I find it interesting how Roxas is often described as the “angry one” or “short-tempered one” when compared to Sora or Ventus, mostly because I always felt Sora and Ven have a shorter fuse than Roxas.
The association between Roxas and anger is understandable, because many of Roxas’ most poignant moments in the series happen when he is very (and understandably) angry, but I also feel like it’s a disservice to his character to only reduce him to his anger, especially when it’s far from who he is in normal circumstances.
For example, during Days, many Organization members treat him poorly and insult him to his face and, for the most part, Roxas doesn’t react at all. In Halloween Town, Lock, Shock, and Barrel throw bombs in his face multiple times before Roxas finally snaps at them. He senses that many people around him are keeping things from him, but it takes him months before he confronts someone about it. That’s far from someone I’d consider short-tempered or easy to anger.
The only situation I can think of when we see him get upset quickly is if anyone does or says something bad to Xion and, even then, the most of his reaction is verbally snapping at Saix to make him stop disrespecting her. In Axel’s case (when Roxas is upset with him for attacking Xion), Roxas doesn’t confront him at all, he just avoids him altogether. Also, I think it’s important to note that every moment in which Roxas is very angry happens when his entire life is falling apart, which is a situation in which, I believe, everyone would be upset.
Roxas seems the kind of person who bottles everything up without much reaction until it becomes too much and he explodes, and that’s when he has a hard time controlling his anger/emotions. Having spent most of his life in the organization probably plays a part in it as, every time he brings up any emotion, his feelings are invalidated and suppressed. That’s not an environment that gave him the tools to process strong emotions in a healthy way.
Let’s compare that to Ventus. Ven is the definition of short-tempered in BBS. He’s ready to throw hands with Vanitas the moment he says something remotely bad about Terra, which was minutes after he met him for the first time. He fought the dwarves without a second thought just because they refused to talk with him. His first reaction when he becomes small and is trapped in a mousetrap is to shout. These are just some examples from the top of my head, but it’s clear Ven has a shorter fuse than Roxas.
Ventus usually expresses how he feels in any given situation and has a short fuse. On the flip side, he doesn’t seem to hold on to these feelings at all. He externalises them the moment he feels them, but then he lets it go and it doesn’t bother him anymore. Out of the three of them, Ventus seems the most open about his emotions and, from what I remember, when he opens up about feeling a certain way with his friends, his feelings are usually not invalidated nor brushed aside. In UX, Ventus seems calmer and doesn’t have much anger in him, but he’s still open to expressing his feelings of low self-worth and sadness with the other union leaders.
Sora, I think he falls in the middle? He seems to have a shorter temper compared to Roxas, which was especially clear in KH2, where he snaps at the Organization multiple times, but he also bottles up his emotions more than Ven, especially around his friends. This happens mostly with his sadness, which he always tries to hide or brush aside, but in KH3 we can also see, for example, how much he’s bothered by everyone constantly bringing up him not passing the Mark of Mastery, even if he tries not to show it.
I think Sora feels like he should always be happy for his friends’ sake, and even during the rare moments when he tries to express his sadness, his feelings are not truly welcomed (“No frowning. No sad faces. This boat runs on happy faces”), so he just tries to brush it off as a joke. He’s loud in expressing any kind of positive emotion, and he openly expresses his anger against his enemies (and to his friends too, sometimes), but he also doesn’t hold on to that anger and is pretty forgiving. However, he usually bottles up his sadness, low self-esteem and other negative feelings, and then explodes when he can’t hold it together any longer (like it happened at the Keyblade Graveyard when he thought all his friends were gone forever).
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what kinds of gestures would theo appreciate the most? it seems like he's generally uncomfortable by expressions of affection (physically especially) and it would be neat to know what would actually make him feel happy. perhaps little gifts and such? would he keep said gifts? so many thoughts about this Strange man
I thought of some other common ways people demonstrate affection and make friends besides physical touch: kind words, gift-giving, acts of service… all to try to show that Theo is a dire prick.
Theo is an intractable misanthrope - miserable, spiteful and prone to seemingly random acts of aggression. He is deeply uncomfortable with other people, and if he can't keep them at arm's length, he goes for the throat (or, at least, snaps at their ankles with petty jabs and demeaning remarks).
I think I have erred in mostly drawing his Amaranthine self with his mother or Hyden, two people he greatly admires and devotes himself to. Frankly, Theo does not appreciate affectionate gestures (or any interaction) from anyone besides his chosen person(s). He doesn't trust such gestures, he doesn't really want them, and he feels a certain bitter satisfaction in throwing kindness back in people's faces.
Being kind to him might keep him from being as hostile as he would be to someone unkind, but that's not a guarantee. He often sees kindness as manipulative, condescending, self-righteous or just plain stupid. He may be increasingly cruel to someone of a gentle disposition just to see how much they can take before they snap back and show their "true colors", vindicating his initial dislike of them. Trying to bond with him is almost as likely to earn his ire as antagonizing him. All that to say... I wouldn't waste gifts on him if I were you.
(Now, obviously, he is capable of bonding with people, but it takes some very rare and particular qualities and circumstances. If someone is one of his chosen few, he does appreciate gifts - and keeps them forever - and he may be grateful for flattering words, and maybe he will even tolerate being touched, but he doesn't demand or expect much in the way of affection. Being trusted and relied upon is often enough for him to feel fulfilled in companionship. BUT I've prattled on enough for now, don't you think?)
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tonal whiplash—a scene out of context.
Trying to draw 616 Scarlet Spider Kaine is so hard for me 😂 I think my problem was the cheekbones, which I tried to fix, so I think he turned out alright here. I'm just so used to drawing him smashed up. Obviously. Also. It's really hard to draw windowverse Kaine's nose in profile. I need to find some reference photos or something.
It's smeared off to the side lol (different WIP/sketch, making a scar reference lol—it actually came in handy for this pic a little bit)
Anyway, here are the lines without any colors—
beef
I did not necessarily originally intend to blanket everything in solid black, so there are lines that aren't visible lmao — but in the dream sequence thing this is part of there is a lot of pure darkness and voids of negative space so i was like, you know, i should probably invoke that here. I GUESS I could have colored 616 Kaine's pants dark gray or something but I decided to leave it all invisible so I could keep the palette simple and focus more on the... copious quantities of blood lol
tfw your hair is just soaked with blood. I was just about to say "in the nature of dreams, this isn't realistic, and his hair isn't actually soaked in blood irl" but then I thought about it for a sec and... no, it definitely is soaked all the way up to the back of his head because of the fact that he ends up lying in a pool of his own blood for like... at least fifteen minutes. if not longer. maybe thirty minutes?
it gets chopped to chin-length after this (when he gets ✨hospitalized✨ because he's ✨dying✨) on account of the blood being a radioactive biohazard and also a hazard in general (tripping hazard, tangling hazard, etc.)—the buzzcut in some other sketches I've posted is not until a week or two later and is something he does because of some complex emotions.
they go to a renfair like three weeks after this 😂
Anywho~
he is m— he is my poor little meow meow,,,
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have a little more fencing world champion joe. because it's worlds again and olympics soonish. enjoy
The clock on the nightstand changes from 01:36 to 01:37, and Joe sighs, rolling over to stare up at the ceiling. Nicky, beside him, shifts in his sleep but doesn't wake.
Joe, however, has been awake since at least 12:08, and feels far too restless to sleep. It's almost certainly jet lag: they're in Chicago for a little while, visiting Nile and her family, and largely trying to enjoy the last little bit of free time they have left until training begins again in earnest. Of course, Joe's kit bag is lying open at the foot of the bed, and Nicky's beside it: just because they're not formally training doesn't mean they won't need it at all.
Still, Joe can't sleep. He sighs again, and gives up on trying to do so entirely. Maybe he'll be able to find some time to rest tomorrow, though he doubts it. Nile's got a lot of things she wants to show them, and Joe would ordinarily be thrilled, if he wasn't so tired.
It'll pass, Andy told him, though she doesn't seem to have been affected by it at all. He's almost certain they'll meet her in the morning for breakfast and she'll be exactly as normal, as if they haven't just crossed multiple time zones. Even Nicky, who hadn't struggled nearly as much as Joe had, had begun to slow down some time around midday, but Andy had been fine.
He gets out of bed, careful not to wake Nicky, who's rolled onto his side facing the door. With nothing else to do, Joe makes his way to the little balcony attached to their room, picking up his phone from the nightstand on the way. The sliding door squeals a little when he opens it, but when he looks over at Nicky he hasn't even moved.
While it's certainly quieter than it had been before, the city is nowhere near silent. It's beautiful, though, and Joe takes a picture to send to his sister.
She texts him back immediately. Pretty, but isn't it like the middle of the night for you?
1 am, Joe responds. Jet lag.
His phone lights up with a call then, but not from Amira. He reads the contact name and answers, heart in his throat.
Oof, is Amira's response.
He almost drops his phone when he realises what they're calling him for.
By the time they hang up, his hands are shaking: he stays like that, phone still pressed to his ear even after the call has ended, for at least a few minutes.
Finally, at a loss for what else to do, he lowers his phone and goes back inside. Sits down on the edge of the bed.
The movement is just enough to wake Nicky, who blinks a few times before sliding into awareness all at once, the way he always does. He sits up, leaning against the headboard, pushing his hair out of his eyes. "Joe?" he asks, voice still slightly hoarse from sleep. He frowns when Joe doesn't answer straight away. "Is something wrong?"
"No," Joe says. Fidgets with his phone, screen now dark, still in his hands. "Uh. They want me for the Olympic team."
Nicky is silent for all of a split second before his expression breaks into a wide smile. "Yeah?"
"Yeah." Joe can't keep himself from smiling now, either, as Nicky cups the back of Joe's neck with one hand, leans in to press their foreheads together. Joe closes his eyes.
"Of course they do, Joe," Nicky says then. "You're the best in the world right now. You're going to be incredible."
There are times when that doesn't quite feel real, even if it's been a while.
"You'll come with me?" Joe asks.
"Always," Nicky says. Then he pulls back and kisses Joe's cheek, his forehead, the space between his eyes, until Joe laughs.
"I love you," Nicky tells him.
They'd met fencing épée, of all things. Andy had invited the seven of them – they hadn't quite been friends yet, but Joe had known Quynh for a couple years by then, and Andy too, while Nicky had already known Nile – to train with her and Quynh for a while, and Joe couldn't possibly refuse, because Andy was both his friend and one of the best coaches in the world back then. She'd made them all switch to a weapon they didn't usually use, and Joe and Nicky had picked épée: Joe because he figured it would be easier than restricting his target area to the torso only, and Nicky because épée was far closer to foil than sabre. They'd been about evenly matched, and it had been – well, it had been fun.
Joe had left a week later with Nicky's number in his phone and a small, fluttering hope in his chest. And even if they hadn't kept in touch very well those first few months, when the World Championships came around, and Joe had qualified for the second time, Nicky had joined Andy to meet him at the airport, grinning widely when he caught sight of him.
The rest, as they say, is history.
"I love you too," Joe says.
"You want to tell the others?" Nicky asks.
Joe looks at him for a moment. Looks at the clock. "It's 1 am, Nicky. Andy will kill us both."
Nicky snorts. "In the morning, then?"
"In the morning," Joe agrees.
Neither of them end up going back to sleep until 4 am, and they're both exhausted at breakfast the next morning, but. It's worth it.
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Film Friday: Bullet Train
I've been missing a few Film Fridays lately, partially because mental health has just kinda been like that and partially because I've been struggling with a slightly more meaty analysis that my brain just won't let me figure out properly. As such, I'm going to get into the swing of things again with a movie that is pretty stupid, and I say that with all possible love and admiration.
Ladybug isn't really comfortable with the title of hitman anymore, he's trying out a more harmonic life, but even so he does find it in himself to undertake what should by all accounts be a simple last-minute job. Board the eponymous train, grab a suitcase, and get off at the next station. Oh, were it only so easy. Turns out said bullet train is flush with kooky assassins and hitmen who are either out for the suitcase, the lives of one or more of each other, or have larger and more ominous designs.
There's Ladybug, of course, the quirky pair of British wetworks men Lemon and Tangerine out to escort a drugged-out VIP and a suitcase full of money, notorious and sneaky The Hornet who's skulking about somewhere, the megalomaniacal but brilliant Prince playing a larger game with the life of desperate father Kimura's child as ante, as well as the hot-headed Wolf who is out for vengeance and a paycheck, but mostly the vengeance thing. It's quite the web of coincidences, interferences, and merry chaos as these murderers navigate the crowded train.
It's chaotic, but one throughline that honestly makes the constant shifting priorities and allegiances of Ladybug and the other hitmen work is that it's all a job to them, a very messy job that may or may not be arranged by a Russian usurper of the Yakuza crime syndicate known as White Death, but still a job. Whenever it's expedient for our heroes and antiheroes to not kill each other, they'll show professional courtesy to each other, bantering in that "a little bit too cool" stylized way that's second nature to Hollywood assassins.
What sets the banter apart, though, is a distinct sense of humor. Lemon, much to Tangerine's annoyance, has a theory of human personalities and moral character based on Thomas The Tank Engine. Ladybug has luck that fluctuates wildly between being impossibly good and impossibly bad, and he has a problem with remembering faces which makes some of the networking with his fellow killers challenging. Wolf's role in the movie is short in a way that feels darkly comedic yet apt, and I was surprised to learn this was, in fact, a cameo from musician Bad Bunny (listen, I'm old, ok?)
It's all breezy fun. The movie takes itself about as seriously as any movie that features a Japanese-language cover of "Holding Out For A Hero" in a moment of high drama, but that's fine, the movie expects you to chuckle along, knowing full well it has your heart in a vise by the third cover of "I'm forever blowing bubbles." Not a joke by the way, the few moments that Bullet Train allows itself to express emotion more complex than "holy shit" and/or laughter, it's acted well enough and with enough genuine skill that it actually gets to me a fair bit.
It'd be an act of overstatement to call Bullet Train all that deep, but it adds up to more than the sum of its parts. It ends up saying some fun things about fate. I wouldn't exactly cite it in a philosophy paper or anything of the sort, it is fun to sit at the end of the "Michael Shannon plays Russian roulette in an oni mask to look badass" movie and go "You're right movie, maybe human misery DOES come from the hubris of believing ourselves to be masters over fate." I don't know, it's just nice for a crowd-pleasing action movie to go out on a note of what seems like a genuinely held belief and not "welp that happened" glibness. It reminds me a bit of Mr. and Mrs. Smith like that, a movie I'll probably end up talking about here one of these days.
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