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variousqueerthings · 2 years

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I cheated and jumped forward to rewatch George because I wanted to

and also because had just rewatched Dear Dad... Three, in which they paint a racist with iodine in order to teach him a lesson and he becomes less racist by the end, because I was interested in the episodes that have more or less “easy” wrapped up endings (so far: Divided We Stand, L.I.P, The Trial of Henry Blake, Dear Dad... Three, Five O’Clock Charlie all have very “and the good guys won” endings -- For The Good Of The Outfit kind of does, but of course the village is still destroyed and the connotations are still pretty fucked, Kim is a messy one and was having Thoughts about it in connection with later episodes, Radar’s Report and Dr Pierce and Mr Hyde both resist catharsis)

I wrote about George the first time I watched the episode and yeah, still pretty much feel all of this, especially the bits where it’s interesting how hands-off this episode is in some ways/the fact that we don’t see George again past the scene where he comes out to Hawkeye, which is an interesting choice considering almost every time there’s a one-off episode character you get to see that character in a cathartic ending Moment (even if the Moment is sad), and especially considering the title of the episode is his name

Brings you back to the tightrope of making an episode like this, with a lead character like Hawkeye, etcetc. -- but you do ask, what would it be like to have an ending to an episode like that, in which the traditional way might be Hawkeye saying goodbye to George, wishing him luck, telling him to stay out of trouble, specifically in terms of the violence perpetrated by his own unit, and Hawkeye being Hawkeye, some kind of tactile goodbye. Missing scene for sure, and makes the episode feel like it’s not completely wrapped up

So a couple of things I thought about this time around:

1. calling George “one of those” (which is exactly what Hawkeye gets accused of by Flagg later in the show). Obviously “one of them” is homophobic, but there’s something oddly powerful about being so terrifying to the status quo that you’re not even named

2. “One of those” is especially interesting because Frank tries to buddy up to Hawkeye and Trapper by sitting next to Hawkeye on his bunk and “acting” more masculine while condemning George as “one of those,” something that Hawkeye and Trapper obviously aren’t interested in playing along with, to the point of being deliberately obtuse

Frank: “There’s one of those in camp”

Trapper: “”One of those,” Frank?”

Hawkeye: “Which “one of those those’s” do you mean, Frank?”

Frank “One of those types that don’t like girls... get it?”

Hawkeye: “... Ooooohhhhh one of Those those”

Frank: “Don’t you understand the man is not normal!”

Hawkeye: “What’s normal Frank?”

Frank: “Normal is everyone doing the same thing”

I can’t put my finger on WHAT it is about this whole interaction (including the next parts of it) that seem so... something... to me, but I think it ties into my eighth point about coded conversations

There’s just something interesting about Frank trying to invoke camaraderie through heterosexuality/homophobia -- especially with a man like Hawkeye who has, at this point flirted with -- and kissed him! Frank has called both him and Trapper degenerate and pervert several times! -- and the specific ways that Hawkeye especially, but Trapper as well, interact/refuse to interact with it

3. I also noticed this time around that Hawkeye flirts with Frank in front of George, with an actual reaction shot of George being entertained by said flirting -- so when he says later that he’s watched him around the hospital, that’s the main thing we know he saw

4. It frames George’s immediate trust of Hawkeye in a very specific light -- already kind of coded, because anyone who’s queer (question: prior to David Ogden Stiers, do we know of anyone in the cast or crew who were) knows that it’s all about signalling to one another... especially in places where it’s not necessarily safe (as George would know, seeing as he got beaten half to hell). So George seems less to be gravitating towards some idea of Hawkeye’s “innate kindness” and more towards Hawkeye signalling his queerness, because if you know you know... Hawkeye doesn’t have to come out to him directly for there to be some kind of kinship in that moment

5. of course, speaking of “not coming out,” Hawkeye then throwing a football and hurting his arm at the strain, what are we supposed to make of it????

6. (also look, this is reading into things, but right before that we have Hawkeye painting one of the nurses toenails, it’s not the kind of scene that asserts him as the Most heterosexual man in the world in that day and age, despite the fact that he is flirting with the nurse -- the nurse who then says she has a date with Trapper, so I guess she just wanted Hawkeye for his nail-varnishing skills)

7. also... Hawkeye does have chemistry with George. George is a clearly charming, fun, attractive guy, and I really do wish they’d had more than that scene to really interact

8. lastly and also in relation to all of the above, because the episode resists getting too personal emotionally, it feels like there are a lot of coded conversations happening:

-- Hawkeye and George of course (George telling him he’s been watching him, Hawkeye joking that George doesn’t look Black, rather than directly engaging with the fact that he was beat up for being gay, and then getting distracted from the crux of the dilemma -- that George wants to go back to his unit -- by the Sports Moment that Hawkeye epically fails)

- then Hawkeye and Trapper before Frank enters (Hawkeye delicately asking whether he remembers the patient from that day, letting it go until Trapper asks him What Patient, then Hawkeye framing it as having had the “label” of homosexual put on him -- AND THEN GETTING DISTRACTED AGAIN RIGHT as they were getting real, when Hawkeye was saying how brave he thinks George is, but then fucking Frank comes in!!!)

- then Hawkeye and Trapper versus Frank, (see above, point 2)

and then once Frank has gone to Henry and Henry has dismissed him, it seems like the actual subject mainly gets skirted around apart from as “someone is getting a dishonourable discharge and shouldn’t be”

the word homosexual does get used in the episode -- once by George when he’s coming out to Hawkeye, and once by Hawkeye when he frames it as “they hung a homosexual label on him and each one gave him a knuckle sandwich,” as I mentioned above, to Trapper -- there’s the Doylist read of it, which is that Trapper wouldn’t be homophobic, because he’s the other hero, but in Watsonian terms could feel very... testing the waters. After all how do you know he’s going to be okay with it? it’s the 50s and Trapper is just some guy from Boston who’s married with kids (and here we acknowledge that Trapper and Hawkeye are in a queer domestic partnership of some kind and if you’re me, that they really want to have sex -- and if you’re really me, probably won’t for many reasons and then Trapper will break Hawkeye’s heart and leave without saying a word)

and then of course Frank goes out of his way to not say it, which is oddly the most feeling we get of the theme of the episode once the initial stage has been set -- “one of them/those,” “powder-puff,” “not a man,” and then desperately “non-heterosexual” -- and fascinatingly Frank is the one who’s the most direct in talking about homosexuality (as derogatory, of course)

Hawkeye talks about small-mindedness and terminal righteousness and “condemning someone for his own business” and lack of compassion in terms of Frank’s behaviour, but beyond the initial acknowledgement that this kid was hate-crimed, neither he nor Trapper really engage with what’s happened to George and why (and of course, Trapper is never even shown talking with George)

Which brings us once more to the last conversation in which Trapper asks Hawkeye about what secrets he has in his past, which feels like the most coded conversation of all, considering that George was hate-crimed in the first place by accidentally being too open in talking about his past...

for the episode in which homosexuality actually gets named (I say this, it was also said in Sid’s first episode, along with transvestite, but as a main theme), it feels very guarded about how the characters come at it -- to the point that it feels like the characters themselves are feeling guarded

if you’re someone who reads these characters as queer, it’s one thing to be blatant and comedic about it so that nobody takes it seriously... it’s another to suddenly be confronted with the reality of what being outed can do to you...

9. okay actually lastly, Margaret’s kind of total non-reaction reads well for the Margaret-is-queer perspective as well (speaking of oddly guarded reactions)

10. no lastly lastly lastly Hawkeye and Trapper talking about whether they could be priests and stay celibate while in the shower (once again, shower-scenes are giving us everything)

#hawkeye pierce #trapper mcintyre #MASH #frank burns #margaret houlihan #george weston #MASH meta #im rewatching MASH #MASH season 2 #this is super unedited i need ot go to bed #somethingsomething queercoding in the queer episode

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myrfing · 2 years

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thinking about the way DE portrays ppl and struggling to...elaborate on why I don't really think any of the depictions are. "problematic" even if they often play with stereotypes and...like it's a game that easily baits you into making assumptions about people I think because it tries to deconstruct "where there's smoke there's fire" wrt stereotypes in saying that it is true but also not true in the way you believe or in a way that is convenient to you. and of course you'll get people who don't catch onto that and read the characters in pure self-service and use the very presence of stereotypical depictions and ability to participate in them as confirmation for their worldview but.

i.e. it came up with a friend asking what I thought of klaasje and how they handled the fact that you initially believe she was raped & then the game later reveals that she wasn't and it was part of a coverup...like on the surface that sounds like just another "women lie about rape"/"there's always something suspect to a rape accusation" thing but if you play the game, could you really say that unless you were really trying to read it in bad faith? Klaasje...

was not the one who added the element of there being a rape. she KNOWS her relationship with lely was iffy and every time they had sex was while high out of their minds which is why consent is. lol odd zone but she chooses not to call it coerced and doesn't believe that it was for the most part. whether this is the right or wrong thing to do is not really the point (it's not good for sure, and they both do it largely out of self-harm) but rather that this is how she chooses to see it because she's a person with reasons for doing what she does, like everyone else caught in the landscape of revachol. she wasn't afraid of him, she felt a connection to him, and even says in one of her dialogue trees that she, if given the same privileges as a dude, might have taken the same path as him. her character is another person whose circumstances were a result of moralintern rule

there's a huge component of her character where the hardie boys choose specifically to use rape as her coverup story and that's what causes a crack in their story & coordination. because of the fact that titus is attracted to her, and is a huge misogynst, and needs to see her as a helpless >rape< victim (SPECIFICALLY because he is attracted to her and is obsessed with her "womanhood") he has to help out. SHE as a person took advantage of the fact that she was nothing to them (and she deliberately made herself to be "nobody" in revachol, nobody with a concrete existence) to have them take the fall...but because of the fact she was scared of her old employers and had nowhere else to go. So it's like, why not use these people who think of her that way? (And, well, Titus actually did genuinely want to look out for her, and you could argue that her assessment that they think of her as nothing but A Woman [object of role] is only something that started mattering to her when she got into some shit, and that she had caused a sort of self-fulfilling prophecy wrt who she believed they were...but well, was she wrong?)

With all this in mind, the very idea of like...thinking that this story could be pandering to those who want confirmation and validation that Rape Doesn't Actually Happen and Women Lie seems so... irrelevant I guess? If they did bypass invoking the idea at all, if she HAD actually been raped, just to confirm the worldview that well this shit happens all the time, it's far more plausible than not (true), they could not have written the same character, the character meant to be a part of the larger question of "how do these systems affect the people that live in them?". There couldn't have been that spot of complication with the hardie boys' account, and there couldn't have been a way to break their story, and there wouldn't be an easy "made up" motive for them to use. She does lie, she lies a lot, but not about rape, and whenever she lies, it's for a really good reason. The rape as a coverup is deliberate, but NOT for the reasons that the reader might assume.

And the story does acknowledge that....yknow, lely and his little murder gang are rapists, that they have participated in mass rape and brag about it (klaasje doesn't believe this because well, she's lol. ok white woman syndrome she's never felt THREATENED by lely because she's an oranjese woman and they're each other's "own" & she considers it just him being a macho buffoon while she considers their shared origins irrelevant [it is an intentional point of the writing itself] which, i guess it is POSSIBLE that he really didn't actually tour and didn't do anything, evidenced by the fixation on his weirdly innocent eyes & the fact he was somehow the least fucked up of the mercenaries and was thus the one who actually had to liason with others because he was still capable of forming human connections, but that point is less relevant than the fact that he does see rape as power, victory, and a means of control)....so nowhere in the story does it ever insinuate that rape accusations are just a cheap tactic used by women to get out of anything. the game far more considers rape as an undeniable point of suffering that exists in the world because it has a function as a means to an end and is a...result that the moralintern (& moralism, the dominant form of thought in the game) intentionally produces en masse both in their own society and in military pursuits.

anyway this is mostly just me wanting to write me thoughts down because I suck at verbalizing them and felt like I was incoherent but LMFAO. yeah. this applies to a vast majority of the characters too in that they have reasons for doing what they do, the world gave them these reasons, and if you acknowledge them at all, you see there is sincerity in their portrayal and very few characters exist JUST as a mouthpiece. They are their own mouthpieces. the writers' worldview is ever present in the game, but it works in tandem with the characters it has and rarely overrides them and the way they exist in this world specifically because the game itself sees ideology as something that cannot have precedence over people but is still undeniable and influences everyone and explains a lot about them. It wants to be something that exists IN A REALITY with a myraid of people of different views and their own convictions and not something that defines a reality. it does not wish to control the narrative because it has faith that it will prove itself depending on the reader just by existing at all. do not know if that makes sende

#*mashes thoughts into a crab ball*#another example is the fact that kim does play pinball and is GOOD at pinball but this is BECAUSE of the fact people stereotyped him #in that way.#everyone around klaasje stereotypes her and has their own ideas about her. she plays along a lot #also irrelevant but i do not even like her so. LMFAO

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grewlikefancyflowers · 3 years

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JC’s deeply rooted resentment of WWX, JFM’s parenting, and the inevitability of the falling out of the ‘Yunmeng bros’.

In discussion of the breakdown of JC and WWX’s relationship, their falling out is often regarded as a mutual failing on both sides to properly communicate and maintain their relationship. I’m making the case here that their falling out was a foregone conclusion from the start, and in no part due to the actions of Wei Wuxian.

This is because YZY has instilled in JC the idea that JFM dislikes him, something he believes before WWX arrives in Lotus Pier, JC already feels inferior, thus as soon as potential competition for JFM’s attention comes along in the form of WWX, JC resents him, believes JFM prefers him, and looks for reasons to justify this.

Summarising their very first interactions - from chapter 71 - WWX arrives at LP, sees JC with his puppies and is so terrified that he refuses to come down from JFM’s arms the entire day. The second day, JFM gives JC’s puppies away.

Now, I would like to think that no one seriously believes that this is an act of favouritism, but I have seen this case being made so I just want to make clear that WWX is obviously traumatised by his previous interactions with dogs. After trying for a whole day to comfort WWX, with no success, JFM does not exactly have any other choice than to give the puppies away, WWX cannot be expected to live in constant terror in the place that is supposed to be his home.

Consequently, ‘This angered Jiang Cheng so much that he threw a big tantrum. No matter how much Jiang FengMian comforted him gently, telling him that they should ‘be good friends’, he refused to talk to Wei WuXian.’

JC’s reaction is fairly understandable for an 8 year old. JFM comforts JC, and does not treat him callously or dismiss him, however it takes several days until JC will even talk to WWX.

When JC does start to warm up to him, JFM thinks it’d be a good idea for them to have a sleepover, JC is on the ‘verge of agreeing’ to this, which JFM is overjoyed by - so much so that he picks WWX up.

This is not an example of favouritism, JFM doesn't repeatedly give affection to WWX and not JC, he holds him twice - the first instance being purely because WWX was too terrified to leave his arms, the second being this one. These are the only two times where JFM is described as being affectionate towards WWX, JC is still in the lead on this count. But JC interprets this as JFM preferring WWX.

This results in the JC shutting WWX out at night.

At that time, Wei WuXian didn’t know what Jiang Cheng was mad about at all. After a pause, he replied, “I didn’t steal anything. It’s Uncle Jiang who told me to sleep with you.”

Hearing that he was still bringing up his father, almost as if he was purposely showing off, Jiang Cheng’s eyes reddened as he yelled, “Go away! If I see you again, I’ll call a bunch of dogs to bite you!”

This is the important part - JC sees WWX in the worst possible light, and rarely thinks of WWX as a person outside of how he directly impacts JC - he concludes that WWX is purposefully antagonising him, this is a trend that continues well into adulthood.

Then, when WWX flees LP after JC threatens him with dogs, JYL tells JC to find people to help search for him. However,

‘If any other disciple or servant learned about this and told Jiang FengMian, after Jiang FengMian knew how he threw Wei WuXian’s sheets out and made him hurt his leg, Jiang FengMian would definitely dislike him even more. This was also why he only dared chase after them alone and didn’t get anyone else.’

JC has obviously behaved wrongly here, and JFM would be right to scold him for it, but JC interprets this as JFM disliking him. We haven’t seen anything to suggest that JFM actually dislikes JC, he always treats him quite gently, actually. But JC is already at the conclusion that JFM dislikes him, and twists events to suit this - if his dad scolds him for misbehaving, it’s because he dislikes him. This pattern repeats after the Xuanwu Cave arc too.

This is because Madam Yu has ingrained into him the idea that JFM dislikes him, because he’s her son. This has nothing to do with WWX - because both her and JC already believe that JFM dislikes JC prior to WWX’s arrival - she only sees him as additional fuel to use.

The only other person who mentions JFM supposedly treating WWX better than JC is JZX. I’m sure it's a coincidence that he’s the son of YZY’s best friend.

‘“Doesn’t he treat you better than treating his own child or something?”’

Note the ‘or something’, - JZX doesn’t seem to know this with certainty - he’s repeating what others have said, despite having visited Lotus Pier several times (as stated in ch.69), JZX hasn’t seen evidence for himself that JFM prefers WWX.

‘“Maybe I should’ve let you hit him, while I stand aside and watch. This way, Uncle Jiang might not need to come. Oh well, I really couldn’t hold back!”’

We know that WWX doesn’t see JFM as favouring him - so what does he mean by this? Well, LQR has had it out for WWX from the moment they met, and has already sent a letter to JFM complaining of his behaviour - at this point WWX doesn’t know that this results in them breaking the JZX/JYL engagement either, so he’s probably purely thinking that LQR summoned JFM to CR to discuss WWX’s repeated offenses. JC hasn’t done anything to invoke LQR’s ire (or rather, he’s gotten away with everything he has done), so WWX thinks that if JC fought JZX, it would not have been treated so seriously, compared to WWX, who has repeatedly misbehaved.

Contrary to fanon interpretation, WWX is not oblivious to other people’s feelings, he’s very empathetic, and additionally understands JC very well. He doesn’t see how JC is feeling here, because JC’s feelings are just so illogical...

‘Although it was only Wei WuXian’s casual words, he held mixed feelings, because he knew that this wasn’t a lie.

Jiang FengMian had never hurried to another sect in one day for anything related to him, no matter if the issue was good or bad, large or small.

Never.’

Once again, JC’s at the conclusion that JFM dislikes him, he twists events to support this. He’s looking at this scenario very strangely - JFM didn’t rush to CR because he likes WWX, he was called there by LQR, to discuss JYL’s engagement with JZX. Secondly, we’re never given any examples of scenarios where JC does anything to warrant JFM rushing over. As far as we know, they never even stay with other sects. Knowing JC’s personality, his dislike of doing anything to rock the boat, it’s extremely unlikely that he’s ever done anything to warrant JFM rushing over like this. Moreover, it’s a bizarre thing to be jealous of, WWX is in trouble, he’s not on the receiving end of positive attention from JFM.

JC’s flawed reasoning is once again illustrated after the Xuanwu Cave arc...

‘Jiang Cheng’s expression was complicated after he had finished listening.’

This is Jiang Cheng’s reaction after WWX credits LWJ with killing the tortoise of slaughter - this is before JFM congratulates him. Before JFM says anything, JC is purely resentful about WWX having done something heroic, more so, resentful that WWX is willingly to let LWJ take most of the credit - he’s annoyed about this, most likely feeling that WWX is rubbing in his face that he doesn’t need the recognition that JC so desperately craves.

‘Jiang FengMian nodded and said, “You did well.”

Killing a giant 400-year-old beast at only 17 was way beyond what one would call ‘doing well.’’

JFM knows about JC’s… issues, he knows how he’ll react to WWX’s receiving recognition, he likely purposefully downplays his praise to avoid upsetting him. (Who’s really being favouritised? Lol)

But, even to this, JC reacts badly, he lashes out at WWX, once more interpreting him in the worst possible way.

‘Jiang Cheng hissed, “Too fucking bad, then. You shouldn’t have been so damn stubborn and you shouldn’t have cared so damn much about such a trivial thing. If you’d never moved in the first place –”’

JC’s response is to basically tell him the entire incident was his fault. Which is objectively not true - WWX only gets involved in the conflict after it has already started, and then he acts deliberately to try to end it, rather than impulsively fighting. He also starts to say that WWX should have left their allies - LWJ and JZX - to die. This is where JFM cuts him off, and tells him it’s not appropriate to say such things - he’s not scolding him harshly, JC is not being unfairly treated here, he’s done wrong, and JFM is trying to teach him why, you know, parenting. But JC, and YZY, take this to mean JFM dislikes JC.

JFM tries to teach JC about the Jiang sect’s motto once more - this is of course, not just about the motto, but about the values that JFM wants to instill in him, as a parent.

This is where Madam Yu arrives.

“Yes, he doesn’t understand, but what does it matter, as long as Wei Ying understands?!”

Of course, what she says is nonsensical, it does matter to JFM that JC understands the motto, that’s why he’s trying to teach him. If he did not care, he would have given in already.

This is further supported...

‘Jiang Cheng’s appearance and temperament all resembled his mother’s. Jiang FengMian guided him from childhood, but no matter how much he tried, he still couldn’t change his son’s nature. As such, it always seemed like he disliked his son.’

JFM has never been dismissive of JC just because he’s YZY’s son, he’s always tried to teach him, but JC always had his mother’s nature - YZY’s nature being harsh, standoffish, foul tempered, with no care for others - Note that is says it ‘seems’ like he dislikes his son, solely because he’s trying to teach him to be a better person. He has good reason for doing so - as a kid, JC never had friends, he doesn’t seem to as an adult either, he only has Jin Ling, whom he pushes away with his foul temper. JFM was just trying to raise JC to being an even-tempered person, capable of functioning in society, which is kind of what parents are supposed to do. But once more, this is taken as dislike.

Note that during JC’s outburst, every single thing JC claims about what JFM thinks of him, he’s parroting what YZY has said, none of these points have any actual evidence.

The next point to consider is how JC blames WWX for the fall of LP, despite it objectively not being his fault - JC knows this too.

‘In his heart, Jiang Cheng knew clearly that back in the cave of the Xuanwu of Slaughter at Dusk-Creek Mountain, even if Wei WuXian hadn’t saved Lan WangJi, the Wen Sect would have found some reason to come over sooner or later’

Even if WWX’s actions did prompt the Wens to act sooner than they otherwise might have - coming sooner or later would have made no difference at all because YZY outright stated she had no intention of preparing for an attack, even after WWX suggests they should, and JFM was still going to the Wens asking for their swords back - they were still uselessly trying to suck up to the Wens, thinking it would save them.

Despite knowing deep down that WWX was not to blame - he still uses it to fuel his resentment of WWX, because the resentment was there from the beginning, the only uncertainty is the means he uses to justify it.

During the ancestral hall confrontation - he uses this excuse again.

‘Jiang Cheng responded contemptuously, “You really are forgetful. What’s called a shameful person? Let me remind you. Just because you decided to be a hero and save this Second Young Master Lan, the entire Lotus Pier including my father and mother was buried. If this wasn’t enough, after the first time, you still want a second time, even wanting to save Wen-dogs and implicating my sister and her husband, how noble of you. Even nobler, you are so magnanimous to bring these two to Lotus Pier. Allowing the Wen-dog to stand at the front of my gates and letting Second Young Master Lan offer joss sticks, purely trying to antagonize me.’

Obviously, WWX did none of these things to antagonise JC, in fact he was going through a complex emotional journey of realising that he has feelings for LWJ, and that LWJ probably has feelings for him too, he doesn’t go to the ancestral shrine to mess around - he’s ‘introducing’ LWJ to JFM, YZY, and JYL, because he’s thinking about marrying him.

The problem is, JC never really sees WWX as a person, WWX has always been more of a concept - someone to compare himself to, the reason his father doesn’t like him, the reason his mother uses to berate him. It doesn’t occur to JC that WWX is a person outside of what he is to JC, and he is therefore incapable of empathising with what WWX might be feeling right now, instead the only possible conclusion is that he’s antagonising JC.

He follows the same line of thinking when WWX defects with the Wens. JC knows what he and WWX owe them, in fact JC owes them, far, far more than what WWX does - it was his parents whose bodies Wen Ning retrieved, and it was him who WN had to rescue from LP. But JC thinks, he can get away with not paying this debt, so why should he? JC is selfish, he doesn’t understand why WWX would want to help others when he doesn’t have to, so JC concludes, this is WWX showing off, ‘playing the hero’.

Because from the moment they met, JC has never tried to know WWX for who he is, whatever WWX does, JC interprets in a negative light - when WWX tries to get LWJ’s attention, (despite it being painstakingly obvious that WWX has a crush on him) JC concludes that WWX is messing around foolishly, without reason (parroting the untrue things YZY says about WWX always seeking trouble). When WWX wants to help people, he’s playing the hero, one upping JC. JC only ever thinks of WWX in relation to himself - when WWX disappears for three months, JC’s immediate complaint is that WWX kept him waiting, that he’s put JC out by making him search for him. You could argue that JC was just worried about WWX, and not able to express it - and on some level that’s true. But there’s a very intentional contrast between how LWJ and JC react to WWX’s return - LWJ is worried about WWX, about how his cultivation method is affecting him, moreover, WWX is very clearly not himself. JC, however, does not care for that - he only sees WWX, and modao, as a tool for killing Wens.

It takes almost nothing for JGS to manipulate JC into turning against WWX in ch.73 - he readily believes every negative thing JGS says about WWX, despite being called out directly for lying by LWJ. JGS talks as if he is a servant who has forgotten his place, unlike JYL, JC does not defend him. He refuses to speak up for him - he claims that no one will - yet LWJ and MianMian did. JC didn’t turn on WWX because it was impossible for him to speak up - he was living proof that WQ and WN did not support the Wen sect in the war, he drops him the moment he can because he’s resented him from the beginning.

Another interesting tidbit about JC just fundamentally not understanding who WWX is as a person, is that he only blames LWJ for the Xuanwu Cave incident - not JZX, despite him behaving no differently to how LWJ does. This is probably because he realises WWX’s fixation on LWJ, and supposes that this is the reason that WWX got involved in the conflict. But of course, WWX would have done something whether it was solely JZX, or just a random person.

Taking all this into account, it seems almost inevitable that WWX and JC would fall out eventually, because JC was, from the start, looking for reasons to dislike WWX, he turns against him at the first opportunity he got. For the ‘Yunmeng bros’ to have a healthy relationship, JC would simply have to fix his entire personality.

JC is unable to see WWX as a person, right up until the very end of the novel - when he recalls how he impulsively put himself at risk in order to save WWX. Finally, for the first time, JC is able to understand why WWX stood up for others in Xuanwu Cave, why he helped the Wens, because JC did the same thing, put himself on the line for WWX, probably the only time JC has ever acted so selflessly. And this is why he lets him go, he lets go of the things he blamed WWX for. For the first time, he is able to empathise with WWX, he understands that WWX was never ‘playing the hero’, seeking praise or recognition, he understands that WWX helps people purely because he feels in the moment that it’s the right thing to do. This is what enables him to finally let go of WWX.

I’m always a bit baffled when people claim mxtx never gave JC a happy ending, because this is his happy ending - him being able to realise that WWX never wronged him - when he finally lets go of this, he can live freely.

#mdzs #jc wank #mdzs meta #jiang cheng

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auncyen · 2 years

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🔥 the idea that every relationship the persona 5 protagonist has is purely transactional

It's one of the most interesting things about p5's framing to me, because the idea that the relationships are transactional is suggested multiple times: by Yaldabaoth, by Sae, by Morgana at the beginning, emphasizing you need to make deals, and even by Yusuke at the start of his confidant.

But Morgana was heavily affected by the distortion of Mementos, and by the end of the game, when he's remembering more of who he is, emphasizes visiting confidants not to get things from them, but simply because you might lose the opportunity to see them soon. Yaldabaoth is...literally created from Mementos' distortion. Sae is dealing with her own distortion. Yusuke's tone, I think, suggests he's partially intrigued with the idea of how deals fit into the phantom thief 'aesthetic', but we do also see moments in the game where he's not comfortable with taking help, so the whole 'deal' frame may also have made it easier for him to ask for the help he needed with getting inspiration.

Anyway. At some point in nearly every confidant, Joker goes way above and beyond anything the other person ever asked him to do. For some PT confidants, this is before the confidant even starts--him awakening to save Ryuji's life, stopping when he caught Ann's distress during the phone call and then chasing her down to talk to her and make sure she was okay. For a lot of non-PT confidants, this is how they figure out he's a Phantom Thief lol.

Persona 5's story doesn't really...work if Joker truly viewed all his relationships as transactional. I think it's certainly within interpretation that this is how he tried to start his confidants, especially the ones with adults, just like it's possible within canon that he spent the entire first week at Shujin not really wanting to get involved and needing to be dragged into everything by Ryuji or even that he first told Arsene that yes, getting involved might have been a mistake. (I'm still amused to have encountered players who, having never picked that choice, believed it would be a non-standard game over. To me it's really, really interesting that it's available as a choice and that Ren is ultimately no less of a hero if you choose it.) But at some point, even if he started within that framework, he breaks from it, because he has to. Because pure tit-for-tat, "what can I get out of you" is both how the conspiracy runs and, I think, a dominant mindset in Mementos, where hope has dwindled to a small lost spark and people can't imagine working together to create something better, instead separating themselves into different cells and praying for some miracle to save them.

There's a point I want to make about how Yaldabaoth and Sae both do a lot to frame p5's story with their words, and they're both distorted, so p5's story starts within a distorted framework and then has to break free from that, but I don't know if I have quite the right words for it atm. Like, I think they deliberately tried to invoke that with Yaldabaoth being the one to make the disclaimer about it being a work of fiction, and how that later seems to have a hand in the Thieves disappearing because no one acknowledges them as "real"--he draws the player into erasing the characters they want to support. But, how successfully p5's story actually "breaks free" from the framework is very ymmv. I do think part of it though is that by the end of the game, Joker has successfully failed at keeping nearly every confidant purely business.

#persona 5 #ren amamiya #persona 5 spoilers

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hakasims · 3 years

Text

The Most Important Review of Every Single Marwan Kenzari Film

If you’ve seen this one about Luca, you know the drill.

Now, Marwan’s brand is a little less defined than Luca’s but I managed to find similar tropes in a lot of his films. Also, rather than copy myself and give you a redundant Marwanmeter, I decided instead to recommend which Luca character best pairs with each Marwan character for your crossover pleasure. Let’s see if we ship the same things! Some of them are crack. You’re welcome.

(all gifs again by the awesomely amazing @weardes who did not ask to be my gif factory but life’s a bitch)

Het zusje van Katia (2008)

Will you miss him if you blink? Kinda. They talk about him a lot but his actual screen time is like 43.7 seconds. Also can I just say... he’s supposed to be from Italy?? The boy says literally one (1) Italian word, and you’ll never guess what it is. (Obviously, it’s “bella” like there’s a chance he could’ve said anything else.)

Is he hot? Painfully hot.

Is he naked? There’s this one scene where he’s wearing the sluttiest pair of speedos I’ve ever seen in my entire life.

Does his hair look great? Actually, yes. Perfect hair, perfect beard, he looks amazing.

Does he fuck? Yes, a lot - off screen, including an M/M/F threesome he presumably, probably, most definitely initiated.

Best paired with? From what I’ve gathered, this hoe ain’t loyal, so the best course of action is to find him a Luca that would benefit from a one night stand with no strings attached and wouldn’t fall in love with him. The obvious choice here is Valerio from Slam - Tutto per una ragazza. They meet, they fuck, then Giac makes his 4-hour drive back to Pisa, and they don’t see each other again until the next time he’s in Rome. Everybody’s happy, especially the two sluts in question.

De laatste dagen van Emma Blank (2009)

Will you miss him if you blink? Yes, absolutely.

Is he hot? Very.

Is he naked? Almost constantly.

Does his hair look great? He’s got those cute short curls, he looks so good.

Does he fuck? That’s literally why he’s there: to fuck and to die.

Best paired with? Man, I wish I had something to work with here. The only thing we know about him besides his sexual prowess is his affinity for white suits and toy helicopters. And as far as I know, those might be the exact things Fabrizio from Nina finds hot in guys. So like, why not?

Loft (2010)

Will you miss him if you blink? He’s the fifth most important character.

Is he hot? Yeah, sure.

Is he naked? There’s a scene where he’s wearing underwear and a tank top but it somehow makes him look like a kindergartener.

Does his hair look great? It looks quite nice.

Does he fuck? Yes, though I wish he didn’t.

Best paired with? Tom is a very violent person and a drug addict. He does messed up stuff to his sexual partners I’d rather he didn’t do to any of Luca’s characters. Feel free to use him for your sadistic fantasies or as a villain or whatever.

Rabat (2011)

Will you miss him if you blink? No, he’s one of the three leads.

Is he hot? Oh yes! And cute!

Is he naked? He’s at the beach wearing nothing but boxer shorts.

Does his hair look great? He’s got this extreme undercut thing that would look ridiculous on anyone less pretty, so like no, he doesn’t have great hair, but also like it’s Marwan, you know what I mean?

Does he fuck? Before he embarks on a road trip with his friends, he has an offscreen threesome with two girls he picked up at a wedding. Slut.

Best paired with? Gabriele from Waves. They’re both sweet guys who could meet in some Tunisian port and decide to sail the Mediterranean Sea together.

Black Out (2012)

Will you miss him if you blink? Not unless your blinking is very deliberate.

Is he hot? Not really. He’s a dirty cop with a shitty moustache and oral fixation.

Is he naked? No, but I wish he was: his clothes are awful. Marwan is 29 in this movie and he looks 50!

Does his hair look great? Nope. They took Marwan’s usual short hair and made it not work somehow.

Does he fuck? No.

Best paired with? The one thing Luca’s characters all have in common is that none of them come off as bootlickers. All of them are either too soft for such a relationship or wouldn’t waste their spit on a cop.

Wolf (2013)

Will you miss him if you blink? No, he’s the protagonist.

Is he hot? *gestures wildly at the gif*

Is he naked? He’s got quite a few shirtless scenes.

Does his hair look great? It’s nothing special but suits his character well.

Does he fuck? Oh yes.

Best paired with? Hear me out. I know that some people ship him with Fabio, but in my opinion that pair, while hot, doesn’t work. Here’s my pitch: Cesare from Non essere cattivo. The drug connection is still there, but in this case Majid’s problem-solving skills won’t fall on deaf ears. Cesare needs a daddy, ok? Majid can be a daddy when he needs to, especially when he has a soft boyfriend to care for. And Majid needs soft, not psycho.

Hartenstraat (2014)

Will you miss him if you blink? No, he’s the protagonist once again.

Is he hot? Painfully.

Is he naked? There’s that iconic scene where he’s wearing nothing but black boxer briefs and boots while carrying a tray...

Does his hair look great? He’s got Joe-like curls and looks like what every male romantic lead should aspire to look like and then cry because they all fail.

Does he fuck? There’s one very unfortunate sex scene played for laughs. I’m pretty sure he’ll need therapy afterwards. I certainly do.

Best paired with? Paolo from Il padre d’Italia. Paolo deserves the best boyfriend, and who’s better than Daan, an extremely hot man who cooks? They both have daughters, so they can talk about that, I guess, and Paolo can finally have a family. Honestly, this is so wholesome I just made myself cry.

Lucia de B. (2014)

Will you miss him if you blink? For sure.

Is he hot? He’s a cop. Again. But he looks good.

Is he naked? Fully dressed, but man are his clothes ugly. Is that a cop thing?

Does his hair look great? He has slightly longer curls, which is fine and the best thing about this character.

Does he fuck? ACAB. (I know this doesn’t answer the question, I just wanted to make it clear.)

Best paired with? See my bootlicker comment from earlier. While Detective *checks notes* Ron Leeflang isn’t explicitly corrupt, he’s obviously a dick, so the best I can do here is recommend any Luca character that has ever been in trouble with the law for any fics about power imbalance you want to write but aren’t comfortable with a nice Marwan playing the villain.

Bloedlink (2014)

Will you miss him if you blink? Oh no, he’s there the entire time.

Is he hot? In a weird way, yes.

Is he naked? So, so, so naked. Like, leave nothing to the imagination naked.

Does his hair look great? I’d say that little rat tail is the exact opposite of great.

Does he fuck? Probably more than is good for him. I should also add that he’s canonically queer in this.

Best paired with? Rico is a pathetic loser in need of someone who’s got his life together and has a lot of experience dealing with fuckups. Enter Loris from Il mondo fino in fondo. He has a stable job and a savior complex, and with his little bro gaying it up in Chile and not needing him anymore, all he wants right now is someone to fix. I should be a fucking matchmaker in real life, for real.

Pak van mijn hart (2014)

Will you miss him if you blink? Undoubtedly.

Is he hot? No. The whole point of his character is to be the lesser choice compared to a guy who looks like a completely ordinary bland white dude...

Is he naked? ...so of course he isn’t naked! What, are they gonna take this poor woman, show her Marwan Kenzari’s post-Wolf body and expect her to choose her deeply mediocre ex? Please! They’re gonna dress him in the dorkiest clothes possible...

Does his hair look great? ...and make him wear the most awful wig that was clearly run over by a truck.

Does he fuck? No. As you can observe, they tried really hard to make him unfuckable, but honestly, he seems like a perfectly nice guy.

Best paired with? You know what? Mattia from La solitudine dei numeri primi is in desperate need of some sweetness and normalcy. I’m sure Richard will treat him with kindness and respect.

Collide (2016)

Will you miss him if you blink? He’s the fifth most important character. Out of five.

Is he hot? Very hot.

Is he naked? Not for a second! What’s up with American movies where people aren’t just casually walking around naked without any plot necessity???

Does his hair look great? His curls are so cute you guys! Look at them!

Does he fuck? Not explicitly.

Best paired with? Fabio from Lo chiamavano Jeeg Robot. Again, the drug connection is there, but Matthias is soft enough not to butt heads with Fabio and, by the end of the movie, rich enough to satisfy his cravings for good living and fame. Also look at how good their color coordination is with those dark wine red clothes! Sometimes planets just align, okay?

Ben-Hur (2016)

Will you miss him if you blink? Yes, especially if you aren’t watching the background.

Is he hot? Your usual Marwan hot.

Is he naked? No.

Does his hair look great? His typical short curls with a twist. I think the forehead area is supposed to invoke the Caesar cut? I don’t know. It looks fine when not hidden under that dumb helmet.

Does he fuck? No.

Best paired with? A better script and a much better director. (Seriously, what is this blocking?)

The Promise (2016)

Will you miss him if you blink? He’s there a decent amount in the first half of the movie and then almost completely disappears in the second half.

Is he hot? Very much, yes.

Is he naked? Unfortunately, no.

Does his hair look great? He’s got short curls again, but this time they’re fashionably styled, it’s magnificent.

Does he fuck? Oh yeah! And there’s no way he isn’t bi or pan in this. No way.

Best paired with? Roberta from L’ultimo terrestre. Listen, Emre Ogan may be a slut but he’s a gentleman, okay? He’d treat Roberta right and he’s got daddy’s cash to spare on hundreds of gorgeous white dresses for her.

The Mummy (2017)

Will you miss him if you blink? He’s there, but barely.

Is he hot? Dangerously hot.

Is he naked? Not once! Instead we get a naked Tom Cruise literally no one asked for.

Does his hair look great? It’s your basic professional short hairdo.

Does he fuck? No.

Best paired with? Malik is a member of an organization tracking and destroying various monsters and historical artefacts related to them. Guido from Tutti i santi giorni speaks four languages, including Latin, and is a literature and ancient history nerd which makes him a valuable asset. Malik can fight and protect; Guido is bumbling and in need of saving. Guys, this writes itself.

What Happened to Monday (2017)

Will you miss him if you blink? No, especially not in the third act.

Is he hot? He’s okay.

Is he naked? Very naked.

Does his hair look great? They shouldn’t have greased his curls back. He looks like another victim of Fabio Cannizzaro’s stylist. Also I wish he’d either shaved or finished growing out that beard.

Does he fuck? He fucks and he fucks good. He’ll go down on you, he’ll deflower you slowly and gently, he’ll choke you if you want him to, he’ll spoon you all night, he’ll give you emotional support, he’ll murder people for you - he’s down for whatever.

Best paired with? There’s one Luca character who needs a lot of sex and even more emotional support. Alright, most of them do, but I’m thinking of Ettore from Lasciate andare. He needs it, okay? Good dicking, good spooning, a good ear, a fine piece of ass to cry into - you get the gist. Most importantly: someone who’d love him for who he is and with whom he could relax and be himself. (Also, I see you, people comparing him to Fabio. Shame on you for sleeping on this soft boy and judging him based on his appearance.)

Murder on the Orient Express (2017)

Will you miss him if you blink? He’s kinda always present, being very French.

Is he hot? Very hot.

Is he naked? No, but I’m willing to forgive that because he looks so good in his conductor uniform.

Does his hair look great? He never takes off his hat.

Does he fuck? No.

Best paired with? Mickey Miranda. They’re both murderers morally dubious characters who would look hot together. What else do you need? (Again, I see you, people who want Pierre for Roberta because he’s a “nice guy”, and I know for a fact you didn’t watch the movie. Spoilers, I guess.)

The Angel (2018)

Will you miss him if you blink? No, he’s the protagonist.

Is he hot? Oh yes.

Is he naked? Not once, but you won’t regret it because he’s wearing excellently stylish 1970s clothes.

Does his hair look great? It looks fantastic. The sideburns (not yet seen here) are a good touch.

Does he fuck? He can definitely get it, but he’s loyal to his wife.

Best paired with? As the most aesthetically coherent and fashionably hot pair in this post, Ashraf and Primo are a no-brainer. Can you imagine Primo calling him “Angel” in different contexts? When he’s being intimidating, not realizing how palpable the sexual tension between them is, and later not even hiding his arousal? Sometimes things just work because they’re hot. That’s all, folks.

Aladdin (2019)

Will you miss him if you blink? No, he’s the main villain.

Is he hot? It’s not like he went viral for being the “hot Jafar” or anything.

Is he naked? No! Fucking thanks a lot, Disney.

Does his hair look great? He has a buzz cut under that turban but he looks good in the turban, so that’s something.

Does he fuck? It’s a Disney movie, so he doesn’t fuck - explicitly or otherwise - but he still comes off as a thirsty bitch.

Best paired with? Jafar ends the movie as a genie who’s obligated to grant his master three wishes but is enough of a petty bitch to exploit the hell out of the “gray area” and screw them over Wishmaster style. My unconventional pair for him is Lui from Ricordi? So many scenarios with distorted memories and magic-induced mindfuck. So many possibilities for awesome and messed up crossover gifsets! Don’t say I never give you guys anything.

Instinct (2019)

Will you miss him if you blink? No, he’s very prominent.

Is he hot? I hate myself for finding him hot but I do.

Is he naked? He’s playing basketball shirtless in one scene, shaking his sweaty boobs everywhere.

Does his hair look great? His weird mohawk-like thing is honestly terrible, but if anything can make it work, it’s Marwan’s bone structure.

Does he fuck? Um, I’m pleading the Fifth on this one for the sake of good taste.

Best paired with? Prison. A very lonely, Luca-less prison.

The Old Guard (2020)

Will you miss him if you blink? No, unless blinking in your case means sleeping through the gloriousness that is the first ever canonically gay couple in an American action film.

Is he hot? Painfully.

Is he naked? Shirtless in one scene.

Does his hair look great? Soft curls courtesy of Luca Marinelli’s tireless lobbying.

Does he fuck? Not on screen, but you can just tell by the way he looks at his husband and reads impromptu poetry right to his face. And everybody knows nothing kindles the fires of passion quite like murdering homophobes together.

Best paired with? If you have to ask, you’re clearly reading this by mistake. In which case, kudos for finishing such a long and confusing post, now go watch The Old Guard and cry at the beauty that is The Immortal Marriage.

#marwan kenzari #luca marinelli #the old guard #and other movies #i'm lazy #immortal husbands #and their parallel versions i guess #crossover ships galore

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deborahdeshoftim5779 · 3 years

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Merlin & Arthur’s friendship: clichés versus reality (Part III)

Following on from Merlin & Arthur’s friendship: clichés versus reality Part I and Part II, here’s Part III.

CLAIM 5 #: Merlin thinks fighting is meaningless violence

Merlin certainly claimed it-- but his actions told a different story.

It took me a long time to understand that Merlin was in fact very similar to Arthur. This realisation came while rewatching episodes 5x03 and 5x04 in particular; in the latter episode, Merlin admitted to Arthur that if someone had murdered his father, he would probably have sought vengeance. Yet we know that Merlin hated vengeance, and that he had physically intervened to stop Arthur from yielding to said vengeance.

This led me to see how Arthur and Merlin’s friendship became a coping mechanism to deal with the loss of their respective family (literally and figuratively).

One key way that Merlin is similar to Arthur is that he, too, pretends not to like something in public, while his actions speak differently.

Hence why Merlin loved claiming that fighting was pointless, that it was just “sweaty men knocking the sense out of each other” (episode 4x09), and appeared not to enjoy training sessions. Episode 1x02 had a hilarious and undoubtedly genuine example of Merlin abhorring the art of war, as he struggled to hold his weaponry, tripped, tumbled, and probably ended up with tinnitus! “D’you you hear clanging?”

I used to think this change occurred much later, but episode 1x02 showed Merlin eagerly watching the tournament just one day after he complained about having to learn more fighting techniques and about being Arthur’s servant.

Also, after being pilloried for being clumsy with Arthur’s armour, the first thing Merlin did was to seek Gwen’s assistance. Look how proud he was later, when he put everything on correctly. “That was much better,” Arthur said, to which Merlin responded, “I’m a fast learner.”

This suggests that, being a resourceful person who lands on his feet, Merlin quickly realised that he would have to learn about warfare if he was to make his way in Camelot.

I already have a lengthy post proving that Merlin had excellent capabilities in battle, and that Arthur had potentially trained him better than his knights. See the link below this post.

However, the greatest evidence that Merlin respected the art of war was his insistence that Arthur stand up and fight to reclaim Camelot. This occurred chiefly in episode 3x13, when Arthur was discouraged by Morgana’s treachery, and in episode 4x13, when Arthur completely lost hope and abdicated the throne.

In both episodes, Merlin helped take back Camelot not only using magic, but also with the sword. Notice that in episode 3x13, Sir Lancelot never questioned Merlin’s ability with a sword. Instead, he was impressed by its powers. As far as Lancelot was concerned, Merlin was “the one Arthur should knight. You’re the bravest of us all and he doesn’t even know it.” So Lancelot knew that Merlin was a capable fighter, and would embody the noble warrior so admired in Camelot.

Ironically, Lancelot did not live to see Merlin dressed as a knight in 4x05 during the mission to trap King Caerleon.

Of course, we have an example from Merlin’s own mouth: “You’re a great warrior,” he said to Arthur in episode 1x13. In episode 3x01, he was impressed by Arthur fighting blindfolded against two opponents, though he quickly tried pretending that he had “seen better”. In episode 3x04, he laughed at Dagr’s threats against Arthur: “I’d like to see you try!” Then he tried persuading Gwaine to stay in Camelot on the basis that, “You and Arthur: you fought well together.” During that episode, Merlin was impressed by Gwaine’s fighting before and during the mêlée.

In episode 5x05, he watched Arthur duelling against Mordred unarmed, then stood up to applaud the king. We can safely assume this occurred many times, since Merlin attends all training sessions and is responsible for maintaining all of Arthur’s armour. Many scenes, such as in episodes 4x05, 4x09, and 5x03, show him either polishing or putting on Arthur’s armour.

So why all of Merlin’s dismissive comments? For one thing, he didn’t like the braggadocio and arrogance of many knights-- or those who would wish to be knights. Hence why he called Valiant a “creep” in episode 1x02, much to Arthur’s amusement. Secondly, he did not see the point of certain tournaments, such as that of episode 3x11. It didn’t help that Arthur said, “The only rule is: there are no rules.” Thirdly, the death toll alarmed him. “Cause last time this tournament was held, three men died... That was just on the first day.” (Also episode 3x11.)

Another reason that hit me while rereading this: Merlin wasn’t naturally good at fighting. Remember that Arthur said, “I’ve been trained to kill since birth.” (Episode 1x01) This suggests some natural talent on his part, though greatly improved with hard work. Meanwhile, Merlin not only fumbled with weaponry, but faced merciless teasing from Arthur about his lack of skill. To compensate for his feelings of incompetence, Merlin linked Arthur’s fighting prowess to his arrogance: “How long have you been training to be a prat?” (Episode 1x01)

While he had a good point, it was also a way to dismiss his inexperience with fighting and other facts of life. We have to remember that he came from a tiny, poor village. Camelot could have been another planet.

Despite all this, when it came to watching Arthur train, watching Arthur train his knights, and, most importantly, fighting to defend Camelot, Merlin had nothing but respect for the art of war.

CLAIM #6: Arthur (mostly/always) needed Merlin to make big decisions

Untrue, as the following examples will demonstrate.

By the way, Merlin helped fuel this idea that his decisions were necessary for Arthur’s rule. In episode 4x11, he asked Gaius whether he should do anything to cause Arthur and Gwen’s reconciliation. Gaius rightly asked, “You don’t think that’s a little arrogant?”

In episode 3x07, Arthur decided to rescue Gwen’s brother-- a complete stranger-- from the Castle of Fyrien. Just one episode later, he succeeded at the majority of his quest in the Perilous Lands despite being enchanted to lose his energy. Needless to say, the choice of retrieving the trident of the Fisher King was Arthur’s alone, made after a night of contemplation.

Another great example comes from episode 4x05, where Arthur repented of his wrongdoing to Caerleon and his kingdom, and refused to make his men risk their lives on his account. He then took matters into his own hands, pleading with Queen Annis to invoke the right of single combat.

In episode 4x06, Arthur only told a few people that he was riding through the Valley of the Fallen Kings. Merlin wasn’t one of those people, hence why he said, “Arthur. You are not serious...Nothing good ever happens in the Valley of the Fallen Kings. Nobody in their right mind would go in there.”

How come Merlin didn’t know? Arthur said, “The routes are secret, Merlin: that’s why *we* chose it.” Emphasis my own. Later, we discover that Arthur had discussed this with his council, a select number of knights, and Agravaine.

My favourite example comes from episode 4x11. Arthur negotiated with a longstanding rival, Nemeth, over the status of the lands of Gedref. We cannot underestimate that achievement. Arthur said that the lands have “long been in dispute”, and when he announced the end of their negotiations, the knights looked extremely nervous. Arthur had to allay their fears by calling it a “fair and honourable agreement”. That may have been a polite way of saying that they had avoided humiliating sacrifices and war.

On top of that, Arthur sealed the treaty by securing an engagement to the Princess of Nemeth-- exactly the kind of political savvy that his father had encouraged. “Your marriage should have been used to form an alliance with another kingdom…” (Episode 5x03.)

The first thing Merlin said was, “How come I didn’t know any of this? How come you didn’t say anything?” I will not go into why Merlin’s reaction here was presumptuous and arrogant, but we can see that Arthur deliberately kept this information from Merlin to avoid disagreement and argument.

Of course, the great episodes 5x01 and 5x02 show Arthur risking everything to save his men “or die trying”, because to do otherwise would be to sacrifice his beliefs. In episode 5x04, Arthur decided to rescue King Rodor from King Odin, in spite of the immense danger and the holes in Princess Mithian’s story. In episode 5x05, he decided to beg the Disir for Mordred’s life, because he did not want another innocent man dying on his behalf.

And so on.

TO BE CONTINUED IN PART IV

More on Merlin’s fighting skills

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anonymouslyangsty · 3 years

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Idea: Escape Room AU. Making a loose interpretation of that one horror movie. Some of the Danganronpa characters are invited to play in an escape room, but find that if they don't solve the puzzles in time the consequences are deadly. Not only that, but each of the rooms are deliberately designed to invoke past traumas of each of the characters. My main motivation? High stress Ishimondo.

YES. 100% yes. You don't know how much I crave action/adventure Ishimondo. Yes domestic fluff is sweet, yes the death game can be intense. But there's something special about people having to actively fight for their lives together, and solving murders just doesn't hit the same.

So yeah I like the idea, it almost gives me YTTD vibes (for those who don't know, Your Turn To Die is like DR but you win puzzles or die. I love it)

(If you're interested, there's a fic that kinda fits this idea. It's Beyond Despair. It's basically "everyone who dies comes back and now they have to do puzzles to survive. I'll try not to take too much inspiration from it for this concept)

But yeah I love this idea. I think things like this do best with smaller groups, so here's an idea: Leon, Hiro, Chihiro, Mondo, and Taka go to an Escape Room over the summer for Mondo's birthday. Then surprise! It's all death trap filled.

Just trying to think of potential rooms on the spot...I warn you that I've only gone heavily into the backstories of Taka and Mondo when it comes to DR1, so I might be missing out on some good ideas.

Hiro has to make a bunch of predictions to stop the others from getting harmed, perhaps a form of Russian Roulette. If he predicts where the bullet is incorrectly, he ends up shooting someone. He's probably not aiming for anything vital just in case, but it would still suck.

Not sure how this relates to trauma. Maybe he messed up an important prediction, and that led to someone getting seriously hurt?

Chihiro's great issue is weakness, which he tries to overcome. So maybe his room is having to hack something with a timer, where failing to do so in time leads to everyone burning alive. It would test his mental fortitude.

Or we could go the physical strength path. Like a situation where the solution is in an area so small that only Chi can enter, but something inside has to be forcefully pulled open. So Chi has to find the strength to do it, either by outsmarting the trap, or pure strength.

Or maybe it's both? Chi has to show both mental and physical strength to pass the trial.

Mondo has his own issues with strength, not to mention his guilt for the whole Daiya thing. Maybe he gets put into a situation where he alone can solve the puzzle, but cannot act. Instead, he has to tell the others what to do.

Think something like the game Keep Talking and Nobody Explodes. The basic premise of that game is: there are two players, one with a manual, and another with a bomb. The player with the manual has to instruct the other player on how to defuse the bomb. The player with the bomb cannot see the manual.

And that would be pretty stressful for Mondo. He isn't confident in his intelligence, so having to solve the puzzle alone would already be a problem. Plus there's the fear that he'll fail his friends, that he'll mess up and get them all killed.

For Leon...I'll admit that I don't have a solid idea for him. He wants to leave baseball and become a musician, right? So I'm not really sure how to infuse that desire into his room.

Plus I don't want to make his room just "hit this target to escape" because he can probably do that really easily...But it still needs to be involved with his talent in some way.

Here's an idea. It's not ideal because I'm not sure how well it fits into his character, but at least it includes his talent in a way that won't be horribly easy for him.

The group has to play a game of baseball, Leon vs everyone else (sure the teams are uneven, but Leon's the best baseball player around, so it's fair).

The game has to end with 12 home runs (why 12? there's a dumb reason.). For each point the enemy team gets, the other team is punished somehow. Each punishment is worse than the last.

Leon is a way better player than all of them combined, so it's not about him winning. It's about him deciding who gets hurt. Does he save himself, or save the others? It's a game of selfishness vs selflessness. Not to mention a delicate balance of ensuring nobody's too hurt to keep going.

As for the punishments, we could add another layer of selfish vs selfless actions. Maybe the losing team has to decide among themselves who takes the punishment, or they can all agree to take a slightly less harmful version of it.

And Taka. I'm...not sure? His character is all about morality, but Leon's trial kind of has that covered. There's also his role as a leader, but Mondo's trial covers that. Whatever the case, I'm just going to throw out ideas.

First thought is to focus on Taka's passion and strong work ethic. Think of it as kinda the opposite of Mondo's proposed trial. Taka's placed on some kind of pedestal that leaves him about 8 inches from the ceiling. On top of the ceiling is some kind of button, just far enough away that he has to reach to touch it.

While he's up there, everyone has...some kind of puzzle to solve. I don't know what honestly, probably some moral dilemma or something to keep on theme.

Now here's the point of this trial. Around the beginning of the room, Taka's shot with like half a dose of sedative. Not enough to knock him out, but enough to make the process of reaching up to hold a button pretty hard. Whenever he isn't pressing the button, water starts filling the room. If he passes out, they all drown.

This trial places him in a position of power, as everyone is relying on him to stay strong despite the struggle he's facing. And it's the opposite of Mondo's trial because he has no agency. He can't really help solve the puzzle, all he can do is keep that button held. But it's also similar to Mondo's trial because, if he falters, everyone dies.

The downside to this option is that it has nothing to do with morality. Mondo could just as easily have this trial, since it's more about hard work and strength.

Another option is something that focuses far more on morality. I'm not sure of the details, but perhaps it's a situation where he has to decide who of his friends to hurt to help everyone escape. And he wants to find a solution that leaves everyone unharmed, but that very well might not be possible.

Or maybe something like the prisoner's dilemma? (In very basic terms, you have prisoners A and B. If A and B trust each other, they both escape. If one betrays the other, the one who betrayed escapes with some extra benefit. If both betray, both get nothing.)

In this hypothetical situation, perhaps this is the last trial, just long enough for little resentments within the group to build. For the stress of the situation to make friendship become overshadowed by self preservation. Can they really trust one another to do the right thing, or will they get betrayed?

This is more morality related, but it's also not specific to Taka. Taka doesn't play a lead role, they all do, since they all have to face the dilemma.

Final idea, and admittedly the least formed one. They’re in...some kind of puzzle, with a timer of course because we need the pressure to be one. In the room with them is someone none of them know, bound and gagged.

They can spend time trying to solve the puzzle the hard way, or they can do it the easy way. But the easy way means killing the captive (Maybe they have a key in their stomach or something). And you want to do the right thing, but there's a timer and the moral option takes so much longer.

Taka continues his role as moral compass for this trial. He has to be the one to declare if they go the easy option. If he choose it, he personality has to get the key. There's a knife provided for the task

It could feed on Taka's fears of corruption and morality. Is it better to sacrifice one to save the group? Is he being selfish for trying to save a stranger rather than his friends? Taka has a very black and white view on morality, and this trial would force him to shatter that.

It could also lead into a fear that he'll become just as corrupt as Toranosuke. After all, if he can't solve this trial without any deaths, how can he be a good man?

Honestly? While I called this one the least formed, I think I like it the most. It's a real moral dilemma.

#kiyotaka ishimaru #hiro hagakure #mondo owada #chihiro fujisaki #leon kuwata #danganrompa #also #thank yall for dealing with my slow response time #an ask tag

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davids-cartoon-corkboard · 4 years

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I have said a Lot about the “Raph is a system” theory over the past several months, so this is something of a compilation post. It’s got some new stuff, it’s got some old stuff. (You’re reading Part 1) (Part 2 is here) (Part 3 is here)

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Firstly, “system” is the term for someone with Dissociative Identity Disorder, or DID. (The term can also apply to some folks with OSDD.) Someone might develop DID after experiencing long-term trauma at an early age- roughly five or six years old. To paraphrase the DSM-V:

1. We’ve seen three (possibly four) distinct personality states who speak, act, and perceive others differently.

2. The personality states, or “alters”, don’t necessarily share memory, and Donnie insinuated in “The Clothes Don’t Make the Turtle” that Raph has a bad memory in general.

3. Problems arise when alters don’t get along or aren’t on the same page. That none of them seem to be quite aware they’re a system doesn’t help either; it’s hard to work on communication and cooperation when you don’t know they need to be worked on!

4. This whole situation isn’t a normal part of a broadly accepted cultural or religious practice, or just Raph playing make-believe. (Though I wonder if he had “imaginary friends” when he was younger...)

5. It’s also not because Raph’s been smoking the devil’s lettuce or whatever. “Pizza Puffs” was one long weed joke and he was the only one “sober” (not poisoned) throughout! We don’t see this happen to other mutants, so it’s not a bizarre side effect of mutagen either.

(I’ve seen a few people joke that Mikey has “multiple personalities”, but that’s a tad yikesy and also just plain incorrect. His “doctor” personas are something he does deliberately, and youngest siblings are just Like That.)

So yeah, Raph is pretty heavily DID-coded. We’ve seen four alters so far:

“Host” Raph (HR): He’s our everyday Raph. A “host” is an alter who fronts most of the time and takes care of “business as usual” situations. They are often unaware of past traumatic events, such that they can appear “normal”. (Ex: the host of a child who lives with an abusive parent could be unaware of the abuse. Otherwise, they might cry or be uncooperative whenever the parent is near, further invoking their wrath. This unawareness allows them to be a “good child”, and stay under the parent’s radar sometimes.) Some systems have more than one host, but that the others have shown up so rarely in this story suggests HR is the only host (for now?).

Savage Raph (SR): Debuting in “Man vs. Sewer”, he’s a survival-oriented alter. HR probably could have defeated the Sando Brothers on his own under normal circumstances, but being in the middle of a breakdown doesn’t do much for your fighting skills. SR got pulled to the front to deal with them instead.

“Red” Raph (RR): “Red” is just a placeholder since we don’t actually know his name yet (or even if he has one, not all alters do), though I’ve also heard folks call him “Angel”. He’s got a “tough love” approach to problem-solving, which was probably a helpful thing in the past. LDM were no doubt rowdy children! We were (officially) introduced to him in “Pizza Puffs”.

Mind Raph (MR): MR could just be a manifestation of HR's thought process via Cartoon Goofery, but that possibility doesn’t give me anything to work with so I’m ignoring it. He’s pretty similar to HR, maybe a tad more upbeat. We (officially) met him in “Raph’s Ride-Along”.

When “Pizza Puffs” first aired, I was like “ah yes, this is the alter who has the cranky edgelord tendencies we’ve seen in previous iterations of Raph. He probably broods on rooftops in the rain when he’s in a bad mood.” Combining that with the whole “Red Angel” thing gives off some Batman vibes. And, of course, SR is similar to the Hulk. Those two heroes are pretty different, but they do have one major thing in common...

A sudden, violent loss. Given how prevalent rushing water is throughout “Man vs. Sewer”, I’m thinking a flood came through and separated Raph from his family. (You could probably argue that turbulent water symbolizes a turbulent subconscious? 🤷) Again, DID stems from long-term trauma, so Raph must have been gone for... a while. A couple of months, maybe more? It’s hard to say exactly; we have a little wiggle room when applying human developmental psychology to a human/turtle mutant. Since Splinter still needed to care for the other three, he wouldn’t have been able to devote much time to searching for Raph, and the New York City sewers go on for miles and miles. The longer Raph was alone, the more convinced he would have been that the others had drowned and he was the only survivor.

How old would he have been? I know the turtles are “different ages”, but they were all mutated at the same time so I’m pretty sure Splinter was just like “the littlest one is the youngest, the biggest one is the oldest, and the medium-sized ones are the middle children.” They’re all probably fourteenish by “Finale”. Back in “MvS”, Leo said, “You know how savage Raph gets when he’s alone”. He didn’t say anything like, “You know how savage Raph gets when he’s alone ever since such-and-such an incident happened”. This suggests that LDM straight-up don’t know something traumatic happened to Raph; they were too little to retain concrete memories of that time. In their minds, Raph has always been like this. Draxum isn’t known for his patience, so even though he wasn’t able to immerse the hatchlings in mutagen for long, they probably mature a bit faster than humans. And since humans usually can’t remember anything from before four years of age, three sounds about right for the turtles, though they would have been stronger and steadier on their feet than any human toddler. I doubt Raph would have survived otherwise.

I think he’s sort of... “stuck” back in that trauma. Catching food, building a fire, making a weapon, and getting camouflage aren’t the behaviors of someone who’s only been gone for a few minutes.

When SR called for help, I don’t think he was expecting anyone to answer.

But Raph did manage to hang onto something as he was swept away! It wasn’t much, but that little ragdoll gave him comfort while he was scared and alone.

(The rabbit design on Bruce’s pajamas is probably a coincidence, but...)

Raph seems the type to have sympathy for odd-looking toys. His knockoff Mrs. Cuddles plushie was the emotional crutch he needed back then.

And then he was separated from that as well. Lowkey associating Mrs. Cuddles with this traumatic event would explain why HR was so scared of her. That he doesn’t remember the trauma means he has no context for this fear, making it seem silly and baseless to him (and to the rest of his family), which is why he denied being scared at all in the first part of the “Mrs. Cuddles” episode. It would also explain why he collects teddy bears instead these days, they are a “safe” toy. (The moral of the story is to not make fun of triggers that seem silly.)

(I wonder what would happen if Mrs. Cuddles encountered Savage Raph? Perhaps he’d be quite sympathetic towards such a lonely little raggedy thing! Timestuck as he is, he probably wouldn’t question why a stuffed animal can talk... and it wouldn't be hard for her to persuade her “new bestest fwiend” to get rid of some “mean ol’ nasty sewew monstews” for her.)

That whole “sewer monsters” thing suggests Raph ran into... something while he was wandering alone. Y’all have heard those rumors about alligators living in the New York City sewers, right? Encountering Leatherhead could trigger a flashback.

It would be pretty easy to introduce Leatherhead into the narrative. One of the episodes the Rise crew had planned was titled “The Island of Dr. Noe”, and alligators have very impressive teeth. The Mirage comics had a story where Leatherhead and several cryptids were brought to an island to be hunted for sport.

Noe seems to have quite a few cronies/friends/rivals he could entertain this way. Since he’s got that obsession with Raph, Noe captures him as well, knocking him out with those darts so he can’t waste his energy trying to escape too soon. (Let’s just assume everyone’s powers are glitchy because they all hit another wave of puberty, meaning they can’t just curbstomp the lower-level villains lol.)

HR wakes up on the island and, of course, starts to panic because he’s lost and alone. While wandering, he runs into Leatherhead, which would trigger a flashback to getting attacked by that alligator all those years ago. But Leatherhead doesn’t want to fight! He’s just as scared and confused as HR is, and could really use a partner to help him survive this island.

HR and SR come into conflict because Leatherhead is/isn’t/is/isn’t/is/isn’t a threat. HR eventually wins out, reasoning that even if Leatherhead is that alligator, it wouldn’t be fair to judge him for what he did back when he was an animal.

But time and dissociation can make memories unclear. That our first look at Leatherhead was in Draxum’s “bluh bluh I’m gonna mutate all the humans” bit in “Bug Busters” means he’s a human-base mutant. He wasn’t the alligator back then, but the hunter tracking it. Leatherhead isn’t one of Noe’s targets, he is one of Noe’s guests! And he wants no one to interfere with his quarry, so he’ll play nice long enough for him and the snapper to take out the rest of the hunters and the freaks. Then the two of them will have the island all to themselves...

Years and years ago, Jack Marlin was a big game hunter prowling the New York City sewers in search of an alligator. He did manage to find and kill one, only to realize it had also been hunting! He had inadvertently saved the strangest little turtle creature.

Marlin had become too skilled at this point, the hunt held no challenge for him. This turtle sounded very young, and he was quite big and strong already. An adult could be tough and intelligent enough to entertain him. Marlin tried to get Raph to lead him back to “the others”. But Raph had been lost for some time, and as far as he knew, his family was dead. Hearing that put Marlin in quite the sour mood. A little mutant snapper is a better catch than none at all, so Marlin tried to haul Raph off. Raph fought back and bit off Marlin’s hand. He escaped, but lost his rabbit in the scuffle. Marlin retreated as well, taking some time to recover, scheme, and hunt other game. (And to pocket that rabbit. The blood loss had made him woozy, and he wanted to have some kind of proof he hadn’t just hallucinated the snapper.) Perhaps he turned that alligator’s hide into a vest, which provided the genetic material for his mutation when he eventually got bit by an oozesquito. Like his Mirage counterpart, Marlin didn’t take losing a limb as a sign he should retire, and instead got a tricked-out prosthetic. Who knows what he could do with it in such a mystic setting as Rise.

Raph eventually reunited with his family, but those distrustful, high-strung survivalist traits he had picked up weren’t helpful anymore. He once again had to be the good and patient big brother who didn’t bite when someone play-tackled him or shook him awake at three in the morning because they’d had a nightmare. Those two states gradually got partitioned off more and more, and now they know little, if anything, about each other.

So Leatherhead and HR are chasing away some mothmen or whatever, and things are going pretty well... until one of them knocks Leatherhead over and a familiar ragdoll rabbit falls out of his pocket. SR realizes that Leatherhead is Marlin and switches in to fight him off again. They’re evenly matched, or perhaps SR is even in danger of losing, when LDM arrive to provide support. Leatherhead is enough of a tactician to know that he should retreat. Donnie and Mikey pursue him while Leo stays behind, placing the rabbit in his stunned brother’s hands. “Remember when Pops made this for you? You were always really gentle with it, ‘cause he wasn’t good at sewing back then...”

(This thing really needs patching up, he’s got sewing stuff for whenever he needs to fix his bears/Blue isn’t a threat on his own/Wasn’t he just back at the lair?/Blue gave back the rabbit/Why does he feel like he got hit by a train?/Blue doesn’t want to fight?/ ...Leo?) And that’s enough for HR to switch back in. He’s probably missing memory from his whole time on the island, so while Leo does his best to tell him what happened, they don’t have enough puzzle pieces between them to truly figure out what's going on.

They defeat the bad guys, release the cryptids, save the day, etc. (Leatherhead managed to lose Donnie and Mikey in the woods. A battle for another day.) Once they return to the lair, HR gets help from Draxum to modify the memory spell from “E-Turtle Sunshine” so he can try to fill in the gaps. Surely he wouldn’t get rejected by his own subconscious... right?

Cue part three in the saga of Raph Punches Himself In The Face. SR isn’t happy that HR is essentially trying to poke at an improperly-healed wound, and attempts to chase him off. HR assumes that SR is just a psychic white blood cell like the Lou Jitsu constructs in Splinter’s mind, and retaliates.

But, of course, fighting is not the answer here. All that accomplishes is giving the body bruises. Eventually HR realizes “stay away” and “back off” are a little different than “get out”, and that SR is just scared. So HR tries another tactic. Over the following days and weeks, he tunes in to calmer memories and just sort of... talks. About what happened yesterday, about his teddy bear collection, about how he finally managed to get a good picture of that pizza pigeon. It takes a while to establish a connection, and even then, it’s spotty at best. Using the spell too much can cause headaches and nightmares. There are days when SR is nearby, and days when he’s not there at all. But he shows up when he can.

And then there’s awkward, stilted conversation and questions neither of them know how to answer and questions neither of them want to answer and more scrapes and bruises and strained silences and apologies, but they finally, finally reach a compromise. SR still doesn’t let HR near those memories, but he tells HR what happened as best he can. (The audience would see those memories, with SR as a voiceover.) Afterwards, HR still visits the mindscape that’s starting to become more solid. They talk some more, they watch light and shadow flow around them, they listen to half-forgotten lullabies on scratchy old cassette tapes. Eventually, HR doesn’t even need to use the memory spell, meditation is enough.

They’ll never get along all the time. But it’s a start.

(SR is going to be so clingy when it finally clicks for him when he finally lets himself believe that his family is alive.)

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This took eight million years lmao. Parts 2 and 3 will come out eventually, they’ll focus more on MR and RR. Let me know if I need to tag this stuff as anything.

The usual disclaimer applies, I am not a system or a mental health professional so if you’re one or both of those things then feel free to give me some of that good good constructive criticism.

#you called for help... but nobody came.#rottmnt #rottmnt theory #the 'raph is a system' theory #rottmnt raph #savage raph #mrs. cuddles #leatherhead #jack marlin #plot bunnies free to a good home lmao #long post

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fatehbaz · 4 years

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Sorry. This might be annoying and excessively long. Among people interested in psychogeography, ecology, folklore, bioregionalism, urban geography (and Empire, hegemony, anti-imperialism, to a lesser extent, I guess?) there is a quote that gets circulated from time to time. I’ve seen the quote in academic articles, sure, but also on the W0rdpress blogs of, like, birders, hikers, gardeners, “bioregional animists,” and “woods aesthetic” fans. But why do both academic authors and popular/mainstream writers and bloggers and such consistently remove the end of this sentence from Michel de Certeau’s memorable statement: “There is no place that is not haunted by many different spirits hidden there in silence, spirits one can “invoke” or not. Haunted places are the only ones people can live in – and this inverts the schema of the panopticon.”

Gonna revel in the wonders of the garden, the forest, the landscape, the other-than-human lifeforms, and yet not willing to explicitly address the vulnerability, the cascading extinction, the tightening noose of imperial hegemony and carceral systems threatening it all, landscapes, lives, entire worlds? What de Certeau is referring to here is the way that imperial/dominant power structures (European modernity, Empire) try to subdue, erase, destroy smaller, alternate, and/or non-Western cosmologies, to make it seem like Empire is the only possible world that can be constructed. And so landscapes become sanitized, especially in cities, and de Certeau says that such sanitized places are “uninhabitable” because they are so cold, because Empire tries to standardize experience, rather than allowing localized connections tor regional landscape. But the alternative worldviews, the histories, have not been fully erased, and exist in the cracks and crevices of modernity, and so there are “ghosts” of alternative worlds which live on. And it is the remnants of other worlds, or the glimpses of other creatures (animals/plants/etc.) or other surviving worldviews (graffiti in the subway, which rejects order and control), or the hopes of possible better future worlds, crevices where the “failures” of modernity can be glimpsed, which make a place habitable. “Haunted geographies.”

Here’s a sentence fragment from a different author, writing about de Certeau:

“exotification and suppression, under a cloak of celebration”

This kinda thing.

This fragment comes from a criticism of early-20th-century Euro-American academia’s so-called “folklore studies” but I think it also describes much 21st-century academic interest in “ecological knowledge” and non-Western cultures. I have a feeling that this behavior is similar to what contemporary upper class careerist-academics in academic anthropology departments and those “studying the utility of traditional ecological knowledge” are doing when they superficially throw around words like “decolonial” or “Haraway’s Chthuluscene” in their article abstract for Cool Points without actually having given much through to the way they and their sponsoring institution, in their thirst for prestige or good optics or whatever, are in fact continuing to perpetuate dispossession and appropriation of Indigenous/non-Western knowledge. And on some level, it is deliberate and calculated, though not always a conscious act on the individual author/researcher’s part. Intentional power consolidation masked as passive chauvinism masked as benevolent paternalistic concern for “primitive peoples” masked as genuine respect. What’s happening is a recuperation, the subsuming of alternative cosmologies and ways of being. Hypothetical Nat/Geo article, variations of which you’ve probably seen before: “How can we utilize Indigenous knowledge? Can traditional knowledge help us battle climate change?” Empire, those in power, hegemonic institutions colonizing knowledge, thought, cosmology.

Plenty has been written, especially in recent years, of a “plurality/pluriverse of worlds in contrast to one imperial worldview/cosmology” and also the paternalistic attitudes of Euro-American anthropologists, but the mid-century work of Michel de Certeau, in my opinion, anticipated a lot of this disk horse. Here’s the fuller quote:

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“In recent years, especially since 1960, scholarship in the service of popular culture has been of Marxist inspiration, or at least ‘populist’ in spirit,” de Certeau, Dominique Julia and Jacque Revel wrote in a 1980 essay, “but does the scientific operation it undertakes obey different laws than it did in the past? On the contrary, it seems to be dominated by the mechanisms of age-old excommunications…to conceal what it claims to show” (de Certeau 1986, 121). This opening statement encapsulates much of de Certeau’s thinking about the history of folklore studies. Tracing its development in successive stages from the late eighteenth century to the “heyday of folklore” in France’s Third Republic (1870-1940), the authors argue that the eighteenth century aristocratic vogue for “the popular” concealed a powerful movement toward the domination of the peasantry. This movement involved both exotification and suppression, under a cloak of celebration.“ The idealization of the “popular,” as they put it, “is made all the easier if it takes the form of a monologue. The people may not speak, but they can sing...The intent [of folklorists] is both to collect…and to reduce (de Certeau 1986, 122).[...] The governing ideologies driving the emergence of this obsession with the folk were not static, however, and therefore, in order to understand the development of the politics of culture in folklore studies, scholars must examine, at each point, its “subjacent postulates” (de Certeau 1986, 123). For instance, following the domination imbricated with the origins of folklore studies in the 18th century, by the mid-nineteenth century, the authors describe folklore as taking on a paternalist role vis-a-vis its subject. The collection of folklore by this time, embodied especially in the works of Charles Nisard (1808-1890), is not just a chronicle of its elimination by the elite, but a protective function executed by the elite on behalf of the incompetent peasant. In this view, de Certeau and his colleagues observe, “the people are children whose original purity it is befitting to preserve by guarding them against evil readings” (de Certeau 1986, 124, original emphasis). [...] This, then, is the basic outline of de Certeau’s historical critique of both the conceptualization of folklore and the discipline of folklore studies, as well as the core of his critique of cultural studies in the late 20th century. Interestingly, however, it is also the core of his larger understanding of the workings of modernity.

From: Anthony Bak Buccitelli. “Hybrid Tactics and Locative Legends: Re-reading de Certeau for the Future of Folkloristics.” Cultural Analysis, Volume 15.1. 2016.

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So there is a popular quote from Michel de Certeau (French interdisciplinary scholar, 1925-1986), which seems to have been yet more popular since, like:

(1) 2010-ish with elevation of Mark Fisher’s work; “object-oriented ontology”; “dark ecology”; apparent academic elevation of ontological turn in anthropology; and the white-washed Euro-American academic language of traditional ecological knowledge, “decolonization,” etc.,

And also since (2) 2014/2015 in “popular” media, with apparent mainstream-ing or “revival” of folk horror, alongside elevation of eco-horror, Anthropocene disk horse, etc.

(In my anecdotal experience, at least, reading about geography, folklore, psychogeography, etc. in online spaces from M.S.N chatroom days onwards.)

I’m of course very wary of de Certeau’s interest in and celebration of Freud (come on, bro) and also the implications of de Certeau’s Jesuit background and early interest in missionary stuff (gross). But de Certeau did write some thoughtful and nicely-phrased stuff (in my opinion) about the importance of subverting imperialist/hegemonic cosmologies; how Euro-American academic institutionalized knowledge reinforces power; imperative for combating hegemony/carceral thinking by connecting with landscape; the “memory” of places; the “hidden” histories of landscapes, etc. And he wrote this decades before academics started stealing from Indigenous people of Latin America and getting into pluriverse stuff.

Anyway, one quote in particular seems most popular. but almost every single instance where i’ve ever seen this quote shared, it always cuts out the last few words of the statement. The quote is from what might be his most widely-read work, the “Walking in the City” chapter of his 1984 book The Practice of Everyday Life. (it’s a pretty brief chapter which is available for free online; might take 30 minutes to read, if you’re interested.) The quote as translated by Steven Rendall: “There is no place that is not haunted by many different spirits hidden there in silence, spirits one can “invoke” or not. Haunted places are the only ones people can live in – and this inverts the schema of the panopticon.”

The “inversion of the panopticon” portion is almost always left out of the quote. even in academic writing or in the writing/blogs/whatever of people who otherwise seem like they would be down with anti-imperialism or something.

So, it comes across to me as if contemporary (2005-2020) academics and activists interested in, like, folklore or local horticulture or psychogeography will like ... take the “cute” fragments of these excerpts, but don’t want to “stir the pot” by presenting these writings in their fuller context, a fuller context which calls-out knowledge appropriation and explicitly trash-talks Empire.

And de Certeau’s not just writing about folklore or geography. He’s writing about taking action, about practicing alternative ways to relate to landscape in direct contrast to imperial cosmologies, academic/institutionalized/gatekept knowledge, and carceral thinking. (He’s famous for this; he emphasized “tactics” and “action.”)

So this guy is, of course, human, and had disagreeable and/or outright problematique associations. You can argue with his writing extensively. his publications are a mix of great, cool, iffy, “meh” and “bad take bruh.” But de Certeau was ahead of the curve in anticipating the way ambitious US academics would see “the decolonial turn” happening in academic anthropology in the 1990s/2000s and then weaponize it in a way that preserved their power dynamic and institutional power while still paying lip-service to “decolonization.”

But besides dunking on the imperialist foundations of Western institutionalized knowledge systems and the cunning employment of geographic re-worlding and re-naming in creating propaganda and imperial cosmology, and besides being ahead of the curve in anticipating re-enchantment trends and folk horror ... One thing I like about de Certeau’s writing is the emphasis on action, practice, and doing things to counter dominant/powerful cosmology’s attempt to destroy folk/non-Western worldview. Encouraging something like:

Take action. Books are cool, but books are not a substitute for action. Girl, you wanna study landscape, place-based identity, folklore, and how to escape the panopticon? Gotta put the theory texts down occasionally. Please go walk around in the forest; if you’re in the major city, don’t despair, just look at the moss growing in crevices betwixt the cobblestones. Imagine the ghosts, the histories, the stories, who died, what was lost, what’s come before. Power is trying to subsume all, but Empire gets anxious and flails because they know that there are gaps in their cosmology, cracks and breakages where other worlds seep through or can be glimpsed, retrieved, renewed. They know their cosmology can’t account for the diversity of life, the plurality of experience. There is not one world, but many. Find the crevices, the cracks, in the dominant power structures, and break them further. You can help to escape the tightening noose, the planetary-scale plantation, by using your imagination, cooking a meal, taking a walk.

#whatever #sorry for all this

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astrologista · 4 years

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Gavin Bros. Analysis

here be spoilers for apollo justice (aa4)

There are already a bunch of posts all about AA:AJ and just what the heck was behind Kristoph Gavin’s Psychelocks. What were his motivations? Why did he do what he did? As fragmented as the story is surrounding the Gavin brothers, and as much as I wish the source material had rounded out their characters a little more, I believe the game actually tells you pretty much everything there is to know about this case rather succinctly. Don’t worry as I will use evidence to back up my claims...

It is notably interesting that Kristoph’s Psychelocks only come up when Phoenix asks him point blank why he killed Zak Gramarye. This is the one question that Kristoph consistently refuses to answer directly, both in Solitary Cell 13 and in his testimony at his trial. Coincidentally, this is also the main question that he ever gets asked that speaks to his emotions or state of mind. Kristoph has a really good logical answer for basically all of the evidence-based questions. But, it’s also not a coincidence that Apollo has the presence of mind to note - “why not bring up the motive from the start? unless it was a battle he thought he might lose...”

This establishes pretty clearly that Kristoph is going to have a vested interest in keeping all questioning solidly focused on the material evidence at hand such as the postage stamp, the nail polish, and reasons why he cannot be directly connected to those objects. The law provides plenty of escape hatches and loopholes for Kristoph to exploit, which he does, providing him with the legal basis to be able to escape punishment due to the inability for anyone to prove his guilt beyond a reasonable doubt. This is not surprising as being a very successful defense attorney is literally his job and he happens to be extremely competent at it.

This kind of person is scary if you meet them in real life because they can always seem to wriggle out of anything you try to pin on them. Kristoph is a grand master at doing this, quite possibly as good as they come in the AA universe.

Here’s the rub. Apollo brings up that Kristoph wants to avoid bringing the conversation into motives and state of mind questions, why? Because “it’s a battle he thinks he might lose”. Every single time this topic comes up, Kristoph deflects the question. This also is indicated by the five black Psychelocks that come up when Phoenix asks him point blank why he killed Zak. So from this we can gather that the game is drilling it in pretty well that Kristoph’s motivations are a sore spot for him and possibly the one chink in his armor.

Because the material evidence cannot prove anything for or against Kristoph’s guilt, in a typical case like this the police would hope for the holy grail - a full confession and admission of guilt. Kristoph is much too cool of a customer to fall into any traps, no doubt he was questioned very rigorously after being arrested, but all he even had to do was invoke his right to remain silent regarding his motives or simply claim that he killed Zak just ‘cause y’know, being evil is fun. Once he confessed to killing Zak, though, the police probably didn’t care all that much to probe into his thoughts and motivations really, if he did it, he did it and he’s going to spend a stint in jail either way.

Phoenix sees through this, however. In Solitary Cell 13 he does NOT allow Kristoph to drop or evade the question. That is why we get as far as even seeing the black Psychelocks at all. If we can’t know the motive, why bother to have this scene in the game?

Quite simply we can now understand that Kristoph’s motive for killing is something emotional. It is not something that he’s going to divulge casually, but it is also probably something that he is worried about divulging UNCONSCIOUSLY which is why he constantly tries to steer conversations away from it, instead deflecting to discuss the evidence or the emotional state of other people in the room. Consider that Kristoph’s reputation is PREDICATED on him being “the Coolest Defense in the West”. His identity is based on his successful suppression of emotions in court. This is not to say he shows no emotion or is some kind of monotone emotionless husk. He has a rather dry sense of humor. He banters with Apollo. He banters with Phoenix. He isn’t as uptight as some portrayals would have you believe (”life is to be taken easy”). When it comes to surface topics, Kristoph is an open book. He’s not as terse as you would believe, but rather kind of poetic and loquacious and conversational (to his downfall in 4-1). You get the feeling that he would be a very good conversationalist. But only for surface topics. Try to dig a little deeper and he will very neatly deflect your efforts.

How can we hope to understand a character who by definition does not have any interest in talking about his innermost neuroses? The reason why people still discuss the Gavin brothers and Turnabout Succession so much is that, while a very satisfying and intense case, it is unlike a lot of other AA cases in that you come away from it with a LOT of open ended questions. You don’t feel the same feeling of closure as you would get from the DL-6 case, where it feels like you finally understand all the facts of the case and all of the character motivations come to light making you go “oh! THAT MAKES SENSE!” you understand why von karma killed gregory, and everything comes together nicely in the end. Turnabout Succession is kind of a rarity in that it does not do that. By the end, you feel like you clearly understand the case, but you do not have a crystal clear view of the root cause of the motivations behind it.

In Kristoph’s final testimony he does shed a little bit of light on his motivations for his crimes. The issue that he has is mainly centered around his dismissal by Zak Gramarye as his representation. And, his subsequent replacement with Phoenix Wright, an attorney he perceives to be low-class and sub-par. Kristoph then states “these men shamed me, and I could not forgive that.” This is as close to an answer as to why he went to such lengths to get Phoenix disbarred as we are likely to get. Disproportionate retribution is the name of the game. It seems as if, if there’s one thing Kristoph cannot tolerate, it’s being looked down upon by someone that he perceives as inferior to him. Kristoph has extremely polarized notions of who should get to practice law, who is acceptable and who is categorized under “ignorant swine soiling the courts”. He makes very, very clear that he has nothing but disdain for common people, common wisdom, and any use of emotion or feelings in deciding verdicts.

So the particular manner in which Phoenix sought to bring him down with the jury system was a very deliberate masterstroke to Kristoph’s pride. That much we can establish. But again, motive. The game goes out of its way to tell you that whomever defended Zak would be “famous beyond belief” and, presumably also, rich. They would get a lot of very high-profile clients and cases sent their way after successfully defending the uber-famous magician Zak Gramarye.

Taking all of this into account, right. Is it possible that everything Kristoph did has its roots in one very simple source, the root of all evil?

Money.

Taking a step back for a moment, consider Klavier. Why does Klavier perform in a rock band? “Because I want Frauleins to look at me when I walk down the street.” I feel like people really want to believe that both Kristoph and Klavier are super deep characters and have all this deep lore and hidden backstory. Maybe they do. Most AA characters do. But consider this. What if they’re both so deep, they’re actually just shallow? Yes, that shallow?

Given how much AA:AJ focuses on the Gavins, which is really not that much, this concept seems difficult to swallow. Is there really more to the story based on what the game gives us? If there is, how would we piece it together?

One major hint the game gives you about Kristoph (and, if this is insignificant, then you have to really wonder why they bother to bring it up at all) takes place directly after seeing Kristoph’s black Psychelocks in Solitary Cell 13. He starts doing his nails. Phoenix says “I know appearances are a big thing with you”. Kristoph says “You know what I say? One cannot live a beautiful life without beautiful nails.”

I feel that this statement is important because it is probably about as deep of a look as we are ever going to get at how shallow Kristoph Gavin really is. He hopes you will believe that he’s playing 12-dimensional chess with some kind of fucked up backstory and motive going, but the truth is, he’s no chessmaster. Based on what the game gives you, there’s really only one motivation for everything that makes sense.

Kristoph killed Zak, Drew and attempted to kill Vera to cover his tracks. He had to do everything he could to make sure no one talked about the forgery. He had to stalk people like Spark and keep Phoenix very close (the epitome of keep your friends close keep your enemies closer). There’s nothing really debatable about those facts because they are all discussed in the game.

What about the root cause? Revenge, of course, for Phoenix stealing away the chance for Kristoph to defend Zak.

Why was defending Zak so important to Kristoph? To become rich and famous.

So wait. Why does Kristoph need to be rich and famous?

As it is, Kristoph appears to be very affluent and well off. There is no real reason directly given in the game as to why he would need such prestige and fame other than that it feeds his massive ego and superiority complex. So that’s a big part of it, no debate there.

But why would the excessive monetary gains that would be secured off of the Gramarye case be so appealing to Kristoph? We’ll re-examine this in a little bit.

In Daryan Crescend’s case, Phoenix tells Apollo “every man has an igniter. find his and set it off”.

What is Kristoph’s igniter?

I mean some people would say Phoenix Wright is Kristoph’s igniter based on his breakdown. But, I think more of that trial was contrived by Phoenix than we tend to notice.

I think Klavier is Kristoph’s igniter.

The final trial in Turnabout Succession would not have been able to succeed without Lamiroir, without the jury system, without Phoenix pulling the strings, without Trucy, without Apollo, and most especially without Klavier. Removing any of these elements from the scenario would immediately give Kristoph a massive advantage in allowing him to manipulate the courtroom. Can you imagine Payne trying to prosecute Kristoph?

No. Klavier was the only one who could confront Kristoph successfully.

The final trial had to be contrived in such a way as to put maximal pressure on Kristoph to increase the chances that he would slip up or, more likely, that an element of randomness and/or emotion would become introduced. Phoenix sets up Klavier as the prosecutor for this trial for a good reason - remember, Phoenix tells Apollo point blank that he (Phoenix) is pulling all of the strings for the Misham trial, so whatever happens is entirely his responsibility.

It must have been difficult for Phoenix to entrust Klavier, the person who sealed his fate, with such an important task. But realistically, he didn’t really have a choice. Klavier’s disclosure of Kristoph’s visit to the prosecutor’s office is the glue that holds together the entire case against Kristoph Gavin. Notice that Kristoph never really does anything to keep Klavier out of the public eye or otherwise silence him (up until the very end at least). If I knew there was someone walking around giving press interviews and practicing as a prosecutor who knew something really incriminating about me, I would want them swept away or snuffed out asap - I mean, Kristoph has already poisoned Drew and Vera who were unlikely to tattle on him at best; Drew couldn’t even identify him! What Klavier has on him is much, much more damning dirt. Either Kristoph really loves and trusts his brother or is convinced that he can control Klavier to the point where Klavier would never dare tell anyone about that visit or wouldn’t want to. Probably both are true.

The interesting thing about this dynamic is that this is really the only time where we see both Gavin brothers together in one room, as well. Something about being in proximity changes both of their behaviors. Klavier becomes hyper-alert and nervous in Kristoph’s presence, a marked change from his usually easy demeanor. Klavier’s presence causes Kristoph to make several mistakes, which end up costing him the case.

So all of these things needed to happen, and they needed to happen simultaneously for Phoenix to succeed. Getting back to my theory on Kristoph, we can see from what’s said in the game a few things - he really, REALLY wanted to be the one to benefit from defending Zak Gramarye (a trial he knew he would win against his brother using forged evidence), the presence of Klavier is his undoing in court, and his appearances are very, very important to him.

I honestly think the real reason Kristoph was so salty about losing out on the Gramarye trial fame and money is that he didn’t just want to be affluent or well-to-do. He wanted to be excessively, filthy rich.

If you look at Solitary Cell 13 you will see that Kristoph likes very much to surround himself with many nice things. He likes tasteful decorations and furniture. He enjoys literature, music, art, that weird rose he keeps in a vase, and he has a dog named Vongole. “First rate in all things, accept nothing less.”

To have such top of the line items, Kristoph must not only be rich, he must be like top 1% rich. He has to have the absolute best of everything. This is why he needs money. Without these things, what separates him from the ignorant swine he so despises? This is why Kristoph needed money.

Nowhere is this highlighted more than with the Ariadoney nail polish. I think it’s mentioned a couple of times that the Ariadoney is absolutely the best possible nail polish that you can buy. It’s very, very expensive and is manufactured in extremely limited quantities (this is discussed during Kristoph’s testimony). If Kristoph is this fixated on something as simple as a bottle of nail polish, you can almost imagine the absolutely ludicrous costs of every other item that he uses or owns, not limited to his home, his car, fine foods and wine, his expensive hobbies, possibly traveling etc etc etc etc. I just know this fool shops at Whole Foods, because I can’t see him buying groceries at the Costco. It makes a lot of sense as to why he is single as well. Kristoph Gavin would end up being an expensive habit to any partner who would have him - I wouldn’t want to share a bank account or credit line with him. He needs Gucci to keep him happy. No bootlegs here.

Point is, Kristoph Gavin has an addiction to the finer things in life and he will NOT settle for second rate products. He will have what he wants and he will do basically anything to maintain his lifestyle at its current elite level at the expense of his own morality and soul. Sadly enough I feel like that might be as deep as it gets with him. That’s a really pathetic motive to have and makes me hate him a lot more, but it’s so fucked up I can’t look away.

Consider also the most important thing to Kristoph of all - his appearance. It costs money to keep yourself up and this seems to be the one area that Kristoph might end up pouring the most money into. The top of the line suit, the white shoes, the perfect tan, the platinum blonde hair so immaculately coiffed, the fact that his skin is virtually perfect and the fact that his face is near-identical to Klavier’s despite being some 8 or 9 years older. Most normal people would have some kind of facial imperfection pop up at some point, a wrinkle, a pock mark, something. And that’s when you realize... that Kristoph Gavin has most likely had work done. Like, on his face to make it stay youthful. He’s just that vain and probably also despises watching Klavier stay young and pretty while he’s just aging. Fillers? Botox? Collagen treaments? Something more invasive? No one knows, but all I’m saying is that Klavier’s character description goes out of its way to describe Klavier as “the spitting image of Kristoph Gavin”. Vera notices the extreme resemblance right away. There can certainly be genetic basis for two brothers looking alike, but compare that to how Mia and Maya look “alike”, or Lana and Ema, both of whom have a similar age gap to Kristoph and Klavier. You would realize that Kristoph and Klavier seem to have somewhat of a more obvious resemblance despite the age difference. So this isn’t just possible anymore, this is actually likely. I don’t think the game implies that Kristoph has undergone plastic surgery or anything, so I’m keeping this in the realms of headcanon for now. But it would make perfect sense as yet another reason as to why Kristoph Gavin needs cold cash. He needs to look flawless and he needs access to the absolutely most top of the line treatments and practitioners, continually. And as he continues to age, he needs to get more and more aggressive, more and more products, more and more retouching with those age reversal creams and foundations and stabilizers. That adds up, cost-wise, very very fast, especially if you want top of the line EVERYTHING, and Kristoph does indeed. It is very clear that settling for any less would be completely unacceptable to him.

All of this money, it has to come from somewhere. Being a posh defense lawyer will bring in some money, sure, but nothing near what Kristoph is going to need to live his beautiful life. Winning the Gramarye trial would have probably bought him enough prestige, clients and monetary gains to support himself off of law for the rest of his life. It does make a lot of sense that he would be incensed after losing that chance.

There is one more unexplored possibility as to why Kristoph had to be the one to win the Gramarye trial, though, and it ties into the money issue as well. This was supposed to be a fair match, after all, brother to brother. Klavier’s first case, in fact. It was supposed to be Kristoph vs. Klavier, and Kristoph wanted to make sure that he would be the one to win. Only Zak and Phoenix ruined that chance - a once in a lifetime chance, actually, for Kristoph to go up against his brother on Klavier’s very first day.

Klavier was the prosecutor of the Gramarye trial. It was his very first case. What could Kristoph have to gain by being the one to trounce 17-year-old Klavier in court on his first day on the job?

Well, not much, other than it would have been a huge crushing blow to Klavier psychologically.

There’s a comic floating around by someone, I think zarla-s, where Kristoph wins the Gramarye trial and is discussing his win with Klavier afterwards. Kristoph is smug and hopes Klavier will be humbled by his impressive win, but Klavier is unperturbed by his loss, happy for his brother and insists he’ll win next time.

As cute as this is, somehow I don’t think that’s exactly how it would go down.

Klavier has actively shown how nervous / anxious / upset Kristoph’s mere presence makes him in a courtroom setting. Based on this, it’s not unfair to say that losing to Kristoph IN PARTICULAR on Klavier’s very first case would have been a devastating psychological blow that could technically end Klavier’s prosecutor career before it even began. There is a lot on the line with the Gramarye trial, don’t forget the praise and adulation that Klavier gained by winning it. So other than all of the fame, adulation, money and pride Kristoph would have gained by rigging and winning the Gramarye trial, there is another dimension that he was also robbed of - the ability to ruin his brother’s law career. Losing to another attorney like Phoenix or anyone else would not be enough to do the job. It would have to and could only be Kristoph’s doing.

What reason could Kristoph have for wanting Klavier’s law career to come to an end?

Well, Klavier does have another job. As a rock star.

Wildly popular rock stars make a lot of money, many many many times more than even a celebrity defense attorney could dream to make.

The Gavinners had multiple albums go platinum. They sold out shows all over the country, I believe, possibly all over the world. They are a brand. They are profitable. Klavier is profitable.

With how much Kristoph depends on and uses Klavier, it’s not out of the realm of possibility that Kristoph gets to take a big cut of Klavier’s earnings from his music career. For all we know, Kristoph could have been responsible for assembling and filing many of the Gavinners’ early contracts and legal paperwork. The rights to songs, record deals, merchandising - this is a lot of stuff. I’d say it’d be pretty hard to believe that Kristoph did not have his hooks into the Gavinners from day one. If he handled contracts, he could have written in loopholes that would give him a huge cut of any earnings resulting from Klavier’s band, the Gavinners.

Now I know what you’re thinking, Klavier himself is a legal prodigy. He could have easily read through anything Kristoph prepared and refused to sign on the dotted line if he found anything amiss or hidden in the fine print. What if Kristoph’s legal control of Klavier started much earlier than that? Depending on when Klavier started in the entertainment business, which could have been a very early age, Kristoph could have had plenty of time and opportunity to secure access to any of Klavier’s future earnings, especially if their parents were out of the picture.

If you think Kristoph has nothing to do with the Gavinners, think about it. One of their songs is literally called “Atroquinine, My Love”. They are a brand. They are marketed specifically to teeny boppers. They’re not squeaky clean mainstream pop like the Jonas Brothers or anything, but they are marketable. The advertising, the way they dress, the way Klavier says he’s tired of the youthful angst scene, the fact that Klavier only gives Apollo and Trucy a 20% discount on concert tickets. I’m just saying a lot of it could end up being contrived, perhaps by a certain someone with an ulterior motive. It seems really, really weird and coincidental that the band broke up right after AA4 too. Klavier seems like he’s really dedicated to his art, and to music. This much is clear in the way he reverently talks about Lamiroir, how he teared up at her song, even the Guitars’ Serenade seems like a very different song than what the Gavinners would typically do, and it only debuts after Kristoph is already in jail.

It makes you wonder if there might be a little something more going on here. If Kristoph had it set up to where he could get access to Klavier’s assets, which almost certainly dwarf his own by several times, then he had every reason to want to crush Klavier in court. He had to be the one to face Klavier in the Gramarye trial and win, causing Klavier to end his prosecutor dreams - and do what?

Go back on the road, put everything into his music career and become a workhorse for Kristoph’s ambitions.

Putting Klavier full time on the Gavinners would have solved all of Kristoph’s monetary worries for good. He could skim everything off the top and finally live the beautiful life of his dreams, the life he needed to have and couldn’t do without. Most importantly, he could keep up appearances and always look continually young and attractive.

Until we learn otherwise, I think that that is really all that was behind Kristoph’s black Psychelocks. Just a narcissistic, vain, preening loser masquerading as some mastermind villain when, in the end, that’s not really what he cared about being. He cared about painting his nails in a luxurious mansion surrounded by piles of money in a big Scrooge McDuck money vault, and laughing maniacally at anyone who ever thought that there was anything more to it.

#gavin brothers #kristoph gavin #klavier gavin #ace attorney: apollo justice #black psychelocks #these guys drove me a little crazy #because it took me awhile to figure out what they were all about #and then i was like oh. wow. thats really kind of all there is to it #not that i dont enjoy the au ideas where theres like a deeper reason behind everything #but what material there is of them doesnt give us much of anything to work with #and this is the only theory i can think of that best accounts for everything in the simplest way #man i didnt want to like these fuckers at first but they are gd interesting #it's pretty fun to try to fill in the blanks #and by all means all interpretations are valid im not saying this is the only one

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jadelotusflower · 3 years

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Robin Hood Rewatch: 2x08 Get Carter!

This is actually one of my favourite episodes of the season, partly because I really enjoy relationship angst, but mostly because we get multiple characters dealing with their trauma/grief. If we can't get these guys and gals into therapy, at least we get to see them talk (and hug) it out.

Also the best episode title they're had for a while - I have no doubt one of the writers is a fan, and Carter is so named only because they wanted to make this reference. The assassin seeking revenge for a dead brother is wholesale lifted from the plot of the film, and Joseph Kennedy almost has a passing resemblance to Michael Caine's look in that role.

"Get Carter - before Carter gets you!"

Carter is one of the only guest stars they actually will bring back later, and for good reason.

"Why don't you ever kiss my ring?" Vaisey, always making things creepy.

Marian is simmering with unrestrained anger, eager to get into the fight, while Robin is the one advocating for the watch and see approach, and it’s quite the role reversal.

The gang's reaction to her charging off is quite funny though, she knocks John over completely and Djaq throws her hands in the air.

Robin’s now getting a taste of what the rest of the gang have to put up with dealing with his recklessness.

Tying Marian up in the middle of a melee, however, is disgusting behaviour - while Marian was hot-headed throwing herself into the fight (nothing Robin hasn't done before himself), he knows that she can hold her own with a sword and doesn't need protecting. Tying her hands is the absolute worst thing he could have done, because how is she meant to defend herself? I can somewhat understand where Robin is coming from in this episode (even if he goes about it badly), but this is unjustifiable.

Clearly she gave that guard she clanked on the head amnesia, because he never reports back that Marian was fighting with the gang.

“I owe you my life”/“I won’t take it just yet.” Nice.

Scimitar is still missing in action.

Robin doesn’t want Marian to be seen in case she needs to return to the castle, when he’s spent the whole season urging for her to join the gang. I think he realises he made a mistake asking her to flee last episode without giving her time to deal with her grief, and wants to leave her options open. But telling her that she’s not ready to make the decision (about whatever she wants to go back), however correct, is patronising.

There's a fundamental conflict that Marian wants to be treated like a member of the gang, but doesn't want to cede to Robin's authority like the rest of the gang - in turn Robin expects her to follow his orders like the others, but isn't treating her like he would the others either - he would never tie them up to keep them out of a fight, and Marian has every right to pissed at him about it.

Djaq and Much having a little tête-à-tête about Carter - I just really enjoy that they’re often paired together in these gang scenes, they balance/play off each other so well. Just this pure platonic frazzled vs calm vibe.

Much just has this really great memory for faces - he was able to recognise fake Richard last season just from his profile despite wearing a helmet, and now he knows he remembers Carter's face from somewhere (or as it will turn out, Carter's brother).

Much really just does not let up, and I love that about him. "You'll be disappointed though, with uh, today's wound. I mean if you're planning to go back to the Holy Land and, uh, kill him." That not so subtle probing for information and Sam Troughton's delivery is always perfect.

"Wasn't me, was it?" Oh Much, so close.

“The crusty one” - lol

It's not explicit, but implied that Vaisey and Guy believe Edward was the one passing information to Robin, and Marian is cleared of any suspicion (paving the way for her return). Guess Guy never showed the Sheriff that hair dagger after all.

Vaisey is actually giving Guy some really good advice here, albeit laced with his usual cruelty and getting all up in Guy's personal space.

"Grow up Gisborne" - now I don't think it's deliberate on Vaisey's part to invoke a Marian parlance, seeing as she really only says this to Robin (and once to Much), but it's a nice little callback, however unintentional.

Marian asks for an apology (and deserves one), but Robin doubles down and doesn't come out of this exchange well.

Because his delivery is terrible, but he's otherwise quite correct - as skilled as Marian is, she’s used to relying on (and having to worry about) only herself and not work in a team, and look to a single point of command. But both of them have their backs up - they're two strong personalities and neither is going to give ground, reverting to the ideological clashes of season 1, except now in much closer quarters.

Robin's also not used to being challenged in this particular way, and in his frustration is reacting like a captain disciplining a soldier, not a lover helping their partner through their grief. I do wonder if the conversation would have gone differently if they'd been alone.

lol at the gang awkwardly standing around listening to Robin and Marian fight. Djaq trying to busy herself with her mortar and pestle as Robin and Marian argue around her.

A really great scene between Marian and John aka the camp dad. Marian really just needs someone to listen to her and appreciate what she's going through - Robin is too fixated on the dangerous way she's channeling her grief and not even trying to address the root cause. He trying to tell her what to do, not listen to what she actually needs.

On the other hand it's probably better coming from John, a neutral party without the emotional baggage she has with Robin.

Because Robin and Marian are really being driven by completely different motives - Marian by grief and therefore loss, and Robin by trauma and therefore fear. In her sorrow, Marian has lost all her fear of being discovered, in fact she wants to make it know she's with the gang, to finally be free to say which side she's on and fight openly, to make her father's death worthwhile, and can't understand why Robin is trying to stifle that.

"I thought you used to have your own men Little John?" So someone remembers Forrest and Hanton!

After Carter takes down the gang one by one, Robin takes down Carter in three seconds (including catching the long dagger Carter throws at him, and flinging it back) and it's lights out. Can you believe it's the first concussion of the season? (Notwithstanding the multiple head injuries Allan sustained last episode).

While Marian has been known to be punch-happy, the "he'll tell us more if he knows we're willing to hurt him" is just so (intentionally) out of character - it is however somewhat reminiscent of Robin in 1x08, wanting to get his punch and torture on with Guy. However rather than understanding where Marian is coming from, he pushes her away with the "go and cook something" jibe. This almost feels like he was going for familiar banter and miscued, but is also an asshole thing to say. When their positions were reversed in 1x08 Marian at least tried to reason with him - Robin is seems to be ill-equipped to do the same.

Allan just having a little snooze against the castle wall. He really seems defeated and depressed after last episode.

Marian's corset has a pouch to hold a dagger - or at least I hope there is because otherwise it's ouch time.

Leaving Marian at the camp is again a mistake on Robin's part - it excludes and isolates her from the gang, rather than trying to involve her so she can bond with them, engaging in their outreach to the peasants - who she helped as the Nightwatchman, but never really had the opportunity to come to know. It would remind her that they are not just fighting against the Sheriff but for the people, which in her frenzied grief she has perhaps lost sight of.

Instead, Robin's focus is on Carter, who he rather identifies with and so finds it easier to address his motives, and try and change them.

Carter is in many ways Robin’s dark mirror, what he could have become in the Holy Land if he chose a different path. It’s important that this happens right when Robin is backsliding - he’s trying to save his own soul as much as Carter’s.

Okay, let's talk about Marian’s forest gear - fashioned from the outfit she wore when she fled the castle the previous episode - but dear me it's awful. The grey culottes, rather than becoming trousers have now been turned into that corset, and her vest/skirt overlay have now become those trousers. Just baffling.

“I’m good with nuns” followed by Allan straight up knocking the Mother Superior over and stealing her ring is iconic.

Much gives Robin a sword to use going after Carter - still no scimitar.

I really love the confrontation/fight scene between Robin and Carter - it's very well choreographed and written, but we also see the best of Robin's character (after seeing some of the worst earlier).

Carter's brother is called Thomas - Allan's brother was called Tom. Lots of dead brothers in this show (including Djaq's).

The story of Carter's brother Thomas dying because he "stopped listening" and led a raid against orders is a little on the nose, but gives context to Robin’s fear for Marian’s safety in part triggered by his war trauma - someone charging in against orders and then dying in his arms.

But it shows Robin as a man who, even when Thomas' recklessness had cost not only his own life but others of Robin's men, was still moved to instruct the stretcher-bearers to make Thomas the hero, and himself the negligent captain, in order to comfort his family.

The fight is fairly even, and although Robin gets the upper hand in the end, it's only partly his skill - rather his true strength is in reaching the man inside the assassin, and then surrender and allow Carter to take his revenge if that's what he wants, and despite his fear, trust that there is good still in him, and that he can leave behind the life as a killer as Robin has done (tried to do).

This scene is the core of why I really love Robin as a character. He's riddled with PTSD and a reckless bravado, he's at time emotionally stunted with those he loves, makes terrible mistakes and often says the wrong thing, but he also has this great heart and compassion that allows him to reach people, to understand and help them, even at the risk of his own life. He's trying.

"He was a hero - just not on that day" is quite a poignant line.

Much and Djaq together again, just saying.

Robin finally finds out that Roger of Stoke was intercepted. I had assumed he'd figured that out once he knew Allan was a traitor but okay.

Poor Much crying out for Robin's attention - he's got his own trauma from the war and wants to talk about it, to commiserate with Robin about what they went though, but Robin can only cope by not talking about it, not even thinking about it.

Much makes a good point that Robin should have listened to him about recognising Carter, but it comes across as jealously over Marian and Robin misses just how deeply Much carries his hurt.

One of Robin's biggest flaws is that he's overwhelming in his affection, compassion, and understanding for strangers, but takes those he loves for granted - Carter's response to grief was the same as Marian's, but Robin listened to Carter, consoled and comforted him, while keeping Marian at arm's length. Perhaps because strangers don't ask for anything beyond that - it is the granting of kindness, but not the sharing of self. It's the latter Robin truly fears, but what Much and Marian deserve (although tbf Marian has problems with this as well).

“Either I’m part of your gang or I’m not” is a valid point, and Robin's still not happy even when she agrees to stay behind!

But she disobeys him, and saves his life. It's a rite of passage - almost all of the members of the gang have this.

Allan looking rather distressed as Guy is about the chop off Robin's head, and he makes a small movement just before the swing (as does Much).

Guy again pushing Marian past the point of discomfort - she left, wrote him a letter asking him to leave her alone, straight up told him to his face to leave her alone, and still he persists.

Her kissing Guy (to distract him from seeing Much and Will) is really the only time she sends mixed signals, but Guy's whole energy seems to be just to wear her down until she agrees to be with him and it's gross. It is however kind of amusing that he tries to be authoritative and forbid her from leaving, and she immediately walks away.

Robin and Marian are back in playful banter mode, although I wish there had been a deeper discussion (and that Robin had apologised in return). It doesn't quite feel like the conflict between them has been resolved, it really is just a "truce".

But I do like that it's Marian who reaches out to Robin at the end of this episode, because up until this point it's Robin who has been (somewhat) the one making overtures - asking her to join the gang, telling her he needs her, telling her he loves her, while Marian's been more reserved. This feels like her acknowledging that sometimes she needs to take the first step.

This was a long one - but as a I said, I really love this episode!

#robin hood bbc #robin hood rewatch #rewatch #2x08 #get carter!#long post #lots of rambling here sorry

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gifsbysimplysonia · 4 years

Text

Fleeting Connection

Pairing: Bisexual TJ Hammond (Political Animals) x Female

Word Count: 3,544

Warning(s): fingering (female receiving), hand job, oral sex (male receiving), t!tty f*cking, badly written smut (but yeah?)

Summary: She is on the hunt for some alcohol and stumbles onto so much more. If you've seen Political Animals, this story opens in a familiar scene from the series and I use a direct TJ quote in the story.

Author’s Notes: it's July 4th. This time last year I posted some smut so I wanted to do so again this year. Also available on AO3. Thanks to @jillybean1217 for always reading my stuff before anyone else, once again making me a graphic to go along with the story, and cuz she adores Teej.

I apologize for this mess 😋 Very unexpectedly, Hamilton brought up a lot of emotions in me. I was listening to songs about what a prolific writer he was and how he seemed to live to write. I remember that feeling and have been trying so hard to get back to it and I suspect the only way to do it is to post the stinkers too. Gotta stop being afraid!

She needed a drink. And when she heard the party raging across the hall, she figured there was no better place to get one since her supply was depleted. Plus, her neighbor wouldn't care if she issued her own invite, went over and helped herself. He was generous that way, although she supposed it probably helped that his parents footed his bills. That was how she found herself in her current predicament, quite literally caught by her neighbor whom she had not even seen as she was walking by the couch on the hunt for alcohol. But a hand grasped hers, stopping her in her tracks, drawing her attention to him where he was sat on the couch, another young man to his left.

His eyes pleaded with her as he pulled her onto his lap. As her knees framed his hips, she saw the sadness he tried so hard to hide with booze and drugs. Now he thought he would pull her into his tangled web. She would allow it, for the moment, only because his perfect rosy lips looked tastier than the cherry candy she had been sucking on.

She slipped that same candy out of her mouth and raised her eyebrows at him expectantly. His right hand cupped the back of her neck and pulled her forward. She opened her mouth to say something, exactly what she didn't know, but he took the opportunity to taste her. His tongue tangled with hers while his firm lips pressed up into her mouth. He tasted of cheap beer which she never had a problem with. But as his teeth bit at her bottom lip and she heard a little growl from him, she felt light headed. His kisses were big and wet and left her breathless.

She put her hand on his chest and pushed him away. She watched his closed eyes open in surprise and the way his swollen mouth gasped for air as he looked at her with longing made her want to rock her body against him. Just as she thought she might go in for a second helping, the hand at the nape of her neck tried to push her towards the man next to him on the couch. As the other man leaned in, she shoved her lollipop into his mouth. He didn't look pleased and neither did TJ as she climbed off of him.

"What the fuck?" Ah, there was the petulant spoiled young man she was familiar with. Immediately aggravated when he didn't get what he wanted. She tilted her head and looked down at him with a smirk she knew would piss him off more.

"Just because you two like to share doesn't mean I do," she answered with a shrug. His face screwed up and she knew he was upset, but that's how she felt when he tried to push her off on some strange dude. He owed her for that. So without warning she bent over, grabbed his head in her hands and made him motorboat her. She had heard jokes that he appreciated a good pair of breasts and her top tonight certainly left nothing to anyone's imagination. It was no doubt why he caught her hand and tried to pull her into his game. Well, too bad for him, when she decided to play with anyone it was only by her own rules. She pushed him away from her and she laughed out loud at his disheveled hair and dazed expression. Served him right.

"Y'all enjoy the rest of your evening." She tipped her imaginary hat to them before she turned and disappeared into the crowd. She grabbed a couple of those cheap beers before she found the door and took her leave. She walked straight across the hall to her place.

Before she closed the door, she took a pull off of one of the beers. Her eyes drifted shut as the taste invoked the memory of his kiss. It made her shudder. For his many many faults … at least she knew for sure now that he could kiss. When she opened her eyes, she saw him. He stood in his own doorway, forearm leaning on the doorframe. He stared at her, and the look in his eyes made her feel like prey, but she liked it. She swallowed slowly, not wanting to give herself away too quickly.

She calmed herself by taking another swig of beer. He stepped forward and closed the door behind him. Alright then. She moved to close the door but stopped short of closing it all the way. She made her way towards her bedroom, wondering if he would accept her silent invitation. Once in her bathroom, she heard the very deliberate slam of her front door and knew the answer.

She was just finishing her beer when he appeared in the doorway behind her. They locked eyes in the long rectangular mirror over her sink. He raised his arms over his head, grasping at the top of the door frame with his fingertips. He tilted his head and she saw the faintest of smirks appear on his lips. And he noticed when her eyes focused on his mouth because he tantalizingly licked at his upper lip with just the very tip of his tongue. Feeling her heartbeat jump, she broke the spell with a few fast blinks and a shake of her head. She focused on the act of dropping her now empty bottle into the waste basket to her left, wondering what she had gotten herself into. As if he heard her mind racing with the question, he spoke, his voice raspy.

“Take off your shirt,” he softly commanded. Her eyes widen at the demand and goosebumps popped up all over her skin. His lips slowly curved up into a smile and his teeth dug into his lower lip as he watched; as he waited. She crossed her arms in front of her, grasped the hem of her blouse, took a deep breath, and did as he told her.

She shivered at the feel of cool air on her newly exposed skin. Her nipples peaked at the rush of sensation, poking through her lacy bra. Daring a look at him in the mirror, she saw that one of his hands now palmed the front of his dark wash jeans. She nodded at his action.

"Does that mean that you like what you see?" Her voice came out breathier than she intended. She felt warmth crawl up her neck and into her cheeks as he answered by meeting her eyes in the mirror. With slow measured steps, he entered the bathroom and walked right up behind her. His presence behind her was teasingly close but he did not touch her.

"More," he demanded. His breath was so hot against the back of her neck and yet, she shivered at the feel of it. He was not looking at her now. She saw in the mirror that his head was bowed, his eyes glued to her back. When she made no move to acquiesce, it was a few quickened heartbeats before she felt the tips of his fingers on her skin. He started at her shoulder blades and ever-so-slowly dragged them downward. She tried so hard to remain still, her own head bowed so he couldn't see how she bit her own lip or the hunger reflected in her own gaze. But her skin once again erupted with anticipation and he noticed, humming his approval.

His fingers undid the clasp of her bra with one snap. The holder slipped forward, and she lowered her arms until it met her shirt at her feet. She raised her head to see him staring at her over her right shoulder. Her nipples puckered to hard nubs. She felt a heavy ache in her breasts under his gaze. His gaze, his expression was so eager it made her tremble.

Feeling bashful under the force of that look, she raised her arms to cover herself. His response was a pointed, "Tsk, tsk, tsk" as he repeatedly popped his tongue against the roof of his mouth. He swept her hair back and over her left shoulder so when he turned towards her, his breath tickled her right ear and side of her neck.

"Your tits are much too beautiful to hide, " he whispered. His whisper held a note of awe and he slowly circled her with his arms so his hands could carefully pry her cover away. When her arms hung at her sides again, his hands moved towards her breasts.

“Is this what you want?” he practically purred. She could feel the heat of his hands hovering near her tits. She tried to lean forward to force herself into his touch, but he pulled his hands back. When she groaned her frustration, she heard his low tone laugh. Her eyes snapped up at his reflection and the smile on his face was radiant, one of pure delight. How does he do that? she wondered.

"Use your words," he said, leaning his face toward her, using his teeth to nibble her earlobe. She inhaled sharply. "I don't move until I hear you say it." Her neck snapped forward so her head could hang. She did not want to have to voice her desire.

Suddenly, she felt whisper soft touches at her lower back. He had his knuckles barely brushing her skin, but just enough contact to tickle slightly as he dragged them upward. She swayed backward, wanting to lean into him. His hands turned and she felt the heat of them against her upper back, keeping her body from his.

"Tell me what you want," he said. She sighed heavily.

"I want you to touch me. Touch...my tits." He immediately molded himself to her, his hips against her ass, his chest to her back, and his arms hugging hers as his hands finally cupped her in the way she wanted.

His fingers curved around her breasts, weighing them then massaging them. His hands moved from underneath to over them, his slightly roughened palms rubbing against her stiff nipples. He moaned and the vibration against her back caused her eyes to drift shut. Her body arched, ass grinding against his crotch. The friction caused his hands to tighten around her tits; he abruptly squeezed.

"Mmm, fuck yes," she hissed, grinding harder, hands covering his to encourage him.

"Slow down," he whispered. Her head leaned back onto his left shoulder but she kept her eyes shut. He teased her with a hot, wet kiss at the junction of her neck and right shoulder. The warm suction was delicious, tingles raced up her spine. He continued the moist trail, lapping at her skin and sucking different spots into his mouth. She vaguely hoped he did so hard enough to leave some marks behind; arousing reminders that this actually happened.

She was torn from her thoughts by his fingers pinching at her stiff nipples. Her eyes flew open and met his in the mirror. His expression was one of wicked enjoyment as he played with her breasts. His lips were wet and parted as he watched himself tease her body, and she felt him press his erection against her, his body moving in a way that let her know he was just as affected as she was. He eased up the pressure on her tits before he palmed them and dug his fingers in. He pressed them together, all the while as she gasped and panted and moaned. She caught his gaze in the mirror.

"I think I wanna fuck them," he whispered into her ear. "Would you like that? Would you like it if I slid my cock between your lips, made you taste me, only so I could put you on your knees and I put my hard wet dick in between your tits?" She could not form coherent words; the best she could do was groan. He smirked in response. "You would let me do that?" She was nodding frantically without hesitation, surprised when his answer was a soft kiss against her cheek. "Well, then...if you're going to be so generous with me…"

One hand abandoned her chest to make its way down. He managed to get underneath her billowy skirt with ease. His dark chuckle in her ear as he found her panties soaked with arousal caused a whine to bubble up her throat and out of her mouth.

"Jesus, the sounds you make," he whispered, sounding wrecked. Her gaze cut to his quickly. The intensity of his stare shook her to her core, literally. He hugged her entire body tighter when he felt it. "I should be embarrassed that I'm so close to cumming just from those God damn sounds and how you're trembling in my arms."

"TJ…" His name was a desperate cry torn from her lungs and she punctuated it when she turned her head and captured his mouth. Teeth clashed as he stole her breath with the kiss; if there was one thing he knew how to do, it was kiss.

The moment his fingers worked their way past her panties and touched her slick flesh, her mouth was torn from his as her body pitched forward. She braced herself on her sink, and felt his teeth nip at the nape of her neck as he followed. His left arm moved between her breasts so his hand could lightly clasp the bottom of her neck. His other hand was busy, thumb circling but not touching her clit as two fingers penetrated her. There was a vague thought somewhere in her mind that she should be embarrassed at the wet sound of him fucking her with his fingers. Then he drew his fingers completely out of her and used them to finally touch her clit, and all thought vanished from her mind. Her body snapped back against his. Her hands went to his forearm, clinging, and his grip on her throat tightened just enough.

"I'm gonna...I'm gonna…" she tried to warn him but he knew.

"Look in the mirror," he growled. Their reflections were wild and crazy, him fully dressed with his hands on her half naked body, his hand furiously working under her clothes. Somehow not being able to see what he did but feeling it intensified the experience.

"I want you to watch me take you apart." With no warning, he plunged his fingers back into her and her pussy clenched as her orgasm crashed into her. The tension in her veins finally snapped, warmth spreading throughout her limbs, electricity racing up her spine. Her head fell back, face turned to him and he covered her mouth with his. His tongue mimicked what his fingers now did and all she could do was melt against him. She gasped when his thumb lightly teased her clit once, twice as she came back to herself. Her body was covered in a light sheen of sweat and there was still an energy that tickled the base of her neck.

She didn't want to lose her nerve so when her knees were solid again, she peeled his hands off of her and turned. He didn't give her a chance to act on her desires as he immediately began licking and sucking at her decolletage. His clever mouth moved lower as his hands cupped her breasts. He was generous with his wet and sloppy attention as he licked his way between her tits, sucking and teasing them, moving quickly from one to the other and back again.

After enough attention, she dropped to her knees. Beating her to the punch, his hands quickly undid his jeans. When he hesitated with the zipper in his fingers, she shifted her eyes to his face. His smirk made her throb and she could hear the slow descent of his zipper as he finally dragged it down. Eagerly, she grabbed his open jeans and the band of his boxer briefs and yanked them to his knees. His erection sprang free, and he wrapped his hand around it, fucking his fist.

"Play with your tits," he demanded. The broken low tone of his voice made her shiver as she tipped her head back to look up at him. She bit at her own lips as her fingers spread his spit around, tugged at her nipples, and pushed her tits together the way he seemed to like. When she did, he growled and positioned his dick between them. He moved his hips and fucked her tits, sliding easily between them as she kept the pressure surrounding his dick as tight as she could.

"Yes...YES…" he muttered. "I'm already…" she pulled herself away from him to take his cock into her hand, twisting as she stroked him firmly again and again. She licked at and around the head while maintaining eye contact.

"Let me have it," she pleaded, popping the tip in between her lips and sucking. Her name fell from his lips and she pulled back, aiming his dick at her chest and felt his hot cum paint her chest. His head was back and she watched the muscles in his neck work as the veins in his neck stood out, as if they wanted to break through the skin. TJ groaned in a way that made her want to get off all over again, knowing she made him make those sounds.

He panted and moaned until the very last drop had been drained from him, only to sigh at the very end. She watched his shoulders rise and fall on that sigh and found herself sighing too. She released him and he moved to lean back against her sink. His head fell forward and his whole body slumped. Seeing that, her own body finally released tension and she felt her own shoulders fall and her eyes drifted shut.

It was a while before there was anything but the sound of their own heavy breathing and her heartbeat in her ears. When she heard the water running, she opened her eyes to watch him clean up. When he had himself put away, he looked into the mirror and she watched his eyes roam over her own disheveled appearance.

"Breasts…" he paused to smirk at her in that way that set her on fire, "are awesome." She laughed at his declaration, looking down shyly, which was dumb after what they had just done. He surprised her by crouching down and wiping his mess off of her with a warm washcloth.

"YOUR breasts are particularly…" his sentence fell off and she looked up to see his gaze focused on where he was cleaning. The way his lips were parted and he looked almost...hungry...took her off guard. When he felt her heart thud harder in her chest, he looked back at her face and instead of a sexy smirk, it was an unexpectedly soft smile.

"It's already done, TJ, you don't have to compliment me now," she told him, taking the tiny towel from him and finishing what he started. He inhaled sharply, as if to say something in response, but the sound of heavy knocking interrupted.

"I know you're in there, TJ!" The male voice was muffled but they both heard it. She cocked an eyebrow at him as reached up to get a grip on the sink to help her stand. Her body protested but she managed to make it to her feet.

"Your date is mad," she told him. "You better go put a leash on him cuz it won't be pretty if I gotta deal with him doing any damage to my door." She threw the washcloth in the hamper and retrieved her clothes off the floor. She folded the bra up and put it on the sink but put her shirt back on. They both faced the mirror again.

"He's not my date," he explained. She was not sure why he felt the need to clarify, nor why she felt a tiny hint of satisfaction at the information. She shrugged as nonchalantly as she could at him. He walked up behind her and rested his chin on her shoulder.

"Later?" he asked. She lightly shrugged again, bouncing his chin off of her shoulder.

"Never can tell," she answered, hoping her tone was as noncommittal as the words she chose. That damn smile reappeared and he kissed her cheek before he departed.

She heard him trying to calm down whoever the guy was at her door before she heard it softly shut behind him. That sound was like a trigger and the night caught up with her all at once. She leaned heavily on her sink and stared at herself in the mirror. Everything about her reflection told the story of what had just happened.

When she caught the look in her own eyes, she snorted out loud. One part satisfaction, one part wanting more, and maybe another part… She rolled her eyes at herself and sighed. Where was that other beer she had swiped from his place? Cuz whatever she didn't know about what had just happened, the one thing she knew for sure? She needed a drink.

Author’s Notes Part 2: if you have not seen Political Animals before, HERE is the scene that inspired this story. Hopefully it is familiar now that you read the fic. If not, I did not paint as good of a picture as I wanted to!

As for the direct TJ quote I used:

By @bobbiemorley HERE

#tj hammond #tj hammond smut #tj hammond fan fiction #sebastian stan #my ff

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irwinkitten · 4 years

Text

into the night | ii | demon!sos

pairing: demon!ashton x nb!angel!oc (with a side of demon!michael x black fae!oc) notes: so this isn’t as long as part one was (oops) however, i lowkey loved writing this and creating this world. this part focuses on ashton, however we get a glimpse of michael (who will be the next part and final part i hope) also thank u to my twin for checking over this and catching my errors!! lovee u @sexgodashton word count: 5.7k

part one

donate to my ko-fi?

Time was much kinder to Roe and Marcella than their coven.

The first decade, the coven had their own struggles. There’d been enough times when hunters had nearly decimated them all because there was word about two demons in the midst of witches.

It was the first time Roe had ever invoked sacrificial protection for the betterment of her coven, and the guilt had weighed heavy on her for years afterwards.

True to her father's word, Calum and Luke had remained with the coven, an added layer of protection as they continued with their lives. They acted as liaison, to reap the souls that were not willing to pay their debts, the ones that Michael and Ashton had no time to seek and collect.

Ashton and Michael traversed through often enough, finally becoming comfortable enough with Marcella and Roe to let their guards down with them.

Gem had wormed her way into their hearts too, the elder witch having accepted them with ease. More often than not, there would be a point in the week where any of the four demons would sit talking with her, asking about her knowledge, her life.

A witch's knowledge was sacred, it taught the new generations of the Old Magicks, curses and spells. It taught them how to defend, to care for. But these stories Gem told the four demons, taught them how to open a side of them that they’d believed they’d lost the day they’d sold themselves to the King.

Ashton sat with Gem on such an occasion, his eyes studying the way her fingers tapped the porcelain cup.

“Your time is coming, you realise?” Her voice was quiet, Ashton could only nod. “She’ll fight it. She’s a stubborn witch.”

“It’s her right to rule. I know his predecessor was murdered, but he knows that he wants his kingdom in good hands. If it wasn’t for the fact that Calum finalised the bond with her, he’d have snatched Roe years ago.” Gem sighed as she finished her tea, her eyes searching the tea leaves.

“They just read change every damn time.”

Ashton looked up from his own cup, staring at Gem in shock at the frustrated tone that had left her lips.

Over the last decade, he’d only heard her raise her voice a handful of times. Each one was warranted, but he still knew that the normally calm witch only showed the frustrations when things were going south.

“Gem?” Old eyes met his and he could see the years of experience and the years of loss as a lone tear escaped.

“I can’t make heads or tails of what’s going to happen, Ashton. Too much needs to be decided and she will fight it, every step of the way.”

He sighed as he set his cup down, nodding his head before letting his fingers push through his black curls. That change had come a few years previous when Roe had made a passing comment to the demon when he’d shown up with a mild disguise on. She’d told him that black hair certainly looked better on him and so he’d decided that he needed a change and the black hair became permanent.

“He’s expecting her to rebel. He doesn’t want to put too much pressure on Calum, knowing she’ll readily destroy herself to protect him from the Kings plans.”

“So he’s putting the pressure on you?”

“Yes and no. My jobs are no different, but I’m feeling the pressure of doing what needs to be done. He doesn’t accept failure.” Carefully, his fingers peeled up his shirt sleeve and Gem gasped in shock at the darkened welts on his skin.

“He didn’t.” The older witch breathed, her eye unable to tear them from him.

“You can not heal them, Gem.” He warned as her fingers reached out, touching the delicate skin.

“Watch me.” She snapped back in return, eyes refocusing before the spell left her lips.

He watched in amazement as the skin on his arm knitted itself back together, a sigh of relief escaping his lips.

“He dares go for you again, tell him to start a fight with me.” The older witch snapped. And Ashton couldn’t help but smile as his fingers reached out, squeezing her arm gently.

“I’d look forward to the day where I see a demon, and the king of hell no less, get forced to submit to a witch.” Ashton murmured, earning a smirk from Gem.

“Where do you think our Roe learned it from?” Her words made him chuckle as a knock on the door interrupted them. Michael’s head stuck around the corner and Ashton tensed.

“We need to go. There’s unrest. An Angel appeared.” Ashton was on his feet swiftly, but bowed shortly to Gem before following Michael out. Gem chuckled.

For all his posturing, his upbringing was one he never seemed to let go of once he realised that he had a safety net in the house.

Following Michael outside, they made the journey through the shadows, landing not far from the ostentatious palace where the King held court. His actual home was elsewhere, along with the offices that he used to keep things in check, but the palace was one to be used as a decoy. Ashton was certain that only six others, including himself, knew where the King lived and four of them lived above in the human realm.

“What’s going on?” His voice carried as he stepped through. Demons fell silent, their resentful eyes staring at the two as they strode through.

That had been another downside to stepping up. Demons who were ambitious often killed their competitors. However, the King had made himself clear over the last decade. Anyone who touched Ashton or Michael, paid the price.

“The Angel bitch appeared out of nowhere, sir.” One of the younger demons commented, the sneer firm on his lips. Ashton held back his sigh of annoyance.

“Someone with a fucking brain cell, tell me what happened?” He snapped out and murmurs slipped through the gathered crowd before they parted. Ashton felt his heart tremble as the beaten and bloody body of the angel lay crumpled in a heap, the wings out and almost shredded with claws.

Michael scoffed as he made his way over.

“Who dragged the angel down here?” Ashton’s mind was frozen as Michael tilted the angel onto their back and memories from his human life hit him hard as the face fitted itself into his memories.

“She just appeared on the floor. No one dragged the bitch.” The first demon spoke and Ashton’s hand snapped out, his fingers closing slowly into a fist until he heard the demon gasp and struggle for air.

“You might think that they are our mortal enemies thanks to Belize, but trust me when I say working relationships exist between Heaven and Hell. Continue to call them a bitch and watch what happens. And for your troubles, they are a they, not a she.” He snapped, his fingers releasing and the demon struggled for air, his heaving breaths giving Ashton a vindictive satisfaction.

Their body was limp, but Ashton could hear the shallow, rattling breaths escape their lips, and he knew he needed to act to save their life.

With a jolt, he realised things were different compared to the last time that he saw them. And he felt like he was in some sort of cliche moment as he carefully picked up the angel, ignoring how the jolt slid down his arms when his fingers brushed their skin.

“Michael, inform his highness what has happened and clean up.” Ashton instructed and Michael nodded, turning around to kick the other demons from the palace. Ashton waited for a moment before he disappeared and he knew that he needed somewhere safe for the angel.

The sun hit his skin as he arrived, glancing up to the house before whistling loudly.

Calum came barrelling out first, followed by Marcella and then Gem.

“Ashton?” Calum’s eyes questioned the being in his arms, but he shook his head.

“They’re an angel, I can’t give them treatment below, it’ll kill them. I wouldn’t normally ask, but they-”

“They’re important to you.” Gem murmured as Marcella murmured a few spells and her face dropped.

“Get inside, use the room that you left Luke and I in.” She instructed and Ashton followed behind Gem who guided the two of them whilst Marcella yelled for other witches.

They came down at their calls, a couple scowling as they spotted Ashton, but he paid them no mind as he settled the angel on the bed, his fingers brushing the shoddily cropped hair with a sigh.

“What did they do to you?” He whispered before stepping back when Marcella returned with Roe in tow.

“Ashton?” Her tone was gentle as she held her hand out to him and he turned away from the angel, ignoring the stretched out hand before leaving the house, his own magic itching as he settled outside. He knew things were going to change and he knew he couldn’t leave.

“Fuck.” He lay out on the grass, arm over his eyes as he tried to keep his frustration from exploding outwards.

It was silent apart from the mutterings coming from within the house. Then a door closed and he growled in a warning.

“Pack it in.” Gem snapped as she sat herself next to him, his arm moving to see the older witch sat with an air of regality on the grass. He immediately felt bad, knowing the older witch sometimes struggled to move with ease.

“Had I known I would’ve been followed, I’d have stood.” He muttered and Gem snorted.

“Or you would’ve just disappeared.” She countered and he grimaced as his arm dropped from his face, sitting up to face Gem.

“I can’t.” He whispered and she stared at him hard. It felt like she was examining his soul, or what was left of it. And he looked away.

“There’s a bond, isn’t there?” Ashton knew that she knew the answer, but was still demanding him to vocalise it. And had it been anyone else, he’d have told them to fuck off.

But it was Gem. The witch who healed him despite the Kings deliberate mutilation to remind him of his place. The witch who reminded him of his humanity, who helped him find those memories from so long ago.

“Yes.” He finally whispered.

They sat there in silence before a blast of magic washed over the two of them and Ashton scrambled to his feet before helping Gem up. She smiled gently at him, patting his hand before following him through.

“Fucking angels.” Sapphire muttered as she left the room, rubbing a spot on her arm. Ashton snarled at her which made her pale before glancing to Gem and hurrying away.

“Peace, Ashton. It’s because the angel's version of magic is so very different.” Gem soothed the agitated demon. But it didn’t settle him until he entered the room and saw them laying more settled in the bed, their face free from the marks that had stunned him the first time around.

“Fucking angelic magic thinking it’s better than ours.” Roe muttered as she helped up Marcella who sighed.

“Don’t forget, our magic is tainted by our mates. Is it any wonder their magic reacted so violently?” Marcella chided and Roe stuck her tongue out before she spotted Ashton.

“You couldn’t have bonded to a human or a faerie, or even a bloody werewolf! You had to go and bond to a fucking angel.” He knew she was teasing, but his body tensed. Sensing the change in his mood, Roe held her hands up in a surrender position.

“How are they?”

“You need to find out what happened to them for me to fully heal them. We’ve got the superficial damage fixed, but there are curses locked in that I can’t touch until I know the origin. Ashton, how did you come by this angel?” Marcella’s tone was curious and he sighed as he took a seat next to the bed, feeling his chest ease now he was in proximity to them.

“They had been dumped on the floor of the palace. Which reminds me, Roe, you’ll have to start the transition soon before the younger demons start to revolt. The elders refuse to teach the little bastards.” Roe sighed.

“I just need to figure shit out first, but it’ll happen. Calum managed to finally convince me.” She muttered and he smiled gratefully at her.

“Go and rest, I’ll watch over them for now.” Roe left but Marcella hesitated.

“I’ll be fine.” He murmured and she shook her head.

“They weren’t in the best condition and we don’t know if our magic has aggravated it. The best thing you can do is make sure they’re comfortable so their own magic can help their body.” she instructed calmly before passing him a cloth. “If you notice a fever, use this to cool them down, it’s imbued with cooling charms to help so you don’t have to leave their side. Call for me when they wake up and I can get a better diagnosis.” Without another word, Marcella left, the door closing behind her.

He knew that both of them would’ve returned to their mates. The magic was enough that they would be tired.

The door opened once more and Gem stepped in, two cups of tea floating beside her as she sat on the chair which resided on the other side of the bed.

Ashton didn’t question her as the second cup of tea floated to his side.

“We might as well continue our little chat, especially since our Roe has seemingly made a decision.” Gem commented quietly and Ashton smiled at the older witch, his hands clasping the cup.

“I guess we should. Do you think that Roe is truly ready to work the compromise so that she can run the coven whilst keeping an eye on Hell?” Ashton’s words were curious and Gem smiled.

“She’s ruled long enough with an iron fist with this coven. They won’t know what to expect with her, one because she’s female but two because she has witches blood and she’s not afraid to exploit that for her own personal gains. I think she’ll make a fantastic Queen, and with Calum ruling by her side, the younger demons will quickly realise that the hierarchy exists for a reason.”

—

When they woke up with a gasp, Ashton was there, his eyes haunted yet considerate.

“You’re safe.” He murmured and their eyes were confused, the tiredness evident as he studied them.

“Ashton? But, you died centuries ago.” Their tone was suspicious despite the confusion. A wry smile appeared on his lips at their words.

“It’s what you get for falling in love with an angel.” He murmured, his eyes darkening. The hazel deepened before it fully transitioned to black and understanding dawned on the angel’s face.

“Demon.” They murmured softly and he nodded.

“You were dropped in the palace and left for dead. What happened?” The grimace told a lot more than he expected, but they seemed to weigh up the options before sighing.

“When word got out, about us, mercenaries were sent after you.”

“I remember. They’re the reason I became what I am.” His tone was dry and they shot him an apologetic look.

“They didn’t expect you to fight back, but I warned them. I warned them that you were of noble blood and had been raised to know how to fight. They watched me for a century after that. I couldn’t function. You’d died and my heart had gone.”

His heart clenched and stopped himself from reaching out to them, to offer a form of comfort.

“Were they watching to make sure you didn’t do something drastic?” They snorted.

“I was the angel who fell in love with a human. They refuted my claims of soulmate because angels only mate with other angels.” The scorn dripping from their tone surprised Ashton. As memories began to slot into place, he remembered bits and pieces.

“Did he forbid it?” And they shook their head, choppy hair falling into their eyes. A trembling hand moved to grasp it and Ashton watched as tears filled their eyes.

He silently realised that the change in hairstyle was not a personal choice on their part.

“He would’ve blessed it had he known. Had I not hidden it from him. He had me helping the lost souls, as a penance but also because I understood. Then Ariale, he tried so hard, but I couldn’t move on from you. He got angry, bitter.” Ashton closed his eyes.

“And then I appeared in the human realm, didn’t I?”

“They weren’t sure it was you until this year. Word spread that you had climbed the ranks but no one knew how much. I was forbidden.”

“You were my mate in my human life and they wouldn’t risk the bond carrying over to this life.” Ashton figures out the unspoken words. Tears were in their eyes as they took in a trembling breath.

“Ariale demanded judgement. That was when I learned one of his brothers-”

“Was the one that I killed as a human.” He closed his eyes, anger and frustration bubbling up. Ashton never felt violent towards Angels; he couldn’t after he started unlocking his human life. But the burning anger made him want to go to the high heavens and demand their own trials.

“Yes. They demanded my judgement for your actions since I’d claimed you as my soulmate.” His heart sank.

“Judgement deemed you guilty on behalf of my actions.”

“I begged with him, cried that it wasn’t fair. He told me the judgement had been made but he would not cast me from the heavens. He would send me to my mate. Ariale got hold of me first.”

Ashton couldn’t hold back his snarl of anger. How dare they claim righteousness yet hurt one of their own in such a way? He was furious.

“What did Ariale do?” His eyes held theirs and he watched as they winced as they moved.

“You saw my wings. There are some curses embedded as well. I cannot complete our bond, it’ll kill both of us most likely or just me. He was a bitter angel about me not moving on.” Ashton could only silently promise to end this bitter Angel's life if ever he crossed paths with him.

“I brought you to a coven of witches who, well a handful I consider friends. Roe is going to want to know the curses and Marcella won’t stand for your curse to prevent you completing the bond.” He held his hand out to them, resting it palm facing up on the bed.

“Ashton-”

“No,” he interrupted, “we were denied when I was human. I refuse to let some fucking asshole of an angel ruin it for us now. You’re mine.” He surprised himself at the ferocity of his words, but the look of relief of their face spoke volumes for him.

“Let me speak to the witches first. They need a fair idea of what to work with.” They finally whispered as they rested their hand in his.

He didn’t hesitate to bring their knuckles to his lips, pressing a soft, gentle kiss to them.

“Your will is mine. I’ll track them down and see what I can do. Rest for now, you’re safe.” He waited until they had settled back and fallen asleep. It was easy to track down Gem, and thankfully Roe and Marcella were with her.

“They’ve woken up. We’ve spoken a little and they’re resting now but it was a bitter angel that imbued them with curses. One of the curses means we can never complete our bond without their death.” Gems eyes were sympathetic as Marcella gasped in anger.

“Then I’ll find the damn curse and pick it apart piece by piece. They’re in safe hands. Now do you need a shoulder or do you need to vent?” He felt like he was being scolded by a mother hen, but he smiled at Marcella.

“I’m going to put some brats in their place.” He caught exasperated yet fond looks before he disappeared and when he reappeared in the office’s, he knew he had his work cut out for him.

Michael was waiting, a file in his hand.

“Mallory is one of Torrid’s lackeys. She got her claws in but this one has brains. He’s been laying low until Roe’s coronation got announced. He hasn’t been sitting idle either.” Michael explained as Ashton took the file and glanced down.

He scoffed.

“Get the brats that keep defying me. Let them learn their lessons from the elder who won’t learn to adapt.” Ashton instructed as he made his way down the halls. Michael vanished as Ashton reached the interrogation rooms.

“Sir.” The demon was a younger one in looks, but she’d been around about a century longer than Ashton.

“Sal. He's still not giving up names?” She shook her head.

“We caught one name. Talisia. I’ve got one of the older agents running her down now.” He nodded before snapping his fingers and chains wrapped themselves around the unwilling demon. The noise of protest was cut off by the chains tightening.

Sal looked at Ashton with a raised eyebrow.

“They’ve gotta learn.” He shrugged as he dragged the prisoner out, heading from the buildings to the pit that lay just outside of the palace.

Demons began to curiously gather as he dragged the chained up demon through the streets. More gathered as he kicked the demon into the pit, the chains unwinding from the demon.

Ashton held his stance, casual and collected. Michael pulled up on the other side as he felt Sal watch his back.

“Someone who cannot change is someone to be made an example of.” He called over to the gathered demons. They fell silent.

“This is just how he treats anyone who disagrees with him.” Mallory called to the crowd and a whisper of unrest rushed through the gathered.

Ashton snorted.

“We all knew a new Queen would be ruling. You are apart of the group that tried to murder her and one of her coven sisters ten years ago and escaped justice. The last ten years has been making sure that whilst you may disagree with a hybrid Queen, you can see she’s capable.” Ashton called out earning mutters of agreement.

“She will be weak willed like the new brats that you recruit.” This time mutters from Michael’s group were loud and he turned in shock. “They are trying to fool you!”

A laugh rang out from that side and a small female stepped forward, face in a vicious snarl.

“You just called us weak willed brats did you not? You tried to brainwash us into believing that a new queen would be terrible but failed to mention you attempted to murder her long before we arrived.” She glanced up at Ashton who nodded.

“If I was a merciful man, I’d let her roast you until you are nothing but dust. But I am not merciful and I am not a man.” Demons fell silent as his body shifted, cracks running through his skin as he snarled and the pits opened.

Hell hounds rushed around their newest meal and wasted no time in tears pieces off, his screams echoing around until they faded to gurgles before falling silent.

“Take your quarrels with our new queen to the ones that have been trying to teach you the last decade. They will tell you what happened with her hybrid sister and what she did to the demon who tried to murder her mate.” He snarled before he disappeared back to the offices.

Ashton knew that he was going to get complaints from the older lot, but he was in no mood to deal with petty demons who could not adapt to change. If they were going to rule efficiently, then they needed to learn to adapt efficiently.

He headed back up, trying to grip his temper, but he was walking back into a volatile situation. He was angry on his angel’s behalf, knowing that they were thrown because of him.

It burned him that they were so wounded for so many years.

He sought out Gem who was waiting, a cup of tea sat on the arm of the chair, expecting.

“I’ve imbued the room in soundproof spells for you. Let it out, Ashton.” Her kind tone seemed to set off the temper and his anger flooded, skin cracking as he let out such a snarl that would’ve frightened any sensible witch.

Gem remained in place as he got up and paced, his hair crackling with power as his skin cracked further, blood red veins running down his face as he finally hurled the tea cup, the porcelain shattering against the wall.

Gem merely waved her hand and more pieces of fine china stacked themselves on the table closest to him and he threw every single piece, his fury and frustration reducing some of the pieces to nothing more than dust.

He was so angry that he couldn’t think straight, mind splintering. Part of him was stuck on the anger towards the underworld, the new demons that defied him as well as Roe. And the other part was stuck on his anger towards the high heavens for hurting his angel. His mate.

It took the better part of an hour before his anger finally began to recede enough that his skin returned to normal but it felt like he couldn’t catch his breath. The sensation was strange and he could feel moisture in his eyes and he finally understood as Gem stood up, her arms wrapping around his shoulders.

For the first time since he’d died, he was crying.

It took longer than he’d thought, another forty minutes, before he stopped crying, the heavy breathing slowing down until his tears were gone and his chest wasn’t burning from trying to take in oxygen.

Gem had another cup of tea waiting and once he was sitting back in the armchair, she got down to business.

“Now that you’re less likely to murder one of my coven should they look at you wrong, are you ready to tell me what happened? Tell me about the defiant and I’ll tell you what we found with your Angel.”

This made Ashton pause before his eyes narrowed on the witch.

“You’d have made a better demon.” He finally muttered darkly, taking another sip of tea. She dimpled at him before sitting back and letting him take the lead of the conversation.

He told her about the defiant demons, what he did to the traitor they found. He didn’t hide the violence from Gem and she didn’t flinch away. He felt his chest feel strangely lighter and when he said so, she smirked.

“You boys might think you’re soulless, but you’re not. You need to share the burdens that you all carry. It might not be a typical burden that weighs you down, I know that death means nothing to you. But the ones that have been defying you, it’s making you question your choices. That’s where your burden lies.”

“Maybe a better therapist than demon.” He finally conceded and she laughed.

“Would you like to know about the curses?” This had his immediate attention, tea long since abandoned.

“How did you figure it out?”

“They used your blood. The curse is specifically tied to you. It’s a long forgotten curse that will burn them when you initiate the bond.” He felt his stomach turn.

“But our bond initiates from touch does it not?” And Gem shook her head.

“It’s different for you two. You’ve been bonded before but it broke with your death, correct?” He nodded. “You need to be physically intimate with them for the bond to reassert itself.”

“Is there a counter?” Gem visibly brightened.

“There is. The only problem is that we need to get a hold of a faerie. And they’re tricky little blighters that don’t do anything unless there’s something in it for them.” And Ashton could feel his hopes sink to the pit of his stomach.

Faeries were notoriously tricky to deal with and unless there was something in the deal that benefitted them, they wouldn’t help. And he couldn’t see how a faerie would benefit from his mate being freed from the curse.

“I’ll see if I can call in a favour. Faeries might be fickle, but they honour debts between magical races. Go see your angel and I’ll get in contact.” Gem ushered him from the room and with a sigh he made his way upstairs, his feet feeling like lead as he got closer to the room.

As he pushed open the door and their face lit up upon seeing him, and despite the dashed hope, he felt warm and a sense of comfort as the heaviness lifted as he took a seat, his hand slipping into theirs.

He could deal with this.

—

Gem had put in many calls, but none were being answered. It was like they knew the favour she was going to ask.

When Michael had shown up to check in, Ashton was yet to leave the angels' side, and so Gem caught him, making him pause.

“It’s better that he stays with them for now. I, however, need a perspective of a demon.” This pulled Michael up short.

Although he wasn’t a frequent visitor with Gem, he didn’t realise that she was comfortable enough to ask a favour, or at least ask for his advice.

“I’m curious.” She snorted at his words and tilted her head to what had been dubbed as her sitting room. Michael followed quietly, his eyes glancing to the grand staircase before ducking into the room.

The door slammed shut behind him, making him raise an eyebrow as he took the offered seat.

“I wish I could use the term ‘curiosity killed the cat’, but you’d be quick to be a smartass back.” The older witch muttered. Michael grinned.

“Absolutely. So what do you need me for that you couldn’t drag one of my elusive brothers out for?” He sat back in the chair, his elbow leaning on the arm rest as his head rested against his fingers. Gem rolled her eyes.

“The Fae are notoriously fickle. I have favours to call in but I know they won’t do it without some kind of reward. How can I put it in a way that they’ll be helping another species without actually gaining something in return?”

“Just promise you won’t murder them. Usually does the trick.” Gem stared at him, her lips parted in shock at his words and brash attitude that came with them.

Only when his lips began to twitch did she realise he was teasing her.

“Michael!” Her tone was flustered as she set her cup down.

He laughed.

“When it comes to a demon, you do need to promise that you won’t kill them. I wasn’t necessarily joking but they’ll be more inclined to listen if they know that their life isn’t on the line.” Gem just sighed.

“Any other wise ideas from you?” The dry tone made Michael snort.

“Just go with your standard offerings. They’re selfish creatures so if the gifts are for them along with the promise of their life, there’s going to be at least one who will answer your call.”

Gem could see where Michael was coming from and for a moment she wondered if that would be enough to encourage the fae to listen to their requests.

“I’ll try them once more but if they don’t work, we’re going to need a different way to get their help because they’ve been ignoring all of my other offerings.” Gem commented to Michael quietly. This made the demon pause in his movements.

“This is for the Angel that’s Ashton’s mate, correct?” Gem nodded and he sighed. “Let me deal with them, then. That way, we’re being upfront that a demon is involved and they may just respond to the plea.” Gem looked stunned for a moment before a bright smile crossed her features.

“Thank you Michael.”

“You’ve kept my brothers and I alive for the better part of a decade. Allowed us to reside in your home and still use that protection. It’s the least I can do for you. Where’s the fae mound?”

The following morning, Michael strolled in with a smug grin on his lips, and then glanced back to the door.

Gem nearly dropped her tea as the being she had been so desperate for stepped into the house. She held an air about her that seemed to demand her attention, the dark braids hanging over one shoulder, her eyes staring at Gem as the older witch studied the darker skinned being that had finally taken up her offerings and she couldn’t stop herself as she grabbed the back of the chair for support.

“You know what’s expected, what we need?”

“I do this as a favour to my mate.” Her words were smooth like honey and Gem felt her jaw dropped, staring at Michael in shock.

“Michael?”

“She’s my mate. When they sensed my presence, they sent her to deal with me. Neither of us anticipated the bond, but we didn’t deny it either.”

“And your council?” Gem asked hesitantly, curiosity tinging her tone.

“They accept the bond but will not welcome me back. So I asked them for one last favour for myself and my mate.” Gem felt the relief flood through her veins as she stepped forward, clasping her hands around the faerie’s, ignoring the look of shock at her touch.

“I cannot begin to tell you how much this means, for all of us. These four demons, it was difficult at first a decade ago, but they’re family, and to see one hurting, it’s difficult for all of us now.”

Michael scoffed and Gem gave him a wry smile.

“They learned their lessons long ago, you know that. We will proceed with the ritual on the next full moon if that is acceptable for you?” She returned her attention to the faerie whom she had yet to let go of.

“Perfectly acceptable.”

“Wonderful. What’s your name, dear?”

The faerie seemed to hesitate, glancing to Michael first before offering the older witch a kind smile.

“They called me Adana.”

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