Okay, this is very much specific to myself, but whatever 🫶 What would Barbatos think of an MC that is always dressed up. VERY dressed up. For instance; I'm going to school in a petticoat, two skirts, two shirts, and a full corset... that kind of dressed up.
Like, on one hand, I think he'd really enjoy it, but on the other, I feel like he'd be constantly worried. They're NEVER dressed for the weather, they're NEVER dressed for comfort, and what are they supposed to wear to formal events when they dress like this on the daily?
He'd probably grumble about it to a bit but ultimately still adore their style and offer to make them something for those formal events.
And on the other side of the spectrum, an MC who is never dressed up at all! I'm taking hoodies and sweatpants all the time.
I'm guessing he'd respect them for their choice of comfort over style but also want them to be just a tad more formal around Lord Diavolo.
Put em together and a typically fancy MC being casual only for Barbatos?
We got that phone call from Barbatos in either his most recent or second most recent card, where he's wearing casual clothing, and we get his reaction to MC's reaction. (I hope you know the call I'm talking about because I can not find it for the life of me)
He'd totally be touched to be one of the few MC is casual around!!
I'm almost embarrassed about my reaction that phone call. It's the one called "Out of Character Teatime" and it's from the UR+ Wind Spirits & Surprises, which is his anniversary UR card.
It's great no matter what dialogue option you choose, but there's one where he talks about how he's waiting for you just as himself and not as a butler. And THAT always makes me silly.
But he also ends that call by saying he'll receive you in whichever type of clothing you prefer. Which I found accurate but also funny. I mean, he's basically saying he'll dress formal or casual depending on your preference. And I'm over here like... what if my preference is that you wear whatever you want, huh???
But along those lines, he's all about MC doing whatever they're happiest doing. So I think he'd be happy no matter what style MC chose, as long as they're doing whatever makes them most comfortable.
I think he would absolutely appreciate an MC who dresses up a lot, though. He'd be happy to make them outfits any time and he probably loves to see them wearing something he made.
He would also make clothes for a casual MC. I kinda see him making all kinds of hoodies and such. He's versatile, you know?
And either way, I think he'd be worried about MC being dressed for the weather. Like he appreciates your dedication to style, but really it's going to be cold and you need to wear a jacket. Might also scold you about it if you do it too often or if you actually get sick because of it.
There's very much this secretive aspect of his character, but it's more than just him keeping epic plot-changing secrets. There's also him kinda hiding his true self, too. He plays the part of a butler, but that isn't what defines him. He's a butler, but more than that, he's a person. A being with feelings and needs and times when he isn't perfect. And I think if he was to encounter an MC who revealed that side of themselves to him, no matter how that manifests, he would feel loved and trusted. Just like he loves and trusts MC enough to let them see him in a casual state.
So I'm watching one piece, and the episode with Zoro's tragic backstory made me realize that he didn't really seem to realize how important Kuina was to him until after she had died. And then it occured to me that it's probably the same with Sanji. So he's spent all this time in this rivalry with this guy, constantly fighting together, pushing each other to be better, and he just...never realizes how similar it is to what he had with Kuina.
And then the time skip happens, but since he's away from the whole crew and he's fighting someone else, he doesn't realize anything about Sanji specifically. And then Whole Cake and the wedding. And he's like 'yeah, sure. Cook thinks that's what he wants, let him go.' And he thinks he's fine without him.
Except meals are different. They're fine. But they're different, and he can't figure out exactly why.
Except when he eventually finds his way to the kitchen, there's no onigiri waiting for him as a snack while he's on watch. Except there's no one to gripe about him sneaking alcohol even as he unlocks the cupboard for him. Except when he practices his swordfighting with any of the Heart pirates, they don't already know all his moves. Except they're afraid to taunt him if he slips up. Except they can't even tell when he slips up. Except when he tries to pick a fight with anyone because he's bored, the Heart pirates don't know what to do with that, or Usopp will start to freak out or Robin and Franky just won't rise to his bait.
And then he remembers Koshirou telling him that he pushed Kuina to be better.
And he realizes that's what Sanji is to him.
And it's fine. It's fine. Luffy will bring the Cook back, and everything will go back to normal. Except Nami was really freaked out by Sanji leaving. Except what if he really does get married? Except what if he doesn't really come back? And Zoro just doesn't think he can go through that again.
But of course Sanji does come back and he's different and he's trying to pretend he's the same. And now Zoro knows. And he's got all of these feelings that he's suddenly become aware of, except he still has a negative amount of emotional intelligence, so he's still just picking all these stupid fights because he doesn't know what else to do.
And everybody else is like 'well, Sanji's back, and everything's the same' and Zoro's the only one going 'No! everything has changed!' because he's still the only one aware of his feelings, and he just...doesn't know what to do with them?
unfortunately for me i don’t agree with the headcanon that lily was insecure and thought james was asking her out as a joke but now people just think that’s what’s up. lily evans knew her WORTH sorry to disappoint
Leo getting hit with a truth curse but instead of forcing him to admit to super sad or worrying things it’s things like “it was me who broke the remote” “I saw Mikey prank Donnie and helped hide it because it’s way funnier if he didn’t know who it was” “I rip my clothes to look more like Raph’s because he’s really cool” “my stripes aren’t even red they’re pink!”
Pac: Take care of Ramon, take care of Richas, ok? See you on the other side, big boy.
Fit: [Laughs] Take it easy, big boy. Take it easy, big boy. Actually, nononono– You can't just say "big boy" and then just expect me to not drag you outta here. [Fit tries to lasso Pac] You're coming with me.
Pac: No, I need to leave!
Fit: You're coming with me. You are not dying today! You are not dying today!
Pac: I need to leave, Fit! I'm sorry, I'm sorry!
Ironmouse: Are you guys like, having sexy time?
Fit: There's homosexual activity going on Mouse, don't worry about us, ok?
Ironmouse: You guys, we don't have time to be gay right now.
[ Full Transcript ↓ ]
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Pac: I'm just here to say goodbye to you, Fit.
Fit: Goodbye? We're not– we're gonna be fine, we're going to get out of here, don't worry.
Aypierre: Yeah, don't worry!
Pac: I know, but like– I will sleep until the end, you know? I will pass through this moment sleeping, man. I won't be able to be awake for the moment.
Fit: [Laughs] You know, it's– I mean, if that's how you wanna go, but– I mean, that- I mean, isn't that bed kind of like.... I don't know, it's–
Pac: No no, I will be staying on the sofa, you know, I will be staying on the sofa.
Fit: Oh the sofa. Ok, that's a nice sofa! Yeah, that is a pretty nice sofa.
Pac: Yeah, it's a nice sofa right? No, yeah– I'm going to stay on the sofa, you know? So, since I will be going Fit... [Pac starts tossing Fit all his items]
Aypierre: [Not paying attention to their conversation] Is that bigger cell? I don't think it's a bigger- biggest one.
Fit: Oh... Thank you Pac, thank you.
Pac: Everything you need to survive, ok?
Fit: Wow.
Aypierre: Wow.
Pac: And if you need this one also, maybe, who knows? [Throws him more items]
Fit: Ohhh, well hey– just take this to remember me by, ok? [Tosses him a photo of himself – the same one Aypierre was carrying all day yesterday]
Pac: [Laughs] Ok, I will sleep holding the picture you know, like this. You know, I will dream about you, Fit. And I hope this is gonna be good dreams. I see you in the other side. Good luck, my friend.
Fit: The other side... Yeah, you know, yeah, we– we– you know? It's been an honor, Pac. It's been an honor, you know?
Pac: Yeah, for me too, you know? Take care of Ramon, take care of Richas, ok?
Fit: Ok.
Pac: See you on the other side, big boy.
Fit: I will sing your praise– Oh yeah, hey– [Laughs] Take it easy, big boy. Take it easy, big boy. Actually, nononono– You can't just say "big boy" and then just expect me to not drag you outta here. You're coming with me.
Pac: No, I need to leave!
Fit: You're coming with me. You are not dying today! You are not dying today!
Pac: I need to leave, Fit! I'm sorry, I'm sorry!
Fit: Sorry, there's–
Pac: I'm sorry!
Ironmouse: Are you guys like, having sexy time?
Fit: There's homosexual activity going on Mouse, don't worry about us, ok?
Ironmouse: You guys, you guys– we don't have time to be gay right now, come on. There's no time.
Pac: No, there's no time! Oh, goodbye Fit...
Fit: Ok, c'mon, no no no, come on, we got this we got this!
One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.
(Buckle in. This is a long one.)
In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.
As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.
Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.
This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.
I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.
But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.
So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.
But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.
But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.
It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.
He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)
So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.
But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.
(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)
I understand that literature nerd Jason Todd is kind of overblown in fanon compared to it's actual presence in canon (a few issues during his pre (and post?)crisis Robin tenure that highlight it) BUT consider that I think it's hilarious if the unhinged gun toting criminal has strong opinions on poetry
Didn't realize you can pass a perception check during the talk with Astarion at camp where he's looking at the stars to realize that what he's saying is probably not honest, and he's being fake.
So you really can just play a Tav who canonically is like "hmm I don't think this guy is being real with me- I think he's trying to manipulate me," from the start, lmao
The worst part about playing rdr2 again is knowing who's going to die, how they're going to die, when they're going to die, and not be able to do a single thing about it
Sanji and Usopp during The Sabaody Incident™ won't leave my mind.
Usopp standing in front of Sanji protectively because he is wounded and he can't fight, so Usopp will do it for him ("I'll do what you can't do").
There is just something about Sanji's expression when he realizes he might actually lose Usopp. This is my interpretation, at least. He is literally frightened.
Usopp helping Sanji stand up to run away. This is crucial for something I want to point out later: Sanji needs help to stand up. (Also, Brook disappears trying to protect them both and saying he will do anything to save them even if it costs him his life. I am feeling sick).
Sanji being self-sacrificing and blaming himself for not being able to protect them/act sooner is not new. But he does manage to gain the strength to fight when Usopp is the only one left with him and the possibility of losing him is even more real now.
The thing that I love the most about this is not Sanji sacrificing himself for Usopp, because he does that. He is like that. But Usopp not running away or moving in the slightest because he refuses to leave Sanji on his own.
Something I'd like to point out too is that Sanji actually touches Kuma before Usopp disappears. He tries to fight and protect him and Kuma could've easily sent Sanji to Momoiro Island right away, and yet Sanji was just sent flying far from the scene and forced to see Usopp disappear in front of him.
And I am not saying that "not being able to protect both Brook and Usopp (especially Usopp) is needed for Sanji to realize he has to become stronger and find more reasons to go back with the crew" but not being able to protect both Brook and Usopp (especially Usopp) is needed for Sanji to realize he has to become stronger and find more reasons to go back with the crew.
Not to mention that we can't deny (right after Water 7/Enies Lobby) that Usopp is one of Sanji's strongest bonds within the crew. This specific scene focusing on them both is more than enough to prove it.
Sanji seeing Usopp disappear in front of his eyes without being able to do anything to save him.
Remember what I said about Sanji needing help to stand up seconds ago? Well. This is him the moment Usopp disappears. What adrenaline and the power of love do to a mf.
They are so "I can lose everything, but not you. Oh God, not you" shaped.
what is the theory that ivan manipulated the event where till and mizi met the wagyein?
It's not a theory, actually! It's confirmed that Ivan orchestrated the whole event. The true reason as to why however is still unknown. The information provides more context to this scene, though:
During the earlier times of ALNST the most rational explanation for this scene was that Till ran after a flower crown (presumably Mizi's) and Ivan followed him in out of curiosity. Now we know that Ivan was conveniently just standing there because he was waiting.
Side note, I find it heartbreaking (and maybe a little funny, sorry) that Till most likely didn't notice Ivan in this scene. That's just like him, isn't it. Always too busy running after Mizi while Ivan trails behind, an ever-present shadow.
I'm not sure how Ivan manipulated the circumstances for both of them to end up there, but it is confirmed that everything was intentional. What strikes me most is how they describe this particular scene:
I can't copy down what they said word-for-word (Patreon info), but they described Ivan watching "creepily" as Till and Mizi are faced with danger. We know that Ivan was familiar with the Cerberus wagyein beforehand, enough to touch its teeth and even to rest himself inside its maw. To Ivan, the wagyein is not dangerous, but to Till and Mizi, it could be. Ivan prepared the wagyein, led them there, and watched "creepily" from afar as Till fell on his knees, seemingly injured.
The closest I can get to making sense of Ivan's "scheme" is that he wanted to see how other children would react in a dangerous situation. Ivan's always been an observer, after all, and he's learned to survive by copying the more "normal" behaviors of his peers. This situation occured when Ivan was still young and had not yet developed his more charming mask, so perhaps he staged this encounter to study a situational response, to learn and mimic the emotion of fear. And what better subjects for the experiment than two of the most expressive and reactive humans of their batch? It helps that he was already fixated on Till beforehand, too. I think Ivan became irreversibly obssessed after this incident, especially since it's framed as a turning point in Ivan's life, comparing Till to the stars.
This is just my attempt at an interpretation, though. It could very well be for another reason. He most likely chose Till and Mizi specifically for personal reasons, not just for reaction. I'm still not sure on the purpose behind the whole thing.
The team wanted to capture Ivan's "dark emotions" through the shot of his stalking, which could relate to his more sinister intentions. His gaze can be read in a few different ways, though. Curiosity, interest, fear, etc. Maybe that's why they decided to redraw the shot in ROUND 6.
I think this better sells the feeling they were trying to convey.