimate romance with few characters? FPOV, possibly with alternating narrators. An epic fantasy with an ensemble cast that spans the globe? You’d miss out on so much of the story trapped with one narrator.

First-Person POV

I… hate writing first person POV. I don’t hate that it exists and I love reading it, I just can’t write any of my characters in FPOV, it’s too weird. To anyone struggling to give their characters strong and distinct personalities, stepping away from the “I/me” pronouns may help you.

With that said! FPOV is by no means any lesser than any other POV. FPOV is, obviously, when your narrator narrates with terms like “I, me, we, us.” You are reading in their head, their train of thought, their internal monologue.

Pros: This about as intimate a look inside the story as you can get, you are zero degrees removed from the action. The biggest benefit is how well the audience comes to understand the narrating character as all your time is spent with them exclusively, unless the story head-hops. Every scene is colored by the lenses of the narrator’s biases and the knowledge they have of the story.

Cons: Unless you head-hop, you risk losing out on much of the rest of the story. Other characters can only be viewed through the biases of the narrator and any story happening away from the narrator is unseen, because they’re not there to witness it.

FPOV gives you the most flexibility in coloring your text with personality, think Holden Caufield from Catcher in the Rye. Every page bleeds with Holden’s thoughts and musings on his world.

However, FPOV, versus TPL, traps you within the senses of the narrator. You can’t get away with lines like “he didn’t notice XYZ happening in the background” or “he might have missed this subtle tell” because there’s zero room for ambiguity unless your tone allows for some comedic freedom.

You *can* say things like “Later, I would reflect back on X” or “Had I been paying attention, I might’ve seen Y” but those lines are almost always followed up with “But I didn’t in the moment and now I’m screwed regardless.”

If you find yourself stuck with a scene of a bunch of characters of all the same gender and you have to balance your paragraphs with names versus pronouns, FPOV does, at least, remove one of them for you with “I”.

Beyond simply using “I/me” pronouns, you can go the route of Anthem. Ayn Rand’s Anthem is written in first person, but with plural pronouns and when I read it in middle school, I spent the entire novel thinking all the different “theys” and “we’s” were entire groups of people acting and not the a singular being because it was middle school and pronouns weren’t a topic of discussion.

There was a scene where “we” (gender neutral singular protagonist) sees “them” (gender neutral love interest) doing… yoga or something beyond a fence, and in my head I was picturing like, ten dudes watching ten ladies all do synchronized yoga. It was funky.

Second-Person

This one almost doesn’t count because it’s so rare. Second person is reserved, I think, for three situations: Romance/erotica, self-help books, and horror/thriller works.

SPOV uses terms like “you think, you see, you feel, you do X”. It’s self-indulgent and I’ve never actually read a fictional work written in it because it’s too weird. SPOV is as intimate as you can get, because *you* are the protagonist.

I scroll right past all the "character/reader" fanfics but they have their audience, and I've never picked up an actual published romance novel written in SPOV, but I'm sure they exist for their own wish-fulfilment purposes.

SPOV in horror deserves more content and attention. The most iconic example I can think of is the storyline through Michael Jackson’s “Thriller”. In it, the narrator tells the tale of you, intrepid hero, who find yourself in the middle of the Thriller, and details your demise at the claws and teeth of disco zombies.

Second-person fiction relies on what your protagonist does more than who they are, as too-strong of a personality limits the reader’s ability to get in the headspace of their fictional VR-goggles. In the “Thriller” example, the story tells entirely of your physiological reactions (you’re paralyzed with fear, unable to scream, etc), not your desires and emotions, beyond terror.

Third-Person Limited

*cracks knuckles* My Favorite! TPL is very much like FPOV, except instead of using “I think” you’d use “He/she/they/it thinks”. TPL is still contained within the box of following a singular narrator at any given time, but the audience isn’t experiencing the novel through the eyes of the narrator, they’re watching it through the imaginary cameraman following them. Depending on how much personality you write your narration with, TPL can be nigh indistinguishable from FPOV.

If your narrator experiences pain, or gets knocked out in a car crash or a fistfight, the narration is still limited by their consciousness and awareness. The scene doesn’t continue on after the narrator passes out.

Also, as a writer, it’s a *lot* easier to write scenes your audience demands (like romance) if you’re aro/ace and/or too squicked out trying to write it in first person but still wanting to deliver. Same goes for violence/ horror/ combat, anything with a lot of emotion and drama that you can’t bring yourself to write as “I feel such and such so much right now” can be intimidating. Then it’s not happening to you, it’s happening to those poor schmucks unlucky enough to be characters in your book, and then it’s much more fun.

TPL and FPOV both favor the internal monologue, the only difference is the pronouns through which the narration is given. TPL also tends to distinguish direct thoughts by the narrator within the style of the text. This means putting the thought in italics most of the time, or adding in a “she thought” like a dialogue tag.

Third-Person Omniscient

If third-person limited was being the cameraman, third-person omniscient is being the bird watching from above, or God. TPO is a “third” narrator who tends to not be an active character within the story, just “the narrator” watching every other character go through life.

In some cases, you could make the omniscient narrator also in first person as a non-character, but they would have to be some higher power, or make your story a fourth-wall-breaking meta commentary, a story within a story told by an unrelated storyteller.

TPO suffers from lacking intimacy. You’re two degrees removed from the thoughts and feelings of the character and the story is colored with the personality of the narrator, not any one character you’re following (if there is at all a personality to the narrator).

Children’s books tend to be TPO because they’re not that deep. When I say children’s books I mean like Rainbow Fish, or the Very Hungry Caterpillar, not children’s chapter books.

But on the other hand, many classics are written in TPO. I believe the A Series of Unfortunate Events books are written in TPO with a *very* colorful omniscient narrator. The Chronicles of Narnia are also, I think, written in TPO with the absence of a distinct narrating personality, it’s simply the voice through which the story unfolds (it’s been a while since I’ve read either and can’t recall).

TPO tends to lend itself toward fantasy and fairytales because a colorful narrator just fits the tone and the unnatural reality of your world. The narrator of A Series of Unfortunate Events would be very out of place in a book like The Great Gatsby because it would only distract from the story, instead of enhance it.

Head-Hopping and Multiple POV

Head hopping should only be used when you do it on purpose in an established FPOV or TPL work. If you change perspectives mid-narration without any indication that you’re doing it on purpose, that’s just sloppy writing and you’ll confuse the heck out of your readers.

The term “head hopping” tends to be used when writers do it poorly, versus simply “multiple narrators”. This works best with an ensemble cast, or when the author doesn’t want to limit the breadth of their story to only the protagonist’s perspective.

The narration can shift between any number of characters, but I wouldn’t go higher than five or six with rare exception because it’s too many characters to follow. You can follow the protagonist and a couple of their friends, the protagonist and the villain, the different members of team protagonist – the list goes on.

It’s entirely up to you how you want to physically structure your POV shifts. Some authors jump between multiple narrators within a chapter (myself included), some give entire chapters to one narrator at a time, or a chunk of chapters in a row. Sometimes the narrating POV is signaled with a giant banner for their name or the scene opens with the narrator’s name within the first few sentences to let you know who you’re following.

POV shifts without the big banner works best when your narrators have very distinct personalities coloring their narration, see this post about humanizing your characters and giving them voice.

How each character speaks, how they see their world, the idioms and metaphors they use in their internal monologue, the cadence in how they tell the story, the syntax -- all of these help justify your choice to shift POVs beyond the flexibility of telling more story. You know you’ve succeeded when you can write an entire page in the new POV without naming your narrator and your audience still knows who it is.

Head-hopping in bad form can be an easy mistake to make, and easiest to make in third-person limited, because you’re already one degree removed. Unless you are writing from a telepath’s perspective, any time you begin writing the thoughts and feelings of a non-narrating character in TPL, you are head-hopping.

If Jane is narrating an argument with Mark, and we cut aside to suddenly start detailing Mark’s feelings on the matter, we have broken the POV. Jane cannot know exactly what Mark is feeling, she’s not Mark. Instead, Jane can look at him and assume what he’s feeling based on his expressions and extrapolate on what he might be thinking.

In which case her thoughts on the matter would be tagged with “Mark seemed to think X,” or “Mark looked hurt”. Doing it incorrectly looks like “Mark thought X” or “Mark was hurt”.

You can get away with “Character was hurt” with any of the following tacked on:

“...they thought/presumed/assumed/suspected/guessed”

“... that much obvious”

“... they could tell”

So long as the tag reflects how the narrator interprets the scene.

Multiple narrators inevitably lend themselves to a longer story and thicker book and a perfect example is the Percy Jackon series and its follow-up, Heroes of Olympus.

Percy Jackson is a rather unique case of shifting POVS. The first five books of the series are entirely FPOV from his perspective. We follow Percy and only Percy the entire time.

The second series hops between TPL perspectives, with the benefit of exploring other characters…. and the massive disappointment of your protagonist for five whole books being completely omitted as a narrator from his final run (but that’s for another day).

The books of the second series are doorstoppers because there’s so much more plot with multiple arcs now being written for each one. HOO is a “banner style” head-hopper, giving chunks of chapters to a narrating character at any given time and following only three to four narrators for a given book.

There was a book our teacher read in elementary school, blandly titled School with a peace sign and a bus on the cover and I have no way to google it because of its stupidly generic title. In it, the entire short story has at least ten narrators and it worked because there weren’t ten different story arcs, it was all the same story just told through ten different perspectives. It was less an “ensemble cast of rich and fulfilling heroes” and more “ten children each argue why they remember the incident the best”.

Twilight hops in later books, with entire swaths of Breaking Dawn divvied up between the three main characters. The Red Queen series and Throne of Glass also hop and it seems, to me at least, that, regardless of genre, multiple narrators are much more common in recent publications.

Maximum Ride is a funky rule-breaker. For reasons unknown, the author decided to write in FPOV for the protagonist, then jump perspectives to TPL for the other characters. It’s incredibly distracting. Why not just write the entire story in shifting FPOV? Or entirely in TPL?

There is plenty of merit to *not* rotating narrators. I like doing it because I like not being limited to only following one character through the entire story. However, creativity thrives in a box and not knowing what's happening outside that box can be equally entertaining. Following one character also forces the plot to center on that character (though doesn't always give you a protagonist with agency). It leaves plenty of holes for the audience to fill in missing information as well when side characters are off doing whatever and the narrator isn't there to witness it.

Present vs Past Tense

Tense, like head-hopping, is easy to mess up if you’re not careful, and both have their pros and cons.

Books written in present tense have the benefit of being “present”. You follow the action as it unfolds, uncovering mysteries as the characters do with the added oomph of it simply being written as it happens.

Hunger Games is written in the present and the added “oomph” is that this is a hellish dystopian battle royale and it being “present” subconsciously clues the reader in on the possibility that Katniss might not survive to tell the story back to us, she can die at any moment.

Books written in past tense have the option to get cheeky, since the narrator survived the story long enough to go back and write it down for you. Some books might begin with a retrospective in the opening lines or the prologue by the narrator warning the reader about the story ahead or insisting they were an idiot for letting things play out the way they did.

Most stories written in past tense don’t think twice about it. Past tense is simply comfortable for the author to write in and it by no means spares their heroes from dying simply because of the narration having to exist.

If you tend to write in one or the other and you switch it up for a different story, you, my friend, have quite the uphill battle. You might find yourself having to comb back through entire chapters worth of content fixing your verbs because you just didn’t notice the accidental shift.

Future tense does exist, but it tends to go with stories written in second person and I’ve never read a fictitious work with it, only in bits and pieces in self help books and, again, that doesn’t really count.

—

TL;DR: How you narrate your work and in what tense it’s written is generally divorced from the genre and story you’re writing and has no impact on how the story reads. Any book with an ensemble cast benefits from multiple POVS and books in the fantasy/ supernatural/ fairtyale genre can benefit from an omniscient narrator, but it’s hardly required. First person POV gives the broadest opportunity to develop one singular character as intimately as possible, at the cost of everyone else. Third person POV removes the reader directly from the action, but is hardly inferior and can be nearly identical to FPOV save for the difference in pronouns used.

Regardless, inexperienced authors beware, head-hopping and tense-changing are easy mistakes to make. Stay vigilant and keep practicing and anything is fixable.

#writing advice #writing resources #writing tips #writing tools #writing a book #pov #first person pov #third person #narration #long post