#the future will be better because it has to be. it must be. otherwise what have they spent their entire lives fighting for?

[igotanidea]

Stuck: Anthony Bridgerton x wife!reader

A/N: seriously, I almost titled this chapter "idiot" , XD (and that's also the spoiler alert XD)

part 1 to too much

part 2 : not enough

part 3 : almost there

***

One year ago

„When will you get those irrational thoughts out of your head Y/N?”

“What irrational thoughts?”

“About marriage out of love. No such thing exist in the world, my dear and if you do not start living in reality you shall become a spinster!”

“Mother!” Y/N’s eyes grew wide at the harsh and unjust words. She was still so young and to almost be called an old maid—

“Do not raise your voice young lady. You shall marry this season otherwise you would be putting our noble house in a very compromising position.”

“But-“

“Ah! Do not object your mother Y/N. You’ll do as I say. I know what’s best for you and you shall follow the lead. And that is precisely why you’ll accept when Lord Bridgerton proposes to you.”

“Lord Bridgerton!? Which one!?”

“The viscount, dear.” Her mother fluttered her fan imperiously. “Lord Anthony Bridgerton.”

“There is no possibility that I-“

“Hush!”

“Mother I –“

“You’ll say yes.” The tone of voice became much more commanding, leaving no space for discussion. It was like Y/N’s fate has already been decided.

“And why shall I? Because the viscount has decided he has enough pleasantries exchanged with modistes and actresses and other ladies free of the burden of the title. Because mighty Lord Bridgerton decided it is time to tie bounds with a young noble lady, who will be naïve and foolish enough to look at his antics without as much as a blink of an eye. Who will – dear lord – bear him an heir to the title and be the perfect little wife he would order around.”

“Y/N Y/L/N!” her mother raised from the chaise longue with cheeks flushed due to her daughter impertinence. “You will accept the proposal!”

“I will not!”

“Your father has already made the appropriate commitments!”

“Commitments!?”

“You shall be courted like a young lady should and get married in the fall.”

“Mother!”

“It has been decided. Now, you go and make yourself presentable. Lord Bridgerton has announced his visit in the afternoon.”

***

The visit was a disaster, to use the light words.

It was clear as day that neither Anthony nor Y/N were fully content with this arrangement and subconsciously tried to discourage the other. That way, when one of them would actually break it off, said one would be to blame for the disgrace, that would undeniably fall on both families.

However-

Despite some many character discrepancies they were both pertinacious and individualistic, ready to go the greatest length to have one’s own way. Neither of them was even thinking of surrendering easily.

Therefore, during his first appointment as a suitor Anthony was met with cold stares, minimum exchange of words and very noticeable distance on his future bride’s part.

Immediately matching the atmosphere and repaying in kind, only doubled in intensity.

Getting burned with the tea in response.

Causing a lot of havoc, many fake words of apologies and even more words of assurance that is must have been an unfortunate accident and he holds no grudge.

For obvious reason the time spend in L/N;s household was cut extremely short and Y/N was send to bed without supper to think about her erratic behavior.

Next few visits were no better.

Especially not the one when Anthony and Y/N were to reveal to a wide audience the nature of their acquaintance by strolling on the promenade, beaming with happiness due to their soon-to-be marriage.

“Dear lord, you are to be enthusiastic.” Anthony hissed in Y/N’s ear grabbing her arm with a bit more force than needed “Smile.”

She put on a fake grin when they were passing by some familiar face, but as soon as the woman was gone she turned to Anthony throwing daggers at him.

“Giving me orders already, Lord Bridgerton?”

“Hopefully you can be tempered if we start getting you used to it this early.”

“Oh! Perhaps it should be you to change the perspective my lord. See the real face of a lady you decided to meet at the altar?”

“And here I though your wonderful mother raised you better.”

“Do not dare speak of my mother the ill way!” she almost yelled, almost yanking her hand free from his grip, stopping the walk and challenging him to do something reckless.

“Forgive me.” He became serious in an instant and the words of apologies actually seemed honest. “You are right, I overstepped.”

“Thank you.” She responded with a deep sigh. God knows how much it took for her to stay calm. Regardless of the on-going conflict and differences in views between Y/N and her mother, the young woman would never let anyone offend her family. Not even Lord Bridgerton. And he should know that straight away.

“Perhaps we have started off the wrong foot, Lady Y/L/N.”

“I believe so. Seemingly we have a way to bring out the worst in each other, Lord Bridgerton.”

“Is that a way to tell me I have already seen you on your lowest behavior?”

“Compliments, Lord Bridgerton, you have endured my greatest efforts to cause you dispiritedness.” Despite herself she let out a chuckle.

“I am known for my endurance even in the least favorable circumstances.”

“I shall keep on my efforts, nonetheless.”

“I am deeply convinced that this will be the case”

***

Dearest gentle reader,

It has come to this writer’s attention that the affection between Viscount Bridgerton and young lady Y/L/N is in full bloom.

Despite the initial misunderstandings and noble behavior, that hasn't deceived any member of the ton, even if have been well played, recent news and observation has shown that maybe there's less pretending and more truth to it. 

Much to the ton’s discombobulation, young pair has been seen laughing together while the viscount resorted to courting in the way that resemble his late father and Lady Violet Bridgerton manner.

This writer daresay that no elite member would have ever do as much as dream of Lord Anthony Bridgerton picking meadow flowers for his chosen one while walking in the fields, away from prying eyes. Neither anyone would ever think about the forever dreamer lady Y/l/n actually so close to fulfilling her dream of marrying out of love. Irrational thoughts, as someone may put.

It is yet to be decided whether the on-going courtship between lord Bridgerton and lady Y/L/N will be a source of impending scandal in the society or whether those two will actually succeed in keeping this lovable atmosphere for following years.

After all – real love is not easily found and even less easily kept once the obstacles arise.

***

Now.

“You are to be enthusiastic.” Anthony murmured taking Y/N;s arm and bowing to the passing nobles “Smile.”

Those words brought back some memories and she couldn’t help but chuckle at the irony of the history that was in fact repeating itself.

“What is so funny?”

“Your memory does seem so be failing my lord. Won’t you remember the last situation when you told me to express my happiness and contentment to the ton?”

“I—” Anthony cut off, letting out a deep, frustrated sigh.

“Seem like you do after all.”

“Y/N…”

“Been a while since I had to pretend I was content though, given the fact that I truly was, of late.” The hint of sadness and melancholy was not to miss and did not make it easier for Anthony to pursue on the apologies he was tirelessly pursuing.

“Y/N…”

“Good job on choosing the right name since the person, whose hand you are now holding for display seem to be too much for you, my lord. To say the full truth I am fairly surprised you chased me here instead of focusing on spending time with one of your-“

“Don’t you finish that sentence.”

“Oh, I shall not, god forbid. I shall keep the pretenses as any lady married into a good family will.” She send the brightest smile to some kids that were running around, preached by their parents, holding her walls up.

At this point, mockery and distancing herself from the entire unfortunate events, if not fight, was the only way to prevent the emotional and mental breakdown and falling into tears. She was hurt. She was deeply hurt on a level she never thought existed. Anthony’s behavior hit precisely in all the sensitive spots, leaving her overthinking and wailing inside. Reminding her of all the years in her family’s household, being forced to act according to the standards, which she constantly broke, defying all the rules of ossified society and paying a heavy price for being herself despite the odds.

Being called too much, constantly.

Until she met Eloise, which was freeing. Y/N could finally feel like herself, spending a lot of time with Bridgertons.

And then meeting Anthony.

And actually creating a happy story with him, believing she would once and for all be free of the typecasting and tag putting.

But he started behaving in the same way to which she was exposed her entire life.

Too much.

Not enough.

And it made her angry.

“Please do forgive me for not easily being shaped in the wife you want me to be.”

“Shaped? I never wanted you any different!”

“Is that so?” she raised an eyebrow teasingly and it got her furious glance of her husband’s and the tightening bruising grip on her wrist. “you’re hurting me. Again.” The emphasis put on the last word actually made Anthony realize that he was not made of stone, but the words he wished to say were not coming easily.

“Y/N…” he clenched his jaw. She was mocking and challenging him even now, when he was trying to admit he was wrong and trying to apologize for the wrongdoings.

“Yes, my lord?” she took a step back, smiling in that light way that made him even more furious.

 “I believe you wanted to spend time on an intellectual conversation with my sister. Forgive me-“ he bowed in a distant manner reserved for strangers rather than spouses “-for being as impertinent to interrupt ladies’ time. I shall withdraw and leave you to continue on your – surely important- exchange”

And with those words, much to the shock of not only Y/N, but also Benedict and Eloise, who were still following them, Anthony bowed again and started walking away, raising clouds of dust due to the speed with which he rushed off from the place where he left his beloved wife.

Feeling the weight of failure and heartbreak on his shoulders, without a single way to make up for his mistake and keeping the face of a viscount at the same time.

Convinced that she hated him and there was no way to regain her favor and affection.

next part (finale!) : Just right

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#anthony bridgerton #anthony bridgerton x reader #anthony bridgerton imagine #anthony bridgerton x you #anthony bridgerton fanfiction #bridgerton x reader #bridgerton fanfiction #bridgerton fic #bridgerton angst #anthony bridgerton angst

[axiina]

I saw your post about writing for Coriolanus Snow Andi was thinking classic enemies to lovers nsfw I’ll give you free liberty with everything else 💕

'I hate you' is new 'I love you'

Pairing: Coriolanus Snow x capitol!reader (gender neutral afab)

Summary: When your professor tells you to come to an agreement with your enemy, and you take 'come' too literally.

Words: 3.2k

Themes: smut, nsfw

Warnings: using of 'you' to reader, set before events of tbosas so no actual spoilers, more like academic rivals to lovers but they want to fight at some point so I guess it counts, NSFW | public sex (or more semi-public), unprotected sex (wrap it before tap it), p in v sex, kinda toxic but it's enemies to lovers, more like enemies who fuck, Coryo is pretty rough and possessive, marking, making out, idiots in love but they prefer fighting with each other

Author's note: I found some free time between studying, so I decided that I can no longer delay. English is not my first language so i hope that i didn't do too much mistakes. It is possible that a single "she" or "her" will appear here because I changed the concept during writing and I do not know if I got rid of everything. Let me know whether to stay with the use of 'you' or maybe replace it with personal pronouns or 'y/n'. I hope it's not written very awkwardly and you will like it!!

Coriolanus Snow is a peculiar person. Most people love him. Nice, classy, handsome and rich from a wealthy family. What more could one want? However, one of Coriolanus' traits that everyone seems to turn a blind eye to is his two-facedness. Some say this is merely a symptom of his cunning and wits. He knows when and how to behave to make his counterpart happy. You are not one of those people. Saying that you and Coriolanus Snow don't like each other is a huge understatement. You guys hate each other. From the very beginning when you both met at the academy it was known that you would cause a lot of problems. Too much of a character difference, or perhaps too much of a similarity between the two. However, this is not what is crucial. Whatever it is, it makes you two most likely to kill each other if you could. Every move you make you do to screw each other up. To prove who is better.

Professor Satyria's pleas for you to finally come to an agreement are of little use. The conflict must go on, and neither of you has any intention of giving up.

You like the way things are working out. At first, Snow was annoying and you didn't understand how people couldn't see him for what he really was. Fake. Now he is still annoying, but getting under his skin has become a sort of routine. Quite a pleasant one.

"You have to get along with each other and set a good example as rightful citizens of the Capitol, otherwise the Academy will draw out the consequences."

Professor Satyria's words continue to ring in your ears as you get ready to go home after finishing classes and doing punishment work. On the one hand, you don't want something as silly as arguing to weigh on your future, but on the other hand, reaching out to agree is like admitting you were wrong. Failure.

"Wherever I am you must also appear. Are you obsessed with me?" Behind your back, you heard a familiar, annoyingly kind voice, in which you could sense some arrogance. You groaned turning around to see no one else but Coriolanus.

"Don't you have anything better to do? People are finally getting tired of your idiocy?" Your words, however, did not budge the blond. His expression remained unchanged. One that might make most people think he is a nice person. You, however, have known him long enough to see right through it. Perfect. Too perfect.

"We need to talk. A positive outcome for both sides. It will interest you." Well, the threat of Satyria. He is the first one to extend his hand for agreement. Where is the trick? You look at him suspiciously without saying a word, and so Snow takes it as a sign that you are thinking about the proposition. "Do you have free time? Maybe we could go out somewhere together?"

The suggestion makes you burst into laughter. "With you? No thanks, I'll pass on this pleasure."

Coriolanus is not surprised by your answer. He knew it wouldn't be that easy. Accepting rejection, however, is not his strong point. He is annoyed by your behaviour, but he bites his tongue to avoid responding in the same spiteful way. Instead, he doesn't give up.

"I know we were never on good terms, but I want this war between us to end. I hope we can put behind us all the bad things that happened between us and start fresh. What do you think about this?" he says, sounding quite sincere.

"Let me think." You say and sigh, pondering the answer, which is obvious, but you can't let go of a little malice. "No."

The expression on Snow's face became more serious. It seems that your refusal offended his pride. But he doesn't show it in his tone of voice.

"Why not?" he asks and you notice how he clenches his jaw and his gaze becomes unpleasant.

You enjoy the view and it fills you with satisfaction. "Because you think that with a pretty face and fake politeness, you can get anything. Maybe it works with others, but I'm not that stupid. Additionally, you are damn annoying. That's why."

The expression on Snow's face becomes dark. Typical when he fails to get what he wants. His usual tone is completely gone. His face is twisted with anger. He still tries to maintain a polite voice. The attempt fails.

"Do you want to repeat it?" he asks through his teeth. It's obvious that you've hit one of his sensitive points. That was the plan.

"Exhausting, isn't it? Hiding behind the mask of a nice and put-together boy from a highly placed family who is a veritable ideal is tiring, isn't it?" A mockery can be heard in your voice. Coriolanus is very sensitive to it.

"What do you think you know about me?" He asks through clenched teeth, his tone no longer artificially polite, it is filled with rage. Your mockery has really gotten to him. He tries to calm down, but it's all in vain. Coriolanus has never had problems with self-control, but something about you makes him ready to abandon everything. You manage to get him off balance with ease. In his head, he has one plan. To destroy you.

"Do you think you pretend so well?" You burst out laughing and shake your head. You know you shouldn't say such things. The academy is practically empty, and Coriolanus's angry enough can be unpredictable. However, you can't help but point out everything that annoys you about him. "It's actually quite easy to see what kind of person you are. You look at people with disgust, but when they look in your direction, you suddenly change dramatically. how fake you are to everyone. I wonder how they don't see it. How empty and shallow you are."

"You don't know anything about me!" Snow shouts at you, his face twisted with rage. He is barely able to control himself. He doesn't even try to hide it anymore. He stares at you with hatred in his eyes.

"Don't you dare assume that you know everything about me. You don't know me one bit. You don't know what my life is like. Don't think so highly of yourself. You aren't better than me." He continues, his voice getting louder with every word he says. You really hit his sensitive spot.

"I don't know everything and I'm not going to pretend otherwise. For me, the most important thing is acts, and in your case, they are fake and two-faced. You despise people, and you yourself are at the bottom." Irritation takes over. You know that at any moment you can say one word too many if you haven't already. However, someone has to talk it all out for him. Adrenaline makes you take a step closer to the upset boy without considering the possible consequences.

Snow seems to be on the verge of a breakdown. His fists are clenched and his eyes are wide open with rage. He is breathing hard, trying to control himself. He's not used to being treated this way by anyone. He has come this far over the years, solely because of himself and what role he has taken in society. You really succeeded in hurting his pride. "I warn you right now. Don't mock me any further."

"Why? What will you do? hit me? do it, I dare you. Then everyone will see how "perfect" you really are." You know the situation is starting to get dangerous. However, you come closer. It's stupid, you know it, and yet you do it. Maybe it's the way his reactions give you satisfaction, or maybe it's the way he looks at you.

You can see the hatred oozing from his eyes when they are locked on yours. His face is full of rage, his breathing heavy and his muscles tense.

He takes a step toward you with a clenched fist. You can see his knuckles turning white. He grabs you and presses you against the wall, his body against yours.

A second later, you feel him pressing you against the wall tighter than before, and his hand grips your throat.

You feel the warmth of his breath on your lips. Your heart is pounding as if it wants to jump out of your chest. You feel a strange sensation in your lower abdomen. His eyes are cold, yet they make a pleasant shiver run through your body. His face is right next to yours, flesh pressing against yours. It was a matter of split seconds as you two pressed your lips to each other in an aggressive and hungry kiss.

He returns the kiss, wrapping his free hand around you. He seems to enjoy the kiss as much as you do.

You can feel his body trembling as he still tries to keep control of his overwhelming emotions, or maybe it's because of the situation you're in.

The two of you kiss aggressively. Snow's body shakes as he fights between his desire and how much you get on his nerves. You feel how rough but passionate his kiss is.

He draws you closer and your bodies press against each other. The friction of your bodies makes you uncontrollable over the muffled whimpers you make. You feel the bulge forming in his pants rubbing against your body.

The situation seems hazy, and only fragments register in your mind. How you both enter the bathroom without stopping your hungry and clumsy kisses, and your hands work to get rid of clothes that only makes it difficult. How Coriolanus presses your body against the wall slamming his hips against yours.

All this is to express yourself and give vent to all the negative emotions you have been holding for years.

Snow's body is now almost completely controlled by his emotions. His movements seem full of hatred and at the same time passion. He just wants to express himself using his flesh to claim you as his own.

You feel as if you are on fire, your body moves and reacts according to your desires. The tension that has built up between you for years is finally released, and it all comes out as raw passion.

His fast and aggressive movements make the place where your bodies meet burn in a pleasant way, and you think to yourself that it will be a miracle if you walk normally tomorrow. His dick stretches you nicely and his movements make your inside sting slightly. It's not a problem for now. Not now when your legs are wrapped around his waist and the only sounds you can make right now are moaning and repeating his name like a mantra.

Your body trembles at how rough his movements are, but you don't care now. The most important thing for you now is to show him how much you hate him. A broken moan leaves your lips when he reaches deeper.

Coriolanus feels your legs tighten around him. He moves slower now but is more passionate and rough. He holds your hips tightly, not caring if it is uncomfortable for you. His lips move to your neck, where he bites as if he is trying to unload all the emotions you are causing you this way.

His hips buck firmly against you. Each thrust makes your body more tired and aching but at the same time, it makes the whole experience even more pleasurable. If someone told you that you would end up having sex with your biggest rival in the academy bathroom, you would laugh in that person's face. There you are, panting, with your arms around his neck when Coriolanus Snow is abusing your cunt sensitive from too much friction.

Coriolanus brings his lips closer to your ear. His warm and irregular breathing makes a shiver go through your body. "Do you like it when I claim you as mine?" He purrs, his voice still filled with desire.

"I hate you, I hate you so much," You exhale in a trembling voice that takes a lot of trouble to keep from cracking. You bite and suck at the smooth skin of his neck, leaving there dark marks. "I hate you, Coriolanus Snow."

"I hate you too," Snow says with a low growl as he continues to hold you. He bites your shoulder, leaving marks on your skin. His moans are muffled by your skin, which he touches constantly, as if afraid that at any moment you might escape and leave behind only a faint memory.

You hate him, but you enjoy him. You are pleased when he takes you as his own. You are excited when he uses your body. You feel his passion and desire through his body. You feel his raw passion and it's hard to hate him now.

"oh go to hell" You hiss and bite your lower lip to stop your moans, feeling him moving faster.

He doesn't care if he hurts you or not. All he cares about is that you belong to him right now. His hips slam against yours in an aggressive peace. The bathroom is filled with sinful noises because you don't even think about the fact that someone might come in and hear them.

"you may have already fallen in love, but with me, it's not so easy" A trembling laugh leaves your lips. You feel your head getting foggier and foggier. It's hard for you to put together a meaningful sentence, "but you're doing a good job" a loud moan leaves your mouth. you close your eyes and throw your head back "mmm my sweet toy."

He hears your moans of pleasure, and his eyes close with a smile. He has won and he knows it. Snow always lands on top. He presses you against the wall with his body even tighter. His movements become more sloppy and deeper as if he wants to bury himself inside you. His body trembles as his lips leave broken moans and whimpers.

Passion is so strong that you can almost forget about hatred. You can almost fall in love with Coriolanus Snow. Almost. But you know that what you feel now is only lust, and you know that it's all temporary.

Not him. Not the arrogant boy whose whole life is based on lies. Not that boy who doesn't care about anyone. Not that boy with a beautiful face and mesmerizing blue eyes. Not him.

You press closer to his body, almost clinging to him as a wave of pleasure sweeps over your body.

Coriolanus lets out a raspy throaty moan feeling your walls pulsate around him. His voice is low and shaky. He doesn't seem to notice anything except the way you cling to his body. He moves faster and harder, making sure he satisfies you completely.

Snow is fully immersed in feelings. He can't think clearly or rationally. He only knows that he has to claim you, that he has to satisfy his needs. He wants to feel you and make the most of the situation. All his thoughts and desires are focused on you. His hip movements speed up as he reaches the climax. He hides his face in your neck to muffle his moans. His body stiffs as he comes inside you.

Your arms wrapped around his neck, while his wrapped around your waist. you cling to each other, still not making contact with the real world as your breathing slowly calms down.

What happened in that bathroom is over, they both return to reality. Snow steps back slightly and helps you stand on your own two feet. He looks at you with heavy eyes. All the emotions he had been hiding inside him had finally been released.

He has won and he knows it. He has succeeded. But what now? Was it really worth it? This is not a question for now. Coriolanus does not look far into that future with his thoughts.

You look at each other in silence. Slowly you begin to realize what you have done and now you look at each other awkwardly and somewhat panicked.

Coriolanus is the first to break the silence. His cheeks are flushed and his breathing is faster. The passion he felt a minute ago still lingers in his heart, something he tries to hide from you. He looks at you with a somewhat absent and uncertain gaze

"Do you think we should forget what just happened?" He tries to make his voice sound normal as if nothing had happened.

"Definitely." The words leave your lips before you have time to think. You stare at each other in silence for a few more moments and begin to quickly put on your clothes.

Snow is surprised at how quickly you agree with him. He needs to make sure this is the end of what just happened between the two of you, so he adds.

"If anyone asks, it never happened." He now looks at you with a somewhat panicked expression on his face.

"You don't have to tell me," you scoff, buttoning your shirt, "if you tell even one soul, I'll kill you, I swear."

Coriolanus looks at you with small amusement while fixing his jacket. "I hope you won't become obsessed with me after this."

"Maybe in your dreams," you say with a slight smile fixing the collar of his shirt. " you better be careful that you are the one who will be lost in memories of me." Before you leave the bathroom you stop in front of the mirror and fix your uniform and hair. Coriolanus smiles for a moment but then quickly clears his throat and tries to look cold.

You both come out of the bathroom, look at each other and part your lips, as if to say something to each other, but you look at each other in silence "Now everything is back to normal. We can still hate each other," you say, but this does not improve your mood at all.

"It never happened," Snow says trying to look you in the eyes, wondering if you're thinking about it too. He wonders if what he feels is real, or if it's just a moment of passion.

"Never" You agree by nodding your head. Your gaze goes down to his mouth. As you look into his eyes again without a moment's thought you move closer to him and press your lips to his in-hungry kiss. He kisses you back wrapping his arms around you to bring your body closer.

You parts away after some time and you both catch your breath for a moment after this passionate kiss. Coriolanus is completely consumed with passion and there is nothing in his mind but you.

You move away and nod to each other as if you have just made a deal and each is walking in your own direction in a much better mood.

Maybe that's not exactly what Professor Satyria meant when she said you two should come to an agreement, but it certainly worked.

#the ballad of songbirds and snakes #the hunger games #coriolanus snow #tbosas #coriolanus snow x reader #coriolanus x reader #coriolanus smut #coriolanus snow smut #coriolanus snow x you #character x reader #x reader #x you #smut #young coriolanus snow #thg #thg fanfiction #thg x reader #tbosas x reader #tbosas fic #tbosas smut

[prickly-paprikash]

Something cool about Blue Eye Samurai is how sex is juxtaposed with the end-goals.

I really love how our three protagonists are all obsessed. And that obsession defines them, torments them, and are subsequently reborn through their obsessions.

Mizu, of course, is obsessed with the concept of revenge. It's not even about getting even or getting justice as some might use to justify the bloody road taken—it is simply about seeking satisfaction for Mizu. She cuts a bloody swathe across Japan because of what the Four White Devils did to her mother and herself. She does not concern herself with the ramifications of her wrath but merely charges forward, leaving behind a trail of viscera and gore behind her.

Like I said before, her vengeance and obsession with satisfaction is not painted by the show as wrong. It is how she allows it to affect others along the path. It's why the episode with Madame Kaji is so enlightening; Mizu should not tackle this quest as a vengeful revenant; an onryō. She has let the world define her as a monstrosity and so she embraced it, when Swordfather and Madame Kaji knew what the correct path was to satiate her need for vengeance. Treat her sword as the Artisan's tool it truly is. Treat her body the way an Artist would treat their canvas.

Madame Kaji and Swordfather are both outcasts, for being a woman and a blind man. Yet they found strength in their exclusion, becoming single-minded in their fields of art. Because sex is art and swordsmithing is art. It's what makes Mizu's body writing scene so fucking good.

Artistic vision becomes stagnant when one pulls from only one source. They become rigid and unbending when Mizu, like her namesake, must be fluid. She has shown fluidity in her use of her gender and her morals, but cannot apply that same flexibility towards her goal. Throughout season one, she was becoming an uninspired artist, merely painting the world in hues of scarlet. In a world that forces Women to be either Wives or Whores, Mizu chose to be a Warrior—but a warrior fights for a cause, whether it be just or otherwise. A soldier fights in an army. Mizu is neither of these things. She is an Artist first and foremost, and her medium is Death. Sex, something Mizu was at first hesitant before her failed marriage, and something she actively avoided afterwards, is what gives her a new perspective. Like an Illustrator studying life to better draw their intended worlds, taking inspiration from wherever one can find it.

Taigen and Akemi are also equally affected by the artistry of sex, as befitting of Mizu's fellow protagonists.

Akemi is quite obviously Mizu's narrative foil. Mizu chases after revenge like a bloodhound whereas Akemi longs for freedom like a bird in a cage. Both are fierce women who are unsatisfied with their lot in life, with their sex and gender being used against them in their lives. Literally, the episode "The Tale of the Ronin and the Bride" is a fucking triple entendre:

Mizu is the Ronin as well as the Bride.

The play showcases the tale of the Ronin and the Bride.

It is also Mizu as the Ronin and Akemi as the Bride.

And when Mizu finds her center as she melts down her blade and engages in body writing, this scene of enlightenment is juxtaposed with Akemi laying with her new husband Takayoshi. Both, in this moment, are taking control of their lives through sex. They are both taking control of their futures through the ways Madame Kaji taught them. Mizu and Akemi are both rebels against this oppressive society, and are both talented artists with their body. Whether that be sex, politicking, or ass-kicking.

Taigen, like the two women before, finds freedom through it but in a more subtle manner.

Where Mizu and Akemi are narrative foils, both using sex as a form of art and escape, Taigen finds liberation through his awakening.

Like the closeted bisexual man he is, he begins his journey of self-realization when he first encounters Mizu at the Dojo.

Every single battle these two have is purposefully rife with sexual tension. All his life, Taigen has been taught that a man must live with honor. That he must take control of his life and his identity, or he will have failed and that he is better off dead than to live with such shame.

Taigen is just as much a victim of the Patriarchal society around him. Mizu rails against it violently. Akemi seeks to run away from it all. And Taigen, with the privilege given to him by his manhood, chooses to become a perpetrator, enabling the vicious wheel of society to keep moving forward.

His obsession with honor leads him to hunting down and even protecting Mizu. Mizu is no doubt the better warrior, but even she knows she owes so much to Taigen. The blockhead not only did everything to protect her in the valley, but also sealed his lips shut even under the duress of torture. His obsession with honor becomes an obsession with Mizu.

His regrets over tormenting her over her looks and ethnicity as a child. His shame in having lost so decisively in his own dojo. Taigen was a man born with nothing and climbed up to the top with every advantage he could muster, and suddenly it's all ripped away by this one vengeful spirit passing by.

Taigen learns to surrender control around Mizu. He begins to discover his own sexuality and purpose around Mizu, redefining what honor really means to him now that he, as a man, has a budding attraction towards the man who beat him.

Mizu's Vengeance. Akemi's Freedom. Taigen's Honor. In all three, Sex becomes a catalyst in redefining what each of these concepts truly mean to them all. It's not just sex of course, but it is undeniable how the writers keep juxtaposing sexual acts and thoughts with massive character moments.

It changes how Mizu chases after her Vengeance. It recontextualizes how Akemi can be Free. It showcases the absurdity of the Honor forced upon Taigen.

It's so fucking refreshing seeing Sex not used as fanservice or shoe-horned in just to further a stale, poorly written cis-heterosexual romance; but used as a plot point that cannot be ignored. An impetus that fuels the narrative.

Moving forward, I'm curious as to how sex will be used.

The next few ideas aren't as sound or organized because I'm neither Asexual nor Genderfluid, so please if anyone reads this who understands it better, feel free to point it out.

I think it'd be cool if Mizu met the inverse of Madame Kaji. A person who is apathetic to sex. Sure, Swordfather has shades of this, but I'm tired of the person with disabilities also being on the Asexual spectrum. And I'm not saying that Ace or Graysexual people with disabilities don't exist! But they always tend to be written as having some form of disability (Varys from ASOIAF) or a Robot.

Just as artists need a variety of sources to pull inspiration from, I hope in the next seasons we get to see different perspectives on sex and gender. In London, it feels like Mizu finding the other half of herself, and with that having a better way of tackling her own identity. Whether it be gender, sex, combat, etc.

Basically what this inane rambling amounts to is that Blue Eye Samurai tackles sex and violence and revenge and obsession in ways that most media has yet to truly do. So that was pretty cool.

#blue eye samurai #blue eye samurai spoilers #blue eye samurai season 2 #mizu #mizu blue eye samurai #akemi #taigen #metal #media analysis #character analysis #blue eye samurai meta #netflix are cowards for not announcing season 2 immediately #come on dickheads #the fans and the creators have been fighting for the green light #hand it over #you cocks #paprikash ramblings

[pudding-parade]

It's the tutorial that no one asked for! And I blew my entire day on it, so you better appreciate it! :) No, seriously, this is as much for me as for anyone else. I don't do this process often, and when I do, I have to re-remember the steps, and sometimes I forget some of them and have to figure it out again. This will save future me from having to do that.

Even if you aren't me, if you're interested in being able to place diving lots in most any world you like and that has ocean, this will be relevant to your interests. Unfortunately, it is a sometimes fiddly process to get a working lot at the end, and I went into a lot of detail, so the tutorial is long, but please do follow it closely because if you skip a step or mess anything up, your lot will be wonky or it might not work at all, and I don't want to hear your whining. :)

Note that this is a tutorial for placing a new, empty diving lot, which is the first step in placing a downloaded diving lot or one that you yoinked from another world, but this tutorial doesn't cover how to get such lots working. This just shows you how to place an empty lot, which I'm assuming for this tutorial's purpose that you will then build/decorate yourself. Frankly, I've discovered that building your own is much easier than trying to ram square pegs into round holes, which is what placing downloaded dive lots often feels like, even if you know what you're doing. It can be as time-consuming, if not more time-consuming, to get a pre-made lot placed and working than it does to just build your own.

So, here we go.

Step 1: Pick Your Poison. Choose the world/save you'd like to plop a dive lot into, open it, and go into Edit Town. You can use any world you want, EA or custom, so long as it has accessible ocean in it. (More on that in Step 3.) I'm going to use Sunlit Tides, just because many people want to put dive lots in it yet can't always get them working.

Step 2: Cheats! You need some cheats, so open the cheat box by pressing Control+Shift+C and then enter these three:

testingcheatsenabled true buydebug on enablelotlocking on

Note that you need to enable testing cheats first because the other two aren't available otherwise.

Step 3: Placing the Lot. Go into World Editor and in the Lots submenu of it choose the lot size you want:

As far as I know, a dive lot can be any size you want from the minumum 10x10 to the maximum 64x64, any of the EA standard sizes or any custom size you might add using this mod. If you are bound and determined to try and place a downloaded/yoinked lot, then in my experience, it's best to make the new lot a little bigger than the lot you want to place, if possible, so that you have some wiggle room to get it to fit better. But, I'm assuming you're going to build your own here.

If you plan to do lots of terrain sculpting on your dive lot, bigger is better. That said, unless you're going to do something really elaborate, it doesn't have to be 64x64, the largest possible size, either. Smaller will mean that your prospective lot will fit in more places on the map. So, it's up to you. For this, I'm just going to place a 30x30 lot, because I'm not going to build/decorate it or anything.

Now, it needs to be said that not every world will be able to have diving lots. The world must have ocean, obviously, and that ocean must be routable or else sims won't be able to get to it. The ocean also has to be deep enough. Generally speaking, "deep enough" is if the water is dark blue. (Or green, or whatever color the lighting mod you use might make it.)

For instance, in Sunlit Tides here, it's pretty obvious where the deeper water is:

But you know what? I'm going to place a dive lot in some of the shallower water, anyway, because I/you actually can, within reason. And if you're interested in doing this in Sunlit Tides, I'll warn you that the deep spot in the pic above has a very uneven bottom. It's really not a good place to put a dive lot. And I'm not sure what the deep water on the outskirts of the map is like, but the good news is that much of the deeper and flat-bottomed shallows, as I've noted, work well.

So: With your chosen lot size selected, move your cursor around in the ocean where it seems to you that the water is "deep enough" until you come to a spot you like and where the lot grid is green. If the grid is never green, then the ocean likely isn't routable at all and you won't be able to place diving lots in that world. I have never run into that, myself, but I also haven't done this all that often, so it's certainly possible. Anyway, I'm picking here:

My advice would be to not make your lot too far off-shore even if you can do so, or else it will take sims a long time to get to it. Especially merfolk, because they always swim out to dive lots rather than take a water taxi, and they swim much more slowly than a water taxi moves. Once you find your spot, go ahead and place the lot. Doing so will create a square island, not a sunken lot. That's fine. We'll fix it in a moment.

Step 4: Change the Lot Type. Click the lot's icon and change the lot type to community and then choose "Diving Area" as the subtype:

Note that this option will only show if you've enabled lot locking. So if you didn't enter that cheat up in Step 2 or if you entered it incorrectly, rectify that situation now so that you can set the lot type.

Step 5: Sinking the Lot Enter the lot and flatten it with this tool in build mode:

This will submerge the lot so that it's level with the sea floor rather than being an island. You can now move the camera down under the water and have a look at your potential diving area, like so:

In particular, check the edges of the lot to see if there are any huge drop-offs or other great differences between the level of your lot and the surrounding terrain. Whether or not this will happen is world-dependent. Some worlds have very uneven/jagged underwater areas, which is what will make you end up with drop-offs, while others, like Sunlit Tides here, are (mostly) pretty flat.

You can see in the above pic that this lot is a little sunken along two of its sides. That's fine; that small amount of difference can easily be smoothed out with the terrain sculpting tools. If there are steep drop-offs or upward slopes, you can sculpt the lot to try to blend it with its surroundings, but be advised that 1) Interactable objects like dive caves can't be placed on uneven terrain and still be usable and 2) If you end up really deep down, the camera goes wonky and it's frustrating-to-impossible to build or play the lot. So, if you've got a huge drop-off and/or a steep upward slope on one or more of the edges of your lot, I'd recommend just trying a different spot. But, it's up to you. If you feel you can work with the uneven edges in some way, have at it. You are braver than me.

Step 6: Save that MFer. Once you have a lot you're satisfied with, this is a good time to save. So, go back to Edit Town and do that.

I recommend saving often during this entire process because, I don't know about your game, but sometimes mine will "hang" or even crash when moving between Edit Town and Build/Buy, especially if I do it a lot. And with this process, you will be doing it a lot, not to mention exiting out to the main menu and then going back into the save a few times. Since getting a dive lot placed can be a fiddly business, it sucks to lose a lot of progress to a hang/crash. So, in my opinion, you can't save too often, but in this tute I'll only prompt you to do it when you must.

Step 7: Exit Stage Right Remember long ago in the last step how I said you'll be exiting to the main menu a few times? Yeah, the first time is now. You do this because, for whatever reason, the game doesn't register changes made to the "structure" of dive lots without exiting and re-entering the save. So do that. Once it's reloaded go back into Edit Town and then back into the new diving lot. Because now it's time to place a dive buoy.

Step 8: Deploy Buoy The dive buoy is located in the debug items, so if you haven't turned on access to that yet, do so now. Then, go into the buy menu, sort it "by function," not the default "by room," and you should see this question mark here:

Click that, and then I recommend that you go to the filters on the right-hand side of the menu and choose just Island Paradise objects. Because you'll be going into the "Misc. Objects" tab and, especially if you have all EPs/SPs, there's a crap-ton of objects in there to sort through. So, filter, then choose the "Misc. Objects" tab, and you'll see this much-more-manageable selection:

Choose the dive buoy, as indicated, and place it anywhere on your dive lot. It doesn't matter where because (spoiler alert) this one's going to be deleted, anyway.

Step 9: Ogle That Shapely Buoy Once your buoy is placed, move your camera down to the ocean surface and have a closer look at it. Like so:

See how the ball part of it is just sitting on the surface of the ocean? That's bad. If you were to leave it like that, you'd have sims (and sharks, if you place a surface shark spawner) swimming/snorkeling in the air, if the lot would work at all. But don't panic! We can fix it. We just need to shift the entire lot down a l'il bit, so let's do it!

Step 10: Copy the Lot to the Library Go back out to Edit Town. Check to make sure that your lot designation is still "Diving Area." (Because during this process, it will sometimes change.) Then, save the lot to your library. The game will give you a warning about cancelling all sim interactions or something. That's fine. Just put a copy of the lot in the library. The thumbnail in the community lot catalog will look like a blue square.

Why are you doing this, you ask? Because now you're going to bulldoze the original. Why? Because we need to move the entire lot down a little bit, and you can only do that by placing a fresh copy of the lot. And you may need to do this several times until you get it at the right depth, so having a copy of the lot in your library is necessary. You can delete it out of the library once you've got your dive lot in the right place, if you want.

Step 11: I'm a Steamroller, Baby Once you've got a copy of the lot safely in your library, bulldoze the original lot you placed. Once bulldozed, the game will change the lot designation back to "No Visitors Allowed," so you'll need to change it back to "Diving Area."

Step 12: Go Down on That Lot To move the lot down when it's placed, you need this cheat activated:

setimportedterrainoffset -0.1

The value at the end can be whatever you want, as many decimal places as you want. A positive number will move the lot up, and a negative number will move it down. (You can use a larger negative number to make deeper a lot that's too shallow, and it can also be helpful if you're intending to try to place a downloaded diving lot on this lot so that it might better match the depth of the water in whatever world it came out of, but this won't always have the effect you want. For one, your lot will be down in a hole.) For the purposes of this tute, all I need to do is move the lot down a teeny bit so that the dive buoy on the lot is sitting IN and not ON the surface of the water. Hence, the -0.1 value.

(Now, I should mention that other tutes I've seen will have you just lower the terrain right under the buoy to sink it a little bit rather than doing this bulldoze-and-replace-with-a-whole-lowered-lot thing I do. This method can work, but I don't like it for various reasons that I won't go into for brevity's sake. I'm just telling you what I do, which has worked every time I've placed a dive lot, including shallow-water ones like this one.)

Step 13: Re-Placing the Lot Go into your library and place your saved lot back where it was. DO NOT ROTATE IT or else things will get screwed up. (Namely, your lot will become an island again and resinking it won't really work.) Just click "Accept." And then check its lot designation and change it to "Diving Area" again, if necessary, which it probably will be because stupid game.

Step 14: Ogle that Shapely Buoy 2, Electric Boogaloo Now, enter build mode and move the camera down to the ocean surface again to check the dive buoy. Ideally, it will now be sitting IN, not ON, the water, like so:

If it's still sitting on the surface, the lot needs to be deeper and therefore moved down farther, so go back to Edit Town, bulldoze the lot again, change the value of the imported terrain offset cheat to a larger negative number (Perhaps -0.5) and try again. Be aware that, as I said, once you get to larger numbers (as in greater than -5 or so) you start ending up with your diving lot down in a hole, which may or may not be workable.

Now, there is a marker on the buoy, the little black rectangle I outlined in the pic above. If the ball part of the buoy is at least partly in the water but that marker is still above the water, as in the above pic, the lot will still work, but there will be a "hop" (and sometimes a pause) when a water taxi or a swimming merperson crosses the boundary of the lot. The higher the marker is above the water line, the larger that "hop" will be. (Because, if you haven't figured it out yet, the dive buoy is what tells the game where sims can swim, vertically, on a dive lot.)

If such a hop doesn't bother you, you can leave the buoy as-is. If you're a perfectionist like me, you go back to Edit Town, bulldoze the lot, and change the value of the terrain offset cheat to try again. Do this as often and with as many decimal places as your level of perfectionism demands. :) I'm not that fussy, so I usually just move the lot down in increments of 0.1 until the marker is at or below the water line but the ball of the buoy is not completely underwater because you don't want the ball completely underwater, either. At least some of it needs to be above water. So, fiddle as much or as little as you feel you need to.

(For reference/scale, the gap between the marker and the water line in the above pic would probably be fixed by an offset of about -0.15 instead of -0.1. But it would also be fine as-is unless a little hop at the lot boundary will bother you.)

Step 15: Bye-Bye Buoy! Once you have the lot so that the buoy is where you want it, DELETE THE BUOY. I repeat: DELETE THE BUOY. Yes, DELETE THE BUOY. For whatever reason, dive lots drawn from your library that contain buoys won't work. I don't know why. They just don't. You need to place a fresh buoy. (I'm pretty sure this is why lots of people can't get downloaded dive lots or lots that they pulled from other worlds to work. Sometimes the answer is simply to delete the buoy, if the lot came with one, and place a fresh one.)

Step 16: Exit Stage Left Once you have DELETED THE BUOY and only once you have DELETED THE BUOY, go back to Edit Town, check to make sure the lot is still designated as a diving area (and change it back if necessary) and save. Why? Because now you need to exit to the main menu and reload the save again. So do that.

Step 17: Fresh Meat Buoy! Once the save is reloaded, go back into Edit Town, and check to make sure the dive lot is still designated as one. Redesignate, if necessary. Then, go into build/buy and place a fresh buoy, just as you did before. This one will be staying permanently, so place it where you actually want it to be. (Which really doesn't matter; aside from defining the vertical space of the diving lot, it just designates where your sim "enters" the lot.) If you want the lot to generate sharks on the surface, you can also place surface shark spawners now, too, as few or as many as you want, and because you have properly adjusted the height of the lot, the spawned sharks will not be swimming in the air. The spawners are also in debug mode, under the fish spawners. (There is also a spawner for underwater sharks. Do not put that one on the surface. Make sure you only put surface shark spawners on the surface.)

Step 18: Set the Lot's Skill Level You set the required skill level for the diving lot by going to buy mode (if you left it), making sure the hand tool is active, and then holding down control and shift while clicking on the dive buoy. Choose the option "Set Required Diving Level…" from the menu that comes up:

…and then from the resulting options under that choose a NON-ZERO number. For some bizarro reason, buoys default to level zero when placed, and a diving lot set to skill level zero is inaccessible even if a sim has level 10 scuba skill. (Good move, EA! Why is zero even an option if it doesn't work??) So, pick whatever skill level you'd like, so long as it ISN'T ZERO. (I suspect that this is another reason why people can't get downloaded dive lots that they place in a world to work.) Once you have the skill level set, go back to Edit Town and save.

Step 19: Test And now you're pretty much done. All that's left is to test the thing to make sure the lot works before you bother with building/decorating it. So, return to the game and send a victim to your new, empty lot and see if they successfully arrive (with or without a "hop" at the lot boundary) and successfully get themselves underwater. (My advice, for testing purposes, is to just give the sim you pick enough diving skill to use the lot. This can be done with NRAAS Master Controller.) Don't bother with doing anything further with the lot until you make sure it works.

Here is evidence that my lot, though shallow, works:

If your lot doesn't work, then something went wrong somewhere. Most likely, you missed a step or did a step wrong. I know there are a lot of words here, but they're all necessary to (more or less) guarantee a working lot in the end. So, try again. It's possible that you will have to pick a different location and start over, but I've been able to get a lot working wherever I've placed one, so long as it was in deep-enough routable ocean.

Step 20: PROFIT! Assuming that your lot works, "all" that's left is to build it! :D I'm not going to go into detail about that. It's all up to you. You can sculpt the terrain, paint it with whatever terrain paints you want, place objects, whatever. If you're in shallower water, any objects you place that are tall enough to stick out of the water will just be chopped off at the water line; you won't be able to see the rest above water. The corals and stuff are in debug mode under "Underwater Objects," but if you don't want the tropical look, so long as you have moveobjects turned on, you can place (almost) any object you want down there, aside from things like walls and fences and other build items that can't be drawn underwater. Rocks, plants, trees, columns, and anything from the buy and debug catalogs are all good. If such an object has a function, sims won't be able to use them, though. They'll just become deco. (So, no underwater basketweaving sculpting. Sorry.) So, go to town. Have fun. For this tute, I'll just mention a couple objects and their settings and we'll finally be done.

Miscellaneous Objects:

First, treasure chests. Like the dive buoy, they're located in the "Misc. Objects" of debug mode. There are two versions, one for land and one for water. Obviously, on a diving lot, you want the water one if you want any at all. If you do want to use them on your lot, place down as many as you want, and then set the diving skill level necessary to open each one and designate the treasure each one will hold. You do both by holding down control and shift while in buy mode with the hand tool active and clicking on a chest, just like setting the skill level of the lot on the buoy. This brings up this menu:

The "Assign Treasure" option gives you eight different treasures for the chest. You simply pick the one you want. The "Set Required Skill Level" option allows you to assign the diving skill necessary to open the selected chest. You can choose any number you like from 0 to 10. (Yes, zero is OK for this purpose, even though no one with zero skill can scuba dive, so…Yay EA.)

Then there's the dive caves. I think they are in the "Underwater Objects" section of the debug catalog; I'm not sure because a mod I use moves them to the regular rock section. Anyway, there are two styles, which you're probably familiar with, but they both function the same way. If you have more than one of them in the world, even if they're all on the same lot, your sims can travel between them, much like a subway. Unfortunately, I can't show you how to set this up because that mod I use to move the caves to the rock section also makes them recolorable, but it breaks setting up this functionality and I don't feel like hunting the mod down and taking it out. But it's pretty easy. You Control-Shift-Click on each one, give them a name, and then you can connect them by using the names you give them. Again, it works much like subways. It's pretty self-explanatory.

Finally, there's the fog emitter. If you're unfamiliar with this object, it's a base game object located in the "Misc. Objects" section of the debug catalog. The thumbnail in the catalog looks like this:

And it looks like this when it's placed:

They can be used on any lot, they disappear in live mode, and they can generate not just fog but many, many different effects. Literally thousands of different effects. You place the emitter where you want, and then control-shift-click on it and choose "Set Visual Effect" from the resulting menu:

When you click on it, you get this:

In that window, you type/paste the code for the effect you want. Of course, you will need to know the code for the effect you want. For your convenience, I've uploaded my list of effect codes, which is complete and includes the codes from all EPs, here. It's just a text file, and the codes are in alphabetical order. Since the list is all-EPs, some of them may not work if you don't have the EP the effect comes from, but if that's the case, then any such code you enter simply won't do anything.

The most relevant effects for a diving lot all start with "ep10," but there are others you could possibly use, too. Some of the names of the codes are more helpful than others in terms of knowing what it will do. Generally, you need to experiment. But, you can add schools of fish, single (but non-catchable) fish of all kinds (if you want catchable fish to spawn, you need to use the spawners, not the fog emitter), sharks (non-interactable), light rays, bubbles, glows, fog, all sorts of things, if you're patient enough to go through the list, look for interesting possibilities, and try them out to see if they will work for you. There are whole tutorials dedicated to the object, if you look for them. There's also a mod that makes them shiftable, which can be very useful, here.

One final suggestion: If you go through this process in a world that you know or even just suspect that you'll want to use again and you'll want the dive lot(s) you made in that future save, for the love of pie keep a copy of this save file somewhere. That way you won't have to go through all this crap again. Because even if you save a copy of your finished lot, unless you manage to place the empty initial lot in the new save in the exact spot you placed it when you built the lot, it's not likely to be quite right. So beware.

And with that, I think we're done here. If anyone has any questions, or if you decide to try to make your own diving lot and have questions along the way, feel free to hit me up and I'll do my best to help. Just keep in mind that I'm not an expert by any means.

#sims 3 #sims 3 tutorials #diving lots

[bethanydelleman]

Hello!

I rewatched Pride and Prejudice and it's surprising how my thoughts on it changed over the years 😃

When I was a teenager, Elizabeth Bennet was the plucky heroine that I wanted to be (lol) , now I'm older with a mortgage and responsibilities/bills, I'm like what was her plan in life?

Because she wasn't really educated per se (im thinking about how she answered lady Catherine about what she has to recommend her re:drawing, playing the piano etc) so I guess a 'career'(no matter how little it would be available at that time) was out of the question, but accepting marraige to the (admittedly obsequious) Mr Collins was also out of the question as well as Mr Darcys first proposal (which I get why sge turned it down!) ...I guess I'm asking what Elizabeth's plan for her future.

I've heard this from a lot of people upon re-read, "Why isn't Elizabeth more worried about her future?" I think there are a few things to note.

Early 1800s or not, Elizabeth is 20 years old when the novel begins (the average age of first marriage for women was 23). 27 year old Charlotte is in more of a future panic, but Elizabeth is still young. She has done practical thing like learn to play piano, but like most young people, she's probably just hoping for the best. And it's not like there is much she can actually do, Elizabeth is putting herself out there, she's dancing, she's playing piano, but otherwise she can just hurry up and wait. Her mother's marriage schemes are seen as vulgar and mostly backfire, and we would hardly want Elizabeth to act like Caroline. We read across Austen's novel's that women are largely stationary and it is the men who move in and out of their lives.

Also, I think a big part of Austen's point is that women are in a position where they feel the need to accept any and every proposal, because as Mr. Collins says, they may never receive another, but that this leads to misery (just look at the older couples and how many of them are unhappy!). While somewhat foolish from a financial perspective, Elizabeth is thinking about her long term happiness. She has watched her father turn bitter in an unequal relationship, she does not want that for herself. Elizabeth is choosing possible spinsterhood over being married to a person she knows she could not respect. Marrying for love, or at least on a basis of respect, is a big theme in Austen's novels. Let me add this quote from Mansfield Park to illustrate this point:

“I should have thought,” said Fanny, after a pause of recollection and exertion, “that every woman must have felt the possibility of a man’s not being approved, not being loved by some one of her sex at least, let him be ever so generally agreeable. Let him have all the perfections in the world, I think it ought not to be set down as certain that a man must be acceptable to every woman he may happen to like himself.... And, and—we think very differently of the nature of women, if they can imagine a woman so very soon capable of returning an affection as this seems to imply.”

So yes, Elizabeth Bennet isn't being financially prudent but she is being sensible in preserving her happiness. And for realism, we know Austen made this decision herself! She turned down an eligible offer.

Next, Mrs. Bennet is somewhat exaggerating: they are very unlikely to starve or be destitute. While it is never explicitly stated, Mr. Gardiner seems to be doing very well, and would probably very happily take at least Jane and Elizabeth if Mr. Bennet died. Mr. Philips is also doing well for a country attorney, he could take in his sister-in-law and nieces. It is going to suck, the Bennets should have planned better, but it's not the end of the world. We also do not know Mr. Bennet's age, but he may well only be in his late forties. He's no Mr. Woodhouse who may die tomorrow in a stiff breeze.

So what is Elizabeth's plan? She doesn't have one, she's 20. She's hoping life will throw her a man with a decent income that she doesn't hate. It works out in the end, but I don't think she would live to regret either turned down proposal if she had never met Darcy again.

#question response #elizabeth bennet #pride and prejudice #she doesn't have a plan #she's young #she just has staandards

[txttletale]

yo i really like your content and agree with you on most things but i don't really know what you mean with that last one. my friends from ukraine both oppose the war's existence but would rather not be violently annexed by an imperial power so of course they, with little other options, support resistance efforts.

it's really hard for me to understand what you're going for because if ukraine stopped fighting back it'd just get taken by russia. maybe i just have bad brainfog, but it's hard to understand what you're asking us to do and believe. should we try and take out both the russian and american imperialist powers at once? but that's unrealistic and unlikely to happen in the near future, no matter how much i personally support it, which i do.

i guess my question is, what's an actual realistic thing we should support in the meantime? we can't just pretend that somehow revolution will take out both american and russian imperialist interests immediately, so. it's like, well yes we should have a better world playing by better rules, but how do we do the right thing when we are bound by the rules now.

i have friends who have family who died in the war, and sometimes it feels like bloggers i otherwise trust say things that sound suspiciously close to "ukraine should stop this pointless fighting and give up." which i am aware isn't your intention, and i want to be an effective anti imperialist and have the correct and informed opinions on stuff like this, but i am having a very hard time understanding what you are trying to say.

i really promise i am not a concern troll or nato apologist or anything, i just also have personally been struggling with what to support and how to save innocent lives. i hate war and i wish we could magically create a situation in which ukraine didn't have to rely on horrible things for self defense. i just don't know what to do or believe because my friends would rightfully hate me if i said ukraine should stop defending itself.

i mean, first off: don't worry, you obviously don't sound like a concern troll or a nato apologist. this is an eminently reasonable question -- healed's law strikes again. & i certainly don't blame you for worrying that marxist-leninists are apologists for russian imperialism, because unfortunately many self-proclaimed marxist-leninists have been deceived by the frankly paper-thin figleaf of 'denazificaiton'--even as putin, puppet of the russian bourgeoisie denounces lenin & the bolsheviks & the soviet union with every speech he makes. it sucks!

first of all, i think the important thing here and the central point of disagreement is on what constitutes 'ukraine'. liberals and nationalists alike consider nations to be fundamentally one whole: that all the people of ukraine together constitute 'ukraine', and so 'ukraine as a whole' has consistent interests, and acts as a one--the ukrainian government represents this unitary ukraine armed forces of ukraine fight for this ukraine.

but the marxist analysis of the nation is completely different. from the marxist perspective, the nation is split across class lines. ukraine is not 'ukrainians', but in fact 'the ukrainian working class' and 'the ukrainian bourgeoisie'. now, of course, there are further contradictions even within these classes--there is a faction of pro-Russian bourgeoisie, and a faction of pro-Western bourgeoisie. but remember, we must apply the same analysis to these countries too: the 'pro-Russian' Ukrainian bourgeoisie do not wish to submit to Russia's working class, but to their oligarchs. the 'pro-Western' Ukrainian bourgeoisie are not opening the nation's economy to the European and USAmerican working class, but to their bourgeoisie. so the bourgeoisie are, in every case--even when split among themselves--only ever in league with other sectors of the bourgeoisie.

so, through this lens, how do we see the war in ukraine? well, i think that the union of communists in ukraine must have a far better handle on this than i, because they're living through it: so i will quote their analysis and then elucidate on it in relation to your question.

The puppet regime in Ukraine participates in this war in the interests of Ukrainian oligarchs, who have made themselves completely dependent on big capital of the West and NATO, who have turned the Ukrainian army into an advanced military unit of the Western bourgeoisie. The war is not about "the Ukrainian nation," not about "the Ukrainian language and culture," not even about "European values". It is a war for the united interests of the Ukrainian and international bourgeoisie, which coincide in their desire to destroy the economic and political power of the Russian bourgeoisie. No interests or rights of Ukrainian workers are protected by this war. Both Ukrainian and Russian workers in this war have only the right and obligation to go to the front and die so that one group of the world bourgeoisie defeats the other and gains more monopoly rights to oppress the workers, both in their own country and in the defeated countries. […] For the working class of Ukraine, this imperialist war has the most tragic consequences. It lies on the shoulders of the workers the role of "cannon fodder" and the inevitable deaths in the fighting, mass impoverishment, unemployment, complete restrictions of rights and freedoms for the sake of protecting the interests of the Ukrainian big bourgeoisie, the oligarchs and the interests of the Western bourgeoisie in destroying and robbing Russia and seizing its natural resources. This will inevitably be accompanied by the destruction and seizure of Ukrainian industrial and natural resources, including in the case of Russia's success. The same fate awaits the vast majority of the Ukrainian petty bourgeoisie. The big bourgeoisie has already bought its children out of the war and taken them abroad, just as it took its capitals out. But that is not the main point: the big bourgeoisie is profiting from the war under Zelensky, just as it profited under Poroshenko: stealing finances, making money from reselling weapons, supplying the army with uniforms, food, repair work, humanitarian aid, etc. In war the bourgeoisie makes billions of dollars, while the mobilized people have to be equipped and fed by relatives, friends and volunteers – which is clearly not enough. As in peacetime, but even more brazenly, the bourgeoisie is getting rich off the bones of the working class!

—Union of Communists of Ukraine, On the War and the tasks of the working class

that is to say--the russian army, which is funded by the russian bourgeoisie, is fighting to establish the exclusive right of that russian bourgeoisie to oppress and exploit the ukrainian people. meanwhile, the ukrainian army, funded by the ukrainian and western bourgeoisie more broadly, are fighting to maintain the exclusive right of the ukrainian and western to oppress and exploit the ukrainian people. already, ukrainian public assets are being put up in a fire sale for western buyers--(and of course, should russia's offensive have been as succesful as they'd hoped and this war already over, they'd be doing much the same thing for the benefit of buyers among the russian bourgeoisie).

this is what is meant by 'inter-imperialist' war. it's easy to say 'well, the ukrainian army isn't imperialist--it's fighting for the nation's independence!' but in terms of real economic interests there is no 'the nation'. the ukrainian army isn't fighting for the ukrainian working class (which of course includes themselves!)--the government that pays them and the states that equip them wouldn't do so out of any sense of interest in the well-being of the working class. we can see this clearly as the western imperialist powers now start to equip the ukrainian army with depleted uranium shells, which will poison swathes of ukrainian land and cause sickness and death among the people this army purports to be fighting for. the goal of the ukrainian state and army isn't to protect any working class people--only to protect its total right to the economic exploitation of those people.

it's this that the ukrainian state is afraid of when it fights not to cede territory, not the (surely real, to be clear!) brutality from the russian state that would face the inhabitants of any such ceded territory. in fact, funding nazi groups that operated in those areas before the war and will surely continue to operate afterwards, the ukrainian govenrment makes it clear that brutality against the inhabitants of its eastern provinces alone does not phase it, so long as the ukrainian bourgeoisie (& their western bourgeoisie patrons) continue to be the ones profiting off the region's people and resources.

elsewhere in the article the UCU observe the same thing that can be observed by those outside of ukraine by listening to the words of zelenskyy and the ukrainian government's allies--that even the goal of 'protecting its people' [read: protecting exclusive economic/extractive access to those people] has been sidelined by the dream of a total or partial obliteration of the russian bourgeoisie entirely--not for any moral or anti-imperialist reason, but simply so that the ukrainian/western bourgeoisie no longer have competition.

[...] the goals of warfare are changing. If at the first stage of the civil conflict the Ukrainian regime aimed to restore state control over the Ukrainian territories, where this control was lost, then at the second stage it aimed to destroy Russia as a condition for the existence of Ukraine.

—ibid.

so--now that i've really dug into the precise nature of this war and why it's being waged on both sides, i'll answer some of your points directly:

if ukraine stopped fighting back it'd just get taken by russia "ukraine should stop this pointless fighting and give up."

both of these positions, both the one you hold yourself and the one you worry about others expressing, assume that what the ukrainian armed forces with NATO backing and full-throated embrace of fascist paramilitaries is doing constitutes 'ukraine' 'fighting back' against 'russia'. but it doesn't--it represents the ukrainian bourgeoisie fighting back against the russian bourgeoisie.

so, the big question--do i think that the ukrainian proletariat should abandon armed resistance against the russian invasion? absolutely not!

genuine popular resistance against the russian invasion is heroic and commendable--i am under no belief whatsoever that in the face of imperialist war the ukrainian people should not arm themselves and fight against the imperialists. i just reject the framing of the actual war as prosecuted as constituting this, because, to go back to what i've already established, there is not in fact one 'ukraine' but two--only one of which constitutes in a mieaningful sense the ukrainian people. i don't believe (and neither do the UCU, whose analysis i base mine on somewhat) that 'the war' as you ponder 'supporting' constitutes the ukrainian proletariat arming themselves or fighting against imperialism on their own behalf, but rather being armed by the bourgeoisie and fighting on their behalf.

and obviously i'm not an idiot who's blind to the actual numerial and material realities. the communist, anti-imperialist movement in ukraine, just like in most of the world, is completely dwarfed by imperialism and its footsoldiers. 'the ukrainian proletariat as self-armed acting organization rising up and challenging both imperialisms and freeing itself from both sets of bourgeoisie' is not something that's gonna happen tomorrow, and it's not an immediately actionable plan--no ukrainian communist can wake up tomorrow and say 'well, today i shall hit the big proletarian revolution button'.

the realities are that as the meeting ground between two imperialisms, ukrainian communists have to make decisions about which one they can most ably fight, might need to temporarily align themselves with or allow themselves to benefit from the ukrainian bourgeoise state--but never support it. like any bourgeoise state, a communist should know the ukrainian state is an enemy of the proletariat. yes, the pressing material realities on the ground might well make cooperation with that bourgeoise state the best temporary option--but 'cooperation' should never mean 'support' or 'loyalty', and should be done only tactically with ultimately loyalties remaining above all else with the working class.

in fact, refusing to offer the government and army a show of support and valorization is a key element of creating the conditions--radicalization, agitation--that would allow the proletariat to effectively rise up and truly combat imperialism, rather than choose under which imperialist heel they would rather be ground into dust. don't support an end to the war on either imperialist bloc's terms, but rather on proletarian terms--understand that the state of ukraine is not on the side of the ukrainian people, except tangentially, in individual moments of necessary alliance. raise awareness of the true war, the class war, and resist the ukrainian state's claims to stand with the people when it pursues the interests of the bourgeoisie.

tldr: the anti-imperialist position is not that the ukrainian proletariat should not be fighting, or that their fight is not worth supporting. the anti-imperialist action, therefore, is to draw the most awareness possible to this division within 'ukraine' among the working class themselves, make them aware of the realities of the economic condition. this is of course the foremost anti-imperialist and communist task across the entire world, because it is only through creating organizations of the working class that will fight for the working class can international imperialism be dfeated.

i'll leave this answer off by adding what the UCU said about this very topic in the same statement i've been quoting:

We understand the complexity and danger of these tasks, which inevitably cause repression on the part of the bourgeois political regimes. That is why workers' and communist organizations will need to develop illegal forms of class struggle along with legal ones in order to set and implement such tasks. The UCU has been forced to conduct its work in illegal forms since 2014. Many workers' and communist organizations may consider these antiwar tasks impossible because of their organizational weakness and lack of influence on the working class. However, historical experience shows that a correct and honest formulation of the tasks of the working class in conditions of war – real, not momentary tasks – may not yield success immediately, but will yield gains as the revolutionary situation intensifies. Since the task of destroying capitalist social relations is an international task, the international coordination of workers' and communist parties' actions, including the joint elaboration of tasks for the struggle against the imperialist war of the twenty-first century for the sake of uniting the international struggle against this war, for a communist reorganization of society and world peace, is becoming increasingly important. Proletarians of all countries, unite! 

#ask #long post #i hope this helps! i entirely understand your worries & concerns & i genuinely hoep this elucidates something about the situation for you

[wisecrackingeric-2]

LONG ASS MESSAGE UNDER CUT!!!!!!!!!!!! ITS A MASSIVE THANK YOU TO EVERYONE!!! I’ll tag everyone whose made a star for this drawing in the replies- if I’ve missed anyone or if you wanna be added, PLEASE LET KNOW!!!!!!!

At the time of writing this, there’s about 40 minutes let of 2023, and I’m VERY DETERMINED to get this posted before 2024 so I am in a bit of a rush so alas, this may not be as well-written as I’d like it to be but that’s the price I must pay alas HDNEHENEJDN

I wanna start this by saying I’ve always had a lot of anxieties surrounding the New Years, and things changing- even just seeing posts that were from the year prior always seems to give me anxiety. Things change, people move on, while I stay with the same interests- it’s always been something I’ve struggled with, but making this has helped me come to terms with all of that and I’m glad.

Theres no better words I can say right now other than; Thank You. Thank you so, so, SO much to my friends, both new and old- my friends who’ve been here since the very beginning and have stuck by me through this whole rollercoaster- and to all of my new friends, who it sometimes feels like I’ve known you all for at LEAST five years and not like, five months or something HDBWHNWUDNDHDJS thank you to everyone who has ever been kind to me, supported me and enjoyed what I’ve created- I’ve recieved probably the kindest words I’ve ever heard in my entire life this year. Thank you to the people who stuck by me when times got tough and helped me through my own seemingly very insignificant or silly problems HDNEJENSK

This year has easily been one of the best years of my life. 2022, to keep it short, was awful- I came out as a Transgender gay man to my parents and it went awful. I was dealing with the worst mental health of my entire life and there were times it felt like there was no hope. On top of all of that, my childhood dog passed away- so all and all, I wasn’t looking forward to the future. But my loving partner introduced me to Resident Evil, and as a result the community as a whole- and to say it changed my life would be an understatement.

I know it’s obviously no secret that I have a favourite character, Luis Serra Navarro- but to say his character has changed me as a person for the better would also be a MASSIVE understatement. I’ve never ever in my entire life resonated with a character so profoundly before- as a queer and trans man, I saw myself reflected in his performance, and that means more to me than words can even describe. His character encapsulated me in a way no other has done before, and genuinely helped me accept my autism, my queerness and my trans identity as a good thing- I could write absolutely ESSAYS on his character and I have. I’ve consumed more Don Quixote media than I think I ever would have otherwise HDNEHENEJD and to say I’ve genuinely become a more confident and happier person because of his character would, again, be SUCH an understatement. It’s truly hard to describe how much he means to me, but I hope my words give a good idea.

For the first time in a very, very long time, I get to look forward to my future. I don’t see my Queerness or my Trans identity as a setback anymore; I have things to look forward to, plans I’ve made and a future I can look towards. And I cannot thank my friends- all of you know who you are- André and Andrea and everyone in my life and this small little community I’ve unintentionally formed for giving me that opportunity. Words will never be able to describe how grateful I truly am, but I hope this is close enough.

Thank you for letting me fully indulge in my autism and enjoy Luis’ character to the fullest. I’ve never felt happier enjoying something in my entire life.

Thank you everyone. For everything. May you all successfully defeat your own windmills <3

#ericsart #resident evil #serennedy #luis serra #luis sera #leon kennedy #leon s kennedy #serrenedy #serrennedy #luis serra navarro #luis sera navarro #luis sera fanart #luis serra fanart #leon kennedy fanart #leon s kennedy fanart #resident evil fanart #rebhfun #re fanart #re4r fanart #resident evil 4 fanart #re4r luis #re4r leon #re4 fanart #luis sera x leon kennedy #luis serra x leon kennedy #leon kennedy x luis serra #don quixote #don quijote #serennedy fanart #re4 luis

[heretherebedork]

It's both Day and Mhok looking for someone that wasn't looking for them in that moment but also looking for them at a different point that they didn't know about.

(Mhok was sent home by August who thought he could do what he thought he needed to do to make Day happy but the moment Day heard that Mhok was outside smoking he rushed to get to him and to get to him alone only to find nothing, to find Mhok gone.)

Day didn't see the cake that Mhok ruined, never heard August telling him he'd take care of Day, never realized that Mhok was being pushed out of his night because he thought he was playing matchmaker when the truth was that Day wanted the night out that Mhok offered with him.

The cigarette in the cake told another story that Day didn't see and that keeps happening in the show. Yes, Day's blindness is being shown to just be part of his life and he's being shown to be able to live but we are also shown, again and again, that he does miss things because he's blind. That his blindness changes his world but also the people around him... both for the better and to their detriment.

He doesn't see Mhok's heartbreak in Rung's car, he doesn't know August came to the restaurant late, he doesn't see the cake with the cigarette in it showing Mhok's choice.

And this is the power of the visual narrative of the show, the way we are shown what Day doesn't see but also what is there.

Day is living in a world that is always missing information and he must rely on the people around him to be truthful and helpful in terms of that missing information and while Mhok is mostly very good with that... he is also protecting himself and his own feelings, both his love and his grief. And that is going to be one of their greatest conflicts.

Because it is about what Mhok is willing to lie about or to cover up in order to try to make Day not happy, not the way August tried to with a kiss, but rather to keep Day comfortable in the world, insure that Day does not withdraw again.

Mhok would absolutely sacrifice his love for Day's happiness, as we've seen, but what does that mean for their future relationship? Mhok has to be able to rely on and trust Day to be able to support him and that starts from sharing the truth with him and not hiding his pain from him to comfort him.

Wow, that rambled a bit but anyway I love this show so much and I need Mhok to have at least one (1) entire mental breakdown that Day has to help him with because otherwise I will lose my mind.

#last twilight #mhokday #mhok x day #mork x day #last twilight the series #last twilight series #last twilight meta #morkday #day x mhok #day x mork #daymork #daymhok #thai bl #thai series #thaibl #asianlgbtqdramas #thai drama #bl series #bl drama #asian lgbtq dramas #thai bl series #thai bl drama #gmmtv series #gmmtv #gmmtv bl #gmmtv boys

[kaus-quietis]

BSD Fyodor Dostoyevsky: an in-depth character analysis

“Человек есть тайна. Ее надо разгадать, и ежели будешь ее разгадывать всю жизнь, то не говори, что потерял время; я занимаюсь этой тайной, ибо хочу быть человеком.” / “Man is an enigma. It must be unravelled, and if you will unravel it your entire life, then do not say that you have wasted time; I occupy myself with that enigma, because I want to be human.” – the writer Fyodor Mikhailovich Dostoyevsky, in a letter to his older brother, Mikhail (St. Petersburg, 16 August 1839)

The purpose of this post is to present and analyse information related to Bungou Stray Dogs’ Fyodor Dostoyevsky’s personality and methodology. Softer than shadow, unsolved and endless, Fyodor may as well “hide” his soul under our very eyes and we still would not know if that is the “real” him. This is my promised Fedya essay, an info-gathering analysis masterpost I hope you will enjoy and find useful for contemplating and coming to understand his complex character a little bit better.

Warning: merciless BSD manga spoilers. Literally spoiling everything. Also, this is an unbelievably long post (20200+ words). Have some lovely tea, listen to Rachmaninoff, and read in serene leisure or endlessly curious passion.

Last update: November 2022. 20.200+ words. The BSD manga reached ch105, the BSD anime completed season 3, while season 4 is announced for January 2023. Please refer to my original post (this one) in the future, as I could add updates periodically when new chapters release (or so I hope). Please note that I am using the official English translations for chapters 1-94 unless stated otherwise. I am eternally grateful for all fan translations. Lastly, please note that in this essay I will not focus on: 1) connections to F.M. Dostoyevsky’s Crime and Punishment or other literary works; 2) connections to F.M. Dostoyevsky’s biography / personal life; 3) possibilities of what Fyodor’s ability could be; 4) the philosophical and ethical side of Fyodor’s motives. All these would require vast separate posts entirely (who knows, I might write them too one day). My intention is to offer guidance in decyphering what Fyodor’s personality is truly like, as well as how his methods and tactics play a role into shaping said personality or BSD’s plot. Last note: in this essay, quite frequently, I am making references to other beautiful posts written by BSD fans, tagging them and linking to their posts. If you are tagged and want me to remove the tag, please send me a message via ask box and I will edit the tag out.

Sections:

A. Let the hand of God guide you: Fyodor and hand / arm symbolism

B. He understands human nature deeply, if not perfectly

C. He values independence and (most probably) his co-workers

D. No confirmation yet that he is brainwashing others and why this is relevant

E. He loves and lives for entertainment

F. Humble, not arrogant. Self-proclaimed god or servant of God?

G. A strange divergence inside Fyodor. Is he a singularity?

H. Soft, discreet, graceful, yet playfully dramatic. His body language in the manga, in comparison to the anime

A. Let the hand of God guide you: Fyodor and hand / arm symbolism

When it comes to Fyodor’s character, even choosing a starting point for our discussion about him might prove challenging. For all we know so far, he is a Russian man with a completely unknown past, he appears to be in his 20s, just a pinch shorter than Dazai (as @kaikaikitanmp3​​ showed here), elegant, alluring and ambiguously sickly (see section H for more on his self-proclaimed anemia and overall physique). Until we get more canon manga information on his personal profile, I propose we start from something that already has numerous ties to Fyodor’s character, a symbol we can present the many meanings of, only to abandon us to our roaming thoughts later. This symbol is that of the hand, and, before that, the closely-related symbol of the arm.

Embrace of all. A symbol of both power and protection, the human arm represents the instrument to apply justice and punishment, to rule and to guide. Not only that, but as a symbol of a human’s strength and capacity to act, its image becomes that of vitality itself. To open one’s arms is an act of invocation, raising them to the sky – an act of calling for divine blessing, but this welcoming gesture also renders a person wide-open and vulnerable, receptive and embracing. A certain humbleness and vulnerability is involved in this gesture, because only then one can wholly accept what stands before or above them, let them in, understand and feel them. This willingness to embrace alterity, when represented in art or various media, can be of different nuances, thus triggering different responses in the viewer: it can be soothing, heartwarming, comforting, just as it can be unnerving, constraining, intrusive even for even just suggesting such embrace. It is no wonder we see this gesture in how Ango apparently imagines Fyodor (ch78). While his arms are covered by his coat, his open hands, as of darkness, extend towards the viewer. This image appears as Ango concluded that Atsushi getting shot by Nathaniel, later falling unconscious in Anne’s room, was part of Fyodor’s plan. How this plan covered and embraced that outcome is portrayed as unsettling, therefore making good use of the negative values of such body language and symbols. Together with the ch63 panel where Fyodor’s faceless silhouette is shown with his open hands turned towards his chest, each finger pulling a thin string, this example, too, suggests the idea of Fyodor’s influence and interference being disturbingly omnipresent, this time with the hand gesture emphasizing the hidden character of his plans. A different example, of Fyodor conveying openness through body language, specifically showing his palms to someone while even opening his arms in a welcoming manner, is when he was negotiating with Mushitaro in ch55, offering to end his imprisonment in exchange for Mushitaro playing a role in Fyodor’s Cannibalistic Mutual Destruction operation. At that moment, Fyodor’s gesture conveyed the sincere character of his offer, made more impactful by being accompanied by much gesticulation on Fyodor’s part during the whole scene (more on Fyodor’s rhetorical use of expressive gestures in section H).

Honesty and harmlessness. The symbol of the hand also represents human ability to act, putting a start or an end to action, as well as having the freedom to act. Just like the arm, the hand is a symbol of power, justice and dominance, as well as guidance and bestowing blessings. Open palms, much like open arms, convey the message of having no ill will, no hidden secrets, thus presenting oneself in an open, vulnerable position, but also one allowing reception of the other, and, in the case of the open hands, showing willingness to share, as the hand’s different “powers” are almost as numerous as human actions themselves: to contain, to take away, to keep hidden, to harm, to mend, to unite, to divide, to guide, to give. The meanings of these, melted together, would all still accurately be applicable to Fyodor’s character, who, in the most general sense, just like Dazai’s character or even more so, represents the complexity of human nature, so rich in paradoxes, so ultimately impenetrable. Now, showing your hands, and especially showing your palms or inner part of your arms (interior side of the wrists and upper arms, for example), means showing you have no ill intent (based on how, for example, since ancient times, such a posture simply showed the other that you do not carry any weapons). Hence, in this line of thought, we can approach the scene where Fyodor showed his fragile hand and wrist to Ace in ch42. It has a double meaning in this scenario: firstly, Fyodor is indeed honest and open, he does not have an ill intent, because his hidden purpose, in itself, addresses the greater good of humanity; secondly, Fyodor’s intent becomes “ill” only when related to Ace himself, who saw Fyodor as a threat and was ready to deny Fyodor his personhood, as he did with all his subordinates, who became his slaves or, rather, his disposeable objects and instruments. In so many of BSD’s events and organisational dynamics, it is evident how relativity rules the verdict we as readers can give to various groups or characters. BSD features excellent examples of grey morality everywhere, and the problem of whether Fyodor is good or evil is no exception. It is all relative to a past and a future we do not know yet, while still maintaing a certain unnerving, dark side that undeniably accompanies Fyodor’s character at each step. The reader is then immediately reminded of this dark, threatening side of Fyodor’s, as he concluded the ennumeration of his physical and circumstational disadvantages with the abrupt “So how about this? I’ll kill you instead”.  And while I did call this subsection “honesty and harmlessness”, everyone is conscious of Fyodor’s potential to harm at any time, most characters living in anticipation of being harmed by him, and yet we still have no clear idea how he applies physical harm (including death), despite having valuable depictions of how subtly he can exert mental and emotional harm, or simply influence, on others (more on that in the following sections). That being said, despite Fyodor calling humans sinful and foolish and expressing his desire to “purify” them (ch46, Fyodor: “Man is sinful and foolish. Even if they know it is all an artifice, they cannot help but kill each other. Someone must purify them for those sins”), we never see him acting like he hates or is disgusted by humans, nor like he forcefully wants to change how they behave. The latter reminds us of the thin line between plain manipulation (a thing Fyodor does when necessary for his larger strategic moves, as he has done in ch47 with fake Pushkin and the children or in ch75 with Sigma) and exerting oppressive corrective behaviour upon others (a thing we never see Fyodor doing, as he never changes the people he interacts with, who they are and what they value; see sections B and C). In fact, his openness to human nature in general is highlighted, for instance, in his interactions with Nikolai and in the way he talks about Sigma (see section C). Opposite traits blend perfectly into Fyodor’s character in most subtle ways, as I intend to prove by the end of this essay, so let us continue gathering such examples on the way, across all sections.

Bestowing blessings. In the manga, Fyodor was shown using a very specific hand gesture when using his ability on Karma, thus openly depicted only in ch42 so far. The same gesture, prepared but changed into one of covering Mushitaro’s head with its palm, appeared in ch56 in a hallucination, when Mushitaro was forced into a corner by Ranpo’s blackmailing, which for Mushitaro triggered images of Fyodor (more on this below). To me, this peculiar hand gesture is like a mixture of different acts I witnessed or experienced in religious contexts (to clarify my background, I’m slavic, Orthodox, and Eastern European, no “expert” in religions but fascinated by sacred rituals), and by this I mean specifically acts of blessing and chrismation done by priests. 1) Blessing marks bestowing holiness or invoking the divine will and protection upon a person (but also places, objects etc.), and is done in several ways: when one-handed and by a (consecrated) priest, using the right hand, with the finger positions spelling out the letters “IC XC” (for Ἰησοῦς Χριστός, Jesus Christ in Greek), the same sign being done with both hands when the gesture is two-handed; when one-handed and by a secular (also done between regular people occasionally), making the sign of the cross over someone or something using the thumb and index + middle finger stretched outwards, similar to the finger positions when making the sign of the cross on oneself. Fyodor’s hand position is most similar to the latter in this case, albeit with a sinister twist: Fyodor seems to use his left hand for the gesture. A different gesture for blessing, in this specific meaning mostly starting with the New Testament, is putting one’s hands over someone. There, this gesture is closely linked to the miraculous healings bestowed by Christ (as in Luke, 13, 13), and, after His ascension, keeping its relation to healing and bestowing the Holy Spirit, to the duty quite literally left in the hands of the apostles (as in Acts, 8, 17). 2) Chrismation is a Christian sacrament, where, in short, the priest anoints another person with the holy chrism, a ritualic ointment, while making the sign of the cross over specific body parts, each being a symbol of something, starting with the forehead (where the blessing of the mind is bestowed). Chrism itself, a common element in Mediterrean and Middle-East religious practices since ancient times, gained a particularly important role in Christianity, being used very often, in both baptismal and funeral rites, as well as sacraments (chrismation and acts of consecration). It symbolizes divine benediction, the gifts of the Holy Spirit, but also bestowing power and glory (in the context of coronations or such). Each time the author of the benediction is considered to be the divinity, whereas the one who applies the chrism on the other is a mediator between the earthly and the holy. Notably, this use in baptisms and funerals marks an associations with beginnings and endings, life and death. To me, Fyodor’s hand gesture when using his ability, particularly the gentle touch of another’s forehead, always looked similar to the act of anointing someone with chrism (though it is not usually done directly with the fingers, but with a little brush or one half of the ointment’s recipient), and in line with his canon dialogues, we could say what he bestows is “the great silence”, “the salvation of death”, which can turn into the blessing of a meaningful, peaceful death, bone-chilling nonetheless, such as in Karma’s case (ch42, see section B where I expand upon this). This gesture links Fyodor’s character to the image of a mediator, the role of “the right hand of God”, carrying out a mission that can be regarded as holy (based on Fyodor’s use of religious vocabulary), although we still lack canon material to fully establish whether that is only a trait of his way of speech or indeed a hint for his motives’ origins (see section F).

Threat and manipulation, relative examples. Later, in ch56, Ranpo hit Mushitaro’s most profound, personal weakspot by adopting Fyodor’s type of manipulation, in the form of a one-time bargain with emotional pressure, an offer he could not refuse (Ranpo would have releaved a truth Mushitaro did not want to make public if Mushitaro did not accept Ranpo’s terms; see also @looking-for-stray-dogs ’s post here). However, given that we already saw Fyodor offering Mushitaro a deal in ch55, there is a noticeable difference between Fyodor’s and Ranpo’s deal here, which, in my opinion, shows that Ranpo cannot immitate Fyodor completely (or refuses to) while he also imagines him as a much worse person than Fyodor can be deduced to be, in fact, strictly based on his interaction with Mushitaro. In ch55, it is shown that Fyodor simply offered to free Mushitaro from the basement he was locked in, in exchange for Mushitaro using his ability serving Fyodor’s Mutual Destruction plan once. This deal was fulfilled and their interactions ceased. I would call this a case of pragmatic manipulation, because Fyodor did not profit of Mushitaro’s feelings or past, he only offered freedom from Mushitaro’s cell. By contrast, Ranpo, assuming Fyodor works only (and especially) with emotional manipulation, simply blackmailed Mushitaro into turning himself in. Of course, Fyodor is capable of emotional manipulation (as in Sigma’s and Nikolai’s cases, see section B, but also section H below), but he can also manipulate others not even bringing their emotions into the discussion (as in Mushitaro’s case). By limiting his assumptions to emotional manipulation, Ranpo may be walking down a dangerous path, disregarding the full spectre of Fyodor’s methods. Assuming Fyodor is “the worst person possible” by default could also prove to be a wrong approach, as it is easier and convenient to conclude on that for others, but assumes too much about Fyodor and adds a rigid label on him, one that Fyodor can exploit later. In fact, we saw he already did once, by giving the worst relationship advice on purpose in ch64, in Meursault, when Dazai asked for said advice within Fyodor’s “All-smiles Problem-solving Roooooundtable” (and yet, this, together with Dazai’s lines, were shaped that way for the purpose of establishing the terms of their secret code, as I shall argue below, in section C). Meursault guards are portrayed monitoring Fyodor and Dazai, whom they consider “demons” of crime, expecting them to be exactly the worst souless manipulator and the worst flirtacious lunatic respectively. I would like to thank Eliott @stories-from-saint-petersburg for discussing this scene with me in-depth and putting this aspect of it into very fitting words I shall copy below. Besides the ideas presented here, see also section C for this brilliant scene’s actual meaning, according to what I could deduce further.

Eliott: “But also, they know they are filmed and that people are listening to them. So it would make sense to give answers that are more far from their characters, to confuse or not to give too much info to their jailors. Just like they switch to code when speaking about more serious things. That’d make sense in a strategy where you have to deceive your opponent, the opponent being Meursault. If they both give shit answers (and the answers that are expected from them), then the way they make up their plans will be still more difficult to find out by the prison.”

There is more to be inspected in Mushitaro’s ch56 hallucination of Fyodor covering his head with his palm. For this, I shall leave a different discussion I had with Eliott below:

Lav: “One difference is that Karma (ch42) actually experiences that touch. He sees Fedya's hand, he feels the touch of his fingers. It happened as an event in his life. In comparison, Mushi (ch56) sees this image when Ranpo blackmails him into turning himself in, as Ranpo makes a speech about using the methods of a demon to reach his goal (debatable, I will expand on this when the time is right). Apparently, Ranpo's speech triggers an emotional reaction in Mushi, who then imagines Fedya reaching towards him, making the same gesture he did to Karma, and the panels are white, while the end of this vision (Fedya placing his whole hand over Mushi's head) is in black.” Eliott: “Can’t it simply show the effect Fedya had on Mushi? A feeling of being oppressed and trapped, or something akin to control from a mind that’s greater than his? To me it looks like an allegory of manipulation, but not especially like an ability or something akin to it.” Eliott: “If Mushi saw Fedya use his ability, then he knows his touch means death. Anyway, he knows Fedya is dangerous. Touching someone’s head is a common symbol for either intimacy, fondness or manipulation. Mushi probably knows he can end up killed, and this is a fear that can explain this imagery, and even the manipulation he’s subjected to. The fear of dying is a good motivation for someone. Furthermore, he is still traumatized by the death of his dear friend, so it’d make sense this is very impactful for him, either death or being near / in danger of it? Also, Fedya here looks like how his friend is depicted graphically.” Eliott: “<So,> he doesn’t have to <have experienced this physically before>! Imagining someone threatening touch you is frightening, even if you don’t know they can kill you with one touch. And when speaking of being trapped / manipulated, it’s quite logical to imagine the person that has you trapped touching you, it’s an oppressive image either way.” Lav: “True. (…) One detail that supports this <that Mushi only hallucinated without previously witnessing Fedya’s gesture> is how in Karma’s case Fedya stretched out two fingers (index and middle) to his forehead, much like in a blessing gesture, while Mushi imagines a hand with all fingers fully extended towards his forehead. Also the death touch to Mushi is done with the right hand, while for Karma it’s the left hand??” Eliott: “I still don’t understand that gkflg, I’m wondering if the artist just forgot to draw one right hand ahah”.

Important unexplained details. Everyone’s ability in Dead Apple has an ability gem located on their forehead except: Atsushi’s tiger (nape), Akutagawa’s Rashomon (inside its chest), arguably Dazai’s No Longer Human (inside his chest), and most importantly here Fyodor’s Crime and Punishment (the back of his right hand). Another note, out of all the abilities, only Mori’s Elise, Fukuzawa’s All Men Are Equal and Fyodor’s Crime and Punishment are able to talk or heard talking. One detail unique to Fyodor’s ability and Mori’s ability, though, is that they each have real eyes with irises and pupils, as if they are human, and not just an ability with empty, glowing yellow eyes like in all the other cases, except Atsushi’s tiger. One could surely speculate on why exactly Crime and Punishment has its ability gem placed on its hand, but I want to move on to other topics in this essay. Lastly, on Fyodor’s motto, “Let the hand of God guide you”, see section G.

B. He understands human nature deeply, if not perfectly

Contrary to the popular opinion that Fyodor does not have an ounce of humanity in him or that he cannot understand nor feel human emotions, the canon presents evidence that Fyodor understands other humans and their emotions profoundly. Let us keep in mind the definition of empathy (“the ability to understand other people’s feelings and problems”), as well as the fact that there are different types of empathy, such as affective empathy or cognitive empathy (the latter applying to Fyodor the best). Instead of speculating that Fyodor completely lacks empathy (a lack psychopaths share, and Fyodor’s case proves to be much too complex to simply throw into that spectrum and call it a day; see @tecchous-thicc-buttocks​​ ’s post here, where OP not only has a great post, but also a smashing username AND a superb N.V. Gogol reference in their blog description to laugh your heart out to), I invite you to explore exactly the opposite, namely the idea that he has capacity for perfect empathy and uses it instrumentally to make it suitable for his plans. The canon material showed us many situations that support this (too), as we shall see below.

Fyodor “connects” with others mentally, emotionally and / or spiritually in such an accurate way, that this skill of his is portrayed as bone-chillingly sinister, in scenarios holding starkly contrasting ideas. It is not just about analytically deducing what a person would do next or what would objectively motivate that person, Fyodor knows the depths of people’s hearts, as can be seen in his discussions with Karma, Shibusawa, Nikolai, and the way Fyodor talks about Sigma. I shall present each case in detail in what follows, made into a list of people whose problems Fyodor saw through and responded to adequately.

Karma’s problem was of intellectual nature: to die a slave or a free man, and how those are mutually-exclusive conditions, in regard to which Karma recognized himself trapped in the first condition (slave), but was later “transported” into the second condition (free man) by the circumtances and type of death Fyodor “granted” him. Frequently rationalizing each situation in his inner monologues, pondering each factor and possible outcome analytically and in admirable control of his emotions (as seen throughout the entire ch42), Karma explored, so to say, the “syllogisms” behind what was happening to him too: I want to be saved + I am a bad person + saviours do not save bad persons => I will never be saved; OR I am a bad person + I am not a free person + a saviour can free me by saving me + saviours do not save bad persons => I will never be a free person. Even if the concepts belong to morality discourse, Karma’s approach is straightforward and logical, therefore there is no scene of him begging Fyodor for help, freedom or vengeance, as well as no scene of him even running away from Fyodor: despite being frightened, he was able to withstand his irrational reaction and sought knowledge and clarifications through conversation even in the face of the Demon. Karma was a person who rationalized and accepted his personal condition, and he was all the more shocked that this “slave” condition was dissolved by the events caused by Fyodor. Although Karma had to be killed so that no trace was left by Fyodor, what deserves attention is, on one hand, the fulfillment on Karma’s dying face (dying as a free man), and, on the other hand, how Fyodor gave him privacy when he gave his last breath, as Fyodor is portrayed looking directly at Karma only after he passed away. The fact that Fyodor is portrayed as looking at Karma’s lifeless body afterwards at all can be interpreted as Fyodor contemplating Karma’s end, especially given how in ch42 all background elements vanish in this particular panel, deepening the solemnity of the moment (as @linkspooky​ noted too, together with Fyodor’s understanding and acknowledgement of Karma as a person, worthy of sharing knowledge with, here). And yet the anime (S3ep4) did not insist on this manga panel at all, skipping it entirely. The prayer that Fyodor offered for Karma at the end (“May your soul find salvation… released from the yoke of sin”), while facing him (unlike in the anime, where Fyodor does not look at Karma at all) was the conclusion of Fyodor’s solemn meditation, and I find it a shame that the anime did not linger on this aspect. This scene blends a merciful death with a necessary crime, such contrasts being typical to Fyodor’s character. This prayer for Karma may in fact not be the only one Fyodor offered to those he led to their death by necessity: indeed, Fyodor’s cello recital in front of a captured Katsura in ch47 may have served the same purpose. Given that Fyodor informed fake Pushkin about Atsushi and Kunikida’s arrival, via the telephone, in real-time, we can assume Fyodor knew exactly when the two Agency members clashed with the armed children and when the little girl triggered the detonation of her grenades. After replying to Katsura’s remark, meeting Katsura with the impenetrable grin typical to both him and Dazai, Fyodor recommenced playing with closed eyes and no smile (thus fully immersed), unlike in the anime (S3ep9), where Fyodor never stopped playing in order to talk with Katsura, yet him stopping to play the cello just for that is, in my opinion, very important, as I will try to show here. Fyodor’s cello recital ended with him offering a prayer, which at its end addressed specifically all children of the world (ch47, “Joy to the world… and blessings to all its children”). Therefore, the cello scene carries solemnity, thoughtfulness and emotion, contrasting with the violent sight of the dead children breaking Kunikida’s spirit, and in this light Fyodor’s recital (which Katsura himself did not understand the purpose of, as he was clueless about what was happening outside) becomes a musical prayer for the sacrificed souls. Once again, despite being terribly beautiful in animation and sound indeed, it is a pity the anime depicted this scene in a weirdly ecstatic and stereotypically evil way, giving Fyodor a demonic gaze and grin, as well as making Fyodor face Katsura while playing, despite Fyodor not being turned towards Katsura at all in the manga (ch47), given how he looked at Katsura over his right shoulder (Fyodor’s body position further supports the idea that the recital was not meant for Katsura). As a closing note here, the anime added a specific detail at the scene’s end, one I personally would consider mischaracterization: in the anime, Fyodor broke his cello after the recital, and yet this never happened in the manga, and now we can guess why (Fyodor prays for his innocent victims). See section H for more on Fyodor’s overall gentleness, as well as my previous post about the cello scene here.

Sigma’s problem is of emotional nature: for a man without a past, lacking life itself before he found himself “existing” directly as a young adult (I assume he is a young adult), he was most desperate to fulfill his most basic and primary emotional needs, i.e. having a safe place to call his “home” and belonging to people whom he can call “family”. These are exactly the things Fyodor offered to Sigma right from the start, as if anticipating his arrival in that state, but Fyodor also praised and described Sigma for Dazai (ch75) in a very positive, heartfelt way that also implies Fyodor’s admiration for Sigma, as well as acknowledges a certain superiority Sigma has, even compared to Fyodor and Dazai themselves. Depending on the true nature of Fyodor’s relation to Sigma, as well as Sigma’s true nature in itself, I assume this point here will change in nuance in the future, but in the present the canon tells Fyodor has read Sigma’s heart like an open book. I refrain from adding more to this paragraph until new chapters give me new ground for it.

Nikolai’s problem is of philosophical and spiritual nature: the very fact that Fyodor could understand Nikolai’s core problem, his central existential dilemma, not to mention how quickly Fyodor grasped it, is something that both elevated and destabilized Nikolai. Fyodor rightfully explained that Nikolai fights God “in order to lose sight of himself” (ch78), which, theologically-speaking, is very much accurate from a Christian perspective: a human’s highest and final goal is to “see God”, to return to where man was exiled from (heaven, the Fatherland or patria in Latin, the future heavenly Jerusalem etc.) and, once there, to contemplate God eternally, finally reunited with their Creator and seeing “face to face” (see 1 Corinthians 13:12). That is, because there is where man’s real nature lies, where it came from and belongs to, but also man being created in the image and likeness of God (see Genesis 1:26), together with a Platonic and Neoplatonic philosophical legacy, led to a tradition of interpretations (part of our overall cultural heritage) where man’s divine part (or God himself) resides deep within the human soul: therefore, introspection or contemplating one’s own self holds incredible importance. Nikolai fighting God “in order to lose sight of himself” is a very well-chosen line for Fyodor and a great way of presenting (a glimpse of) the depth of Nikolai’s soul to the readers, one that opens many possible interpretations, not just the one offered above. Nonetheless, Fyodor’s response is particularly disturbing, because he calmly stated what frightens and enrages Nikolai the most: the fact that the sight of God is, in the end, the sight of himself, his true self, and “fighting against God” inevitably becomes “fighting against himself” too. So what is left when Nikolai fights against this truth? What is left must be what is unique to Nikolai as a being, if there is anything like that at all. So far in the manga, it seems Nikolai struggles desperately with the concept of the “omniscient God”, who possesses knowledge of past, present and future as well, which opens the particular Pandora’s box of “predetermination vs human free will”, a monstruous philosophical problem as old as time (or at least heavily discussed ever since Ancient Greek philosophy and Early Christianity too). One must note that, by answering like this, Fyodor essentially denied Nikolai the success of his mission, but granted him the rare gift or rare curse of being fully understood by someone else. One truth too much, the resulting emotional impact on Nikolai was disastruous, as Nikolai appears to be a person of high sensitivity, very susceptible to the power of words and how they plant ideas in his mind. Even if Fyodor’s response is not malicious in words (see, however, section H, about the meaning of the tilt of his head and how this scene is an example of intentional emotional manipulation), this interaction was profoundly unhealthy and destabilizing for Nikolai, which I would argue is well in the spirit of N.V. Gogol’s characters, having their spirits frequently broken by the most mundane things which nonetheless go beyond what they are capable to live with (read The Overcoat, Nevsky Prospekt first half, even Diary of a Madman).

Shibusawa’s problem was of personal nature, linked to his past: not only the Mayoi cards, but also the entirety of the Dead Apple movie make it clear that Shibusawa and Fyodor were long-time acquaintances before the fog incident in Yokohama happened. The most objective proof on this are Shibusawa’s words themselves, when telling Fyodor (in the Draconia room, in Dazai’s presence) that it was thanks to Fyodor selling information to Shibusawa that the fog incidents could happen, and in Yokohama too at such an impresive scale. Since Shibusawa told Dazai he did not find “having friends” necessary (since everyone was like a open book to him), I will refrain from calling the personal relationship between Fyodor and Shibusawa “friendship”. Now then, later on, despite being surprised by the ability-gathering Dragon event triggering after he approached Dazai’s “ability gem”, Shibusawa was not angry nor shocked when Fyodor cut his throat: Shibusawa immediately realized he found his most important personal memory as a consequence of Fyodor killing him or, rather, Fyodor “granting” him death once again. Here, too, two contrasting images combine: 1) Fyodor offering “death” as a “gift” or “blessing” that gives Shibusawa exactly what he needed most, and 2) Fyodor essentially killing his old acquaintance, but with the twist that Fyodor was aware Shibusawa would not die yet, quite the contrary – as a result of Fyodor putting a fragment of the crystal that gathers all abilities on the skull’s forehead (as a “small gift”, as Fyodor called it), Shibusawa was revived and enjoyed one last “epic battle” and then died a truly fulfilled person. In fact, Dazai predicted this outcome in the very first scene with the three of them at the table in Dead Apple, telling Shibusawa he is the one in need of “salvation”: Shibusawa then asked Dazai “And exactly who do you propose could save me?”, to which Dazai answered “Who knows? An angel, perhaps? Or, maybe, a demon” (then Fyodor enters the scene; note that I cite the dub version and that, at the end of Shibusawa’s and Atsushi’s battle, Shibusawa’s last words to Atsushi were “(…) The meaning of that man’s <Fyodor’s> words. I understand all of it now. It’s you! You must be the angel who has come to save me”). Anyway, the movie leaves several interesting questions unaswered: could Fyodor have granted death to Shibusawa, and therefore give him his most important memory back, at any time, or was the whole Yokohama setting necessary? If the latter, was it necessary for Shibusawa or necessary for Fyodor, and Fyodor acted only when their distinct goals aligned? In any case, allow me to expose something very intriguing in the next lines. After Fyodor granted Shibusawa death by cutting his throat in a single swift knife attack, the moment Shibusawa’s memory of his first death returned overlapped with the moment Atsushi’s memory of the same event returned to him as well. In the flashback, Shibusawa stated that he conducted those ability extraction experiments on Atsushi – specifically, Shibusawa pressed the switch – because “a Russian man” told him Atsushi’s “power was coveted by every gifted in the world”. Later, Shibusawa added “the Russian’s name was Fyodor”. This makes all events align in such a way that one could speculate Fyodor was leading Shibusawa and everyone involved with him (Ango and the government) down that precise path we see reach its end in the Dead Apple movie. This makes Fyodor’s words from ch42 all the more relevant: “People can be so simple… They truly believe they are thinking for themselves. (…) They don’t want to think they’re being led by the nose”; or, in S3ep4’s dub: “People are eager to believe that they are acting with free will, that they know best. (…) We all loathe to believe we can be controlled”. One last thing to note and analyse here: as Fyodor walked away alone on the hallway and the Dragon got unleashed, he had a “conversation” with Shibusawa’s skull:

Fyodor (sub): “I’ll tell you an interesting fact, in celebration of you finding a friend in me.” Fyodor (dub): “In thanks of our newfound friendship, I’ll offer you a bite from the apple of knowledge.”

Fyodor and his ability then delivered their famous “I am crime. I am punishment” dialogue. While there are significant wording differences between the versions cited above, how Fyodor referred to “friendship” here is mocking and ironic, so the nature of the bond between him and Shibusawa (beyond that of “informant and information buyer”) remains debatable. It is beautiful how the dub version of the line offers a splendid example of godly and demonic imagery blending in the character of Fyodor. In a Christian cultural context, two precise ideas come to mind simultaneously when hearing Fyodor’s line: 1) it was God who created everything, including the first humans (Adam, then Eve) in Eden, amongst all the fruit-bearing trees, giving them rules as to what they could consume or not (the power and authority “to offer” something rightfully was God’s, being the one to give and take away, to reference  Job, 1, 21), but also 2) it was the Devil who “offered” Eve such a bite, tempting her through suggesting she should eat from the forbidden fruits of the tree of knowledge of good and evil (the infamous “suggestion” was the Devil’s, making a forbidden “offer” that was actually a transgression). It is unclear to which of these two ideas Fyodor is closer, and it may as well be possible he is equally close to both, further encompasing contradicting traits. Nonetheless, given that Karma himself introduced the yet unresolved theme of “transcending human nature” and “transcending good and evil” in relation to Fyodor’s character (ch42, Karma: “Ace was evil, but this guy isn’t even that. He’s some kind of nirvana. Something that transcends mankind itself…”), this particular line from Dead Apple supports Karma’s observations and how Fyodor’s character combines the ideas of creator and destroyer, like @looking-for-stray-dogs put into beautiful words here. This only becomes more interesting when we consider the archetype or role of the “servant of God”, which Fyodor consciously claims to fulfill (see section F below).

Kunikida: Yes, you read that correctly. While Ivan and Nathaniel are, as of now, total wildcards and I do not have enough information as to objectively describe their situation or how Fyodor won them over or “read their souls”, Kunikida’s case is the perfect example of Fyodor’s understanding of a person being so deep and accurate that he knew exactly what actions would cause them to break and render them useless for a significant period of time. Moreover, Kunikida’s case becomes even more intriguing if we remember that Fyodor successfully read his nature without even meeting him. Well, that would be the introduction to this minisection about Kunikida, but frankly I did not have enough time nor energy to dig deeper into this as of now. Perhaps in the future I will update this part with information and links to several great analysis posts I am sure Kunikida fans wrote out already, with their whole heart in them.

These examples share the fact that Fyodor accurately reads the intellectual (Karma), emotional (Sigma), philosophical and spiritual (Nikolai) layers of the human heart, as well as is capable of perfectly adapting to one’s personal baggage on the long term (Shibusawa). This means he posseses an extraordinary capacity for empathy, but, as he never loses his composure (except for small instances of surprise or adrenaline rush, like in ch46 and ch53), his willpower controls every single gesture and reaction he makes, which makes him a terrifying foe who has complete control over himself, never overreacts and thus seems soulless (ch42). His understanding of human nature fiels his skill to deduce future actions and thoughts of other people, which in turn may deepen Fyodor’s individualism or trigger his eventual alienation (paired with perceiving humans as “boring” because they are predictable, to which Dazai disagreed in ch77, albeit it must be noted that this is only an assumption Dazai made about Fyodor, that is not entirely supported by the canon dialogues; see section E), as well as encourage Fyodor to use others as predictable (and therefore reliable) pawns in his plans. Again, Fyodor’s character combines two very contrasting yet interdependent things in his strategies: acknowledging others as humans (with individual problems) firstly, and using them as instruments when necessary, on that basis (as Fyodor becomes their problem-solver). This shows both how versatile and accepting Fyodor is as a thinker and leader (see also section C). Theoretically speaking, could Fyodor use Dazai as a pawn, if Dazai is completely alien from being human? But that would open another massive collective essay on what is going on inside Dazai’s soul and mind, as the fandom so often and so admirably tried to figure out already. Personally, I am a firm believer in Dazai’s humanity, and if Fyodor can indeed understand it all the way to its core, then one may wonder if Dazai’s humanity will be his downfall.

C. He values independence and (most probably) his co-workers

Continuing on the previous paragraph’s line of thought, here’s the catch: it is important to keep in mind that Fyodor nevertheless seems to treat certain “pawns” differently, perhaps considering them closer to him in some regard. People Fyodor refers to as “his staff” (and, in ch64, the faces of Ivan and Pushkin appear as examples) may be a matter of genuine concern to him, enough so that Fyodor asks Dazai how to make his subordinates less dependent on Fyodor: “My staff show no independence. All they do is wait for orders. How can I make them into good workers who take the initiative?” (ch64). To me, this question, even just as a light-hearted example for the sake of their shared prison mindgames, is plain shocking coming from someone always thought of as using people like tools and discarding them like broken puppets. As a first thought, to my stupefaction, Fyodor really took into consideration the independence of even his lower-ranking “pawns” as something worthy of a question, and valuable enough as to lament its lack. However, on later inspection I came to understand that Fyodor’s entire “roooooundtable” session from ch64 is in fact more like an icosahedron with razor-sharp edges (I mean, complex and slick), and can be taken both or either literally (like in this section I took Fyodor’s words literally) or figuratively, assuming Fyodor and Dazai’s answers as being each a substitution for something else entirely. Until I reach that point further down this section, there are more examples that refer to Fyodor’s perception of his co-workers (note: for the manga, my points of reference are the official English translations):

1) in Dead Apple, Fyodor celebrated what he called the “newfound friendship” between him and Shibusawa in Dead Apple, thus calling Shibusawa a “friend”, which is further supported if we take into consideration certain BSD Mayoi card descriptions (“Dragon Head Feud” card description, or “Bundled up” card quote: “Oh my, it seems that Dazai-kun and Nakajima Atsushi-kun have managed to evade us today. Well, if Shibusawa-kun is happy, then I'm happy. I'm his friend, after all.”); however, if put back in the larger context, the benevolent character of this statement is debatable (see section B);

2) in ch42, Fyodor told Ace “My friends have taken over the outside corridors”, thus directly referring to his Rats in the House of the Dead as “friends”, even if the fact itself was a lie to pressure Ace towards his suicide;

3) in ch95.5, silently agreed to considering Nikolai a friend when Dazai complimented Nikolai’s prison game idea. There are two instances where Dazai mocked Fyodor about having a nice friend in Nikolai, both of them in this chapter, and only in the second one Fyodor played along, agreeing to Dazai’s claim, but one has to bear in mind that the two could have been mocking each other in both instances:

Nikolai, ch95.5 (fan translation): “The wish to save my friend is indeed very difficult to falter. That’s why I need to shatter this determination, such to prove the free will of homo sapiens!” Dazai: “Seems like… you have a nice friend…” Fyodor: “…” – Nikolai (after a few lines): “From now on, you two will be participating in a jail break duel!” Dazai: “You indeed have a very good friend.” Fyodor: “I know, right?”

Leaving the debate open as to whether Fyodor is genuine when using the term “friend” overall (see also bsd-bibliophile’s post here, further inspecting Fyodor and Nikolai’s interactions, as well as mentioning one instance of the term “friend”, used by Fyodor for Pushkin, being present in the fan translation, but not in the original Japanese text per se), all this information nonetheless supports the fact that Fyodor himself may not be oppressive towards others, and that his methods rather rely on communication, negotiation and manipulation. Indeed, strangely enough, for example when approaching someone new with the intent to work with them, Fyodor’s ways are all “clean talk”: no torture, no physical abuse, no threats, no intimidation or humiliation, no blood as of now (on the possibility of brainwashing, see section D below). Instead, Fyodor becomes the ideal smooth-talker and deal-maker when first recruiting others, perfectly reading into their soul and appealing to their most intimate desires (see section B above, as well as @gold-pavilion​​ / akai-koutei ’s post here /oldhere, and there was a beautiful addition by @/goddessesofeverything here, but all reblogs of the original post were deleted and I cry). When approaching a clear target, however, there can be freshly spilt blood, for example 1) Mori getting stabbed (ch46), 2) Katai getting shot (ch49), and 3) Shibusawa getting his throat cut open (Dead Apple), in each case the action being done directly by Fyodor (firing the gun or holding the respective knives with his own hands). Lastly, if we take into consideration how Fyodor played along with Nikolai’s puns in vol.14’s omake, and how highly and affectionately he spoke about Sigma in ch74 and ch75, Fyodor’s actual dynamics with his subordinates or fellow Decay of the Angel members could potentially surprise the reader in future updates, because his polite and discreet nature do not seem to be a mere façade.

Another point needs to be addressed here, and it is whether or not we can safely use the word “care” to sum up Fyodor’s relationship towards his close co-workers (thank you, Sel @oddeyesight​​, for your questions that led me towards considering this aspect in more detail). First of all, one needs to acknowledge there are persons Fyodor worked with and then disposed of in the most indubitable way, like the mafioso he forced information from in ch51, indirectly all children in ch47 and directly the little girl with the grenades, whom he talked to via telephone prior to the events. Secondly, compared to them, there are characters that are closer to Fyodor, which Fyodor refers to as “friends” (so far, this applies to Pushkin, Ivan, Nathaniel, and indirectly consenting to calling Nikolai a friend; see the paragraph above). Looking at definitions of the noun “care” – “the process of looking after someone” and “the process of doing things to keep something in good condition and working correctly” (Longman dictionary) – the first definition I give as an example here can imply affection, whereas the second definition does not, and refers to an impartial instrumental approach. So far, from what I gathered, there is no canon basis to claim Fyodor cares about someone else in the first definition’s sense, only in the second. Until future manga chapters may or may not change this, I propose looking at Fyodor from another viewpoint: in relation to the antonym of “care” (neglect), and a closely-related noun, indifference. For this task I propose starting with the following scene from ch74, when Dazai deduced the Sky Casino’s origin and purpose:

Dazai: “It was made for two goals. As a base for the next terror attack and as “payment” for the use of Sigma’s skill. …Never waste a thing, do you?” Fyodor: “Our boss does hate to be wasteful.”

By saying “Never waste a thing, do you?”, Dazai implied that Fyodor executed all the steps he deduced, yet Fyodor shaked this claim off, directing Dazai’s remark toward someone Fyodor called “our boss”. We, as readers, naturally think of Fukuchi, who is the leader of the Decay of the Angel in title, but I dare say the entire fandom does not buy this, as in everything else Fyodor still acts like the puppeteer determining the actions of all the group’s members, whether they know it (Nikolai and Sigma) or not (Fukuchi probably and Bram). Fyodor humbling himself and downplaying his importance is a recurring behaviour of his, in varying depictions such as in ch46 (Fyodor to Dazai: “I will not be the one who will bring down your two groups. It will be you yourselves”), in ch73’s cover artwork of Sigma holding cards (where Fyodor is not an Ace, not even a King, he is but a Jack of Spades), in ch77 (Fyodor to Dazai: “Me? I didn’t do anything. I just sat here and prayed… and those prayers were answered”; see section F for more). This aside, hiding the identity of Fyodor’s “boss” had at least two purposes: 1) keeping Fukuchi’s double identity hidden (both the Hunting Dogs leader and the Decay of the Angel leader) and 2) redirecting not only Dazai’s, but our attention too. Since Fyodor and Dazai imagine their actions as if within a mental game of chess, let us reconsider the fates of Fyodor’s pieces so far, which include both the Decay of the Angel members and the Rats in the House of the Dead:

1) Pushkin was apparently captured and eliminated from the “chess game” (lost piece, used and then captured by the enemy in ch53), and yet he is alive and well, even shamelessly spilling information to Ranpo to save his own skin, while being interrogated (ch54), providing him with the lead on Mushitaro. Despite leaking information, so far nobody was sent to “clean” Pushkin off the table (as in Mushitaro’s case, whom Nikolai said he was assigned to kill off at the end of ch56). Pushkin leaking information may be intentional as part of Fyodor’s plans, which means Pushkin’s role likely did not meet its end yet.

2) Ivan was apparently captured and eliminated from the “chess game” (lost piece, used and then captured by the enemy in ch53), and yet Ivan survived and is probably held somewhere alive; also, Ivan’s loyalty and “happiness” never wavered, not even when in Rashomon’s tight grip (ch53), which means his trust in Fyodor remained unchanged and he did not abandon his role of Fyodor’s servant and “head chamberlain” (ch52).

3) Mushitaro was, most probably, really supposed to die (sacrificed piece, used and then disposed of: died in an exploding car after Nikolai’s surprise attack in ch56), yet he is still alive, last seen (iirc) safe in Poe’s mansion in ch78.5 (vol.18 bonus chapter at the end). Since Fyodor sent Nikolai to dispose of Mushitaro, it is rather clear Fyodor was not indifferent to Mushitaro staying alive, and now this is a loose end, one where Mushitaro survived and we do not know if this scenario has already been integrated in one of Fyodor’s larger schemes or if it will serve against Fyodor somehow later.

4) Nikolai was apparently supposed to die (sacrificed piece, used and then disposed of: sawed in half in ch58), and yet he is very much alive and already influenced the current events of the manga drastically. Furthermore, in ch95.5, when Nikolai started explaining his prison game, Fyodor replied “So that’s what you’re planning”, as if the two already agreed upon Nikolai doing “something”, and apparently that “something” remained a surprise to Fyodor, hence his reply was phrased as a conclusion. Note how Nikolai’s action remaining a surprise reinforce Nikolai’s freedom and agency, and Fyodor allowed this and played along, despite how accurate to his character it would be to have deduced Nikolai’s possible actions already. Then again, it could be that Fyodor knew that Nikolai had to hear precisely that kind of reaction, in order to continue playing a role Fyodor secretly predicted for him. Later, in ch98, after Nikolai’s prison game started, when Fyodor was waiting for Chuuya to arrive, Nikolai asked him “It’s been five minutes since the game started. You aren’t gonna move? Can I take that to assume… your pieces are already moving?”. If Nikolai’s prison game is an independent consequence of him independently choosing not to die, then why would Nikolai smile as if in agreement with Fyodor, supposing that everything went as planned? The problem of free will remains unresolved and tightly knit into Nikolai’s character even in the current events.

5) Sigma was apparently supposed to die (sacrificed piece, used and then disposed of: shot by Nathaniel in ch76), and just like Nikolai he is very much alive and playing a crucial role still unknown to us (in a conversation with Alex @vampireonastick​​ I suggested that Sigma being on Dazai’s side of the prison game might be a well-disguised infiltration strategy already planned out by Fyodor, with whom Nikolai cooperates on this, despite Nikolai’s “sidequest” to kill Fyodor); we have an important hint as to how Sigma’s death was never required by Fyodor’s plan: the “roooooundtable” from ch64. It is indeed highly probable that the entire “all-smiles problem-solving rooooundtable” session proposed and moderated by Fyodor was his masked suggestion (masked from the guards!) of creating a unique substitution code that only he and Dazai would be able to communicate in, as @fantastic-rambles analysed more in-depth here. And just like @mydearestt​​ noticed in this post here that, through his reply, Dazai in fact referred to his plan to make the Agency move, the same can be assumed in Fyodor’s case. To remember the dialogue, I shall copy the revelant part here below:

Dazai: “Me next. “I tried asking the café waitress out, but she won’t bend an inch. What should I do?” Fyodor: “Make her lose her job and home, trick her family into disowning her and she’s bound to come crawling to you.”

I propose reading this sequence as referring to Sigma entirely, because: 1) Sigma, much like a waitress, was contained and bound to his workplace, the casino, unwilling to leave once there, no matter who asked; 2) Fyodor set up the entire scenario of making Sigma lose his job AND home in the most literal sense by completely destabilizing the casino; 3) by doing unbecoming irreversible actions, Sigma secured his own family rejecting him, and all ties were cut with Sigma’s “death”, yet Sigma survived – equally destabilized, he ended up in a situation where, if Fyodor would have granted him another wish, Sigma would not have refused, naturally seeking the one person who may still have power to grant wishes as grand and Sigma’s, and that is still Fyodor, who both gave and took Sigma’s home. This being said, like Alex @vampireonastick​ theorized in their post here, I strongly believe Dazai strategically manipulates Sigma in the prison game, “shaping” him to defy Fyodor, the person he would otherwise “crawl back to”. However, since Fyodor chooses his words with utmost care all the time, no matter if truthful or deceiving, I personally doubt Fyodor would carelessly share his strategy (disguised as the grimest relationship advice) without it already being implemented into a larger scheme, in which Dazai acts upon the words he hears from Fyodor (and Dazai already did so twice in this arc, firstly by choosing Sigma, secondly by “building up” Sigma for his eventual refusal of Fyodor). What Dazai perhaps does not expect is the fact that Fyodor himself already talked to Sigma in ways that reinforce Sigma’s agency: for example, in ch73, Fyodor directly told Sigma that, should the Hunting Dogs attack the casino, Sigma should run as he would have no chance of winning; Sigma, on the contrary, remembering Fyodor’s words – not once, but twice in the chapter –, was pushed only more vehemently to defending his casino, thus acting on his own and defying Fyodor already, a reaction Fyodor most likely anticipated when making Sigma hear his “advice as a co-worker” (in Fyodor’s own words, ch73). In the end, regardless of the content of Fyodor’s words, it seems his kidnapper from ch42 offered honest advice to Karma: “Watch out… If you talk to him, he’ll pluck your mind out”. Despite how there is no proof of an actual “plucking of the mind” action yet (see section D), Fyodor’s words (often, if not always) twist the minds of those around him in a way that, paradoxically, both acknowledges and denies them their free will, encouraging decisions that seem free to the agent, but are already predicted and known to Fyodor (and in this, I must admit, Fyodor bears a resemblance to an omniscient god; however, his canon dialogues often convey a different role, a tension I discus in section F). In this light, I wonder if Dazai had this behaviour before too and acted upon words he heard from Fyodor in previous instances, such as the Mutual Destruction arc.

6) Nathaniel was apparently eliminated from the “chess game” entirely (sacrificed piece, used and then disposed of: captured in Anne’s room of no return in ch76), yet this does not imply he is dead, which begs the question if Anne’s room, the Agency’s only true safe space, is now compromised, as me and Alex wondered here (see also the reblogs and replies to their post).

One thing I want to remark here is that, despite how clear it is that Fyodor “moved” all these “chess pieces” already (only number 3 to 6 are relevant in this case), in ch76, right after Nathaniel got captured, as Atsushi and Lucy were celebrating their victory, Ango explained to them how the events at the casino were no victory, and how instead everything played as Fyodor has planned, claiming that Fyodor has not made any move yet:

Ango, ch76: “We lost because you let Sigma die. Now we have no leads to the Page. And… the Hunting Dogs saw us try to rescue him. In their eyes, that likely looked like the Detective Agency helping their terrorist allies. Our plan failed and we’ve only sowed more doubt. This is likely exactly as Dostoyevsky planned. Frankly… I can’t stop shaking. Until now, he moved none of his pawns and gave us no room to deal with him. (…)”

As I shall leave Ango analysis to Alex @vampireonastick​ like in this post here, I will return to the fact that so far the only true “chess piece” that Fyodor ever truly let die was Shibusawa. Then, to sum up, when his co-workers fulfilled their purpose and no use nor entertainment can be obtained from them anymore, Fyodor’s pattern seems to be leaving said co-workers with apparent indifference to their well-being, often abandoning them in a state or situation that is destructive to them (Shibusawa is the clearest example, but it applies to all other aforementioned characters as well). However, the twist is that none of these characters did reach the end of their assigned roles yet (and we may wonder if they will ever do that), given that Pushkin, Ivan, Nikolai, Sigma, Nathaniel and even Mushitaro are all alive and healthy. Consindering all this, the way BSD is narrated becomes even more interesting, because the reader would naturally project treating others as expendable on Fyodor, where in fact it is more accurate to Dazai’s character to act this way (and he did and does act that way, as @linkspooky​ pointed out in detail in their post here). Back to Fyodor’s “our boss does hate to be wasteful” line, while still just an interpretation, it would make sense that Fyodor refers to himself or his ability (if it’s a separate conscious being, see section G) as “our boss”, because all this information suggests that Fyodor himself hates to be wasteful, and that, excepting Shibusawa, Fyodor never wasted even a single pawn of his. That means Fyodor never neglects his co-workers (whom he calls friends!) and is never truly indifferent to them, albeit in an instrumental way, given that there is no proof yet that Fyodor’s care towards his co-workers is affectionate in nature. Let us close this section with a treat, though: in ch51 and ch53, there are two panels of a teacup with three teaspoons to its left. Differing greatly from the anime, albeit delivering the same subtle deception, these three teaspoons help in fooling the reader into thinking that Ivan poured tea in Fyodor’s cup, placed the teacup in front of him and then Fyodor consumed that tea, together with the jam that filled all three teaspoons at first (ch51). Given that 1) Ivan prepared the tea with three teaspoons of jam and 2) at the restaurant, Fyodor drank his tea exactly like that, with three teaspoons of jam, from this we can deduce Ivan is very familiar with Fyodor’s tea-drinking habits, which in turn leads us to the very likely idea that Fyodor and Ivan (if not also together with other members of the Rats in the House of the Dead) frequently had tea together, or Ivan prepared tea for Fyodor often enough to memorize his precise habits. The latter would support Ivan’s self-proclaimed status as Fyodor’s “head chamberlain” (ch52), suggesting that their group lived as family and / or nobility in the same house, if the definition of “chamberlain” is taken into consideration (Longman Dictionary: “chamberlain, an important official who managed the house of a king or queen in the past”).

D. No confirmation yet that he is brainwashing others and why this is relevant

Speaking of his methods of acquiring new collaborators, so far, it is most certain that Fyodor is not brainwashing people: not Fukuchi, not Nikolai, not Sigma, not Karma, not Pushkin, and certainly not the little girl with the grenades, even though the anime depicted the scene differently (in the manga’s ch47, a flashback appears where Fyodor talks to the little girl via telephone, thus he does not simply appear in her clouded mind like in the anime’s S3ep9).

But two characters Fyodor works with are in a very ambiguous position as of now: Ivan and Nathaniel. To begin with, Ivan’s case is very tricky at the moment. In ch53, he openly told Akutagawa that “my master cut out all the parts of his brain that feel unhappiness”. What can I say except our dear Vanya here is a lil’ crazy. I find his replies rather unreliable at the moment, because he is the only Fyodor-subordinate who is behaving like an intoxicated bacchant for now. While the ch53 quote is singular and, therefore, I cannot make anything of it, there is another thing that needs to be considered: in ch52, as he was walking away from Akutagawa and Atsushi, Ivan told them “I will not forget you. …No… You will now serve as part of my master’s joyful order”, but immediately after that he added “after 10 more steps, I will most likely forget your faces”. Apparent self-contradiction aside, whether he meant “forget your faces” literally or not, Nathaniel, too, went through an apparent mind-reset, as he did not recognize Akutagawa in ch46 and appears to have lost his entire personality except for his devotion to Margaret Mitchell and his determination to save her life. Now, mind-resetting and brainwashing are not the same, and removing a part of one’s brain or mind that is responsible for a specific emotion is, likewise, something entirely different. The manga did not give us further examples of similar things that Fyodor apparently had a role to play in, so I cannot present anything new here, only speculation. We also do not know if these effects are caused by Fyodor himself (without using his ability at all, much like he could simply talk Ace into his own suicide in ch42) or Fyodor’s ability specifically. This simply limits my current analysis of Fyodor’s methods to the beforementioned “communication, negotiation, manipulation” trio, which is not dependent nor related to his ability, and I will update these parts if the manga later reveals that Fyodor did indeed mold the conscience or minds of other people into whatever shape or state he desired. Until then, he is literally just a genius smooth-talker, and I refrain from making rash affirmations or going into more speculation here.

E. He loves and lives for entertainment

So many canon lines convey Fyodor’s love for entertainment. It is more specifically entertainment in a “good literature” sense, meaning conflict, tension, intensity of will and emotions, devotion, despair and generally human beings fighting for their needs or to solve their problems of many different, often opposing kinds. Let us take Fyodor’s own words as references. First of all, at the beginning of the Dead Apple movie, as younger Chuuya destroyes the entire building in which he and Dazai found Shibusawa the first time, Fyodor watched the scene from a safe distance, on top of a building. All he did was “absorb” the whole event with utter satisfaction, concluding the scene with his line “This is too much fun”. The motif is repeated several times in the Dead Apple movie, linking his own enjoyment of whatever chaos unfolds to “fun” and “entertainment”, so this line is not the sole evidence that entertainment is greatly valued by Fyodor, as it is the thing opposed to boredom, which constantly eats away at his and Dazai’s hearts because of their superhuman intellect. As Fyodor was getting the two most important ability gems ready for his and Dazai’s plan, Fyodor tells Dazai “Would you not agree that the more entertainment there is, the better?” (dub); moreover, at the end of the movie, his lines highlight the privileged spot of “entertainment” in his understanding of the world around him again:

Fyodor (sub): “Everything is but entertainment. But in order to end this world, rife with crime and punishment, I do need that book. The blank novel sleeping in this town.” Fyodor (dub):“Everything is just entertainment. However, this world is so rife with crime and punishment… In order to finally end it, I do need that novel. This special book that sleeps somewhere within this city.”

However, paying close attention to his words, we need to consider the possibility that in this instance Dead Apple either contradicts or deceives the watcher greatly, because in the manga Fyodor’s goal is clearly referring to “saving the world”, not “ending the world” (see also section G, near the end, for more on Fyodor’s possible motivation).

Now, in the manga (ch63), Fyodor stated that he openly refused to devise a perfect plan (as demanded by another Decay of the Angel member, possibly Fukuchi) because perfection is boring (Fyodor, ch63: “A Decay comrade asked me for the perfect plan… but perfect is so boring. I won’t be able to view the karma of humanity like this”). While at first glance one could be surprised by this statement, especially considering that “God prefers perfection and harmony”, in Fyodor’s own words from ch77 (see section G where I expand on this specifically), both lines (perfection is boring + God favours perfection) could potentially be extremely deceiving: since the Agency knows Fyodor is involved in crafting the Decay of the Angel’s plan, it is probably this implication that leads, for example, Kyouka in ch63 to tell Atsushi that their plan is “extensive and flawless”, and Atsushi’s inner monologue, as a response, appears together with a panel of a faceless Fyodor pulling strained strings in the darkness. If everyone expects Fyodor to be perfect and to create flawless strategies, an opponent like Dazai could include unpredictable, irrational or impulsive actions in his own strategies to outsmart him, as Dazai describes his appreciative acknowledgement of this behaviour he finds in other people (Dazai to Fyodor, ch77: “What’s driving the world are those in the storm of accidental events who scream, run and spill blood. Faced with their souls, you and I should be petrified with fear”; more on this specific dialogue in the next paragraph). But knowing this reaction would be triggered, Fyodor could always integrate imperfections in his plans, leaving his opponents with the impression that they act in the right way, on their free will, when in fact nothing they do has not been already considered by Fyodor (holding true to his lines from ch42). Personality-wise, the “perfection is boring” line becomes relevant if (and only if) Fyodor really, truly means it literally, and 1) does not say it just to tell what his opponent(s) (or the reader themselves) would want or expect to hear, without meaning it, or 2) does not say it as some kind of reverse-psychology, without personal attachment, to trigger predictable reactions in his opponent(s) (again, see section G for a continuation of this particular discussion). As a last example to support the idea of Fyodor loving entertainment, finding both fun and beauty in it, when a very shocked Dazai was asking Fyodor about the reason (“for what?”) for his stupefying strategic moves (the coin bombs, staging the casino as the battleground etc.), Fyodor only replied “Isn’t it more beautiful that way?”.

Now, ch77 presents us with a dialogue between Fyodor and Dazai which seems easy to understand at first, but becomes increasingly complex the more one dwells on it. To remember the full context clearly again, I shall sum it up and add the full relevant quote here: after Fyodor told Dazai that “God favours perfection and harmony”, after which it is confirmed that the Page was also used for changing all the world’s police and investigative agencies not to act upon evidence of someone framing the Agency, a parallel is shown with Tachihara who, inside his heart, decided to finally identify fully as part of the Port Mafia, exiting the inner state of being a Hunting Dog (military police force), thus existing the Page’s influence. Tachihara’s situation exemplifies what Dazai then explains to Fyodor:

Dazai, ch77: “Ha-ha-ha-ha-ha-ha-ha-ha-ha! Siding with God sure didn’t teach you much!” Fyodor: “…Let’s hear it.” Dazai: “‘Perfection and harmony’? To God, those amount to a hill of beans. I saw it many times. All HE offers is happenstance and absurdity. A weakness… shared by the two of us… For all our ingenious plans, in the end we’ve wound up here, in a deep-level prison. What’s driving the world are those in the storm of accidental events who scream, run and spill blood. Faced with their souls, you and I should be petrified with fear. (after POV change to Tachihara) You’re right. People are sinful and foolish. But… they aren’t as boring as you think they are.”

In Dazai’s dialogue, I put in bold two quotes that need to be inspected. The first one refers to Dazai pointing out a weakness the two geniuses share, which refers to the primacy of the accidental in reality, as opposed to the predictability both Fyodor and Dazai operate with in all their plans, which can make the world seem trapped in an inescapable causality rationally-accesible to those with an intellect such as theirs. Dazai “bets” against Fyodor on this cruel primacy of “happenstance and absurdity”, where reason fails to follow the exact consequences of each event or human action, and yet the nuances and risks of this “bet” I already exposed in the paragraph above. In this context, Dazai seems indeed to talk about this weakness in an admirative, even hopeful tone, despite the fact that he shares it; for a brilliant exposition on Dazai (both the author and his BSD counterpart) in relation to sin and weakness, I wholeheartedly recommend reading Kat’s (@pompompurin1028​​) essay here. When Dazai stated this, a flashback to Odasaku’s fight with André Gide is shown, which can be interpreted as that one time Dazai’s predictions held true, yet still Odasaku chose to fight Gide, fully aware of the end, driven only by what I would call here human subjective drive. Such human subjective drive, independent from reason and logic, is what awakened in Tachihara as well: if Odasaku served as an example of “defeating” Dazai by exploiting his vulnerability to the (uncontrollable) accidental, then Tachihara served as an example of “defeating” Fyodor’s precautious plans by unexpectedly exiting the Page’s influence. In the end, this parallel can become unbalanced if Fyodor already included this kind of variables in his plans and works not ignoring, but embracing human individuality and spontaneity, which I would argue is (paradoxically) more likely the case, for what I exposed in sections B and C. 

As for the second quote I put in bold, there are at least the following examples that render Dazai’s assumption (that Fyodor considers people boring) untrue: 1) in ch75, Fyodor openly praised Sigma, carefully examining his personal torment, placing him not only above the Hunting Dogs, but also above Dazai and himself, as well as “all of creation” ; 2) in ch78, in a flashback, as a reaction to (presumably listening to) Nikolai’s inner struggle, Fyodor replied “That’s wonderful”, smiling and tilting his head (see section B, as well as H for the significance of the tilt of the head); 3) in ch80, Fyodor described the Agency “as beautiful as the evening sunlight (…)”. If people are indeed boring to Fyodor, he would not find their struggles and states worthy of deeper consideration, lengthy speeches of praise or expressive, poetic comparisons (admittedly with a dash of pity and sarcasm towards the fate of the Agency). So far, Fyodor is never shown expressing boredom in the presence of other people, quite the contrary: he is shown expressing sincere interest, as if each human is a case study, an enigma to be unravelled, much like Fyodor himself is to me, and to us within the BSD community (therefore I chose that specific fragment from F.M. Dostoyevsky’s letters to start my essay with, as a motto; there is much more to be said about that, but I reserve that for another possible future essay, where it would be necessary to discuss Fyodor’s character in light of his corresponding author’s biography, personality and literary works as a whole). And so, I would argue that to Fyodor humans are not boring, but providers of entertainment worthy of attention and inspection, even more so when they play a role in his plans (and it seems everybody is playing on a stage set by Fyodor so far).

Fyodor is also quite fond of not only perceiving events or circumstances as games (like his mental chess game with Dazai in prison, starting in ch63, always mirroring the course of everyone’s actions outside), but also proposing this approach to others (his rooooundtable in ch64 and his card guessing contest with Ace in ch42), albeit not carelessly, as each time such – yeah, I cannot avoid it at this point, I’m a gamer myself, here it comes *inhales deeply* – each time such gamer approach has a multifaceted utility and never strays from serving Fyodor’s two main purposes, achieving his plan to cleanse the world of abilities, and having fun (yes). Killing boredom via playing games, especially when in the company of a person on the same level, seems to be the first move Fyodor does when faced with monotony (even in vol. 20’scredit page, where Fyodor said “I’m bored. Let’s play twenty questions”, even if Dazai immediately delivers the final answer “Snow White”, and thus Fyodor retracted his idea with “Actually let’s not”, as Dazai’s superhuman intellect killed the fun too fast).

To look into two examples just a bit more, in ch64, during his roooooundtable with Dazai, Fyodor suggested “Next, let’s ask a question at the same time”, which appeared to be innocently fun, because it challenges two persons, in this case a native and a non-native speaker of Japanese, to coordinate their spelling just for the amusement of simultaneity; then, in ch97, as Nikolai’s deadly prison game was about to start, Fyodor lamented the outcome he was confidently foreseeing: “Yet losing a chess opponent in the next 30 minutes is still quite sad”, saying this teasingly, still talking as if in the context of his and Dazai’s mental chess game. On a last, entertaining note, because why not, this entire section might as well serve as proof that Fyodor is cat-coded, just like Dazai (see @wintertaurus​​ ’s post here, where they scientifically prove this, I don’t make the rules), despite being the leader of the Rats in the House of the Dead, and so one more fine example of a fictional INTJ further strengthens the definition of INTJs as “human cats”.

F. Humble, not arrogant. Self-proclaimed god or servant of God?

Starting with the latter half of this section’s title, that is a very tricky subject, in fact, because we as manga readers can observe both 1) one line that established a connection early-on between Fyodor and calling himself “a god” if God is dead and 2) many lines by which Fyodor is actually displaying behaviour and speech akin to a self-aware servant of God. Let us begin with the first one. So, in the first chapter dedicated to showing Fyodor to the readers in more detail (ch42), and only in the original Japanese version and the fan translation, the first page of the chapter together with the last page feature a quote from F.M. Dostoyevsky’s Demons. The quote put together is “If God does not exist, I am a god”, which is part of a dialogue by the character Alexei Nilych Kirilov (“Если нет бога, то я бог”, see Part Three, chapter VI, II). Perhaps a beautiful coincidence, but in this exact wording that the fan translation chose, the quote also appears in Albert Camus’ The Myth of Sisyphus, chapter “Absurd Creation”, subchapter “Kirilov”, where the French author discusses F.M. Dostoyevsky’s Demons and the mentioned character, Alexei Nilych Kirilov. There, Camus calls that line “Kirilov’s premise”. In retrospect, this is a very puzzling line to appear associated with Fyodor, or rather appear as spoken or thought by him, giving the ambiguity of the quote’s placement on the pages. It is also puzzling because until now BSD gave us a character who seems like a better candidate for using that quote or being a reference to Kirilov, and by that I mean of course Nikolai. Moreover, the way Fyodor talks about or mentions God in dialogues that are clearly spoken by him later (I shall discuss examples in the paragraphs and sections below) very much conveys the message that Fyodor does not think God is dead, invoking him over and over (whether he is referring to the Judeo-Christian God or simply “a god” is not yet addressed in the manga). Still, the most striking information about this quote remains the fact that it is not featured in the official English translation at all. For comparison, I shall put an image with the last page in both versions below, and you can see the scan of the Japanese first page of ch42 here.

As we are walking on quicksand with this one, let us move on to the second point I mentioned at the beginning of this paragraph, about Fyodor as a servant of God. Because of his mission, of which he speaks as if it is of a higher calling, of divine nature, Fyodor also appears to see himself as a servant, namely a servant of God (servus Dei). He has the mind and the skill to carry out a mission of divine proportions (for us readers still an ambiguous goal: Fyodor, ch46: “And I will use that Book to make a world free of sin and skill users”, where “skill” means the same as “ability” and “gift”, as the fandom is used to these terms more). This, in turn, could have made him develop a strong sense of responsibility and a feeling of authority. As we are currently following the “servant” train of thought, these (sense of responsibility and authority) are not to be confused with what is called a “god-complex”, a slang expression which loosely corresponds to different actual psychological disorders such as narcissistic personality disorder, a thing Fyodor does not display core traits of. As of now, Fyodor remains surprisingly humble, discreet and respectfully formal both in speech (see @looking-for-stray-dogs’s posts here and here) and in gestures (see section H, on Fyodor’s body language), he acknowledges the possibility of imperfections and even welcomes them (ch63), he was never portrayed as becoming irritated at others (except his eyes expressing either anger or furious determination, as Dazai attempts to drown him and Chuuya in ch101), he is not a show-off and is indifferent to being adored or agreed with, and he knows how to take criticism elegantly when Dazai holds different opinions or outwits him. It is true that his grandiose “divine” goal, his frequent use of manipulation, and his apparent omnisciency and unbreakable composure give enough space to speculate regarding an underlying “god-complex” in his character (together with the ambiguous use of the quote discussed in the paragraph above), but the reader must acknowledge that, in all his replies, Fyodor refers to himself as if to a servant of God par excellence, as is the most evident in his ch77 reply to Dazai: “Me? I didn’t do anything. I just sat here and prayed… and those prayers were answered”. 

This direct self-characterization, too, plays against him having an actual “god-complex”. I would say that, by building on the humble yet powerful servus Dei image, if at all intentional, Asagiri presents us a far more complex character in Fyodor. For example, one of the many important subjects in Biblical exegesis, since the beginning centuries of Christianity, was how Jesus Christ, the Son of God, took upon himself the role of servant of God (see Philippians, 2, 6-7), but also of all humans (see the Washing of the Feet), and so humility and divine power become two closely tied ideas. In the manga’s context, Fyodor’s own humility can also have an added disturbing effect on the reader because of the implied power that coexists with it.

On the topic of the “arrogant villain” stereotype, I myself cannot find instances where Fyodor is, per se, arrogant. Longman Dictionary defines “arrogant” as “behaving in an unpleasant or rude way because you think you are more important than other people”, but we know for a fact that Fyodor behaves far from rude and unpleasant to others. Quite the contrary, he is humble and considerate, as can be deduced from his way of using the Japanese language (see the references linked in the paragraph above). He is never portrayed denigrating, humiliating or belittling someone else thus far. What is true is that Fyodor considers his goal (and not necessarily himself unless the manga reveals the opposite in the future) superior to anyone and anything on Earth, and this accentuates his heavy use of smooth manipulation instead of inflating his ego, actually hiding his true self behind more and more layers of words and actions he uses out of necessity to reach his higher goal. If we speculate that Fyodor is indeed (Orthodox) Christian and familiar with this doctrine, then it would be no surprise why Fyodor would cultivate humility instead of pride in general, as pride (superbia) is the beginning of all sin (Sirach, 10, 15) and when pride comes, then comes disgrace, but with humility comes wisdom (Proverbs, 11, 3). To sum up, I cannot find any manga panel where Fyodor is acting in an arrogant way, so I reached the conclusion that anything related to his arrogance, his stubbornness, his rudeness or, by extension, his superiority-complex is headcanon-territory at least for now. Only in chess did Dazai mention the “maliciousness” of Fyodor’s move while playing mental chess with him (ch72), and this malicious trait can refer to the bold and shocking way in which Fyodor attacks by directly using his King instead of other chess pieces (for a detail exposition of their chess moves, see @blackandwhitemusician​ ’s post here). Interestingly, Fyodor does indeed reply with “Malice is the greatest fruit God ever gave to man”, yet from what I gathered so far we still have yet to see a true act of malice from Fyodor, that is, an malicious action done for the sake of malice itself, and not for the sake of his higher goal demanding sacrifices or attacks on rival organizations. Lastly, from the current content one can safely deduce Fyodor is individualistic (in contrast to Dazai who seems to learn to rely on others, but once again I shall point to @linkspooky​’s post here to underline how, as they said, “Dazai doesn’t work together with others, he manipulates for the greater good”, emphasis in bold mine), but it would take more manga updates to make a step further and pinpoint Fyodor’s egoism or narcissism if he has any of these traits at all in himself, and not in how others portray him when they think about him (how Atsushi imagines him in ch63, or Ango in ch77, or Ranpo in ch95). Not only does Fyodor break antagonist stereotypes with these traits, but – still keeping the quote analyzed in the beginning of this section in mind – he continues to embody shockingly contrasting ideas all within himself, which takes us to the next section of this essay.

G. A strange divergence inside Fyodor. Is he a singularity?

Before I reach the point I want to present here, I suggest we reflect once more upon that unforgettable scene. Continuing in the atmosphere of the ideas from the paragraphs before, it is also important to remember how, in Dead Apple, Fyodor said “I am crime”, whereas his ability said “I am punishment”, and none of these imply Fyodor is seeing himself as a god incarnate who applies punishment, only that there is an open possibility that his ability, if it is an independent being/soul, might see itself as such, i.e. a force to punish others and/or to punish Fyodor himself. This would assign Fyodor himself the role of an agent serving someone or something else (presumably his own ability). About this, a quick note must be made here: since this is a piece of Japanese media, the word “god” can end up referring to something else rather than the Judeo-Christian God (whose name I always capitalize in this post, to emphasize the difference). We do not really know to what god Fyodor refers to all the time, who or what it is, or if said god’s identity remains the same throughout the manga. In this post, I chose to work with the assumption that Fyodor is Orthodox and refers to the Judeo-Christian God. Despite this assumption, I find the relationship between him and his ability truly intriguing, even more so if we put this discussion in the context of “singularities”, also known as “self-contradictory-ability-types”. Now, so far there are two clear instances where self-contradictions are implied in his dialogue, one of them being this scene from Dead Apple, the other one becoming evident when we connect Fyodor’s replies in ch63 (left) and ch77 (right).

Fyodor, ch63: “A Decay comrade asked me for the perfect plan… but perfect is so boring. I won’t be able to view the karma of humanity like this.” Fyodor, ch77: “You pulled the strings of conspiracy yourself, no? But God prefers perfection and harmony. Thus, I followed the heart of God and added one line to the page.”

By openly giving contradictory information, to me this is exactly an occurrence of a stark divergence within Fyodor, so let us give it our complete attention in what follows. Firstly, there is the possibility that Fyodor could choose to say something intentionally if he would directly benefit from the receiver hearing those exact words, even if Fyodor’s own belief lies somewhere else entirely (so the question to that remains open: what does Fyodor truly think about perfection, imperfection and God?). Secondly, in Dead Apple, we see Fyodor and his ability merge back together, from two bodies back into one single body, and this action seems completely voluntary on their part, thus opening the possibility that Fyodor and his ability could manifest separately when they will it. This makes me wonder if each of them can take over their shared body (in turns) when they will it, so that one of the lines reflects Fyodor’s way of thinking, and the other line reflects his ability’s way of thinking, thus the two statements are made in separate frames, resulting in no contradictions being made if, and only if, Fyodor and his ability control the shared body in turns. Even so, because they coexist, the ingredients for a singularity are already there within Fyodor, given this example and the Dead Apple scene, because Fyodor and his ability each identify with a term that contradicts the other (“crime” and “punishment”), with a possible implied superiority or “victory” on his ability’s part (the “punishment” bringing the “crime” to an end, lastly “killing” it on a conceptual level, in a succession that implies a linear flow of time). It would be all the more logical, in this context, for Fyodor to desire victory over his own ability at all costs. How his goal is worded in the Dead Apple Official Guidebook, as pointed out by @aja154ever​​ here, could also indicate a suspicious tension between Fyodor and his ability: “To create a world without Abilities is his desire, and it is a mystery if this has any connection to his Crime and Punishment Ability” (see the quote’s full paragraph on his ability in their other post here). For important references from the light novels on what singularities are, how they come into being and how they can manifest, as well as a wonderful theory on the possibility of Dazai being a singularity himself, see @beans-beneath-moonlight​​ ‘s post here. To close this chain of ideas, indeed on the open possibility of Fyodor being a singularity too, I want to mention what @beans-beneath-moonlight​​ observed in their post too, namely that in the BSD light novel 55 Minutes, there is also “Gab”, Jules Verne's ability that took over and killed him, continuing to live on its own as a separate being, so abilities existing separetely from their user’s bodies, as well as malicious abilities that can turn against their users, both can exist in the BSD universe. Lastly, I put just one useful, but short reference below, on a singularity’s cause and terminology:

Professor N in the BSD light novel Storm Bringer: “By causing a logical conflict with your own ability instead of with someone else’s ability, you can create a singularity,” as he said that Professor N raised his index finger and twirled it around. “That sort of ability. The German researchers who first discovered this, had named it ‘self-contradictory-ability-type’.

There is one last relevant dialogue I want to analyze here. Below are all of Fyodor’s words from his first appearance in ch12:

Official translation – Fyodor, ch12: “It’s all as I predicted. No matter what happens, we reserve the right to do as we please. Just as the hand of God and demon wills it…” Fan translation – Fyodor, ch12: “Everything is going as expected. In any case... you are now given free reign... as indicated by the right hand of God and the demons.”

Notice how the official translation says “the hand of God and demon” (demon is singular), while the fan translation says “the (right) hand of God and the demons” (demons is plural). I asked @popopretty​ for their advice as to how to understand this line better and, according to them, the Japanese quote allows for the noun “demon” to be translated either way. I shall put their answer below:

@popopretty​: (…) according to the Japanese version I have, the original phrase for that last sentence is “神と悪霊の右手が示しす通りに”, which directly translates to “as the right hand of God and demons show/point to”. There is no word to indicate that the word demon is singular or plural, but looking at the context, I think it is safe to assume that its plural. It says “right hand” here, which I believe because the phrase “right hand of God” is used a lot in Bible. It doesn’t make much different compared to the “hand of God” though, so I think the translation you quoted is close enough.

I agree that the chapter’s context, as well as the two coated shadows behind Fyodor, allow for an undertanding where “demons”, in plural, refers to Fyodor’s co-workers within his organization, Rats in the House of the Dead. However, since the official translation opted for “demon” in singular, I want to explore the other possibility here: what would it imply if “demon” is indeed meant to be singular here? I would connect this to what is stated to be Fyodor’s motto in the Dead Apple Official Guidebook “Mist Records”: “Follow the guidance of God’s hand”, as translated by @looking-for-stray-dogs here, or “Let the hand of God guide you”, according to the BSD wiki. It seems Fyodor’s character is connected once again to the symbol of the hand, specifically the manus Dei or dextera Dei, which, in art history, indicates divine intervention, divine approval, divine acceptance, as well as God’s – the Creator’s – omnipotence (see, for example, Acts, 7, 50: “nonne manus mea fecit haec omnia?” – “was it not my hand that created all these <things>?”). The hand of God can not only refer to God (the Father) himself, but also to God (the Son), appointing him to his right hand’s side (as prophecized), which means divinely appointing him as both his “representative” and “equal” (“sede a dextris meis donec ponam inimicos tuos scabillum pedum tuorum”, which, mot-a-mot, would go something like this: “sit to my right hand’s side until I put your enemies as the footstool of your feet”, which is Psalm 109, 1 in the Biblia Vulgata, a verse invoked by Christ himself in Matthew, 22, 44, marking a fascinating continuity between the Old and the New Testament). So, considering this information, the expression “the hand of God and demon”, referring to the subject or entity who “wills” whatever it wills, establishes not only a connection, but a shocking equality between the nouns “God” and “demon”, as the hand belongs to both of them. By definition, the two nouns cannot be synonyms, under no condition, thus the subject of the action makes no valid sense and cannot be an actual conceivable “being” without an external reader’s interpretation (like this one I am trying to unfold). Following on that, what can exist or be conceived in the human mind is someone or something whose “being” implies the contradictory yet inseparable coexistence of someone / something that possesses godly traits and someone / something that possesses demonic traits. Therefore, I interpret the expression “the hand of God and demon” as referring to Fyodor himself, or, more precisely, Fyodor’s existence, which implies him and his ability together, where one represents the “god” and the other the “demon”, although it is still unclear which is which. Given all this, I propose the theory that Fyodor is a singularity, just like Dazai (continuing in the spirit of @beans-beneath-moonlight​​ ‘s theory post I referenced before).

Moving on from the singularity discussion, based on Dead Apple’s “I am crime. I am punishment” scene once again, one can only be certain that the link between “sin”, “ability” and “punishment” becomes even stronger, but apparently so does the link between “human” and “crime”. It is no surprise that the famous nouns of the literary work are used for this scene, nouns that can refer to both the active and the passive component of the implied action (commiting a crime vs being the victim of a crime; applying punishment vs receiving punishment). This begs the questions: would freeing the world of abilities also liberate Fyodor of his own punishment (whatever it is, if it exists at all)? does “freeing” the world of abilities even imply “killing” the gifted, and if yes, would that lead Fyodor to a final act of self-sacrifice (or, closer to the etimology of the word “sacrifice”, an act of making the offered thing sacred – himself in this scenario, together with all the gifted)? If we take into account how Fyodor concluded that he and newly “scouted” member Nathaniel Hawthrone “will cover this land in the blood of the sinners” (ch37), together with what Fyodor said as he and Karma looked at Ace’s hanged corpse (ch42, Fyodor: “Thinking is a crime. Breathing is a crime”, or, in the anime’s dub, S3ep4, “Crime starts with thought. As natural as breathing”, emphasizing the naturality of whatever Fyodor identified as humanity’s “crime”), as well as what Nathaniel chanted as he was on his assassination jobs (ch46, to Fukuzawa: “Death! Death! Death to the skill users! An eternal underground sleep with no awakening!”, as well as ch46, to Akutagawa: “Death! Death! Death to the skill users! … To revive my beloved, I must execute the contract of death”), then we have canon ground to believe the death of all gifted is necessary after all, yet Fyodor never uses such expression. It is always “freeing”, “offering the salvation of death to the evil” (note how he does not say “the gifted”), “granting the great silence”, like in how Fyodor talks to Karma in S3ep4: “All evils that plague this world will receive the mercy of death”, “I will do you the honour of granting you the great silence”, “May you be free from the shackles of your crimes, and your soul be salvaged”. This raises another problem: Fyodor himself, as he says, applies cleansing, purification, salvation, liberation, but his ability clearly refers to these acts as “punishment” instead, which is a completely different concept in a religious context as well. So far, once again, this marks a divergence between Fyodor and his ability, another clear moment when the ability seems to behave like a different entity than its user, with a different perception of what the ability itself does (one possibility being, what to Fyodor is “freeing”, to his ability is “punishment”, or that his ability’s “punishment” is a “cleansing” or “freeing” in a corrupted sense of the words). As a closing remark regarding Fyodor’s goal in general, there is still a lot of room to speculate on its true nature if we consider the possibility of Fyodor opposing not the Agency, nor the Port Mafia, but first and foremost the military and different governments who 1) already have a bloody history of using ability users in the war (as implied by Yosano’s backstory and the bits of Fukuchi’s backstory), 2) had (and might still have) special laboratories researching and even artificially creating ability users or researching ways to exploit singularities (BSD Storm Bringer), 3) may have massproduced abilities of specific destructive types, according to one war story of Fukuchi’s past merits (ch82, when we are told he led an operation to eliminate 100.000 “skill-based ‘werewolf’ test subjects”, with Teruko and Jouno visible alongside Fukuchi in the panel describing this – one hundred thousand “test subjects”! for what?), 4) was aware of or working according to an entire skill doctrine, already developed and, I assume, generally-known at the time Mori used Yosano, a mere child, as his slave to achieve his Immortal Regiment plan, meant to prove that abilities are indeed suitable for use in war (ch65). In relation to this, we could take into account the possibility of Fyodor being repulsed by Ace’s behaviour in ch42 (as suggested by certain expressions of Fyodor in the manga), given that Ace represented the perfect example of someone using other people without any consideration of the weight of their lives, their personhood and their inner world. If this is the “evil” that Fyodor wants to purge from this world, and if making abilities disappear, one way or another, would make him accomplish this “greater good” (ending the use and abuse of ability users worldwide), then we are all the more justified in weighing the morality of anyone involved in this large scheme, starting with those implied in Natsume’s Tripartite Framework, supposed to maintain peace in Yokohama (the Armed Detective Agency, the Port Mafia, and the Special Division for Special Powers together with the military police). Besides this, how he phrased his goal in ch46 draws attention to how he identifies at least two different “sins” in current mankind: 1) that they consciously ignore the fact that they are controlled, and 2) that they keep killing each other regardless of said knowledge (ch46, Fyodor: “Man is sinful and foolish. Even if they know it is all an artifice, they cannot help but kill each other. Someone must purify them for those sins”). Based on this, one can assume he wants to stop people from killing each other, by itself a noble goal, but a backstory is much needed to understand the real nature of it before applying judgement. Personally, based on the current status of the manga, I am neutral on this while keeping it in mind, because Fyodor’s higher goal is still ambiguous, and one should not sugarcoat him, nor paint him as a pure demon just yet. After all, all BSD characters are extremely nuanced, and tastefully so. If we also take into consideration his profile page from the BSD Season 3 guidebook (see @ahli-stuff​​ ’s post here) and how he considers his strength “wishing for world happiness” and his favorite type of person “someone who loves all humanity equally”, we can further wonder if Fyodor will be revealed as a character who genuinely cares the most about all of humanity, with a love that may or may not have become dark till present time, or a love that demanded and still demands the cruelest sacrifices.

H. Soft, discreet, graceful, yet playfully dramatic. His body language in the manga, in comparison to the anime

There are many differences between the manga representation and the anime representation of Fyodor’s body language, not to mention the representation of his character overall. I suggest we treat the manga and the anime (this includes Dead Apple) separately and leave the creation of a clear list of the converging and diverging points for another potential post. I shall begin this section with the following statement, in hope of leading anime-only BSD fans to the truth: soft Fedya is real, because canon Fedya is soft. In the manga, Fyodor’s postures and gestures convey gentleness, discreetness, grace and fragility, in multiple instances I shall present below, in a random order.

MANGA. Being considerate. Speaking of discreetness and being considerate, let’s list a few examples of that. In ch42, when Fyodor’s ability activated to kill Karma, causing blood to shoot from Karma’s face, Fyodor did not look at the dying child, turning to face him only after he died, which can be interpreted as an act of respect for Karma’s intimacy during his final moments (see section B for a more in-depth analysis of Karma’s demise). Another occasion when Fyodor’s consideration was evident is in ch49 and how he took off his shoes and coat when entering Katai’s house (basic common manners, even though we must admit this is still bizzare in the context of breaking into a house to shoot someone, but read on), while the anime portrayed him fully-clothed, with his boots on (S3ep10), thus (what can I even say) disrespectful and uncaring of the cleanness of the (nonetheless wild and messy) house of his intended victim (in the end, not too surprising coming from the man who calls even his vampire slave with honorifics, “Chuuya-san”, in ch101, but also his abducted prisoner “Katsura-san” in ch47; for BSD uses of honorifics and nicknames, check this post here, but keep in mind that it covers info till ch87). His consideration of cleanness is also supported by the fact that Fyodor hid his ushanka in a clean, empty wooden box during his mission to stab Mori and infect him with Pushkin’s virus (ch46), yet the anime replaced the wooden box with a dumpster (S3ep8), setting the fandom down a cursed path of tasteless spamjokes basically.

Gentle touch of minimum intrusiveness. In the manga, the hand position when Fyodor is about to use his ability on someone also conveys gentleness and minimum intrusiveness (barely touching the forehead, using the tips of his index and middle fingers). Even the movement towards the forehead appears slow and elegant, thus even more sinister (for more on this hand gesture and its meanings, see section A). In the anime, however, this hand gesture is replaced by one that makes more physical contact with the other person, obstructing their view and breathing while being uncharacteristically intrusive: instead of Fyodor discreetly touching Karma’s forehead like in ch42, in S3ep4 Karma’s face is fully covered by Fyodor’s palm, which looks uncomfortable, unnatural and oppressive. Another revelant portrayal here, one that also conveys Fyodor’s overall gentleness in gestures, is present in ch64’s cover art: in contrast to Dazai, who holds his white pawn between his thumb and index + middle finger, Fyodor holds his black pawn between his thumb and middle + ringfinger, which, if reenacted, distinguishes itself by how Fyodor is using the least amount of pressure possible to lift the chess piece (thus very graceful), and so we have Dazai, who “takes” the piece and moves it insisting on a more secure grip, contrasting with Fyodor who “guides” the piece, letting it gently hang between his fingers as it is swayed following Fyodor’s movements.

High physical endurance. Despite his frail body, we can safely assume Fyodor has high endurance and vitality, given how he did not even flinch when Ace smashed a full wine bottle in his head (ch42) and how he let himself get captured and be kept in harsh prison conditions at least twice (ch42, ch54) before ending up in Meursault. There is also how he ran away from Mori and Elise (ch46) without gasping or showing fatigue afterwards. More canon material is still needed in order to establish how accurate or severe his self-proclaimed anemic condition is (ch42, “My body is weak and anemic”) or his low blood pressure (BSD Season 3 guidebook, but I only had access to this info via this post here and would greatly appreciate someone confirming this).

Oratory skills and expressive hand gestures. In the manga, Fyodor is always highly expressive in what regards his hand gestures during speeches, yet in a practical and elegant way, implying he has great oratory skills or training, besides excellent communication and manipulation skills (discussed in section C and pretty much all others). In ch42: Fyodor clapped as his card game with Ace ended, thus expressing joy through words and action; Fyodor pretended to be taken aback by Ace having listened to his and Karma’s talk, scratching his head in a wide-open gesture, conveying surprise and acknowledgement of Ace’s skills; Fyodor put a hand to his chest when telling Ace he has trained himself for “battles of starvation”, this gesture emphasizing the personal aspect of the information he offered, which this gesture implies is wholehearted and sincere. In ch46, while explaining his strategy and his way of thinking to Dazai, Fyodor uses various hand gestures to illustrate his phrases as well: extended arm explaining; hand pointing towards Dazai; explaining his higher goal with open palms in front of him, but close to his body, suggesting solemnity and confessed determination; sadly, all these gestures were replaced in the anime with Fyodor just holding his ushanka to his chest, conveying the same type of message as when he held his hand to his chest in front of Ace in ch42, as I described a few phrases above; still, at least in S3ep4 anime Fyodor gesticulated a lot while talking to Ace before the latter’s suicide, following ch42 pretty closely). In ch55, after entering Mushitaro’s basement prison cell, as Fyodor was revealing his intention behind freeing Mushitaro, he raised both hands to his chest, his fingers resting on each side of his heart, a gesture meant to suggest utmost sincerity. After that, still in ch55, when informing Mushitaro on the change of his condition (Mushitaro was captive, “but that ends today”, as Fyodor said), he held his right index finger to his lips, in a mischievous display of secrecy and child-like playfulness. This same gesture can have sinister undertones as well, given how it already appeared in ch47 in this way, where it is suggested, in a flashback background, that Fyodor did the same gesture when asking fake Pushkin to convey the “No changing the rules” message to the Agency, and they found this out after the death of the children. Lastly, these oratory skills can be used in playfully dramatic ways too, like in ch64, when Fyodor switched to the discourse of an overly-expressive, lively host of a (talk)show, as he suggested Dazai to participate in his “All-smiles Problem-solving Roooooundtable, hosted by yours truly, Dostoyevsky”, tilting his head further and further to his right as Dazai expressed growing confusion at first. About Fyodor tilting his head and what it means, see the paragraph below. So, all these scenes point to the fact that Fyodor gesticulates a lot, especially for emphasis and expressiveness during speeches or conversations, or for the fun of the dramatic effect.

Curiosity and tilt of the head. In conversational circumstances, we often see Fyodor tilting his head to his side. In his case, this is an expression of curiosity, in the sense of being (or wanting to appear to be) genuinely interested in the other person’s answers. Note that the simple tilt of the head to one’s side can also express endearment towards the thing one looks at (in genuine concern or admiration of something beautiful or dear, for example), but, combined with oratory skills – which Fyodor possesses as a master of communication – this can be a very effective tool that translates into non-verbal emotional manipulation. To give a few examples, Fyodor tilted his head 1) when he asked Sigma if he wished for a home (ch75), 2) when he replied to Nikolai capturing the essence of his inner conflict (ch78), 3) when greeting (and even bowing to) Mushitaro in the basement, just before offering him a deal to escape (ch55). In all these cases, the persons Fyodor was conversing with were already in a vulnerable situation (Sigma wandering in desperation, Nikolai presenting his inner struggle, Mushitaro being held captive), and thus Fyodor made sure to bind each of them to himself, planting the seeds of dependency by offering them validation and emotional response. Moreover, as a gesture of (apparent) trust, if someone tilts their head to the side, they present themselves in a vulnerable position (the neck area is open), subtly conveying the message that the other person is in a position of superiority, deepening the trap that, in Fyodor’s case, ends with the other people becoming dependent on him as the “benign” manipulator. Still, because of the display of vulnerability, the tilt of the head in itself is a gentle, humbling gesture, very fitting for Fyodor, whose character presence builds on the inexplicable tension between the terror and apprehension brought by his vast intellect and unknown powers, and the humility and gentleness of his speech and body language. The fact that, as of now, we still cannot draw a firm line and say from where to which point Fyodor’s gestures and words are genuinely benevolent or actually malevolent, so he remains beyond good and evil, and fascinatingly so, until more of his character or backstory is revealed. As a last example of Fyodor tilting not his head, but his entire body as an expression of curiosity, in ch42, finding Ace’s vault, Fyodor did exactly that and approached it together with a curious look (eyes opened wider, eyebrows raised), asking Karma something to which Fyodor already knew the answer probably anyway (“Oh, is this it? The vault where ace holds his jewels temporarily, to prevent a price collapse?”) and still Fyodor asked Karma because, I assume, having a conversation made the discovery simply more fun for the moment.

Biting his fingertips and nails. In ch42, Fyodor is seen biting his fingertips in three different panels, and yet the anime (S3ep4) never shows him doing this. Later on, we never see him biting his fingertips “on screen”, but “behind the scenes” he has been continuously doing so even up to the most recent chapter. Looking closely, you can see how his fingertips and nails are damaged and rough even at Meursault, for example, in ch95, when Fyodor is passing Dazai the salt, or in ch101, when Fyodor is inputting security codes to unlock prison doors. Of course, among other things, this habit indicates a Crime and Punishment novel reference, which should be discussed in a different post, and has in fact been discussed in nice posts by other BSD fans already. This aside, unlike his depiction in Dead Apple, manga Fyodor consistently keeps his hands ungloved.

Surprise and adrenaline rush. Other than the moments when his face shows curiosity, in the manga Fyodor’s composure appears to break rather often to express surprise, usually when 1) an brilliant move was made by an adversary team or someone else, but more recently also when 2) the enemy team made a move faster than Fyodor expected. In several of these occasions, his shock is accompanied by what seems to be delight, and I would interpret this as Fyodor enjoying the adrenaline rush of near-death situations (Nikolai’s prison game, introduced in ch95.5 / ch96, to which both Fyodor and Dazai reacted in a grimly ecstatic way) or general “end of the road” scenarios (Dazai and Fitzgerald “catching” him in ch53, although Mushitaro revealed that Fyodor’s capture was intentional in ch54: “And I… can never be forced to reveal the reason Dostoyevsky let them capture him!”). Now, for the second type of surprise, the clearest examples are Fyodor’s ch101 reactions to being cornered by Dazai and the prison room starting to get filled by heavy water. His expressions there do betray true shock, as much as his stare at the end of ch101 expresses true boiling anger and determination, but one must note that, despite letting his composure break, Fyodor may have already anticipated Dazai’s moves, and the true source of his surprise was Dazai executing said moves sooner than anticipated by Fyodor (for example, when the code input device explodes in front of Fyodor’s face, after an initial shocked expression, his eyes regain a look of steel, rationalizing “he got the circuit already”). In any case, for most insight on the whole ch101 situation and the in-context implications of this “already”, I recommend checking out @videogamelover99​​ ’s post here on, well, basically Dazai being too Dazai for his own good, or @vampireonastick​​ ’s post here for more discussion on the whole ch101 situation).

ANIME. The anime went with a different characterization of Fyodor entirely so far (as of now, November 2022, the anime has 3 completed seasons, and the trailer for January 2023’s season 4 revealed enough to see the anime’s characterization for Fyodor has not changed at all). In the anime, instead of being soft and discreet, Fyodor is confident, audacious and, I would say, stereotypically evil and creepy, whereas in the manga his sinister side comes to the reader’s eyes as a result of all the subtleties his behaviour and schemes imply, as well as a result of the contrast between his gentle appearance and his unnerving actions and plans, as I already wrote above. For example, in S3ep8, anime Fyodor smirked daringly at Mori after he stabbed the Mafia boss, seemingly enjoying it, yet in the manga Fyodor kept a blank face. Since various other differences between the manga and the anime were already discussed before this point of my essay, I propose an analysis of Fyodor’s body language in Dead Apple specifically, which goes hand in hand with his portrayal in the anime, and therefore differs significantly from the soft Fyodor we get to know in the manga.

Secrecy. In Dead Apple, in the first scene that reunites Shibusawa, Dazai and Fyodor, we see Fyodor approaching their table with confident steps and hands in what appears a rather tight grip, as opposed to letting his fingers comfortably open on each side of his body. This could express repressed or hidden intentions, as his fingers, in a fist, cover his palms and do not allow a completely relaxed stance. Next, unlike Dazai, Fyodor does not cross his legs when at the table, he instead positions both his feet firmly and perpendicularly on the ground, which conveys confidence as well, and is meant to assert total control of the room. When putting his arms on the table, he intertwines his fingers and rests his chin on his joined hands. This is a meditative position, suggesting a serious thought process going on behind his puzzling smile (again, suggesting confidence), as well as careful planning, or simply waiting for things to happen as he planned beforehand. His closed eyes shut down the world outside him, we could interpret this as logical in this situation if Fyodor has already predicted and planned everything through, which the movie suggests was indeed the case. The outside world is not as necessary to see in that case, plus he is surrounded by people who will not act impuslively and threaten each other out of the blue, so a sense of blind trust stays between the three strategists. One last thing to note about this scene is the fact that only Shibusawa and Fyodor are facing each other, while Dazai is facing no one, which may subtly suggest the personal bond between Shibusawa and Fyodor, one that Dazai does not share with anyone in the room, or (arguably) anyone at all after Odasaku’s death.

Confidence. In Dead Apple, Fyodor’s pose conveys confidence when Shibusawa shows Dazai the Draconia room (Fyodor is seen with his left hand on his waist, in contrapposto); Fyodor’s pose conveys having hidden motives when he and Dazai entered the Draconia room in secret (Fyodor has his back turner to both Dazai and the viewers, with his hands in his coat’s pockets; Fyodor’s pose conveys confidence AND having hidden motives when Shibusawa surprisingly stabs Dazai, followed by Dazai asking Fyodor “Didn’t you lock the door?” (Fyodor has his hands in his pockets, but also smirks and chuckles at Dazai while looking down to him, with Fyodor’s chin slightly raised).

A playful mind. As to what regards Fyodor’s playful mind, it is made more or less evident through Fyodor’s play of words and sharp, intelligent replies (see section E for his love for entertainment specifically). In Dead Apple, as the singularity event unfolds, Fyodor told a shocked Shibusawa that he will “fill in all the blanks” for him: Fyodor added “I’ll even tell you what was cut out”, proceeding to cut Shibusawa’s throat immediately after. This is a splendid play of word and action, coordinating them in a twisted sense of playfulness, indulging michievously in living a life entertaining for himself. But seriously, for more on Fyodor and his sense of entertainment, see section E above, it would be superfluous to repeat ideas here.

– – –

11 November 2022. At last, we arrived at the end of this essay. The end for now at least, as I could technically add more analysis and external references in the future, if my irl schedule allows it. Since January 2022 I’ve been working on this “thing” I jokingly called “marriage proposal PhD”, because why not, this is an accurate example of how an ENTP proposes to an INTJ, where understanding the other (or continuously trying to) is peak intimacy and love. I guess. However, I “yeeted” my emotions out while I was writing this, because nothing would have angered me more than my appreciation of this character clouding my judgement or making me err in my pursuit of the many subtleties that lead to his many paradoxical traits. Whether I will update this post or not in the future, I cannot promise. This post is intended to be my last contribution to the BSD fandom, but my ask box remains open for futher discussions on BSD or other media analysis. I doubt fans will read everything I wrote, and I am certain the fandom will perpetuate the cycle of Fedya’s mischaracterization despite my best efforts to bring many canon scenes showing different sides of him into the spotlight. 

Yes... Despite everything, I am at peace. I thought no media could revive my passion for analysis anymore, no character could make me draw fanart again, and yet... and yet!... Fedya is exactly the type of character one can analyze ad infinitum and feel thrilled at each discovery, at each little possible implication of a word or gesture. No matter how tranquil he may seem, no matter how certain we may be at first of his exterior serenity, for everything his character encapsulates, for everything we know and don’t know about him thus far, Fyodor’s soul is likely vessel to an incredible inner tension, origin of his determination. As I was writing more and more, I discovered he is intense, so truly intense, and that intensity has brought me… and brings me... and will bring me

boundless bliss.

Happy birthday, радость моя.

#bsd #bsd fyodor #bsd fyodor dostoevsky #bsd analysis #bsd meta #bungou stray dogs #bsd fyodor dostoyevsky #bungou stray dogs fyodor #bsd fyodor analysis #fyodor bsd #bungou stray dogs analysis #bsd character analysis #character analysis #analysis #unsolved and endless #beauties and gentlebeauties this is Lav's Fedya essay #please note that with a single reveal in the manga Fedya could make this entire thing come crashing down and I love this possibility #truly in-character till the end #Nov2022: my only regret is that I still had 100+ bsd analysis posts saved to read through and perhaps add more in-fandom refs to this #even when my and OP's analysis align only regarding 1 idea or 2 I find it highly valuable to cross-reference and communicate #I've seen both crueler takes and softer takes on Fedya's character - and some takes that have no solid canon ground as well #I value them all because discussion is important and it builds our minds - but mischaracterization should be recognized as such #I hope that in the future I can update this essay with more references to express my gratitude towards the analysis part of the fandom too #till then I hope the readers of this enjoyed it and know that I am open for discussion in the replies or ask box #even if it will take me a while to answer

[proudproship]

Not so friendly reminder that creating "dark" or "taboo" fiction can be a sign of childhood trauma!

More below the cut. Warning: long post.

TW: Mentions of trauma, child abuse, and paraphilias

Hi. I'm someone who studies psychology and sociology, and someone who also happens to have an interest in this shipping discourse stuff.

So, back to what I said a few paragraphs ago: Creating "dark" or "taboo" fictional content can be a sign of childhood trauma.

How?

When a child goes through something they consider traumatic, their brain will play the situation on repeat subconsciously, which can cause hypervigilance and symptoms of PTSD.

A common sign of PTSD in young children is that they will reenact their trauma with things like dolls, drawings, figures, and basically any other thing they can use to express their thoughts.

For example, a child who has gone through physical abuse may reenact similar things with their toys, such as making their dolls hit or yell at each other.

This symptom isn't limited to children, though. It is a symptom closely related to the presence of flashbacks and nightmares.

Many artists will create a "self-insert" character, "sona," or a character who is otherwise much like it's creator; when an artist creates a character like this and also has past trauma, their symptoms may reflect onto their character.

Projecting yourself onto characters can happen with other characters as well, even if you didn't make the character.

This is a healthy symptom. It shows that the brain is willing to become stronger from their trauma.

Reenacting trauma in ways that aren't harmful can help the brain process what happened to them, and can even help them deal with their trauma directly.

In order to heal trauma, you must know what your trauma is; you can't heal a wound you don't know you have.

While dark fiction creators are indulging in positive healing mechanisms, certain people will shun them for doing so.

"Antishippers" claim to be the "heroes" and to support healing, even though the thing that makes someone be considered and antishipper is if they're "anti healing through fiction."

Antishippers will throw the same ableist rhetorics around by claiming "if you ship adult x child you're a pedophile!" or "if you have age gap ships (even if both are consenting adults) you're a pedophile!"

This, not only is it hurting trauma survivors (especially those who have been harmed by those with paraphilic disorders), it is hurting EVERY disabled person.

Armchair diagnosis is not something anyone should do.

It is when there is little to no evidence that the condition exists within a person, though people still throw labels onto them to make them seem like they're a "bad guy." (Usually.)

This is also hurting people with actual paraphilias. Paraphilic disorder is real condition characterized by intrusive thoughts of a (usually abnormal or harmful-if-acted-on) sexual nature.

Even if someone claims to not be ableist but still demonizes and villainizes paraphilias, they're ableist.

Ableism is ableism.

And before an anti decides to call me a "pedo-apologist," go right ahead! You don't know what you're saying anyways.

There is a difference between a criminal and a disabled person.

Proship people do not support abuse. Anyone who claims to be proship but still supports abuse is NOT proship.

---

Of course anyone who makes dark content doesn't have to have past trauma.

There are many people who make dark content that don't have what they'd consider trauma, or think their trauma is unrelated to the content they create.

What if they did experience something traumatic in the future?

They'd be able to cope with it better, because they'd seen it in fiction before, so they'd know the impact of it, and how they could handle it.

Of course, not everyone who indulges in fiction will be able to handle it, though.

However, no matter if they have past trauma or not, assume the best when it comes to content creators.

They're creative and strong, and we should be thankful that they're adding onto fandom culture by just existing and doing what they love.

All people, no matter what fictional content they create, are beautiful in their own way and should be met with kindness and compassion.

Do not go out of your way to harass/abuse innocent people.

Do not go out of your way to be ableist towards content creators and content consumers.

---

Thank you for reading my long post, I hope it helped at least a bit.

Have a great day/night and stay safe, no matter your taste in fiction.

Feedback is appreciated, and reblogs are encouraged.

#tw trauma #tw abuse #tw paraphilia #proship #proship please interact #profic #anti anti #comship #proship safe #childhood trauma #para safe #reblog please

[mymainwastoocluttered]

Malleus requests: Reader and Malleus have been together for a long time and all topics have come up, especially children. Reader never wanted any, but one day she sees a small Fae child and stares at it. Those big round eyes, those cute little pointy ears... those cute pointy teeth. Reader runs back to Malleus, slams the door open and yells, "malleus! i want children! now!"

Kinda like the Baby Fever series fic, but in reverse! I like it!

Children Of Man (and Fae) (Malleus)

NOTE: I only write for female reader but everyone is welcome to read it!

— (っ˘ω˘ς )

Malleus had a really hard time communicating properly when your relationship started, so you took it upon yourself to start the important talks in your relationship and guide him through them.

He has gotten much better over the years you two have been together, and definitely more approachable, much to his delight.

One topic at a time, you two discussed every part of your lives. Your world, his position as Crown Prince, you being human, him being fae, your different lifespans (that one was heartbreaking and you two avoid a repeat of it as much as you can), your future marriage (drawing nearer and nearer everyday, it has been a dream and a nightmare)...

And, of course, children.

You have no interest in them. Period.

Not because you hate them, who could hate children? No, no, you just don't think you'd be able to raise a kid. Taking care of Grim and the other first years had been overwhelming enough, and they were all (technically) grown ups.

Of course, if in the future you must provide the throne with a heir, both you and Malleus agreed on adopting an older child from a noble's house with blood connection to the royal family. But otherwise, no children.

Malleus is fine with it, the sweet dragon, placing your happiness and your relationship first. You're always so grateful for having such an understanding soon to be husband.

"You're so pretty!"

What's that? That's the sound of all your plans going down the drain? And it sounds like a child?

"... Thank you! You're very cute!"

Yep. It is exactly that.

The little one stares up to you with big, shining eyes, and you immediately feel enamoured. They're so cute, with their pointed ears and pointy teeth, smiling shyly at you. And the old fashioned fashion of Briar Valley means they're wearing a cute frilly shirt with shiny buttons, really, they're just a little gentlefae.

Then the child's mom comes to take them away, apologizing for "bothering" the future Crown Princess, which you of course denied, assuring her that her kid is the sweetest little cupcake you've ever seen and she must be very proud of them, which then started a quite long conversation about children and raising children.

A conversation that only ends when you look at the clock and gasps, noticing how late you are to meet Malleus. You excuse yourself, wishing both mother and child well one last time, before scurrying back to the castle.

You can hear Sebek hollering and Lilia laughing when you run past them, but you don't care.

No, right now you're on a mission.

Throwing the door of Malleus' office open, you don't even wait for him to put down his teacup.

"Malleus, I want children! Right now!"

And maybe you are a genius for not waiting. It's not everyday you see Crown Prince of Briar Valley Malleus Draconia choke on tea.

#twisted wonderland #twisted wonderland x reader #twst imagines #twst x reader #x fem reader #anon request #malleus draconia x reader #malleus draconia

[your-name-is-jim]

What a Kirk/Spock shipper sees in a Kirk/Female-Love-Interest story [PART 2/2]

Part 1 <- Please read Part 1 first. Part 2 won't make sense otherwise!

This panel is absolutely AMAZING and you all deserved to see it :D

So, what were we talking about? Oh, yeah, Laura just proposed.

As you can see, Jim is panicking not sure what to answer, so the first thing he does is calling his two best friends. There are so many things going on here; I'll try to mention everything I care about!

"Starfleet is getting a lot better at partners of equal rank working together."

This is an important part of this comic: apparently, in this story Starfleet isn't encouraging relationships between officers with a different rank. I know it's sort of implied in canon too, but it's not always clear if it's actually against regulations or if it's fine when the ranks are close.

As a K/S shipper, this detail just gives me an in-universe reason why Jim and Spock aren't considering dating each other in this story: a commander can't probably have a relationship with a captain. I mean, we already know from canon TOS that Jim avoids relationships with the members of his crew, so this just adds a layer to a potential forbidden love story between them. Yeah, I know this isn't what this comic is trying to do, but what can I say? Fans don't stop shipping something just because they learn it's not allowed in-universe… if anything, they can find it more exciting! :D

"We could teach at the Academy. Mind you, she laughed at that idea."

Oh, wait. Jim actually talked to Laura about their possible future together! It looks like he's thinking about them as teachers at Starfleet Academy. Hmm… this sounds familiar:

2277 — Accepts appointment to Academy faculty, moves into San Francisco apartment

This is from Kirk's biography in Star Trek official website. Between The Motion Picture and The Wrath of Khan, Jim accepts a job at the Academy. We see it at the start of the second movie, after Saavik takes the Kobayashi Maru test.

Wait, who's the other teacher here? :D

Okay, okay, in that era Jim is an admiral and Spock is a captain, so their ranks are still different, but except for that… They both teach at the Academy. And it's literally what Jim proposed to his love interest Laura in the comic! With my Kirk/Spock goggles on, what I read in that panel is "If Laura and I got married, we could both do this thing that I'm totally going to do with Spock in the future." LOL

Did the comic creators notice the parallel? Probably not. However, we K/S shippers have special skills for finding accidental implications about our ship everywhere, so here it is :)

"Your thoughts, please, Mr. Spock."

I said I had a lot to say about that single panel, so of course I can't skip the last line! A human woman has just proposed to Jim, and what does Jim do? He asks for Spock's opinion. This says a lot about Jim and Spock's friendship, and it's very sweet on Jim's part, but it also makes me think about Jim's love life. What about Jim and Laura's romantic feelings for each other? Does Jim want to spend the rest of his life with her? Perhaps the reason they don't talk about it (not even with Bones!) is that it's implied that Jim loves her and she loves him, even if they never say it. However, I still think it's interesting that Jim's discussion on the matter is mostly "logical".

Anyway, I swear I won't post every single panel of this comic, but Spock's reply is an absolute gem you all must see:

"I AM SOMETHING OF AN EXPERT ON THE SUBJECT OF JAMES T. KIRK."

(dkjflsdjlkdjglk brb losing my mind again)

Ahem. Okay, Spock. Noted. Also, wow, nice make up. Did I say that the art in this comic is great? Good.

"I believe someone of equal status would offer you the best possible chance of happiness."

Maybe I'm reading too much into it, but I find interesting his use of "equal status" instead of the more specific "equal rank". Status makes me think less of their official position in Starfleet, and more of how two people actually see each other. It's not just about Laura and Jim being both captains; it's about them seeing each other as equals.

Anyway, Jim jokes about Bones and Spock finally agreeing about something, and the conversation continues.

Jim's best friends are both encouraging him to marry Laura. In this panel, I zoomed in on Bones because his words are especially interesting. Based on everything we've seen so far, it looks like having a romantic partner when you're in Starfleet is a pain in the ass in general in this comic; however, Bones is pointing out that for the first time, Jim has someone who really understands. Of course, that's because she's a Starfleet captain too.

About Spock, I won't share the entire conversation, but I just want to say that as a K/S shipper who likes to think Spock is secretly in love with Jim in this era, I find his dialogue where he's supporting Jim's relationship with Laura totally reasonable. It's important to remember that this comic takes place close to the end of the five-year mission. We know that Spock is going to run away after that, trying to erase all his emotions in Gol. So, in this specific part of his story, I find pretty in character that he'd tell Jim to find happiness with someone else. That's what he'd do, regardless of his own feelings.

So, Jim knows his two best friends think he should say "yes" to Laura. What happens next?

During a mission, Jim meets his ex Carol Marcus. She is surprised to find out that Jim is considering settling down. This is not completely related to this analysis, so I won't post it, but I found interesting that Carol knows about every single woman Jim dated before he became captain (the only one she doesn't name is Ruth), and she even says "And that woman in 1930, what was her name?" Just… how the hell does she know? LMAO

At least Jim hasn't told her about Miramanee and Rayna (well, technically he doesn't even remember the latter), but seriously, Carol does know a lot about Jim's private life, even if it's clear she doesn't want her or their son to be part of it. (Not really related to this plot, but in case you're confused about the timeline: David is a child in this era; however, he doesn't appear in this story.)

Anyway, this is what she eventually tells him:

So, I like to think that Carol is genuinely trying to help Jim here, because the spiteful ex girlfriend is another thing I don't really want to see in 2020. I want to think that the creators meant well; however, what happens in the story is that, despite Jim not seeing himself outside the captain's chair, and despite his best friends telling him to marry the captain that is just like him… Jim keeps thinking about Carol's words.

He knows from Starfleet that he's going to be promoted to admiral the moment he reaches Earth. What is interesting here is that Jim could refuse the promotion and be a captain with Laura. This is definitely a different situation from everything else I've seen before. It's obvious to anyone who has watched TOS movies that Jim is not happy as an admiral. He didn't really want to be one. He doesn't want to be one in this comic series either (you can see it explored in Star Trek: Year Five main story). However, thanks to The Motion Picture, we also know that he will accept promotion at the end of his five-year mission. This isn't a canon divergence story: the writers can't really change any major event, so they have to work with what canon offers.

What I find interesting is that in this 2020 comic, Jim finds himself in the opposite situation he is in Gene Roddenberry's The Motion Picture novelization from 1979. In Roddenberry's novel, it's mentioned briefly that Jim starts a relationship on Earth with a vice-admiral, a woman that was basically asked to use her charm to keep Jim grounded. Jim could refuse promotion, but he finds himself lost, without his ship, without Spock, and eventually without Bones. So he tries to convince himself that a life as an admiral with a perfect woman by his side will be good for him (it will not; Jim himself will realize a year later that his lover was an "Enterprise-surrogate").

Now, I understand trying to write something fresher and more modern in this Valentine's Day special, but I confess that I find a little hard to believe that Jim would accept a promotion as admiral if the alternative was keeping both a starship AND a wife. Also, let's not forget that Spock and Bones are both telling him to choose the married captain life. So, while I totally get from a writer's point of view that if you can't change canon, you have to work with what you have, I'm also not sure that Carol reminding Jim that he's always wanted to challenge himself is enough to make him doubt everything.

I guess I can sort of see that as part of a bigger problem: Jim knows he can't be a captain for life; during his first date with Laura, as we saw in Part 1 of my analysis, he talks about it.

"I've been thinking lately about whether I could ever stop being a Starfleet captain. Whether I could ever want to. A friend of mine talks about 'infinite diversity'. That applies to the Federation, too. But here I am, only built for one thing."

So, Jim knows he has probably avoided the subject for too long. Carol is forcing him to think about it. And, more implicitly, we could say Spock and his IDIC philosophy are also making him think, even if it's not what Spock would have expected. After all, Spock told Jim to marry Laura (in the comic), and he'll tell him that being a starship captain is his "first, best destiny" (in The Wrath of Khan).

Anyway, Jim eventually decides to meet Laura and talk to her about his personal concerns. First of all, we find out that the two of them haven't called each other for six weeks. Laura is still waiting for Jim's answer, and she didn't want to call him. If you ask me, their lack of communication is yet another a big clue that perhaps getting married is not a great idea.

Well, now Jim is at least trying to talk to her.

Aaand that's how she breaks up with him.

I'm not sure how to feel about this. I mean, in a sense, Jim doesn't say "I decided to be an admiral instead of marrying you", but Laura definitely sees it that way. I think he was genuinely looking for help, but that just proves that Laura isn't the right person for him. Why marrying someone you can't communicate with? They are such a great team as captains, but it looks like that doesn't apply to their relationship. I pointed out other clues in the previous parts, and now we got this. It's interesting to see that Jim in this comic can have a normal conversation about his future with Spock, Bones, and even Carol Marcus, but not with the person he's supposed to build a future with. Unless something changes between them, it can't work out.

Anyway, this isn't the end.

A year later, when Jim is an admiral on Earth, there's a sudden emergency. A miniature black hole appears out of the deep structure of the universe (don't blame me for the science, I'm literally quoting the comic LOL) and it's attracted to Earth gravity. Short story: they're all going to die, but fortunately the Drake (Laura's ship) can cause an anti-matter implosion that will shunt the black hole outside their reality. Unfortunately, that also means the Drake will have to go inside the black hole. Laura evacuates her crew and asks Admiral Kirk to give her the order to proceed. Reluctantly, Jim tells her that he knows she'll do it, and he gives the order.

Now, please appreciate The Motion Picture aesthetic:

Okay, I know I could have chosen a panel with Jim and Laura, since this is literally their love story, but I did say this analysis was going to be biased, so here is Laura with her two closest friends instead; they would never let her risk her life alone! <3 They are very obviously meant to be a parallel to what Spock and Bones are to Jim, which is very cute to see. Now, Laura, listen to me: I know the three of you have different ranks, but you may die in a few seconds… And I just think that the few times your friends appear in this comic, you have a lot of chemistry with them, sooo maybe you should forget about Jim and just smooch one of them, or both… just saying :)

Ahem. Anyway, after Laura and her girlfriends disappear into the void, there's another timeskip. This time it's 15 years.

Oh, damn.

I said in the premise of this analysis that one of the reasons I decided to read this comic despite shipping Kirk/Spock is that, in my headcanon, Kirk and Spock get together after The Motion Picture. Until this point, this comic hasn't really gone against my headcanon. I can genuinely believe that Jim had another girlfriend during his five-year mission; it's not a big deal. Unfortunately for me, this comic has its last part taking place around The Final Frontier era. Dammit.

Well, it's just one comic. I read until this point; it'd be illogical not to read until the end, right? Nah, it's not logic. It's human curiosity. I know I won't like it, but I still want to see it.

Also, if there's something that I really don't want to see in modern media anymore, is female characters dying just to make male characters suffer. I can accept that in TOS show because it was made in the 1960s, but even TOS movies got better about it! Characters like Saavik and Gillian can have their own lives without having to die for a man's pain. It's not a coincidence that the writers had to kill Spock to make Jim suffer. Without digressing too much, I just wanted to say that K/S bias aside, I went into this comic hoping to read something different from another dead woman for Jim. I'm very glad that, at least about this, the comic creators didn't disappoint me!

So, in this story, it's been 15 years since Laura's disappearance (actually, it should be more, but I'll try not to nitpick, despite being the trekkies' favorite hobby :D). Anyway, the one with the whales The Voyage Home happened, and Jim is not an admiral anymore. He's happy to have a starship again, but he hasn't stopped questioning his life decisions.

We can also see that, 15 years later, he's reading the book Laura liked.

HOLD IT! WAIT WAIT WAIT! ARE YOU KIDDING ME?? ARE YOU FUCKING KIDDING ME??? WHAT THE--

*inhales deeply*

(Friendly reminder to myself that what is obvious to me may not be obvious to everyone else, so I need to explain. Fine. I'll try.)

The screenshots I posted are from The Wrath of Khan, right after Spock's funeral. What Jim is doing there is reading the end of the book that Spock gave him for his birthday. He's mourning Spock.

In the comic panel, Jim has a new pair of glasses, because it takes place a little later in the timeline. But, except for that…

It's the same scene.

The same fucking scene.

I mean, come on! I can't even post the "they're the same picture" meme, because it's not funny if they're literally the same picture! Even the bookmark is the same!

The comic creators literally took a canon scene about Jim reading Spock's book after Spock is gone, and they redrew it with Jim reading Laura's book after Laura is gone. In a Valentine's Day special. Where Laura is Jim's love interest. They made a romantic scene with Jim and a woman that was originally about Jim and Spock.

(Brb, I'm going to chew a pillow until I calm down.)

So. Well. If you wondered why I thought there was something about Kirk/Spock in this comic… you have your answer. Perhaps the artist didn't think anything about it. I certainly do.

And I guess someone could say, "But Jim is still reading Laura's book 15 years later! That's true love!" Why yes, he's not reading Spock's book 15 years later, because he didn't stay without Spock for 15 years; he risked everything and lost all the most important things in his life to save Spock's soul.

Anyway, back to the comic. Starfleet receives a signal from the edge of Federation space. It's the Drake. Laura and her friends are alive.

Jim and Laura have a reunion after a long separation. Since they're both captains now, Jim thinks they are given a second chance.

Oh, whoops.

It's her turn now. It looks like being away for 15 years has changed her (as you can expect, honestly), and she's now glad to become an admiral. In this comic, that means Jim can't marry her. So, this is how the story ends:

So. Um.

This isn't a bad ending, but I also wouldn't exactly call it a happy ending. It's certainly not a happily ever after story. I'd call it open, maybe hopeful? Honestly, pretty much what I'd expect from a love story between an original character and Jim, so I can't say the writing is disappointing about that.

On the other hand, I can't personally imagine middle-aged Jim being so eager to start a romance again with someone he hasn't seen in 15 years who broke up with him 16 years ago. Perhaps he felt guilty about Laura's disappearance because if he had married her, they would have been part of a colonization fleet somewhere else and the incident wouldn't have happened the same way? Maybe. Personally, I would have found more believable an ending where Jim asks her to have dinner together or go for a walk, and then something romantic happening as they get to know each other again. But I can see why the creators wanted to bring up the marriage proposal again, just to close the circle. The comic is just 32 pages, so they did what they could.

"Unless there's someone else." "Not so much. I've been really busy."

Busy with what? Oh, right: Spock's death, Spock's body on Genesis, Spock's rebirth on Vulcan, the time travel (okay, that one wasn't 100% Spock-related), Spock's brother… Honestly, just say there's been a lot of Spock in your life, Jim, because that's the truth :)

On a more serious note, I guess that dialogue could mean that Jim has someone, but "he's been too busy" to do anything serious with them. However, as a K/S monoshipper I don't really like the idea of Jim being in an open relationship with Spock, so Jim's character in the entire scene in the end is just a big NOPE for me. Sorry.

That said, I found very interesting that in a few panels they show very clearly the "captain" rank on Jim and Laura's shoulders, to point out that it's the same. They can't be together forever, but they can have fun for a few days as captains. Because of that, I went back to the start of the last timeskip, just to check out something:

Fascinating.

This is a pretty detailed panel, where you can see the ranks on the shoulders of Jim's friends; the colors of their pins are also pretty good, close to the ones in the movies… except for Spock's.

Oh, please. Did you really expect me not to pay attention to this? :)

Captain Kirk and Captain Spock.

And unlike Laura, this is what they are until the end! The end of a very long life! Generations? What's Generations? Spock will eventually become an ambassador, but that's just a different job. How did Spock himself put it earlier in this comic?

"I am something of an expert on the subject of James T. Kirk. And I believe someone of equal status would offer you the best possible chance of happiness."

Did the comic creators just play themselves? I don't know, I'm quoting their own story here! LOL

And what about Jim's words from the same scene? :D

"Starfleet is getting a lot better at partners of equal rank working together."

Partners. Of equal rank. Working together.

That's literally what Kirk and Spock are since the end of The Voyage Home! Without an expiration date!

The comic creators made a big deal in their universe about relationships being better between two captains, and how good Jim and Laura may have been for each other if they had married as captains; and now they can't have their happily ever after because Laura is going to be an admiral… But even if the comic tries to hide it, we know there is a captain in Jim's life. And to make things better, Jim lost his admiral rank to bring him back. Listen, I'm a huge Old Married Kirk/Spock fan, so there's no way anything can make me forget that in the last TOS movies they're both captains. And there's no way I can forget that Jim risked his entire career (and everything else!) for Spock, and that's literally why he's not an admiral anymore.

This is almost ironic in this Valentine's Day comic. If it hadn't been for Spock, Jim would have still been an admiral, and he could have married Laura. Whoops. Too bad.

Speaking of admirals, I didn't notice it at first, but there's also something about this line Laura says in the last panel I posted…

"And don't you dare 'Admiral' me."

Ah, yes, a typical thing you tell someone you're planning to have sex with. Right, Laura? Agreed :)

Honestly, at this point I should just stop checking this comic, because I wonder if I'd just end up finding a Kirk/Spock version of every Kirk/Laura Rhone line LOL

By the way, I have other thoughts to share now that the story is over, but there's one more thing first. Do you remember the last panels of the comic? Middle-aged Jim and Laura kiss; END.

Okay. After that, the comic has a picture of the cover, with Jim and Laura kissing when they're younger.

And then it has this:

dklsfjlskjflskjlksjlkdlkgjdlfgsnfjekniuwanf LISTEN, HOW--

Just how am I even supposed to say anything that makes sense about this…??? I'm just… I can't…

Okay. So. We're talking about a Valentine's Day comic. It makes sense for it to include a cute Valentine card. I also get that Spock's iconic line has become so mainstream that it can be quoted out of context. And you can make parodies.

But… But… A Star Trek TOS fan can't really forget the original context of "I have been and always shall be your friend"? Someone could just not think about it, I guess… But, well, I know that at least I can't forget that this is literally Spock's line to Jim rewritten in a romantic Valentine's Day version. I can't possibly NOT think about it!

And I know it's very possible that the people who worked on the comic story weren't even aware of this extra, but the fact that I'm seeing this after reading about Jim Kirk's romance without happily ever after… Jim kisses a woman he can't stay with forever, and then there's Spock's "I have been and always shall be your Valentine". It's just so fucking funny. I can't. If I was feeling a little down after seeing middle-aged Jim wanting to marry Laura, now I'm laughing again. Thanks, Spock's silly Valentine card. I needed it! :D

Anyway, what did I say about this comic taking things originally created for Kirk and Spock's relationship and making them romantic when they're not about them? I can believe that sometimes it's a coincidence, but this card? Please… In a sense, this is the perfect ending.

---

Conclusions.

I started this comic with a question: in 2020, how do you write a story about TOS Kirk falling in love? I wanted to see this attempt. Overall, I think the creators did what they could. Laura is different from every other woman in Jim's life; they didn't kill her off, and they also didn't force a happy ending. I think they did a good job with the canon limitations they had, especially in 32 pages.

Do I believe that Laura could have been a good match for Jim in different circumstances?

As a temporary girlfriend? Yes.

As a lifelong partner? No.

Of course, I'm aware my answer is biased, but I can try to be a little more "logical" about it.

First of all, I think that the comic itself supports my interpretation: of course, like in every story, different people are going to see different things; however, as I already pointed out, Jim and Laura never say that they love each other, and before the marriage proposal their relationship is pretty casual.

In The Original Series, Jim isn't lucky when it comes to romance because the women he falls in love with can't really understand his nature as a space explorer. Sometimes they can, like in Carol's case, and that's why they break up with him. Laura is the opposite, because she's just like Jim. But here is the thing: I think Laura is too much like him.

What would have happened if Jim had accepted to marry her at the end of the five-year mission? They would have been both captains. On different ships, though. Sure, they could have been part of the same colonization fleet, as Jim says in the comic, and maybe it would have worked for a while. However, would they really have seen each other as much as Jim needs?

I don't know about Laura, but we see multiple times in canon that behind his mask as a starship captain, Jim is definitely more lonely than what someone may think.

First of all, don't get me wrong: in these screenshots from The Naked Time, Jim is single, so of course his attraction to Janice Rand is related to that. It's not the same situation he'd be in if he were married to Laura. Early in the series, he has thoughts about his yeoman exactly because he doesn't have anyone else. Contrary to his fame as a womanizer, TOS Jim in canon always has one woman at a time in his mind, never more.

So, why am I sharing those lines? To show that when Jim is always inside the Enterprise, he does feel lonely. He needs a romantic partner's physical touch. However, we also know that Jim does not want a relationship with one of his subordinates, so Janice Rand and the rest of his crew are off limits.

Laura is good for him because she's part of Starfleet, and not a subordinate. But is that really enough? From what I've seen in the comic, no. At the end of the day, it looks to me that Jim and Laura don't really know how to plan a future together. Perhaps it's because they're so similar, but they don't really think of themselves as a couple, especially Laura. There's Captain James T. Kirk and Captain Laura Rhone; they both love their ships, so they should get married? That's not how it works.

Their relationship is casual. Jim doesn't want to define it. Are they friends with benefits? Are they in an open relationship? Either way, when Laura decides to marry him, she asks around if Jim has someone else, and only after that she asks him. Jim, on the other hand, doesn't talk to her for six weeks after her proposal. He talks to Spock and Bones immediately, but not to her. He even talks to Carol first.

Then, when Jim finally tries to talk to her about his problems, she doesn't listen. Their lack of communication is the cause of their break up.

16 years later, what we see is even worse. It's obvious that Laura has just different priorities. Maybe it's because of what happened to her lost in space, but I'm not sure. If they had married at the end of the five-year mission, would have Laura always refused a promotion to admiral? Would she have tried to get a promotion with Jim? Based on what we see in this comic, it doesn't look likely to me.

Now, as I said, different people are going to see different things, so I'm sure that someone really invested in this romance can imagine that Jim and Laura are really meant to be, and they can get their happy ending after their retirement, or in other ways. However, I admit that Jim and Laura's huge communication issues make hard to me to picture a long happy relationship between them. They should both try to get better, but in those 32 pages there was no hint towards that direction.

There's another thing that makes really hard to find any love interest for Jim as a plausible "happily ever after" option: the stakes. I know that it's just a single comic, so the creators had to focus on a few things; however, I couldn't help but notice that Jim and Laura never really save each other from dangerous situations. They work together as a team, and Jim watches Laura disappearing into the void, but does he do anything about it? Does he try to reach her inside her ship before she disappears into the black hole? Does he try to bring her back from the void? No, he doesn't.

In TOS show and movies, Jim Kirk risks so much for his crew and his ship that a Star Trek fan can't believe that a new woman is the love of his life, unless Jim is willing to do for her everything he does for his friends. And honestly, after The Search for Spock… how can he even come close to do that?

And it's not just about Jim's actions. There's his language too. At the start of the third movie, Jim refers to Spock as "the noblest part of myself". What could he say about a love interest that is as deep as this?

Let's be honest here: the reason it's so hard to write a story about Jim Kirk's true love is that the real love story for him has already been written. You may not see it romantically, but Kirk and Spock's story is absolutely a love story. And when a character has someone he loves so deeply, it's not easy to convince the audience that he could have someone new to love as deeply. In Jim's case, the combination of his personality and his canon life makes it almost impossible.

Anyway, before I end up not so accidentally turning this analysis into a complete Kirk/Spock ship manifesto, I'm just going to mention one silly thing about the Valentine's Day comic. Please, don't take it too seriously, I'm half-joking :)

So, there are two kiss scenes in the story: one when Jim and Laura start to spend a lot of free time together, and one in the last panel. Well, I can't believe Jim isn't holding Laura's shoulders when he kisses her! That's just the basis of the way Jim kisses women! D:

Different Star Trek characters kiss in different ways; it fits their personalities. And because the rest of my TOS posts are probably too gay for these gifs, I'm dropping them as references here:

Sorry, but if Jim Kirk doesn't grab someone's shoulders before a kiss, it just kills my immersion! :P

Okay, a little more seriously: Jim doesn't always kiss women the same way; however, his "shoulder grab" is common enough that you definitely notice it if you pay attention. Because of that, I think it would have been nice to include it in the Valentine's Day comic.

After reading this comic, what kind of person would I consider perfect for Jim?

Well, my answer is obvious. However, I'll try to elaborate.

First of all, this story definitely convinced me even more that Jim can only be really happy with another Starfleet officer (or at least someone who's been deeply involved with Starfleet). He also needs someone who understands him as a space explorer, without trying to keep him grounded. And someone very smart, of course. These are all traits Laura has. But they're just the basis.

I don't think Jim needs someone in command of their own ship as a lifelong partner. As I said before, I can't really imagine it working out. Another starship captain would have their own goals and their own ambitions; that doesn't mean Jim shouldn't marry someone with specific plans for their own career, but I think these plans should keep the two of them close, not on different ships. Jim needs his partner physically at his side; if he could be happy in a long-distance relationship, I believe we would have seen at least one working out in canon. But it's never the case. Working on different starships from the same fleet would be a little better, but in my opinion not enough, unless it's for a short period of time.

And there's also the matter of his partner's personality. Jim is a natural leader; that's why he's so good at his job. I don't think he needs a similar kind of leader as romantic partner. This is just my personal opinion, but I believe they would just fight about everything they disagree about. I think he needs someone calmer in his life, not someone who'd encourage emotional outbursts.

More importantly, he absolutely needs someone he can communicate with. If he can't talk to his partner about everything important, they're not the right person for him. That doesn't mean they can't have disagreements or miscommunication issues, of course, but they shouldn't happen all the time, and Jim and his partner should be able to talk about them and make up.

In conclusion: someone at his side on his ship, smart, calm, trustworthy :)

Now, I know what some of you are thinking about: what about the "no relationships with subordinates" personal rule Jim has? How can Jim be in a relationship with Spock (or anyone else on the Enterprise) if he's everyone's superior officer? Well, first of all, I already said that after The Voyage Home, Jim and Spock are both captains. And before that… I think that Spock in the comic phrased it the right way. Jim can find his happiness with someone of "equal status". I think it's pretty clear, in my opinion, that Janice Rand and Spock aren't the same kind of subordinates to Jim. Just think about it: which members of the Enterprise call their captain "Jim"? Bones, Spock and (occasionally) Scotty. These are the three people I believe are "equals" in private to Jim, no matter their ranks when they're on duty. Because of that, a relationship between Jim and Spock could work pretty well.

By the way, another thing the Valentine's Day comic made me think about is that in TOS movies, Jim sort of does with Spock pretty much everything he does with Laura in this story. Not the same way, of course, but does it matter? Spock is his own person, he's not Jim's copy. That doesn't mean he can't indulge Jim, have fun himself… and try to stop Jim from doing dangerous things "for fun", as an old spouse would :)

Okay, perhaps throwing each other into the water doesn't count as dancing, but it's so much better :D

In conclusion, this is the way I can read the Valentine's Day comic as a Kirk/Spock shipper:

Jim mentions Spock on his first date with a woman.

Jim questions his life choices as he thinks about Spock and IDIC philosophy.

Jim does with Laura everything we see him doing in TOS show, except for playing chess (just the thing he does with Spock).

Jim says Laura and him are a good team in Starfleet because they had a lot of sex (is that true about other people he works well with??)

There haven't been many ladies or gentlemen in Jim's life because he's busy (not because he's not into men, apparently).

"Starfleet is getting a lot better at partners of equal rank working together." Good for your future with Spock, Jim!

If Jim and Laura got married, they could both teach at Starfleet Academy, something Jim is totally going to do with Spock someday.

Mister "I am something of an expert on the subject of James T. Kirk" Spock.

Also, Mister "I believe someone of equal status would offer you the best possible chance of happiness" Spock, which is actual foreshadowing of his own future status with Jim.

Hey, look at Jim reading a book that reminds him of his lost love! I wonder where I've seen LITERALLY THE SAME PICTURE???

"Don't 'Admiral' me". This is totally not similar to what Jim tells Spock in The Voyage Home, of course.

Hey, we're both captains now! Just for a few days, but isn't that great? I wonder if anyone else is a captain now, and forever? :D

"I have been and always shall be your Valentine". Totally not a Kirk/Spock line, I don't know what you're talking about! :)

Okay, okay, that's all.

As a Kirk/Spock shipper, I won't deny that I'm a little jealous of this Valentine's Day special comic, because I wish we could get something with amazing art like this where Jim is in love with Spock. On the other hand, Star Trek: Year Five comic series has a few scenes about Jim & Spock's friendship that I really liked. Platonic, sure, but good enough for my K/S goggles!

Thank you so much for reading this post until the end! I hope you enjoyed my analysis! Live long and prosper!

#star trek analysis #star trek: year five #star trek: year five valentine's day special #star trek comics #james t. kirk #laura rhone #spirk #star trek tos #star trek the original series #k/s #kirk x spock #space husbands #my gifs

[the-lake-lily-alchemist]

Dany’s vision of Rhaegar in the HotU

So, I want to beat an already dead and over-beaten horse, and talk a bit about Dany’s vision of Rhaegar in the House of the Undying.

Now, I want to preface it by saying that I know this subject has been talked about thousands of times and it’s boring and tiring to talk about the same shit over and over again, but I just saw “Rhaegar is a prophecy-obsessed groomer/rapist” discourse on my twitter feed and thought I’d toss my two cents in.

Firstly, let’s look a bit at this vision as it appears in the books, shall we?

Viserys, was her first thought the next time she paused, but a second glance told her otherwise. The man had her brother’s hair, but he was taller, and his eyes were a dark indigo rather than lilac. “Aegon,” he said to a woman nursing a newborn babe in a great wooden bed. “What better name for a king?”

As we can see here, Dany, on her quest to find her children, stumbles upon this little moment long past. The text tells us that the three people shown here are Rhaegar, his wife Elia, and their son Aegon.

“Will you make a song for him?” the woman asked.

“He has a song,” the man replied. “He is the prince that was promised, and his is the song of ice and fire.” He looked up when he said it and his eyes met Dany’s, and it seemed as if he saw her standing there beyond the door.

This passage specifically has been interpreted numerous times. The text tells us that Rhaegar thought that his son, Aegon, was The Prince that was Promised. However, Rhaegar looks up when he says the prophecy, and looks directly at Dany, as if talking to her.

This to me reads as not-very-subtly being told the answer to the prophecy. Dany is TPTWP, as the author tells us through vision-Rhaegar. Thus, she is made aware of the prophecy, part of which we can find in the title of the book series.

I’ve seen the theory that Rhaegar seeing Dany was a time-space continuum bubble, of the present looking at the past, or, for Rhaegar, the present glimpsing at the future. How I see it, however, is that when he says those fateful words, and looks up to meet his sister’s eyes, he becomes both the gods’ and the author’s channel to make Dany and the reader aware of the answer to the prophecy. He sceases to be just a vision of the past and becomes the gods’/R’hllor’s voice, informing Dany. He tells her about the PTWP prophecy, because she is TPTWP!

Thus, when he continues with this,

“There must be one more,” he said, though whether he was speaking to her or the woman in the bed she could not say. “The dragon has three heads.”

we can infer that he’s saying this to Dany, because the gods want her to know this (and the author wants us to know this).

Mind you, these are visions, not just excerpts from the past/present/future. The conversation as it’s shown might not have taken place exactly like this, if it ever did. With how abrupt the cut from Rhaegar saying this to him going and playing the harp, I think he’s never said those words himself. Again, I believe that, in that moment (given that “There must be one more” and “The dragon has three heads” do not tie at all with the PTWP prophecy), it’s the gods using this vision of him to tell Dany (and the reader) an important message.

I shall say it one more time, just to be perfectly clear: IT’S NOT RHAEGAR TALKING ABOUT THE THREE HEADS AND A THIRD CHILD, IT’S THE GODS!

“There must be one more”, because Rhaegar has three children, not just two. Dany is fated to meet Rhaegar’s third child (and very probably fall in love and marry said third child, but that’s another overly-beaten, dead horse), and we as readers have been getting clues about who this child is since book one.

In no passage is it stated or implied that Rhaegar sought to have another child. He doesn’t go on and say, “When the maester has cleared you, we shall try for a third.” or “Because you can’t get pregnant again, I shall look for another woman to bear my third child.” The theory that he wanted another one, presumably a girl, to name her Visenya, is just that, a fan theory.

“The dragon has three heads. There are two men in the world who I can trust, if I can flnd them. I will not be alone then. We will be three against the world, like Aegon and his sisters.” (ASOS, Dany VI)

It’s clear (or it should be) that “the dragon has three heads” it’s specifically for Dany to know that there are two people out there whom she can trust and with whom she shall stand “against the world, like Aegon and his sisters.”

It’s not about Rhaegar thinking that his children are “the three heads of the dragon”. It’s about Dany. You would think it’s obvious given that it’s her chapter, but whatever.

#i also want to add that nowhere in the books does it say that ‘a song of ice and fire’ means Stark + Targaryen #this is also a fan theory that has become so popular it’s regarded as canon #Dany is TPTWP and she’s also Azor Ahai as it’s shown when she fulfilled the prophecy in her last chapter in AGOT #most of you are dumb tho #full offence #you guys are not reading the books properly #pick ‘em up and start reading because this shit is getting ridiculous #daenerys targaryen #daenerys stormborn #rhaegar targaryen #how tf do you read about a duty-bound melancholy book-ish beautiful prince #who loves going outside to play his harp for the people of kl #and say he’s prophecy-obsessed and a rapist #are you guys robert baratheon or smth? #my meta #asoiaf meta #asoiaf

[lovelyyandereaddictionpoint]

" Even if the world will or might hate you, I will not as you are my love, so please let me carry your burdens as well as you carry mine we are equal in this marriage "

But with Rook, Jack, Ruggie, Riddle and Azul

Proposal (2) | Crewel Daughter Reader x Yandere Twisted Wonderland

Rook Hunt

Probably a lawsuit 

Or maybe a family reunion

Whatever it is he’s been ostracized and called weird

Something he often gets in passing but this time it just hurts 

For someone so eccentric he’s not exactly open with everyone

Let alone computing his frustration in the normal way

So he’s uncharacteristically is angry 

Firing intensely at multiple targets 

He hardly notices your there until he sees a black and white feathered arrow break through his

“Mon amour? Désolé, I didn’t notice you were there.”

“You? The famous hunter: Rook Hunt, unable to notice me?”

“Well mon amour, you are ethereal.”

He gives his smile but your unconvinced

Firmly removing the bow and arrow from his hand

You push past his hanging locks to hold his face to look at you

Pulling him in to touch your forehead with his while you maintain eye-contact

You recite your vow to him rubbing your manicured thumbs over his cheeks

When you finished he dove into kiss you with you reciprocating

Pulling you against his muscular chest

Letting him run his hands all over your body as you both made out

Eventually, you feel the weight being lifted from you pocket

“Awww you were going to propose?”

“So were you.”

You both pull away to reveal the ring you each brought for one another

Crewel’s not as averse to this then he originally thought

All he’s ever uttered about you has been praise 

And he’s well aware of the hunter’s habit of avenging your character at any opportunity

Violent or otherwise

“The bloodhound is a better choice, though I’m curious how well he’ll fare in the future.”

Jack Howl 

He probably didn’t get the position he wanted most on a team

He’s usually so sure of himself 

Only to find he’s been benched 

But its not because of his skill 

Its the coach

Took one look at you, hearts in his eyes, and a look of disdain for Jack

From then on he’s been trying to sooth his rising anger

He didn’t want to resort to violence, you deserved better

Andit’dbeobviousanyway

“(Y/n) can we talk…?”

He’s not one to sit on something when his mate is willing to listen

“I just hate how he insists upon something so baseless.”

“Oh Jack…”

You say what you say before giving him a kiss on the corner of his lips

Getting on your knee, he’s transcended the pettiness of the coach

It also helps that the coach went missing

Crewel thinks it's okay but he still wishes he ‘wasn’t such a brute’

“It must be the muscles…darling please consider there’s more to look for than extrinsic value. I doubt there’s much really happening upstairs.”

Ruggie Bucci

Probably a failed promotion

Maybe for him taking left over food or they found out he has ‘laugh with me’

He just wants to be able to provide

And not have to rely on your finances

He just wants to be there for you

“I just want see where I can support you, you know?”

“Well there is something you can do for me…”

Getting on your knee and proposing to him has him erupting in a blush

He’s between being angry he didn’t do it first and just beside himself with pride

He’s landed the love of his life and all without using his unique power

He might just burn down an office building for celebration

Crewel isn’t happy but when is he ever

He thinks Ruggie is too much of henchman to be married to you

“You had to pick the smallest one in the litter? Does he know how to be more than a lackey?” 

Riddle Rosehearts

He’s rejected on a major scale

Similar to his overblot incident 

He just goes too far in his willingness for rules

Maybe not as far but to others it feels like it

And right now it feels like everyone’s turned their backs on him

He’s riding in the early morning so he can clear his mind hiseyes before the day starts

You come to the rescue riding your own midnight stallion as you ride up beside him

“Well Roses, how are you feeling?”

He doesn’t fully release his inner thoughts only tightening his hold on the reigns

“You don’t have to tell me anything but I need you to listen.”

Having your horse bow while you present the crimson ring 

He blushes and the nearby forestry alights with flames

Confident he doesn’t step down from his decision

“Off with your heads! For the crime of hostile peer pressure!”

There’s got to be a rule for that ifnothe’llmakeone

Crewel thinks he’s too much of a stick in the mud 

“Isn’t he far too straight-edged? Don’t you think this will hinder your lifestyle, darling? Is he really worth it?”

Azul Ashengrotto

One of his budding locations has some major problems on the opening month

That further is worsened by the competitive restaurant across the street

Who somehow were able to orchestrate a threat made of what looked like blood on their fish tank

But it called Azul out specifically

And while it was cleaned and the rest of the service went smoothly it really shook his self esteem

Leaving you to pick him up

He treats his room like his pot 

Refusing to leave but willing to let you poke your face into

“I have to wonder, (Y/n), am I in over my head? Am I really not cut-out for this? Do I even deserve this!? Do I even deserve you?!”

You cup his head and kiss his beauty mark and then his nose

“Well of course you do, I accepted didn’t I?”

He chuckles and you gleam

“Its also why I asked to put that ring on your finger.”

He looks up at you in confusion

“Huh? Ring?”

“Yes. Ring.”

You hold up his hand with a pearl diamond crusted ring

“Wh-wha-huh–I–ah-ohmygosh!”

“Just say yes darling!”

“Yes yes!”

With a pep in his step he happily let Floyd & Jade pick the events for the bachelor party in exchange for a small favor

The competitor wasn’t a problem after that

Crewel wants to despise him but he respects the hustle

“Anyone who can gain control of an entire school like he has…I guess is worthy enough. But then again a school run by that crow must be breadcrumbs for that sleaze.”

#yandere twisted wonderland #yandere azul ashengrotto #yandere riddle #yandere riddle roseheart x reader #yandere riddle rosehearts #yandere azul x reader #yandere azul ashengrotto x reader #yandere ruggie bucchi #yandere ruggie #yandere rook x reader #yandere rook hunt x reader #yandere rook hunt #yandere x reader #yandere x you #yanderexrea #lovelyyandereaddictionpoint #yandere #yanderes #yanderes x crewel daughter reader #crewel daughter reader #yanderes crewel daughter #yandere papa crewel #papacrewel #yandere divus crewel #yandere jack howl #yandere jack #yandere jack howl x reader

[ackerifle]

Yandere Levi finding out reader is pregnant by another man

a word with you!

yan. no regrets levi ackerman x fem prostitute. reader

+ CW. — harassment, coercion, delusional behavior, kidnapping, confessions of murder, threats of domestic violence/abuse, implied: slight past age-gap relationship, baby-trapping; darling’s pseudonym is galatea; not proof-read.

it was simply too good to be true, you had known it then, and you know it now. but wishful thinking and desperation will do terrible things to good people, no soul would willingly continue living in the underground should they find themselves with any better alternative. at a constant risk of disease and decay, mother nature’s evident distaste for her children dwelling beneath the surface, careless to the living that remained untouched by the sun. abandoned by its creators in favor of more ‘pressing matters,’ the people left relinquished in a forgotten city of ruins had fallen on hard times, people like yourself.

and thus, you had found yourself in quite the predicament. although nothing in your life had ever come particularly easy, and this once, just this once, you could manage all on your own. there was no shame in working in a brothel, not when the people around you were often worse off than yourself, and pride was a small price to pay for simply surviving. it was only once you had first bared witness to the frequent deaths of the other prostitutes had you ever come to the realization that the madam must have really favored you a lot— to clean you, to clothe you, to feed you, to care for you; to keep you. but the state of affairs in the underground have since changed from the time of your youth, you’ve changed. you wanted out, and you were not immune to making grave sacrifices for what you wanted.

you’ve encountered and met many clients in your time, men and women alike, and it is rare for new faces to draw your attention. but as of late, there has been one. a soldier from the surface, a military police member who seemed far too young to be venturing below the safety and security of the royal capital by himself, and far too naïve to be falling absolutely head over heels for some prostitute who only offers an hour and faux moans in return. it almost tugs at your heartstrings, almost. he isn’t as innocent as he looks, and you are reminded why terrible things happen to good people. he had held citizenship over your head since the moment he met you, through legal marriage, and one simple request: that you give him a child. after all, who was a man of his merit to invest such a scrupulous amount of time into a common whore without the reassurance she won’t leave him right away?

so you do, allowing him to touch and hold you in a way your other clients could only dream of. to whisper sweet nothings in your ear about your future together, because admittedly, you too are thinking the same thing. thinking about your future, but you find that there is nothing romantic about it. and perhaps the worst of it all, he hasn’t come back for you.

laying down on your tarnished bed of tattered sheets and thin blankets, you stare aimlessly at the darkened ceiling. without thought and without interest, it has been weeks, maybe months, and you think you’ve truly fallen ill, “dammit, i knew i shouldn't've let that prestigious prick back in here.” forever grateful and beholden to the brothel keeper, she continues to tend to your needs, even now.

“look at you. so sad, little girl.” the madam coos apathetically, but her actions say otherwise. a gentle hand checks your temperature, brushing aside any loose strands of hair with the swipe of her thumb. her frown only deepens when she just barely pushes your head back, met with complete compliance as your head tilts further into the pillow from even the slightest of movements. somehow, you’re still so tired and still so restless, “i’m sorry.”

she’s upset with you. she’s been upset with you ever since you’d been involved with that shady scumbag, but truthfully the madam is more upset with herself. and she wants to ask why you of all people are apologizing, but she doesn’t, “i’m sorry too.” there is more she yearns to say, her mouth is still open, as if to somehow keep you responsive in this one-sided conversation, but nothing comes out. and it’s too late when there are three loud and concise knocks banging on the door downstairs.

the madam is quick to pry a worried hand from your unresponsive body, storming towards the exit of the oppressive room, but not without taking a curious glance in your direction. her remorse does not last long, as she shuts the door with a shove, but is intentional in not forcing it too hard. and you are left alone. swallowing dryly, your eyes dart around the room, and you wonder just how intense that person must have been hounding at the door for both you and the madam to hear it from a story above. but that was no matter, it was already noisy in the brothel, the walls were thin because peace and quiet was no luxury anyone living there could afford; and who knows how many women you shared the small space with. and surprisingly, it benefitted you greatly to be sick, as the madam refused to work you; and you’d known girls who worked during pregnancy, it never did end well for them.

deafening commotion could be heard ringing throughout the brothel, to the point it had felt as if the walls were shaking and the building was caving in. you chalked it up to hysterical figments of your imagination, that the floorboards beneath your bed weren’t vibrating, and that the sound of a panicked woman and determined man arguing with one another weren’t getting closer, “sir! galatea isn’t well, she’s not seeing anyone right now!”

“i don’t give a shit, lady. i know name is still here, she hasn’t left this fucking whorehouse in a month.” it pains you that you recognize this voice, and it isn’t the one you want to hear.

brazenly, the door is reopened with much more ferocity and wrath than it had initially been closed with, and it startles you. despite anticipating a confrontation as the verbal fight had neared your room, it comes as a surprise when the door nearly breaks free from its hinges, revealing an all too familiar black haired man. he looks awful in the dour lighting, and he adorned a uniform that haunted your very soul. a lesser version of what the military police had dressed in, lacking the coat with their respective symbol, it was the odm gear that struck you odd. eyes averting, you had noticed madam — who was standing behind him, with a languid arm extended towards his figure as if to grab him — was somehow much worse for wear as she had a dramatic hand over her heart as she caught her breath.

you regret not locking the door, but then again, that has never stopped levi from doing what he wants. he calls to you only by your name, and your spine crawls. whipping his head around, the hand levi had placed over the hilt of one of the unsheathed blades draws it from the holder, and he wastes no time in threatening the madam. it only takes the sight of the sharpened edge looming dangerously close to her neck for you to yell at her to get out. she hesitates, and you know why, the madam has failed to protect you countless times from levi, but this will be the time it counts, and she knows it too. but the downright malicious glare levi sends her way has her halted in her steps, and she makes no effort to stop levi as he enters the room and places a deceivingly quiet palm flat on the door, all whilst maintaining eye contact with her, before he slams the door behind him.

you set your hand on the bed, forcing yourself to sit up as levi stomps his way over to you. and the closer he gets, the more uncharacteristically messy you realize his clothes are. the white shirt he so often wears is not clean, it’s rather dirty in all honesty, sullied with what appears to be sidestreet grime and dross filth. his boots are muddy, dragging in sludge and black water that hadn’t already been scraped off at the doorstep and staircase. but perhaps what was the most disturbing were the stains of blood on his gear, ranging from inconspicuous flecks to big streaks that were likely still wet. levi must’ve noticed your perturbed observation, because when he finally finds himself standing before you, he bends down and grabs your jaw in his hand, roughly squeezing your face, and leaning down until your noses are just barely touching.

“i leave you alone for a month, and you let some piece of shit from the mp’s knock you up?” it’s his eyes that are the scariest, more than his strength, and you crumble underneath his scrutinizing gaze. your retaliation is much more timid than you intend it to be, as if you were guilty and confessing your sins. sins of disloyalty to a man you aren’t even with in the first place, “you can’t expect me to want to stay here, i saw a way out, and i was going to take it.”

it doesn’t cross your mind to question how he knows all of this. you’ve simply accepted it as fact that you will never experience true privacy after meeting levi. in retrospect, it’s ludicrous that you’re even explaining yourself to him, but you are and it’s not helping your case, “and how did that work out for you?” levi spits venomously, violently shaking your head side to side in his grasp until your eyes were rattling in your skull. levi only lets go to prop his foot up onto the side of the bed.

instinctively, you lean away from his knee, which is almost parallel to your head, setting your hand on his calf in an attempt to direct his body away from yours. levi places the blade he had refused to release from his grip back into the metal box it belonged in, dropping his leg to the ground and hoisting you up by your shoulders, “groveling at the feet of those pigs, you’ve become real pathetic, haven’t you?” you want to defend yourself, to call him a hypocrite, to call him pathetic for harassing someone like you that was undeserving of his badgering.

“how did you even know he was a soldier?” deflecting the topic from yourself to your genuine concerns, you go limp in his arms as levi twirls you around the room until he’s satisfied with your placement. positioning you in front of the windows, leaning slightly on the stool as he pushed you backwards until you could feel the cold glass frame through your nightgown. levi slovenly flicks the sash lock, holding onto the lift and pushing the window up, “where do you think i got all of this from?” you didn’t need any clarification to know that levi was referring to his equipment.

your chest tightens, constricting your airway as you stop breathing altogether to attain perfect stillness. you only look at him with vacant eyes, and it becomes too much when he doesn’t elaborate any further, “what did you do, levi?” he sticks his head through the window, ducking to avoid hitting his head on the top rail, and peering down at the ‘city,’ below. it isn’t as if he needed to, there wasn’t anyone on the streets. when levi pulls himself back into the room, he slings an arm around your hips to bring you closer, “what do you think i did? the man’s dead, do i have to spell it out for you?”

the prickling sensation underneath your skin erupts in waves across your entire body. you were no stranger to the realities of what went on around you, the hushed rumors of what men and women who had the will to do what they wanted to others simply because they were capable, and not out of survival necessity, “you’re sick, what is wrong with you?”

“call it what you want, but he has nothing for you. you want to leave the underground? hmph, well don’t we all?” levi mocks contemptuously, tightening his hold when he feels you threaten to slip away in the slightest. he moves you around like a rag doll by the sides of your body, until you're in front of him. levi closes the little space that was left between you, until you’re forced to grab onto him for support, seeing that straining your wrists to secure yourself by the windowsill was becoming too painful, “we can go wherever you want, but you won’t be going anywhere without me.”

suddenly, levi veers down. his body collapsing onto yours until you’re nearly halfway out of the window, and he, looming over you, “oh my god, what is wrong with you?!” you repeat, blood rushing to your head as you try to prevent your upper half from being upside down and being taken by gravity completely. levi guides your arms around his neck, loosely as you refuse to acknowledge you’re even embracing him in the first place, but your fear of falling surpasses your personal grudges. and in one swift motion, levi thrusts the rest of your body out of the window, and he follow suits mere seconds afterward. and you scream, as loud as humanly possible.

levi’s body never leaves yours, and you’re uncertain as to whether it’s because you won’t allow it, or because he won’t allow it. either way, the detach hold you had on his neck fastened into a tight chokehold the moment you had felt yourself even remotely lean back any further. the landing is much smoother than you anticipated, levi doesn’t let you touch the ground before he does. and if you hadn’t shut your eyes, or buried your face into the crook of his neck, you may have gotten to witness the vertical maneuvering equipment in action; what used to be a dream for you, to leave with it, but you could kiss those fantasies goodbye now that they found themselves in the hands of levi. and he’s cautious, all too cautious with you.

you’re trembling like a leaf, and he thinks that if he lets go of you, you’ll fall to the ground, “don’t think you haven’t pissed me off, now. there’s a million things i ought to do to you after getting with that sorry excuse of a man.” levi rests a warning hand on your shoulder, loutishly hauling you towards him until you just about trip over your feet. he makes sure you’re aware of the desolate area that surrounds you two; and it becomes increasingly obvious that no one would come to intervene. if not by your shrieking, then never. levi tilts his head with an unimpressed frown, “you’re lucky you’re pregnant with our kid, because i won’t even be half as merciful once they’re born.”

#ackerifle #yandere #yandere x reader #yandere attack on titan #yandere aot #yandere aot x reader #yandere levi ackerman #yandere levi ackerman x reader #levi ackerman x reader

[the-marshals-wife]

Keep Me Close (Tech x Reader)

*BELOW THE CUT THERE ARE SPOILERS FOR S2 EP 8: TRUTH AND CONSEQUENCES*

A/N: Happy Valentine's Day, babes! I'm hitting two mynocks with one stone: writing something short and sweet for my favorite Batcher and processing my emotions over [redacted].

Description: Tech x Fem!Reader Batcher, semi-established relationship (there's an unspoken thing *wink*) | Warnings: none, hurt+comfort fluff | Word count: 804

★ Bad Batch Tag List ★ @dantes-devil-huntress @sageislostinspring @sweetheart-bo (comment to be added!)

Gif credit: user dreamswithghosts

Imagine being unable to sleep, upset by Echo's departure, and turning to Tech for comfort

The ship was stuffy. Your mind was full. The future was uncertain. It was the perfect mixture of reasons to be restless.

You'd removed the top half of your blacks and tied it around your waist, putting on a tank top in hopes of cooling down. Sitting on the lowered ramp of The Marauder, you stared into the misty night sky, feeling trapped by the stale silence. Your eyes began to sting, emotions starting to overcome you. How could so much have changed so quickly?

The sound of footsteps pulled you from your troubled thoughts, and you didn't have to turn around to know who approached. The rapid tapping of gloved fingers on a datapad was enough for you to recognize him.

"You are unable to sleep," Tech says.

It wasn't a question. He'd just stated it as a fact, as he did with most things.

"Not really," you answer, quickly wiping at your eyes.

"I suspect there is a reason," he begins, sitting down beside you, "Would it ease your mind if you shared your concerns with me?"

Your heart skipped at the prospect, and at how near he was.

"I'll be alright, really," you hesitate, trying to compose yourself.

"The tension in your voice and your constrained body language suggests otherwise," he replies, putting away his datapad.

You can't help but chuckle, "Nothing gets past you, does it?"

"Not really," he parrots your words. He removes his helmet and puts it aside. You're surprised to see he's smiling ever-so-slightly.

You sigh, trying put your many thoughts into words. "We've all lost so much. After all our fighting and all our running, sometimes I've wondered what it was all for. But I thought as long as we stayed together, things would be alright. We would figure it out because together we had hope. Now, I'm afraid that we've lost it."

Tech pushes up his goggles before responding.

"I know it may seem that way, but Echo did not leave because he had no hope," he offers, "He believes that there are better ways apart from this squad that he can help preserve hope, and if he is successful, pass it on to others."

"I thought we were already doing that," you reply, shaking your head, "I know we have to be careful, especially for Omega's sake, and we can't fight The Empire the same way others can, but I thought we were making some kind of difference."

"Echo's departure does not necessarily signify failure in our pursuits."

"But aren't we stronger together than apart?" you ask, looking to him.

Tech blinks slowly, visibly weighing your question. Surely he is bothered by all this too?

"Theoretically, yes. But our objections cannot change what has happened," he admits.

Your gaze falls back to your boots, shame setting in. How selfish you must sound. "You're right. I don't think less of Echo. Truly I don't," you say, holding your arms, "I just don't want to lose this squad, and I really don't want to lose..."

You were desperate to say it, but the word caught in your throat. Tears threaten to return. This is not how it was supposed to go. Squeezing your eyes shut, you bow your head, hoping he wouldn't see your entire façade crumbling.

You nearly jump as you feel his hand gently clasp your shoulder. You look up to see his soft brown eyes, full of warmth and understanding.

"I do not have plans to go any place where you cannot also be," he affirms, "And I intend to never make such plans."

A tear slips down your cheek as you choke back a sob. Whatever was left of your composure, he'd just destroyed it, and somehow it was the push you needed.

You lean over to rest your head on his chest. You hold your breath as you feel him tense up at the contact. Fear washes over you that you've gone too far, and you're about to sit up, but then he carefully wraps his arm around you, holding you close.

You purse your lips, trying not to grin. How long you had waited for this moment. Heart racing, you close your eyes and wish for time to stop. So many words had passed between you over the months, but now you could barely speak.

"Tech?" you breathe.

"Yes?"

"I never want to make those kinds of plans either," you say, relaxing into him more.

"It's settled then," he confirms, proceeding to rest his chin upon the top of your head.

It was settled. You knew with absolute certainty that this is where you wanted to be. You were stronger together, and no matter what became of the galaxy, together you and Tech would stay.

#tech x reader #tbb tech x reader #tech imagine #tech bad batch #tech x you #tbb tech x you #tbb fanfiction #the bad batch fanfiction #tbb season 2 #bad batch imagine #star wars imagine #tech x y/n #my writing