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draconic-desire · 1 month

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Oculus Infinitum

Yandere Satoru Gojo x Reader

He’s infinity; in comparison, you’re nothing. So of course using your cursed technique on him backfires.

Warnings: 18+, MINORS DNI! Yandere behavior, unhealthy relationship, implied kidnapping, forced imprisonment, nsfw, non-con/dub-con, afab!reader, slight mindbreak

Infinity is often interpreted as the largest numerical magnitude to exist. And while that fact may be true in theory, infinity is better defined as the endless division of infinitesimally smaller and smaller values. One can be separated into half, half to a quarter, and so on, until the space between fractions almost ceases to exist.

Almost.

Gojo is a lot like infinity. Blame it on his technique, sure, but you suspect it runs much deeper than that. His actions never reach an end; instead, each one sinks further and further into your skin, fangs so small you barely feel them until it’s too late and the venom irreversibly invades your veins. He’s chipped away at you, piece by little piece, until you are the opposite of infinity; you are nothing.

On a surface level, most would say you have it pretty good. You (are trapped in) live in a huge home, filled with opulent furniture and all the luxuries you could ever want. You’re (expected to) allowed to cook meals for the two of you, including your favorite dishes. You still have (basic rights) privileges, such as free roam of the house, your own selection of clothes, access to the television and your phone (minus the ability to call or text, of course), even outdoor time with Satoru’s supervision. Why would you ever need to leave?

You had escaped, once.

Calling it an escape would be generous. Nothing ever happens without Gojo’s knowledge, without Gojo’s permission. How foolish you had been, to think you could evade his Six Eyes. Despite weeks of planning, he’d dragged you back home within the hour.

The chains hadn’t been removed for an entire month after that, and their lingering presence on each post of Satoru’s bed serves as a constant reminder that they’ll never rust.

Currently, you’re in the (not your, nothing is ever truly yours anymore) house’s lofty kitchen now, preparing dinner for his return home from work. Glancing up at the clock, you see it’s nearly time for him to arrive. You click the stovetop on and place a pot of water over the open flame, watching the blue fire flicker. Your thoughts immediately go to Gojo’s eyes, twin infernos of endless blue. Those eyes never seem to close, never seem to be too far from your own. They have the ability to lock you in place and throw away the key forever.

Moments later, the sound of the door opening and closing, along with the click of multiple locks, echoes from the hallway. Long, casual footsteps alert you to his presence behind you. His velvet voice, so languid and carefree, fans your ear as he settles his hands on your hips. “There’s my girl. Already making dinner for me?” He places a surprisingly chaste kiss to the top of your head. “Missed ya, baby.”

You add rice and a bit of salt and stir the pot in front of you in silence. When did you stop fighting him on that? On losing your full name to simple titles like girl and baby? The old you would have gagged at those pet names. The old you that kicked and bit the hand of your captor like a rabid animal, always fighting for freedom.

His grip tightens when you fail to immediately respond, though you hear him force a light tone to his voice. “What, curse got your tongue?”

Tension immediately floods your muscles. Gojo is a vain man; your silence maims his huge ego, something the most powerful jujutsu sorcerer will not stand for. You must react. “No, Gojo. I was just lost in thought, is all.”

You worry your lip when the quiet drags on. “I-I’m sorry?”

Gojo barks out a laugh, but his smile is strained and all fangs. “Back to Gojo again, huh?”

A mistake you notice too late. The spoon falls from your grip as you turn your head slowly. He’s still wearing his blindfold, but you know those infinite abyssal eyes are currently boring into your soul, daring you to speak. “Ah, no! Satoru, I mean—”

“Shh, baby. I get it.” His hands move to your shoulders, which he begins to massage. “Is it because you’re mad at me for neglecting you?”

To an outsider it may sound like he’s teasing, but you know all too well the creep of annoyance laced into his deepened, husky tone. “Or are you just being a brat?”

Swallowing, you place a hand on his toned forearm in an attempt to calm him. You feel him practically melt into the touch. “Truly, ‘Toru, I’m fine.” Your honeyed tone makes you sick, but you’ve learned it can subtly manipulate your captor in the right setting, usually this domestic fantasy world of his. “You’ve been so busy with work, and my mind has just been wandering. Why don’t you go sit while I finish up with the food?”

He hums absentmindedly, fingers swirling patterns across your abdomen. “I have a better idea…” Hot breath caresses your ear, eliciting a shiver. “Let me make it up to you.”

A deft hand snakes its way down the back of your bare thigh, barely ghosting across your skin. You can feel him, solid as a rock, yet you know there will always be space between you. He can touch you, but you’re powerless to do the same.

Just like in everything else, you can’t hold a candle to him. Your cursed energy is inconsequential, a tiny spark against his infinitive well of power.

Talk of your innate cursed ability is a topic you actively choose to avoid. Your technique, when activated, allows you to briefly control the thoughts and consequent actions of a single individual—but only after you’ve kissed them. And it often backfires tremendously, with the kiss causing overwhelming feelings of obsession or insanity in the receiver. From more than enough uses you’ve learned to see it as more of a curse in and of itself, and one you prefer to keep hidden.

Especially from the man behind you. Gojo—Satoru, you correct yourself—has enough twisted love that you wouldn’t dare try to possess his thoughts. The mere idea makes your throat tighten with panic.

Satoru’s technique, on the other hand, causes every nerve ending along your skin to explode as his hand falls beneath your skirt and skate across your barely clothed core.

“Been thinking about this all day,” he groans. “Are you wet for me, baby?” Before you can respond, Satoru easily moves your panties aside and spears you with his middle and ring fingers.

The invasion makes you jolt instantly. An involuntary gasp leaves you as he presses deeper, his fingers sheathed to the knuckle. You hate how your walls immediately tighten around him, slick with your arousal. No, you don’t want this, but Gojo gives you no choice in the matter but to practically ride his hand as he lifts your skirt with his other hand to get a better view.

“I’ll never get tired of this.” His thumb passes over your clit, pulling yet another shameful moan from your lips. Your tense demeanor only causes your pussy to accidentally squeeze him tighter, spurring him on. You try to pull your thighs together, but Satoru wrenches them apart easily with his other hand. “Oh, no, none of that. This pussy is mine.”

You squirm, grasping for something to get you out of this mess. “Satoru, stop, the food will burn—”

“Forget it,” he commands, ripping your skirt off. “We’ll order takeout after.”

Your heart drops. “After…?”

“Aw, you thought I’d stop here?” His condescension floods your ears. “No, babe, I’m only just getting started with you.”

His persistence, like infinity, has no end.

Without warning, Satoru removes his fingers from your core and swings you over his shoulder, smacking your bare ass and wrenching a yelp from you. You blanch when you realize he’s carrying you to the bedroom.

“Wait, Satoru—!”

You are unceremoniously thrown onto the bed, said white-haired sorcerer towering above you. He pounces immediately, locking your limbs in place. Satoru must see the fear, the readiness to engage in fight or flight, across your face, because he brushes a tender hand across your cheek to wipe away a tear you didn’t realize had fallen.

“Don’t tell me you’re scared,” he teases, but it somehow sounds like a threat. His fingers, still coated with your arousal, hook around your thong and slide it down your legs. “You’re acting like this is our first time or somethin'.”

Oh, it was far from the first time that he had touched you or been inside of you. But something about today, about this time, sends fear skittering across your whole being. Perhaps it’s all the reminiscence lately, or the fact that your thoughts drifted to your innate technique for the first time in weeks. Panic sinks its claws into you.

Breath ragged, heart pounding, you grab his face in both hands and react without thinking; for the first time since he kidnapped you, you willingly kiss Satoru Gojo and activate your technique.

Satoru immediately reacts, deepening the kiss and pressing you more firmly into the mattress until you feel as if you’re nearly suffocating.

Release me, you project into his mind, threading a hand through his white locks and squeezing hard.

The world suddenly goes very, very still.

Satoru freezes. Slowly, painfully, he parts his lips from your own and straightens his arms against the mattress to hover above you once more. His breath comes out in jagged huffs. The only sound that remains is the unending tick, tick, tick of the clock on the wall, bringing you closer to your doom.

For a second, you almost believe your technique worked.

That is, until he quickly sheds his blindfold, and you are meet with those stunning, terrifying, brilliant, paralyzing blues. He whispers your name with a foreign stillness that chills your bones to ice. “Do you…have a cursed technique?”

What an idiot you are to have thought you could sneak past Satoru Gojo’s barriers and Six Eyes. You can’t touch his physical form; why would his mind be any different?

It takes all of your willpower to withhold the panicked, hysterical laugh threatening to escape you. “Look, I can explain—”

Satoru leans back on his knees, one hand carding through his hair as he looks up to the ceiling. “God, babe, I knew you could see curses and harbored cursed energy, but here you go surprising me!” He laughs, a gleeful chuckle that has you reeling.

“You’re not…mad?” you dare to ask, inching your knees towards your chest. Maybe your technique failed, but you can still buy some time and get into a safer position.

Satoru gazes down at you, head tilted and a full grin on his lips. “Mad? Baby, why would I be upset when for the first time in our relationship, you were the one seducing me?”

Oh, no. No no no no no.

Grabbing your ankle, he drags you back to a supine position, your pussy on full display for him. He licks his lips at the sight. “Plus, you trying to get inside my head was cute and all. Weak, but you gave it your best!” He laughs again, and you realize that he never took you seriously, not even for a second.

The thought should enrage you—it would have infuriated the old you—but all you can manage now is a low whine as his hands go for his belt.

Satoru pulls himself free, his already hard cock pulsing in anticipation. Precum beads at the tip as he lines himself up with your entrance. “What was it you asked me for? Release, right?”

Your eyes bulge at his implication. “Wait, Satoru, I didn’t mean—!”

You barely have time to react as he buries himself in you completely. A choked sob bubbles up your throat as you breath through the stretch of him.

Satoru moans in ecstasy as he begins a steady pace, thrusting mercilessly into that squishy spot deep inside your core that has you seeing stars.

“Kiss me again.” It’s light and breathless, but it’s an order, not a request. Fear makes you comply immediately, though your kiss is a hesitant, timid thing compared to your earlier attempt to sway him.

He’s having none of that. No, Satoru had a taste of your affection, and now he’ll tolerate nothing less than your full reciprocation. If only you could truly peer into his mind and see that no amount of your cursed energy would change him; your being was already permanently imprinted on his brain. You were his perfect doll, held in the palm of his hand.

Nails rake down his back as you arch against the mattress. Every time he thrusts, he grinds against your clit, and you feel yourself chasing your finish. You hate this, you want it to stop, but you can’t help—

“Please, Satoru,” you plead without thinking, meeting his limitless eyes. You feel yourself drowning in them, a blue sky that never ceases.

For a split second, his rhythm hesitates. “…Say that again,” he whispers, almost reverently. “Beg for me.”

You’re not quite sure what you’re asking for. “P-please, I can’t take it anymore, please let me—!”

“Choose your next word carefully,” he warns, voice shifting to a low growl as his hand moves to your throat, adding ever so much pressure.

Tears streak your vision. The embarrassment of your technique failing and the lewd position he has you in all crash down upon you, and another piece of you breaks. “Please let me cum,” you concede.

To your dismay, his pace slows, and you cry out in protest as your orgasm fades. “I just need you to do one more thing for me, baby.” He leans into your neck, nipping and sucking at all your sensitive spots, torturing you even further. “Tell me you love me.”

Alarms should be blazing through your head, but the fog of your arousal clouds your judgement as you seek your climax.

That piece of your soul he took shatters into a million shards as you whisper, “I love you, Satoru.”

The two of you shatter simultaneously. You register all too late the warmth invading your core as Satoru pumps his cum deep inside you.

He’s never come in you before.

Your name is murmured over and over like a prayer against your neck—or maybe it’s a curse. You jolt in overstimulation when he pulls out and bends down to place a kiss against your puffy folds. “So good for me, baby. This perfect pussy belongs to me.”

He kisses you a final time, long and slow. When he pulls away, a languid smile sweeps across his features. “You’re all mine, (Y/n). Even your mind.”

With the use of your innate technique, you’ve dug your own grave for good. Satoru will never let you go now.

After all, infinity is indivisible.

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battlekidx2 · 3 months

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I want to elaborate even further on why I think Alastor’s breakdown in the finale was (at least in part) motivated by the fact that he has come to care about the people at the hotel. A few people have responded to me saying they don't believe he actually cares or asking me about my opinions on certain counterarguments against the interpretation that he cares and I figured it would be easier to just make one post in response. (this is just meant to expand on my thoughts. You don't have to agree. That's half the fun of media interpretation.)

The consistent throughline I keep being told is that his breakdown was purely motivated by pride and loss of control and I do think these were massive parts of the breakdown.

Alastor is very aware of the fact that the situation around him is spiraling out of his control. That the notoriety he had cultivated as an unchallengeable overlord is crumbling. His time away allowed the fear he sowed to dull. He keeps coming face to face with beings that rival or surpass his strength. People who wouldn’t dare question him before are banging on his door. His foothold in the world isn’t secure like it once was and that has him reeling.

Alastor's pride is a driving factor in his actions, but, like I said in my last analysis, I think this is only part of it. I think this breakdown is motivated by the fact that he feels like he’s losing control of himself on top of the situation around him.

I'm going to start with the points/questions I've been asked first then expand on my thoughts after.

The first one I was asked about is the interpretation that Alastor was mocking the very idea that he would sacrifice himself for someone else when he says "Great Alastor, altruist, died for his friends." and I think that would work if it wasn't for the visuals paired with this line.

He literally looks like THIS when he is speaking the line. This isn’t the face of someone mocking the very idea that he would do this.

It was actually this shot that convinced me there was some truth to the words he was saying because it looks like he’s beginning to have a breakdown over the fact that this is almost exactly what happened.

The second one that I was asked about was the idea that he was forced to fight and protect Charlie by whoever owns his soul. But if he was forced to fight in this battle due to his contract why not describe it this way when alone? How could he even leave if he was forced to fight and protect the hotel? I doubt there was a caveat that he could leave the fight if he was seriously injured if he was ordered to fight and protect Charlie and the hotel.

I do think he's at the hotel because of whoever owns his soul, but I don't think it's why he fought or why he helped Charlie get Cannibal Town to aid them through his connection to Rosie.

And the last one that I was asked about was the idea that the demons had to be fighting for love like Carmilla said to Vaggie to defeat the angels and the reason Alastor didn't win was because he was fighting purely for his own interests. Freedom, power, and control.

And, while I think the base idea of this is really interesting (This is a genuinely cool idea!) and could challenge Alastor's more selfish motivations, the show itself doesn't really back this up.

Charlie is the literal embodiment of fighting to protect those she cares about-- she has the biggest heart out of anyone at the hotel-- and yet she doesn't defeat anyone in this battle.

Before she faces Adam all she uses is a shield to protect herself and the other residents. She apologizes to those she hits, while Vaggie finishes them off. When she does face Adam she doesn't beat him. She gets in a good hit, but she isn't able to finish him off. She would have been killed if Lucifer didn't step in.

Plus, Alastor's shield killed multiple exorcists before Adam destroyed it, so I don't think this means he hasn't grown to care about the residents of the hotel or that there wasn't some part of him that was fighting to protect them.

Now to expand on my own thoughts now that I've answered the questions I've gotten, it's not just the final battle/fallout that brought me to believe he had come to care about the hotel and its residents.

The show itself seems to want us to think he is starting to grow “accustomed” (In Alastor’s words to Niffty) to the group with little moments that are played straight like when he sends Mimzy (possibly his oldest friend) away, telling her she can stay if she truly wants to try for redemption, but if she just wants to put the hotel in danger then she has to leave.

When he says he believes in Charlie and wants to mentor her in cannibal town. He even gives her his microphone which is a literal extension of himself to help her.

When he talks to Niffty (who he is clearly fond of) and admits he finds the group enjoyable to be around. He says he could grow accustomed to them after Niffty says she really likes them almost in agreement with her.

There is no sinister undertone or hint of the usual facade Alastor puts on in these scenes.

Like I said above I don't think that the fact that Alastor has come to care about the residents is the only factor in his breakdown or the only reason he fought in the first place (Alastor's blatant overconfidence in his fight against Adam makes it clear pride was a factor. That overconfidence is why he lost that battle). It's a combination of multiple things (his pride, loss of control, desire for freedom, etc), but I do think it's a valid reading that it was a part of it considering all the information the show has given us.

This isn't to say I think Alastor is going to melt and be a team player for the hotel from now on. In fact, I think he's going to lash out against this internal change.

Alastor has always put himself first and in the finale he almost died trying to protect this hotel and it's rattled him. It's challenged his entire self-perception. He doesn’t like that it’s being challenged. That he’s losing control of himself on top of the situation around him. So, he doubles down on his initial goals.

I think this internal conflict is fascinating. I wouldn't have written so much about it if I didn't. I genuinely can't wait to see what they do with it in season 2.

If you feel differently feel free to send an ask, message, or respond to this post. I'd love to hear what other people think! Differing views and connections to characters is what makes media so impactful and fun to consume.

#hazbin hotel #hazbin hotel alastor #alastor #radio demon #alastor hazbin hotel #hazbin hotel spoilers #i really loved this show #I think Alastor is such a fascinating character #this is just a response #I hope this opens a discussion #I like hearing how other people interpreted things #this is just my view of things

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indigovigilance · 8 months

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A Nightingale Sang in 1941

This is my inaugural meta (yay!) Eventually I will learn how to add gifs and whatnot to make this more interesting but today, I give you a wall of text.

I need to give credit where credit is due to three existing metas that I’m drawing upon heavily here:

A speculative continuation of the 1941 story, which includes an almost-kiss while “A Nightingale Sang in Berkeley Square” plays on the gramophone,

A behavioral analysis of Aziraphale during the S2E6 finale (will find ref later if possible)

A meta-analysis of the way in which “coffee” is used as a symbolic equivalent for liberty and freedom of choice, a running theme of this show (will find ref later if possible)

I’m going to expand upon meta #2 and #3 and explain why I think there is are very compelling reasons to believe that #1 will be canonized.

At the end of S1E6, an instrumental version of “A Nightingale Sang in Berkeley Square” plays diegetically, but the lyrical version plays non-diegetically over the credits (we hear it but the protagonists don’t). So we the audience could plausibly say “that’s their song,” but as of the close of S1, we have no reason to believe that they know that it’s their song. Even Aziraphale’s S1E3 (1967) suggestion that they dine at the Ritz could be a reference that only he gets, or just a fancy restaurant suggestion.

So when I was watching S2E6 and Crowley said “no nightingales,” I was jarred. What does that even mean? We know it has something to do with dining at the Ritz, but what does it mean to them? The reference only works if they know it’s their song. But we’ve only ever seen them hear it together after the averted apocalypse; if this is the direct reference that Crowley is making, it leaves our 1967 reference contextless and twisting in the wind.

If we assume that there was a romantic story beat in 1941, wherein “A Nightingale Sang in Berkeley Square” (which, incidentally, was written in 1939 and saw the height of its popularity at the end of 1940, so timeline-wise it’s spot-on) became their song, then a lot of events get renewed interpretations through this lens, in a way that makes this story much more cohesive and the “no nightingales” comment even more soul-shattering than it already was.

Let’s presume that immediately after this became their song and just as they were discovering their romantic potential, they were forced back into hiding. Forever after, references to the song serve as a macro for “I’d like to pick up where we left off that night.”

The 1967 suggestion of “dining at the Ritz” now becomes a directly romantic suggestion. It also gives better context for “you go too fast for me.”

Actually going to the Ritz in 2019 is not simply a celebration or even a callback to 1967, it’s a callback to their almost-romance of 1941.

When Crowley says “no nightingales” in 2023, this isn’t to say “we’re not going to eat together at the Ritz anymore.” It’s saying that the romance that began that night, the precious, fragile romance, is over.

I’ll give you a moment to dry your eyes before we move on to metas #2 and #3.

In light that this is what has been going on - they know they want a romantic relationship but have gotten so used to hiding and denying it that they are more comfortable keeping the status quo static and quo-y then trying to achieve their ideal - a lot of S2 behavior can get a fresh view.

Crowley’s reaction to Nina isn’t a realization that he’s in love - he knew that already. You can only ask someone to run away with you so many times before you are forced to admit some things to yourself. No, he’s realizing that trying to hide it (which was justified by survival), hasn’t been working, but despite failing at being stealth nothing bad has happened. He’s realizing that it may finally be safe to show it.

Crowley’s confession, then, is not a revelation. It’s making the subtext text. He’s not telling Aziraphale anything he didn’t already know. He’s saying it now because he thinks he’s safe to do so. Pin in that.

Lots of people have lots of theories about Aziraphale’s motivations in the S2 finale, which can more or less be divided into 4 camps: the genuinely held belief, the coffee theory, the lie theory, and the mutual trick theory (some version of the body-switching at the end of S1). Let me start by saying that I love all the fans and all their theories and I find their analyses to be insightful. The genuinely held belief theory, while I believe it to be erroneous, has been incredibly conducive to so many wonderful conversations and I love being in a community that has those conversations. But I’m going to explain why I think the lie theory finds the most support in canon.

Re-watch the finale (when you feel like you can) from 35:18 to 36:19 and then from 40:45 to the end, paying very close attention to Aziraphale’s words and his eyes. Michael Sheen is telling us a LOT with his eyes, and in the back half of the finale scene, with pacing.

For 60 seconds of footage, this setup is doing a lot of work. If Neil Gaiman wasn’t doing enough to beat us over the head with how evil the Metatron is, that glare at Crowley at the end with the non-diegetic ominous horns should convey the message. But again, focusing on Aziraphale. He initially refuses to talk to the Metatron; he’s made his position quite clear. There is no hint of regret or wavering; this is not someone who’s aching to return to the fold. The Metatron ignores his refusal and functionally forces him to accept a “cup of coffee.” The coffee isn’t spiked, but it is a metaphor. It is symbolic of choice. The Metatron is going to force Aziraphale to make a choice. Meta #3 does a great job of exploring the idea that a choice between anything and death is never really a choice. Hang onto that thought.

Notice I had you start up again 3 seconds before “The Conversation.” That’s because it’s important to note where the Metatron is right now. He is across the street, staring straight in through those giant windows to where our protagonists are about to have The Conversation. He is watching.

When Aziraphale returns, Crowley begins his “let me talk” riff. Aziraphale ought to be interested in what Crowley has to say, since the preamble is pretty compelling. You’ll notice that Aziraphale quickly turns to the window and back, through which he (but not we) can see the Metatron standing there, watching them. Aziraphale is then doing his best to get Crowley to STFU without raising the suspicion of the Metatron, eventually having to cut him off.

Because unfortunately, Crowley’s entire impetus for speaking up now is that it’s safe to do so. Only Aziraphale knows that they are in very real danger (or at least, Crowley is, but I’ll come back to that).

You might take something from the fact that he’s shaking his head while talking about “incredibly good news,” and seems to self-censor his criticism of Metatron (or more specifically, he takes ownership of any criticism of the Metatron, censoring out Crowley’s role in that, with the emphasis on I in “I might have misjudged him”).

Notice in the flashback that he begins the conversation reasonably relaxed. The Metatron also says a series of things about him that not only are false, but everyone, including the Metatron and Crowley, know are false: Aziraphale is not a leader, he’s a defector; he’s not honest, he lies all the time, in fact this entire season revolved around his one huge lie of hiding Gabriel. Not only does the justification not make sense coming from Metatron, but it shouldn’t make sense that Aziraphale would accept these reasons and it shouldn’t make sense to Crowley either. So is Aziraphale including these details in his recounting to Crowley so that he will get suspicious and figure out the jig? Maybe. Let’s continue.

Immediately upon being offered the job of Supreme Archangel, Aziraphale says “but I don’t want to go back to Heaven.” This is direct evidence against the genuinely held belief theory. If returning to Heaven and making a difference was a genuine motivation, we would have gotten a different response at this moment. But then we get something more.

“Where would I get my coffee?”

This is a beautiful response for a number of reasons; coffee should be trivial compared to the opportunity to be a Supreme Archangel, so it serves to highlight just how little interest Aziraphale has in returning. Taken at face value, it’s the Aziraphale equivalent of “not even at gunpoint.” But remember that coffee is a metaphor for liberty in this universe and this season. So what Aziraphale just said, in the language of Neil Gaiman metaphors, is:

I don’t want to go back to Heaven, I would rather have free will.

What does the Metatron do next?

He brings up Crowley.

Watch Aziraphale’s eyes before and after the mention of Crowley. He goes from confused to eye-flicking panic in the space of two syllables. Aziraphale already understands that his “no” is not being accepted, and that bringing Crowley into it can only possibly serve as a threat.

So the coffee, the choice, is a false choice. No one ever orders death. The Metatron has forced Aziraphale into a situation that looks an awful lot like a choice (it comes in a blue cup, after all) but it isn’t.

We definitely have some reliable narrator problems here. I’m going to presume for purposes of analysis that these cut-outs are accurate but incomplete, and that a more explicit threat about what would happen to Crowley if Aziraphale did not return to Heaven was made.

If we assume that Aziraphale has been made aware of a threat and is trying to hide that from Crowley, the rest of this scene reads very differently. Aziraphale cannot say, “you are in danger but you will be safe if you swear your allegiance to Heaven” or “I have to go, no matter what, and the only way we can be together is if you come with me,” but nonetheless he now has to convince Crowley to do the one thing he ought to know Crowley definitely doesn’t want to do all through subtext. Which we’ve spent an entire season establishing that they can’t communicate well when they are allowed to use their words. Disastrously, this is not a magic trick that Aziraphale can make work when it counts. Their failure to practice good communication means that, right now, when it counts most, they are not going to pull it off.

We see that Aziraphale is very hopeful that Crowley will pick up on his cues and play along. Obviously, he doesn’t.

If the whole riff about Hell being bad guys and Heaven being the side of truth and light is taken as genuine, it discards a massive amount of character development that we’ve witnessed in Job, Edinburgh, etc. (again, to all the genuine belief subscribers, I think it’s a compelling argument but it simply doesn’t account for the evidence). So if it’s not genuine, why say it? Again, to alert Crowley that something is Off, because Crowley should know that Aziraphale doesn’t actually believe that. They saved humanity from Heaven and Hell. They hid Gabriel from Heaven and Hell. Crowley knows that Aziraphale knows that Heaven and Hell are just two sides of the same coin. Notice again that Aziraphale glances out the window while he’s talking up Heaven; he knows the Metatron is watching, he can’t not defend the position of Heaven. I think it’s also worth noting that Aziraphale forcefully glances and gestures off to Crowley’s left (away from the window) when talking about Hell, and then turns his head to Crowley’s right (towards the window) to try to get him to realize that a representative of Heaven is literally standing right over there, just look out the window please dumbass!

When Crowley is asking Aziraphale if he said no, and we see the back of Aziraphale’s head, again we can see him turn his head to glance out the window. This is also when he changes strategies, and admits that Heaven could use a little reform. Because now there’s a problem almost as big as getting caught, which is that he won’t be able to get Crowley to go with him.

Which unfortunately makes the next part of this so much more heartbreaking. Because when Crowley begins his speech about being a team, Aziraphale wants to hear it. He can’t bring himself to shut down Crowley again, even though it could get them both in massive trouble. Notice that he glances out the window again during this, and the look of panic on his face. He begins to shake his head when Crowley mentions that Heaven and Hell are toxic; this can be taken a lot of ways but I’ll argue for the interpretation that he’s trying to get Crowley to STFU and stop saying shit that could get him destroyed.

After Crowley puts on his sunglasses we are in the “back half” and Sheen is doing a lot with phrasing here, specifically pregnant pauses.

“Come with me… to Heaven!”

“We can be together… as angels!”

Based on the pacing decision I am thoroughly convinced that the first half of each of these statements is intended to be the message to Crowley and the second half is always a qualifying statement to satisfy the Metatron.

Unfortunately, these pregnant pauses are completely backfiring in their effect on Crowley. The sentiment gives him hope and the qualifying statement crushes it again immediately. He is being taken on a horrible emotional rollercoaster with these declarations which are only further amping up his instinct to run away.

The only truly genuine, unaldulterated statement I think we get from Aziraphale is

“I need you!”

When it becomes clear to Aziraphale that there’s been an irreparable breakdown of communication between them and the subtext is not getting across, he says:

“I don’t think you understand what I’m offering you.”

He means this literally. Crowley has not understood that Aziraphale is offering him protection from whatever threat the Metatron has made.

Which makes this part extra-devastating and also absolutely in keeping with a major running theme of this season.

“I understand. I think I understand a whole lot better than you do.”

Your understanding and my understanding are different understandings.

Crowley views the offer to return to Heaven through the lens of his trauma. He understands what life in Heaven would be like. But he doesn’t understand that Aziraphale is offering him protection.

But Aziraphale just heard Crowley say that he understood everything, and he’s still going to leave. There might be a little suspense of disbelief here to believe that Aziraphale really interpreted the statement this way, but we know that Aziraphale isn’t always the brightest battery-operated candle in the drawer. So under the assumption that Crowley did understand him and is still rejecting the offer, rejecting him—

“Well, then there’s nothing more to say.”

Please pay very close attention to Aziraphale’s body language for the next part. He’s active, agitated, turning side to side, arms swinging. This is a very fidgety angel.

“No nightingales.”

Aziraphale is now completely still. He’s feeling that feeling. You know it. The one where your entire body is getting sucked into the pit of your stomach. The aching paralysis.

This is their song, the one that began their romance in 1941, the secret code for all other attempts at flirtation. Crowley has walked out on him before, Aziraphale has been stubborn and obstinate before. But they always came back together, sometimes with an apology dance or other rituals that belonged solely to them.

But now the song is over.

By saying this, Crowley has broken up with Aziraphale. We can see in Aziraphale’s sudden transition from fidgety to paralysis that he has understood it this way.

Then he turns away from the window so that the Metatron won’t see him cry.

The kiss was heart-wrenching already. But we’re not done with this analysis.

During the kiss, Aziraphale has a choice to make between two very compelling bad choices. This is the Job dilemma. But worse.

If he doesn’t kiss Crowley back, he will let Crowley think that he doesn’t love him. He will have missed out on this (maybe/probably their first kiss?) and regret it forever.

If he does kiss Crowley back, in full view of the Metatron, they are in deep trouble.

He seems to do his best to split the difference. I would even go so far to say that the awkward arm waving is Aziraphale acting for the Metatron’s benefit, to try to portray that he doesn’t want this even though he absolutely does (just not like this). The anguish when they break the kiss is absolutely real, and the first thing he does is glance out the window. Through all this he has remained painfully aware of their spectator.

He wants to say I love you. He mouths it. He breathes it.

But the Metatron is watching.

He can’t tell Crowley I love you. So he has to say the only other thing that has always unequivocally meant “I love you” when he said it to Crowley. He has to hope that Crowley understands him now, even though he never has before.

Spoiler alert: Crowley doesn’t.

My forgiveness and your forgiveness are not the same forgiveness.

One more point against the genuine belief fans (I love you): if the offer to let Crowley back in is what changed his mind, then Crowley declining removes that incentive. Aziraphale should/would have consequently retreated to his last stated position of “I don’t want to go back to Heaven, where would I get my Crowley—I mean, coffee?” [post-publication nod to @theonevoice for a great little meta] It simply doesn’t hold up to scrutiny.

I think a lot of fans were already making these assumptions about the use of the nightingale song so this meta may not feel revelatory, however, it isn’t canon (yet), and I’m sure I’ll find company that agree that canonization of this connection would strengthen a lot of these story points, as evidenced by how it is already assumed by many fans.

If you made it to the end - omg thank you! Please leave a note and tell me your thoughts!

Bonus: somebody already made the song connection here

~~~

if you liked this, you may also like:

Book of Life and what it means for Crowley

The Erasure of Human!Metatron

Baraqiel and Azazel

~~~

Recommended related (lie theory) metas by other people:

making the subtext text by @theonevoice

Aziraphale's Decision Matrix by @yowlthinks

Nothing Lasts Forever: META by @phoen1xr0se

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alexiethymia · 2 months

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I’ve always thought it but Gyokuyou’s line, “If I said I was jealous of Concubine Fuyou, would I be a terrible woman?” seemed to point at two things, her jealousy of her being free to finally leave the inner palace, and secondly, the freedom to love and be loved in return.

I mean though she may be the Empress, and though she may be the most favored by the Emperor, I’m sure she’s clever and shrewd enough to think that she wouldn’t actually ever have his love. And that is what makes her so intriguing in that regardless of her own feelings, she can still be human and feel some sort of sadness about it, at the what-ifs.

Considering the latest chapters in the web novels, the parallels and contrasts between The Emperor (Yang) and Aduo, as well as Jinshi and Maomao being driven so hard just hurts so good.

That conversation between Jinshi and the Emperor revealing their chosen actions regarding their ‘one cherished flower’. The Emperor choosing to bind her to him, and cherishing her and protecting her vs Jinshi’s decision to let her go rather than trap her in the inner palace, such that it drives Aduo to tears because she sees in Jinshi and Maomao what could have been.

It’s so painful precisely because the Emperor and Aduo were where Jinshi and Maomao were ending up toward if not for the development they underwent. Contrast the Jinshi of earlier volumes who I think, in his desperation, would have chosen the same course of action the Emperor had in regard to Aduo and the Jinshi of now, who has matured.

But in the same vein that none of these characters are perfect, and are intriguing in their flaws, I think Aduo is the same as Maomao. Except that Maomao now finally was able to accept and let herself love, whereas Aduo used and still uses that ‘familial’ tie and even Yue as the reason why she still chooses to stay with Yang.

This just may be my own interpretation, but I think Aduo truly loved (loves?) the Emperor in her own way, as more than a ‘sibling’ or a ‘friend’ and that she is an unreliable narrator in her own right, same as Maomao. But alas, I don’t think Aduo and the Emperor managed to communicate properly on this part of their relationship, unlike other aspects where they can be free with one another. And now it’s too late, because the Emperor in his foolish youth made that irreversible choice and clipped Aduo’s wings.

That four way conference was perfect in that it was basically both pairs seeing mirrors of them in each other, of the past and the future, of what was and what could have been. And though the Emperor made mistakes, I can’t find it in myself to judge him too harshly because, as one analysis puts in, he didn’t have the same freedoms Jinshi has now, nor did he have the same people around him who could have guided him on the right path. Suiren and Gaoshun who were there to see what happened with the Emperor and Aduo, are probably doing their best to nudge Jinshi and Mamao in the right direction such that they wouldn’t repeat past mistakes.

It’s that one post you know? The love was there, it was always there. But perhaps, even then, it wasn’t enough.

#the apothecary diaries #knh #kusuriya no hitorigoto #jinmao #jinshi #maomao #gyokuyou #aduo

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creantzy · 9 months

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The Path To Freedom [PART 13]

Read from left to right

The Path To Freedom is OFFICIALLY FINISHED‼️🤩

I will soon compile the references, inspirations and thought processes behind this comic into a few pages explaining them in detail, but until then I'm really interested to hear what your thoughts are. Whether it's pointing out parallels / reverse cards / references you recognized, or naming your favorite scenes, giving opinions, even writing any analysis, really anything that comes to your mind, feel free to share!

By referencing Fyodor's canon goal, I chose an open ending to leave room for interpretation what Fyodor's future could look like in this universe. Will he fail and have to come to terms with Nikolai's death? Will he succeed? And if he does, how would Nikolai feel about being brought back to life? Is Fyodor's ideal world even possible? There are a lot of questions to think about and use to create all kinds of different possible scenarios, and if you happen to be inspired to write or draw something related to this comic, I'd be more than happy to read it :D

Thank you for all the support throughout the whole thing! Not only was the comic extremely fun to create but seeing your reactions to the different parts made the experience feel much more “alive”. (I especially enjoyed your pain and suffering😁👍)

Thank you🤍

#bungou stray dogs #bungo stray dogs #fyodor dostoevsky #fyodor dostoyevsky bsd #bsd fyodor #bsd anime #bsd #fyolai #nikolai gogol #bsd nikolai gogol #mykola hohol #dostogol #dostogogol #fyogol

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singingcicadas · 1 month

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Megatron's Opposite Day

"I free slaves"

This is Soundwave binding Ratbat but seeing as Megatron did the same thing to Pentius by putting his spark into Trypticon and reformatted Rumble and Frenzy into cassettes against their will I think he approves a lot of this practice

Megatron on Optimus and humans, after his defeat in All Hail Megatron ⬇️

he really salty

"I implant ideology" aka brainwashing

Decepticon cause = Megatron. nuff said.

"I liberate cities" says the person who let Nyon burn to make a point

Cities are too small, think bigger

Holding New York hostage.

"Like Autobots, they believe in the sanctity of life" which he doesn't. Kudos for being honest.

Allowing troops to do free-rein massacre is a reward for conquest. Nothing like some easy murder for de-stressing.

The Simanzi massacre which halved the Cybertronian population is off-screen so it doesn't deserve its own pic

"The revolution"

"We only feel good when we stand with a blade in one hand and a throat in another" "Let's make the entire face of the planet into our new gladiator arena"

What nice, confidence-inspiring revolutionaries. I'm sure they'll rule the population with benevolence after they've killed all the Necessary People with Necessary Violence. Final interpretation of what constitutes as Necessary is reserved for the sole discretion of Megatron, ofc.

Good goals.

Sentinel might be an absolute asshole but at least he's got one thing right: they're literally a gang of thugs who gets high off murder.

"The people are my utmost concern"

'The people': ................

"Battling for freedom"

Freedom of what? Function? Autonomy?

Religion?

the ability to choose whether to fight? on which side to fight?

Idk why they used the word "pogrom" for this, it's way too specific

Anyways it doesn't matter, they won't be missed.

Good for Bumblebee for calling him out. Screenshotted this just to appreciate Megatron's bitchy face ⬇️

Other urban legends:

"Megatron loves Cybertron" let's just burrrrn it

He did fight to save Cybertron in Chaos Theory but also made it pretty clear why he did it. It's not out of the goodness of his heart or any sentimental reasons like that. It's an ego/dominance thing.

Plus his wording when he's trying to convince Optimus to let him go with the Lost Light: "I broke the planet. And that, Optimus, is why I owe it to you - to everyone - to find a replacement."

Replacement.

In other words: I made a mess and can't be bothered to clean it up, so I want to get away from it and find somewhere new to start clean.

I don't think Optimus appreciates the favour.

"Megatron tore down a corrupt government" which is true, just too bad that he's worse

He's also, um, a closeted Zeta admirer?

"Megatron advocates equality" ???

Megatron x dictatorship is literally his OTP. They were inseparable for four million years. A lot of people died trying.

"Megatron cares about the Decepticons" no he doesn't. Not his troops nor its cause.

Like for one thing he treats them with complete scorn

Admits that the most useful thing about keeping Starscream around is that he can bully underlings into line

Wants to use the humans' nuke to get rid of his troops and reformat them into peaceful drones after they outlive their use because they were "too ruthless" for his perfect peaceful society

Has zero scruples about fighting Deceptigod, just affronted that his own soldiers are being used against him

And basically just drops the Decepticons like a bag of vermin after he surrenders. He never once mentions them of his own accord, other than to insist he has nothing to do with them. Even his surrender speech is something Optimus makes him do as exchange b/c he wants to go on parole. He wasn't planning on making a public address otherwise, he was just going to leave them hanging.

Looking at the publication timeline, Megatron started out as an established Evil McEvilson-type villain similar to how he is in G1 and it's not until Chaos Theory in 2011 that JRo really gave him a sympathetic backstory that drew his characterization away from the bloodthirsty pugno ergo sum warlord into someone who once held ideals about societal reform and remains convinced of his own moral supremacy throughout the 4 mill years of death and war, adding worldbuilding such as Functionism/oppression/government corruption as justification for the beginning of the Decepticon movement. But because the start of the Decepticons was already written in Megatron Origins and every evil thing he'd done up till Chaos Theory can't be retracted and they had to keep Megatron as a villain until his story was no longer central to the Autobot-Decepticon war line, and JRo didn't try to downplay the atrocities he'd committed (some of the most sadistically disturbing things Megatron did were exclusively in MTMTE flashbacks), but rather tried to distance him from them and placed the focus on the juxtapositions to emphasize change, this as a whole just resulted in Evil McEvilson getting turned into Hyper McHypocrite.

#That being said I genuinely enjoyed Megatron's redemption arc in mtmte/ll. It's one of those stories that's very poignant and moving #on an emotional level #even though the plot itself doesn't hold up that much under close scrutiny.#moved this to the tags to make the post cleaner #I would've liked it more if LL used a few more panels to show Megatron Actually Making Friends #instead of shunting him into a parallel universe for idk how many issues in an already limited run #transformers #idw transformers #maccadam #megatron #trying to clear out more screenshots

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queerfables · 7 months

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I'm still working out what the significance of this is, but I'm now surer than ever:

In season 2, Aziraphale's bookshop is the Garden of Eden.

What first tipped me off was the end of 2x01, when Gabriel asks about Outside, and Crowley urgently warns him that he needs to stay inside the bookshop. It reverberated against the themes of season 1, where choosing freedom over safety is symbolised by Leaving the Garden. Supporting this connection, one of the songs on the season 2 soundtrack is called Leaving the Bookshop; it plays in 2x06 when Crowley escorts Nina and Maggie outside.

There's an even clearer indicator of the symbolism, though, and I am so fascinated by the implications. When Gabriel first arrives at the bookshop in a state of undress, one of the things he says to Aziraphale is:

"Who told you I was naked?"

It's a funny line but it's also surprisingly biblically significant. In Genesis, Adam and Eve's loss of innocence after eating the fruit of knowledge is shown by their realisation they are naked. In this scene, Gabriel is like them before this transgression, innocent and unconscious of his own nakedness.

But it's even more on the nose than that, because in Genesis, when God appears to Adam after he eats the fruit, Adam hides, and then admits he's afraid because he's naked. And I quote directly, Genesis 3:11 (New International Version):

And [God] said, “Who told you that you were naked? Have you eaten from the tree that I commanded you not to eat from?”

I'm sure this reference is intended. It's too similar to be a coincidence. So Gabriel's memory loss is comparable to the innocence that preceded the Fall of Man, and that's fascinating in its own right. This also makes the bookshop, where he is protected so long as he stays inside its walls, a clear parallel to Eden.

In relation to Gabriel, I think Beelzebub is Eve, offering Adam the knowledge of good and evil in the form of a fly holding his hidden memories. An argument could be made that they are the serpent to his Eve, but I think the partnered dynamic makes this a more fitting interpretation.

I'm still thinking on the roles that Crowley and Aziraphale play in this analogy. I keep coming back to Gabriel's line, "I don't go outside, and now I have two friends." If this is Eden, who are his friends? Are Crowley and Aziraphale reprising their roles as the serpent and the guardian? Are they God and Satan playing games with their own little universe, perhaps? Or are they Adam and Eve?

Obviously, if the bookshop is Eden, this has major implications for Crowley and Aziraphale too in the context of their break up. With this framing, Crowley telling Aziraphale, "You can't leave this bookshop" becomes a fascinating twist on his traditional role. He's asking Aziraphale to stay with him in blissful ignorance, rather than confront the truth of their world. I'm not arguing that this is the only level at which this line should be read, but it's one that's worth considering.

You may also notice that in light of this biblical reference, "Who told you I was naked" becomes the first time amnesiac Gabriel echoes the words of God. I'm really not sure what these echoes mean, but they sure do intrigue me.

#good omens #good omens meta #fable talks good omens

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galedekarios · 7 months

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wyll: this was a hospital? feels more like a prison. gale: a common enough interpretation. sickness has a nasty habit of making you feel trapped, if only within the confines of your body. gale: i once spent weeks convalescing in the hospice of st. laupsenn after a nasty bout of ruddy pox. for all their kindness, leaving that place behind felt like freedom to me. wyll: i've always relied on the kindness of the healers and menders of the coast. better a cleric's healing touch than a chirurgeon's scalpel.

i'm assuming this banter is supposed to trigger upon entering the house of healing, but it hasn't triggered for me. still very much interesting. not only does it offer another insight into gale's past before the events of the game, but also the hospice he found himself in for weeks is interesting itself as well:

"The Hospice of St. Laupsenn (N73) is a Sancturary of Ilmater in the North Ward of Waterdeep. In the City of Splendors, worship of The Triad has long been subsumed by the Halls of Justice, Waterdeep’s temple of Tyr. After the Time of Troubles during the early stages of the Spellplague, large swaths of the citizenry were afflicted with fiendish plagues. While most recovered with clerical attention, for some the effects of the disease continued to linger, resistant to the healing effects of magic. As few Waterdhavians would have anything to do with the fiend-afflicted sufferers, for fear of catching the plague anew, the llmatari decided to create a place for the lepers. The Order of the Golden Cup erected the Hospice of St Laupsenn, named for the priest who tended those similarly affected in the aftermath of the Weeping War, and have continued in quiet service to this day. The hospice is funded by private charitable contributions (many of which come from the personal holdings of the Lords) and tithes from the Halls of Justice and the Order itself." [source]

i was at first playing around with the idea of gale suffering from such a long illness because he might have been affected by the spellplague. then again, the spellplague usually affected magic users mentally rather than physically, so this might really just be the pox, common in big cities and beyond of course, probably during his childhood.

if larian had kept to the lore and the timeline, the effects of the spellplague should have been more central to gale's childhood and made it much more harrowing, especially since he is so intrinsically connected and linked to the weave itself.

#i do like his insights into how it feels tho #it fits in well with the meta i wrote about him dealing with pain and flare-ups with the orb #also thanks to my friend lairofsentinel who helped me order my thoughts about this #gale dekarios #gale of waterdeep #baldur's gate 3 #bg3 #ch: gale dekarios #ch: wyll ravengard #vg: baldur's gate 3 #series: baldur's gate #meta: mybg3

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archived-daydreams · 1 year

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— First love, late spring.

Summary: what does it feel like, to fall in love with them?

Characters: Jing Yuan, Dan Heng, Gepard, Kafka, Bronya, Serval, Asta x gender neutral reader.

Word count: 1.2 k.

Tags: fluff.

Author’s note: my debut writing for Honkai Star Rail ! I know Jing Yuan hasn’t been released yet, so his part is just personal interpretation; all in all, these are just some sort of little headcanons I wanted to try imagining and writing down, I hope you enjoy <3

Reblog to support your favorite authors ! It helps more than likes.

JING YUAN

Falling in love with the Cloud Knight general feels like returning to a home you still hadn’t realized how much you’d longed for.

His calm presence draws you in, a melodious and crackling hearth beckoning you forward in shades of gold and skies at sundown. To stand beside him could be compared to entering a secret forest, where the moon rises as she kisses the dipping sun on the cheek as they meet at dusk. Birds chirp happily, as if revealing the songs your heart likes to play when you are with Jing Yuan, the heat in your cheeks, a manifestation of the firework embers lighting up the starry twilight. The general puts his arm around your shoulders, bringing your form closer to his, fluffy argent hair tickling the side of your neck.

You lean into him, the sunset looks a little brighter when your lover’s lips graze your temple.

And when his big calloused hand intertwines its fingers with yours, you know with him, anywhere is paradise.

DAN HENG

Scarlet maple forests feel more magical underneath the stars.

In the same way, pieces of every story and memory that constitute the wielder of Cloud-Piercer take form before your eyes as you make your way starwards.

Not one for many words or idle conversation, Dan Heng shows you the emotions he conceals to the public in small actions, starlit fragments only the one who dares to rummage between the layers of crimson leaves will uncover. Shielding you from unexpected enemies, helping you up and down the platform of the express, throwing a blanket over your shoulders when you inevitably pass out on the couch after running around with March… And when, still halfway into your realm of dreams, you call his name, a keen eye may spot on the express gurad’s cheeks some of the carmine usually adrift in the breeze in the autumn months.

Then again, if could be just your sleepy imagination…

Perhaps. is the lingering “what if” echoing on your mind.

GEPARD

The steady rock amidst a tumultuous ocean, relentless waves colliding against its silvery surface, time and time again.

Yet the rock does not yield.

Much in the same way the captain of the Silvermane Guards is your white-hot anchor in the blizzard.

No matter how hurt you are, Gepard stays.

No matter how drained and wasted your last breakup left you, his strong arms embrace you, the biting gales futile against his hold.

And maybe, taking notice of your own (and his) feelings might take you a while.

But Gepard Landau’s heart only knows loyalty.

So he waits.

For you to realize, for the sun to finally shine, and mark the path from you to him.

Because argent tends to reflect the skies, and only when the morning star deigns to shine, can the cobblestones tying you together gleam.

You take a step, and you know Gepard Landau is your only destination.

KAFKA

Exhilarating and with “danger” spelled in boldened capitals, that is how romance with the Stellaron’s Hunter feels.

The rational part of you warned you this was a bad idea, yet, as they say, sometimes, the heart wants what it wants.

Freedom prevailed that night, and your lips met the Interastral Peace Corporation’s most wanted’s.

It could have been the drinks you had, against your better judgment, the sweet intoxication of the alcohol in your system and of the temptation of her, a ticking bomb combination.

But caution is thrown to the wind the moment Kafka wraps her priced coat around your shoulders, her lips sensually whispering in your ear, promises of a million idyllic tomorrows together already tangling in the messy yarn ball of your mind.

But who are you to refuse? Or how could anyone, for that matter? When her painted lips envelop yours under the infinity of the firmament?

BRONYA

Dignified, smart, and the picture perfect image of what a heir should be like.

However, what is hidden beyond that icy facade of flawless poise?

Your sweet lover, a girl who enjoys the sound of tranquil nights and hurried steps by morning, someone who lets herself daydream to the faint music coming from Golden Theater.

A beautiful and enchanting contradiction, a storm of opposites you can’t help but get lost in, from the pretty curls of her lucent hair, to her determined gunmetal gaze.

Who would have thought, you think with a tender smile, as your hands run through her steel moonlit tresses, that you’d get to win the heart of the Heir to the Supreme Guardian of Belebog?

Leaving a soft kiss to the crown of her head, you lay down beside her in bed. With a last look out the window at the slate sky, you close your eyes.

The lyrics to a ballad swirl in your mind, probably coming from Golden Theater.

In the dim light, you find your girlfriend’s hand.

That night, Bronya Rand would be the actress in your oneiric plane, her heart, yours alone.

SERVAL

Electrifying and magnetizing, akin to a violet horizon right before a storm. The thunder in the distance makes your every hair stand on end, yet you can’t help longing for something more.

Afternoons helping Serval out at Neverwinter Workshop always end with you sitting before her, wide smile aglow on your features as she picks up her electric guitar. You always loved the way her sapphire eyes sparkled when she talked about this or that new song she was composing, but actually getting to see her perform for you alone… that’s enough to get you giddy.

Her painted nails strum the cords with ease, each of them bending at the workshop owner’s will, as lightning seems to take command of your heart, its thundering pace and the melody she plays seamlessly dancing to the beat of a fervent tango.

As the sky throws its indigo shawl over the lovers, the blonde gazes at you, a pretty (and unusual) rosy tone on her cheeks, a silent inquire for your thoughts about her new piece.

After all, you’re always the first one to hear every new song she comes up with.

ASTA

The girl who used to dream of naming stars after herself finally found a star that will always orbit around the fiery sun she is.

Her crystalline eyes look up from the papers she was sorting out until moments ago, her lips curving up in a crescent not unlike the one she used to observe, when she spots you.

Two cups of coffee in hand, you sit beside her, your head leaning on her shoulder. Your hand catches hers over the table, prompting her to stop the frantic scribbling of her pen.

And the instant her opalescent gaze meets yours, she is breathless, a nebula the color of her hair spreading through her cheeks. Her pen falls out of her grasp, the words she never seems at a loss for, failing her.

As they do every time when it comes to you.

But who could blame her? When she’d trade every galaxy and celestial body in this universe and the next for a millisecond next to you?

The lead researcher of Herta Space Station closes her notepad.

For now, work can wait.

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drac-kool-aid · 8 months

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Seward's bone deep desire to run away from the asylum is not exactly surprising. There have been a lot of really good meta posts about how the return of Van Helsing into his life is the turning point where we see the caring and good side of him and how we can interpret his life as a student in Amersterdam as one of freedom and happiness. How he is part of the tragedy of manners, how strict social expectations allow Dracula to persist, and how they only exacerbate the unhappiness of the characters.

And I think the tragedy of Seward is that, really, he should not be the head of an asylum. It's a job that brings him no joy, and he's BAD at it. We can all recognize that if your first reaction to going back to work is "What if I just leave it all." That isn't a healthy work environment.

Now, in the modern day, the ability to pick and choose a work environment, even to leave one that is damaging your mental health, is a privilege. (IT SHOULDNT BE, but it is). And, although it is definitely reaching crisis levels in modern times, major changes in your career have almost always been difficult (unless you are really rich, or a particular brand of academic in the 17th-18th century, or both).

Seward can't just leave and become a surgeon. To give up the lofty position of "Head of an Asylum" would be unthinkable in the 1890s, especially for a reason like "Being here is basically turning me into the Joker." Like, how would Seward explain that in polite society? Would they accept that reasoning? Would they create salacious gossip if they didn't? Can Seward leave his position without losing a great amount of social capital?

Probably not.

His rise to head of an asylum, as many have pointed out, was meteoric, to say the least. It has afforded him status and respect and also left him deeply, deeply fucked up. And he can't leave!

I think his desperate attempts to quantify Renfield's behaviors into a new mental illness are telling in this regard. Maybe he is too used to having to meet some sort of expectation, and now he thinks this is the logical next step (It's NOT, but I digress). The feeling of having to keep performing above expectations, grasping at straws to do so, and subsequently burning oneself out (as well as others around you) and engaging in unethical practices? Idk. It sounds like something that would happen today. (tbh there are probably a ton of Sewards out there today, as there are still systemic problems within the mental health system that allow for the dehumanizing and abuse of patients).

It doesn't excuse his behavior. Nothing he does to Renfield is excusable, but I think it does explain some of the *why*. He isn't just cruel for cruelty's sake.

So, tldr I guess: I think reading Seward as someone who got stuck on a career path that he realized was unfufilling and that he ends up hating. Social conventions restrict him from just quitting without and a (socially acceptable) good reason to do so, and a lifetime of being regarded as one of the smartest people in the room means he can not allow himself to fail. Unfortunately, this also means he can not admit when his actions or his ideas are wrong when it comes to his job.

(But he can show that uncertainty FOR Lucy, and TO Arthur and Van Helsing, which speaks his trust and love for them)

#dracula daily #jack seward #re: dracula #i think im rambling #but this kind of hit me #Jack's trapped in the asylum too in a way #only difference is his place of power allows him to take out that frustration on others #and i think it speaks VOLUMES that one of Jack's first entries was about how he regretted exacerbating Renfield just to study him #and as the sleepless nights and days filled of performing a job that he hates (and cannot bring himself to admit he hates)#as well as the depression from rejection #he stops feeling guilty

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