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#tagging makes no sense with this fandom
oobbbear · 5 months
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I want to post this here too because I’ve seen it happen a few times
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Please understand that there are cultural differences and language differences, if you see this happening let the person clarify what they meant, that person might just not be familiar with words the western side of the internet use
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intermundia · 11 months
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i just read about the "narcissism of small differences," aka the idea that the more a community has in common, the more likely the people in it are to engage in interpersonal feuds and mutual ridicule because of hypersensitivity to minor differences perceived in each other, and i knew there was a reason my time in academia and fandom felt oddly similar lmao
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kaladinkholins · 3 months
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Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.
And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.
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And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.
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Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.
This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.
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And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.
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Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.
So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.
It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.
Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.
These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.
Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.
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Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.
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And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).
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But then, for once in both their lives, neither of their usual tactics work.
Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.
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On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:
"Under your mask, you're not the killer you pretend to be."
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Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.
And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.
Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.
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And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.
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But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.
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So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.
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This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.
In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.
To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.
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puhpandas · 6 months
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beckory comic based off of this line from GGY. i hope you get what im trying to say lol. i was kinda going for tony and gregory trying to NOT be popular for obvious reasons. just like a new way of seeing the line from the book even though this is not what the book meant.
(book snippet under cut)
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atlas-likes-writing · 15 days
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I think people tend to forget that Ratio is also a performer. Obviously not to the same extent as others in HSR like Aventurine or Sampo, but he has a dramatic flair to him that I love. It's seen when we first meet him in Ruan Mei's quest with him playing chess with himself, as well as when we're knocked unconscious and wake up to Asta and Screwllum etc. etc. questioning us/the debate with Ratio.
I always feel like he's portrayed by fanon as serious and broody and the blatant edgy archetype when he isn't. He's a performer and he enjoys being such. There is a reason Sunday believed Ratio when he contacted him about his so-called curiosity about the Stellaron. He was performing and Sunday fell for the act. There is a reason why Aventurine pulled off what he did. Sure, a lot of it was luck based, but a lot of it was also skill produced by both him AND Ratio. The 2.1 plot wouldn't have succeeded as easily if Ratio didn't help out.
He takes things seriously, clearly, which is why he dislikes Aventurine's plan concerning the forged betrayal (you cannot change my mind that the betrayal between Aventurine and Veritas was staged), but that doesn't stop him from being a little arrogant and cocky in his own abilities. He knows he's capable. He knows he's a genius. He knows he's powerful. So why not play around with his power? Stop writing Ratio as a stuck-up asshole with no emotions. Give him character, and give him the ability to explore his own dramatics.
TL:DR - Ratio is actually quite goofy if you read into him. Make him goofy and dramatic in your fics!
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Asks always open!!
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On Kurapika's Self-Imposed Isolation
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While I recognize that probably everything I'm about to say is going to be super obvious, I just wanted to briefly touch on Kurapika's self-isolation, and the reason behind his not picking up his phone or exchanging anything more than clipped words and business after Yorknew.
I think the obvious answer is that Kurapika doesn't want his friends in harms way, or to be used as a bargaining tool against him. This is an understandable and probably accurate conclusion. After all, Gon and Killua did get taken hostage, and Kurapika was forced to negotiate an exchange. Chrollo picked up on Kurapika's "weakness" right away - that he values his friends' safety before his revenge. Fortunately for Kurapika in this situation, Pakunoda was a whole lot more similar to him than he would've cared to admit, as she placed a value on Chrollo's life even though everyone in the Spider was intended to be replaceable. So, now that he's been through Gon and Killua having potentially gotten killed or seriously hurt, and Chrollo knows that he has a soft spot for them, it does make sense that he would try to push them away for their safety and for the sake of not having an exploitable "weakness" in future. He may also not want to burden them more when they have their own lives to live - he does slip off without telling Gon and Killua for the sake of not distracting them from Nen training, after all.
Except that he already tried all this earlier in Yorknew arc. He tried to tell them they shouldn't get involved, and they all agreed that the risks were massive - but his friends agreed to undergo the risks anyways to help him. Kurapika was even grateful for it - "I have been blessed with good friends."
So, for him to push them away solely for this reason after the fact, knowing that this was very much a likely situation to happen, is a little odd to me. Kurapika knows full well that Leorio would be frustrated, Killua would be offended and Gon would worry. So, I think there's a little more to it than that, and I actually would venture to say that "keeping his friends out of danger" is more a secondary reason for his actions - one that would come across as more of a reasonable excuse to others.
The primary reason is likely a lot more selfish than that. Kurapika has to ensure his mission comes first. And unfortunately, he is fully aware that his path and choice in abilities is deeply self-destructive.
Kurapika needs to make sure that he doesn't have exploitable weaknesses, sure, but he also just as much needs to purposefully worsen his headspace - and he can't do that with those three around.
Think back, what are the happiest moments we see from Kurapika in the series? The one that comes to mind first, and the one I'm sure most of us will think of immediately, is this:
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[ID: A screenshot from the 2011 anime adaptation. Kurapika smiles - he looks at ease. End ID.]
It's one of the sweetest scenes of the series imo, right before the whole group is reunited for the first time since the Zoldyck Family arc, and it's even more notable because it comes immediately on the tail end of this...
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[ID: Three panels from HxH Chapter 101. Kurapika removes his contacts over the sink. His expression is distant. End ID.]
...and this...
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[ID: A panel from HxH Chapter 101. A close up of Kurapika's vacant and furious expression, his eyes wide and dangerous as he says "It might as well be you." Though the art is in black and white, it's apparent his eyes have gone scarlet. End ID.]
...and this.
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[ID: A panel from HxH Chapter 101. A distant Kurapika speaks on the phone on a rooftop at night, the cityscape of Yorknew around him dark, but speckled with lights and stars. He says "The Spiders are dead." His face is not visible to the reader. End ID.]
This is, up to this point in the series, Kurapika at his lowest. In contrast to Gon, who is happy to hear that the Spiders are dead already because now Kurapika can focus solely on finding his peoples' eyes, Kurapika... is clearly not happy - and that's because killing the Spiders himself isn't just revenge. It's penance. It's survivor's guilt. Kurapika's powers, which Izunavi even comments sound much like he is chaining himself in the process of chaining his enemies, are oh-so-beautifully prophecied to destroy him - and Kurapika was aware of this from the moment he set off down this path of revenge.
(As a side note, this is why I'm really hoping we see Gon and Kurapika interact again after the Chimera Ant arc - while Gon has always been pretty attentive to Kurapika's emotional state, in Yorknew, he lacks a true understanding of why Kurapika would go so far... but as of now, he understands rage fueled by guilt and grief all too well. I know we're all rooting for Leorio to reach Kurapika, but barring that, I really think Gon could get through to him - after all, they are similar in several ways, and I find it fairly apparent that Gon reminds Kurapika of Pairo.)
But back to the main point here - I do suspect Kurapika expects (if not wants) his revenge mission to destroy him. I think a lot of times, we forget just how young Kurapika is, and how much his character is dictated by honour, and the abandonment of it.
Certainly, he can and will go against his principles for the sake of his mission... yet, almost paradoxically, he's bound to his promise to his fallen clan; a promise to avenge them made in anger.
But Kurapika... doesn't come across as a naturally angry person to me at all.
He seems like the stoic, vengeful type on his initial introduction... and then we get his panic at Gon's recklessness
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[ID: A panel from HxH Chapter 2. Kurapika and Leorio wear matching expressions of panic in front of Gon, calling him out for his recklessness. End ID.]
...and his near-immediate forgiveness of Leorio after getting the first inkling of his character - of someone who cares just as fiercely as he does.
And after that point? Almost all through the Hunter Exam? Kurapika smiles so readily at them. He's sharp and funny. He mediates at times, but is stubbornly prideful in others. He's very amused by his friends' antics, and it really does seem like he starts to enjoy himself, with them. And, more than that, he counters Leorio's initial impression of him as an independent loner - on several occasions. He decides to follow Gon because Gon intrigues him. Asides from Gon, it is Kurapika who is the most unwilling to fight each other at the bottom of Trick Tower. Kurapika who makes the first move to team up with Leorio, even though that arrangement benefits Leorio much more than it does him. Kurapika who refuses to abandon Leorio to his fate in the cave, and who checks on Gon after noticing his bad mood. Who was furious enough watching him get beat down by Hanzo that his eyes went scarlet for the first and only instance outside of Spider mentions and Emperor Time. Who quite readily detoured to help rescue Killua.
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[ID: Three screenshots from the 2011 adaptation Hunter Exam arc. In the first, Kurapika smiles at a sleeping Leorio. In the second, Kurapika stifles laughter as he pretends he's asleep. In the third, Kurapika has an open-mouthed smile as he acquires the airship tickets for them, Leorio and Gon standing behind him. End ID.]
Look at him! He's so bright! So happy!
...too happy. Too happy to do what he promised himself he would do. And that's his biggest fear, isn't it. Without his rage... what is he left with?
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[ID: A panel from HxH chapter 2. A close up of Kurapika's eye as he says "I do not fear death. What I fear is that my rage will one day fade away." End ID.]
Kurapika is far, far less mired in anger when he's with his friends. I actually dare to say that at certain points, he was able to go for lengths of time without thinking much about it - alternating between almost forgetting in one instance and being hit like a sledgehammer on exposure to a reminder in the next. This violent swing is... actually the beginnings of the natural process of healing from loss and trauma. But to Kurapika, who's made a promise to his people's memories, this is not a relief. This is betrayal.
I think that actually scares him, that he can almost picture it. A life beyond his guilt. That he, too, could learn to be happy, even after unimaginable loss.
And so, as Kurapika continues his mission offscreen, finding more and more gruesome reminders of the cruelty inflicted on his people and losing more and more pieces of himself in the process (in his own words, no less), he prioritizes his responsibility to them, and pushes away his distractions. He cannot be a soul at peace until his work is done; he must be in turmoil. He pushes people away who he cares for, and binds himself, and keeps his people's eyes on him, quite literally, because respite, for him, is unacceptable. Perhaps that guilty part of him even hopes, by the end of this, that his soul will be so unrecognizable as to be fundamentally unsalvageable. But the truth of the matter is, or at least what comes across to me, is that Kurapika cares much more fiercely than he hates. He knows what matters most. And for as long as he does, he still hasn't truly lost himself.
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[ID: A panel from HxH chapter 350. Kurapika looks down at baby Woble with a gentle, yet complicated expression. The inking is somewhat softer. End ID.]
Kurapika's soul is kind, really. And it wants to heal - but for the sake of his mission, he needs it damaged and bleeding. And so, he forces himself to exist in that pain. All alone.
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[ID: A panel from HxH Chapter 344. Kurapika, dressed in a black suit, sits with his back to the reader, looking down at a photo in his hand. He is slumped a little before the church vigil he has prepared, all his clan's eyes lined up in their jars and honoured with flowers and candles. He thinks to himself "There is no home for me to return to... and nobody to welcome me back. I have nothing left." End ID.]
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thatonepersonthatdied · 4 months
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I think it’s silly how in fics Danny’s like “oh thank the ancients” or otherwise using them as a stand in for “oh my god”. He beat half their asses bi weekly and they only made him stronger. He spits on their names like a Canadian who just got attacked by geese 
He is cocky and full of rage. He can and has fist fought several gods, no way is he respecting them.
Maybe clockwork and pandora, but no one else (nope, nvm on clockwork).
Anyway I think he should curse them out or use them in derogatory ways rather than use them as a curse
Examples:
Oh fuck the Observants!
You’re dumber than the Observants
I’m gonna beat you so hard Nocturn would be impressed
I hope Vortex goes up ur ass hole
Overgrowth wants to know what ur smoking
I hope overgrowth eats ur mom
I’m not that creative but you get the point.
(This is no way a dis on the ancient trope, I like it fine enough)
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frogs-in3-hills · 11 months
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obligatory turtle pile art
[Image Description: A digital illustration of Don, Mikey, Leo, and Raph from the TMNT 2003 cartoon. They all sleep in a turtle pile surrounded by pillows and blankets. Mikey and Leo are in the center, Leo’s arm around Mikey’s shoulder and Mikey’s arm stretched out over Leo’s stomach. Mikey sleeps open mouthed, while Leo looks relaxed and is smiling faintly. Don is curled up around Mikey’s side with his cheek resting on Leo’s arm. Raph is curled up around Leo’s back with an arm over his chest. Leo rests his head against Raph’s shoulder. A beam of light falls over their faces. End ID.]
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inferi-ous · 2 months
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“i don’t understand jegulus” OK?!?!??
then it’s not for you
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abbyymerry · 2 months
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“Congratulations” Part 1
In which Mr. Qi showed up at grandpa’s farm.
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To be continued…(next part is in progress)
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grxceful-ly · 1 year
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peter bringing mayday with him to do spider stuff because yeah, he had things to live for before--but now he has a child and he is going to raise this child and be there for her and maybe if she’s there, strapped to his chest, he’ll be more careful. he’ll consider his life almost as precious as hers. maybe bringing mayday to work is a precaution. 
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Thoughts on a Wreck-It Ralph Sterek AU, where Derek comes from a violent, first person shooter game like Halo or Call Of Duty while Stiles comes from a bright, goofy, whimsical game like Mario Kart or Splatoon?
Honestly I think the idea is awesome but super funny. You’ll also have to sit with me here because I know nothing about video games or Wreck-it Ralph. To me, Stiles will always be the person more capable of violence, even if Derek is a werewolf. So the fact that he’s in a lighthearted game is super funny.
Derek doesn’t know anything but a life of violence. He mourns for a family that was never really his; as all the time he has with them are the violent flashbacks of the story line. He hates the argents with a passion, as they were the ones who order his family’s death. That’s why his character signed up for the military, to get revenge. Stiles is a mage who has never reached his full potential. His game is an adventure game, he tries to live up to a mother he never had, as everyone always tells him that she was the most powerful mage to live. Stiles always feels like he falls short. His character is like a fox and for some odd reason is treated harsher than the villian in his game. He is always wondering what the ending of the game would be like as no one has played until the end.
While Derek probably got sick of the unending violence of his game, it’s stiles who actually crossed over. Stiles got completely mind meltingly bored of his life within the game. He got tired of being stuck and feeling like he doesn’t belong. Being the ever so curious and mischievous person he is goes looking for an exit and finds it.
He leaves his game and Deaton puts out orders to drag him back by any means necessary. Stiles ends up running to Derek’s game because he knows that the characters from his won’t be brave enough to follow him in.
Derek was in the middle of a game, hoping that whomever was playing was semi decent so he would have to watch teammates die all over again. It doesn’t matter to him that they come back to life afterwards. When an boy falls from the sky. Derek thinks he’s the most beautiful person he’s ever seen. Something clicks in his chest and for once in his life feels whole again. He can’t remember the last time he met someone so full of life.
And when stiles tells him, he escaped from his game, Derek is ecstatic that he can get away from the death of his game.
The two of them go on the run while Deaton looks to drag them back. Derek swears to protect him, stiles promises to make him laugh. They make friends though out the games that they visit, and Derek has never been happier. In the end they find out that stiles code has been tampered with (like the little girl from wreak it Ralph). Deaton had tampered with Stiles’ code to suppress his magic. Deaton had grown jealous that Stiles was more powerful than him. Always stuck to be nothing more than a mentor, a passing character. Stiles and Deaton fight, and Derek unable to leave stiles behind takes a hit for him. In his anger stiles manages to knock Deaton out but it’s not enough to save Derek.
Stiles is begging and pleading Derek to be okay, but Derek smiles at him,“I promise you, I’ll be back, I’ll wake up again.” But they both know that only works if you die within your game. Derek has died before, but this has had to be the best one. And he tells stiles this, asks him to smile. Stiles kisses Derek.
Now I have two separate way to get to the ending:
1. Stiles in that moment unlocks all his abilities, like he would have if anyone ever played his game to the end and is able to save Derek and rewrites their codes
Or 2. Derek dies there in his arms, dissolving into pixels. And he wakes up, back his game with a killer headache. Must of been a bad round last game, he can’t remember anything after the middle of the game. Strange of him to die that early. Even stranger is the pain in his chest, Derek checks for injuries but he can’t find any, but it still feels like he got shot in the heart. Derek swears that he’s forgetting something but he can’t remember what. He spends the next few games in a haze. Something in the back his head tells him that something just isn’t right. For a brief moment as he dies each game, he remembers whiskey golden eyes and the prettiest smile he even seen.
Stiles on the other hand cannot forget what it was like to lose Derek. He is dragged back to his game, in chains by Deaton. His code is locked up even tighter than before. Deaton tells him that Stiles will be stuck in this game, and he’ll never see Derek again. The pain is unbearable and this cause Stiles to try and rewrite his code to forget Derek.
****this part is not apart of the story line but I like angst so feel free to skip but Double angst: Stiles manages to erase Derek from his memories. What he doesn’t know is that this has happened over and over again. Stiles begins to feel like something is missing from his life and goes to escape, finds Derek and loses Derek over and over again. No wonder the hale pack away treated them like friends, as they’ve know each other before, but they couldn’t say anything. Each time they fall in love, desperately trying to get it right. Desperately trying to save each other. No matter what Deaton does, no matter the code that he edits. Stiles always escapes and finds Derek and every-time they fall in love.****
Back to the story line, what Deaton doesn’t know is that pain, especially pain received out side of one’s own game, changes your code. So while stiles was looking for a way to forgot Derek he finds a way to send him messages.
Derek was on edge, everyone in his game could see it. He was far more reckless now, pulling stupid stunts to get himself killed. He’s hoping to see more of the eyes and smile that haunts him. He’s in the middle of a fight with an Npc, when he gets hit in the head and sees code. So when the game ends he goes to the console, something he has never done, and looks at the code of his game.
It’s there that he finds the messages from stiles. And it’s there that he remembers who stiles is. Derek is fill with rage, as he promises to get stiles free. Deaton wouldn’t know what was coming his way. Derek was the best hunter on his team, his early kills being savage enough to warrant the nickname wolf. He was going to rip Deaton apart and laugh at his corpse.
So he packs up and leaves his game, and hunts down stiles. His picks up the friends he made on his journey with stiles (Erica, Boyd, Issac, etc.) they managed to get stiles free and Derek does what he says he would. He rips Deaton apart, for the first time in his life he relishes in the violence he causes. Stiles unlocks every line of his code and he puts Deaton in chains.
He edits the code in his game and Derek’s to allow for each other to become a character if they so choose. Derek mostly goes to Stiles game, as he hates the idea of Stiles living in his game, of being nothing more than a soldier when Stiles is so much more.
They have each other and they have a home to go to, neither of them ever feel alone again. Derek tells the story of an angel falling from the sky at their wedding. The single moment that changed his life.
Anywhere, I hope you enjoyed this!! Thanks for the ask!!
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ihhfhonao3 · 8 months
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Everyone is entitled to their own ships and headcanons for the ace attorney characters but I think that the one thing that in undeniable is the inherent queerness in all of them.
Like, the delites are a straight couple. A man dating a woman. But the way they love feels very queer- as in, they love each other in a way that I’m not sure if you would find that in the average hetero romance story.
You can ship justicykes. You can ship feenris. You can ship magshoe. But all of them love in a way that is extremely queer at it’s heart- even if you ship them in a straight relationship. And that’s what’s cool. That it’s really hard to remove the queerness from ace attorney.
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callmegaith · 7 months
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All eyes on you, Houdini... On stage you're the center of attention. You craved it so much it killed you.
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benetnvsch · 9 months
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MAKING OUT with KUNIKIDA-KUN in the BACKROOMS at 3 AM‼️ REAL NOT CLICKBAIT‼️GONE WRONG (MONSTER SUMMONED⁉️ I DIED⁉️⁉️⁉️)
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suffersinfandom · 2 months
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I've been encountering more Stizzy out there lately, and whatever, ships aren't moral indicators, don't like don't read, etc. And so I do not read!
But, like. What do Stizzy folks do with Ed?
Stede adores Ed and would never so much as consider someone else, especially not someone he has a mostly antagonistic relationship with. In-show-Izzy is so tied up with Ed that I don't even know what you'd do with him in an Ed-free environment. Do Stizzy writers kill Ed off? Make up whole new universes where Ed never existed (and in that case, why don't Stede and Izzy just hate each other forever without Ed to bring them together)?
I don't like any Izzy ships because I think everyone else on the show deserves better, but this is really the only one that makes absolutely no sense to me, not even as an enemies-to-lovers situation.
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