the things i felt throughout this scene were emotions very new to my system

an otome romance route taught me something therapy couldn’t

as bizarre as it seems because this is about a visual novel where you date anime boys for your phone, actual serious content warning for discussion of abuse. ALSO mystic messenger spoilers ahead, including for super new content.

I have played maybe four visual novels (including Hatoful Boyfriend, a masterpiece) so I’m not an expert in the field, but I absolutely love Mystic Messenger. Partly for its format (it’s delivered like an app on your phone complete with e-mail, chatrooms that appear in real time, calls and text messages from the members of the chatroom). I also love that all of the characters feel like, if not real people, super individual in their personalities. It can seem a little one-dimensional (as opposed to two-dimensional, ha ha ha. ha) at first, but once you start to get to know them better there’s a ton of history underpinning pretty much all of them.

One thing that has really struck me about Mystic Messenger is that the way to get the “Good Ending” on most routes is to pursue the healthy relationship options as opposed to the unhealthy ones that feed into the characters’ insecurities. One character, Yoosung, is really young and struggles to get work done instead of playing video games. You can choose to enable his bullshit and step in as a surrogate mom - but that results in a bad ending. Another character, Jumin, who has problems expressing himself emotionally, gets very clingy very fast. You can choose to dive headfirst into a codependent relationship with him - but that, too, gets you the bad ending. Taking your time and being respectful of people’s boundaries and empathetic are the best way to “win” Mystic Messenger. 

Seems reasonable.

So I was super psyched when the newest route for the mysterious head of the RFA, V, was released this month. I knew V’s backstory was a clearly unhealthy & codependent relationship with another character in the series (Rika). I didn’t realize that watching them communicate in real time would knock me on my back the way it did. I’m writing this to deal with the fact that I got enraptured by the anime boy messenger program for a few days, but also to advocate for what I think was a nuanced & powerful representation of codependence and abuse in relationships.

I have (like many of us) a history of abusive relationships that have damaged my ability to connect with others in a lot of ways. Luckily, I’ve had a great support system backing me up and some really great mental health professionals who have helped me get through a lot of it. But some stuff still stings.

V and Rika’s backstory, in a nutshell: V was a famous photographer who met Rika when she was looking at one of his photos at an exhibition. When she talked about his paintings he felt like she understood him and they got involved. The way they talk about their relationship is really burdened with metaphor - him being her “sun” and promising to love every part of her, even the parts that are “darkness.” As Rika’s mental health deteriorated the “darkness” kept coming out more and more. V tried to continue to be the “sun” to her darkness but this just resulted in Rika feeling more and more suffocated because it felt like his obsession with trying to fix her was rejecting the parts of her that weren’t perfect.

We get cutscenes interspersed throughout the story that show us times that Rika and V spent together where they were happy, the deterioration of their relationship, and Rika in the present day.

When things started going downhill.

Eventually, Rika’s mental health deteriorated completely and after attacking V and doing damage to his eyes that could result in him going blind, she disappeared and formed a cult where she tries to “save” people by letting the darkness inside them out instead of focusing on the “light” (yes, this is where the anime cheese truly emerges). Her feelings in the present-day of the game toward V span the entire spectrum of grief - she goes from raging about how she wants to hurt him, to begging him to save her again, to telling him he means nothing to her and she’s just using him.

What makes Mystic Messenger particularly remarkable - and painful - is that because of its format, you get to not only watch their dialogue in real-time, but participate in it. You’re there whenever V tells her that what they had wasn’t love, but obsession: 

And you’re there whenever V starts to lose it and think that he’s worthless unless he goes back to her:

Whenever the two come face-to-face in the chatroom, you’re there to plea in what felt like the most futile and devastating scene for me, where you try to beg V not to go back to Rika as he’s talking to her:

And maybe most disturbingly (for me, because it rings a little too true to past events), you’re there whenever Rika admits that she’s fully aware of how manipulative and abusive their relationship is:

While the rest of Mystic Messenger had some rough emotional moments, watching the dying throes of an abusive relationship being played out in front of me (including the character who I was growing emotionally attached to in this route of the game) drove me to put my phone down and have a glass of wine. Several times.

What made this route particularly tough for me was that it followed the rest of Mystic Messenger in that the only way to get the “Good Ending” (and I did get the Good Ending) is to give the healthy, empathetic answers. I caught myself making the same mistakes I’ve made in the real-life past in the game too. Whenever Rika said something particularly spiteful, I wanted to tell her that she was evil and beyond help. Whenever V was hurting, I wanted to beg him to run to me instead of her. But either of these choices will result in a bad ending, so I had to bite my tongue (and in several cases, rewind and restart a chatroom so I didn’t tank my game).

As I progressed it started getting easier. There are several checkpoints along routes in Mystic Messenger where you can fail and get a bad ending in different ways, so if you continuously choose the “good” answers the characters will respond differently to you. As I forced myself to understand more about Rika and what she was going through, it became easier to not respond with kneejerk disgust and to instead say “You’re not evil, you need help.” And whenever V was vulnerable, instead of trying to force my way in, I could say “You need to learn to love yourself - you’re precious beyond what you offer to others.”  In retrospect, there are some situations from my past in which I deeply wish I’d made those choices instead. Eventually, if you do it right, V tells Rika goodbye once and for all… and watching her begging him one more time to take her back is one of the most painful conversations to sit through.

Playing through V’s story was profoundly difficult for me, and when it was over I breathed a sigh of relief. The “Good Ending” isn’t V running into your arms, it’s a 2 year lapse after which he comes to you and says he thinks he’s ready to start again. My one complaint is that we don’t see what happens to Rika (although I expect that’ll be in some post-game content that’s slated to be coming soon). I’m left here feeling absolutely silly that a game where you message anime boys on your phone could do such a number on me (believe me, you can’t laugh at me any harder than I already am).

There is, however, a really dangerous lesson that I’m trying not to take away from this route. The nature of the visual novel’s structure runs the risk of encouraging the idea that your choices matter in other people’s abusive situations. Here’s what therapy HAS successfully taught me: sometimes there’s no right thing to say, and even if you approach someone in the healthiest way possible it won’t keep them from making self-destructive decisions. In the real world, even if I said all the right things to V, he may have still decided to go back to Rika because he couldn’t manage to love himself enough to leave. Maybe you’ve heard the statistic that it takes a woman on average 7 attempts to leave an abusive relationship. You can’t just fix people by selecting the right option on the chat wheel - you can only tell them that you believe they deserve to be happy. You can’t make them believe it too.

I do understand, however, that telling that story would make for a pretty heartbreaking video game (especially in a phone app where you date anime boys). So if you wanna get your heart put through a wringer you have both my recommendation and my warning. I think that if I’d gotten a bad ending I may have just put my phone down and taken the week off to lie in bed. But I do feel like I’m better off for playing it.

fuckingbiblicalmate  asked:

As someone who's heard that Romeo + Juliet (dir. Baz Luhrmann) was the "most accurate to the screenplay, technically" but also that it wasn't as accurate as it could be, plus all the other pro/con arguments abt it that float around, I was hoping you could tell me why you dislike it? Thank you!

So, I decided to watch the movie again before answering your message (that’s mainly why I took so long to reply! I’m sorry) because the last time I watched it was like five years ago, and I actually loved it this time around? I’ve been fangirling the whole night.

I agree that Luhrmann did a fantastic job in ‘translating’ the society of Shakespeare’s Verona into the contemporary world. The misogyny, the cult of violence and masculinity—all these aspects were brilliantly shown by Luhrmann. Besides, the rhythm of the movie is marvelous. All the scenes are governed by this impulsive, erratic speed. It gives you no time to think; you get carried away by its rash haste. The crazy speed of the play is one of my favorite things because it’s like, a huge emotional rollercoaster.

Still, I’m uncomfortable with the way Luhrmann filmed Romeo and Juliet’s first conversation—Juliet literally has to step back to prevent Romeo’s mouth from touching hers right when he says, “have not saints lips and holy palmers too?”. It looks so self-assertive, it makes me cringe. They’re literally creating a sonnet together, it should be beautiful and not creepy. And then there’s this new scene where we see Romeo arrive at Juliet’s bedroom on their wedding night, which I think is nonsense. I talked about it here.

Another part that I found disappointing was the portrayal of Romeo’s despair when he receives the news of his banishment in the friar’s cell. He should be “on the ground, with his own tears made drunk”, “taking the measure of an unmade grave.” He is so desperate and anxious that he even attempts to kill himself just to destroy his Montague self. However, Leo is too serene. I can’t help comparing his acting with Leonard Whiting’s portrayal, who was cut out most of the lines in this scene but who managed to accurately show Romeo’s anxiety nonetheless. Another thing I’m not sure I like entirely is the “balcony” scene. In the original play, Juliet is locked inside her window and therefore they cannot touch, let alone make out in a pool. I find it very significant that they don’t even touch in the longest, probably deepest conversation they have, but I felt like Luhrmann over-sexualized the scene unnecessarily. And then, as usual, they didn’t make Tybalt come back after Mercutio’s death. It’s quite an important little detail—both the fact that Tybalt came back to Romeo and that Romeo only suggested revenge after Tybalt’s return. (Tybalt would never run away from a fight? He is too arrogant to do so.)

The death scene is most likely what I dislike the most, though. To begin with, I think the scenery, pretty though it is, isn’t really appropriate—it should be dark, scary, the way a “nest of death, contagion, and unnatural sleep” should be, only lightened by Juliet’s beauty and not by pretty candles all around (“Her beauty makes / This vault a feasting presence full of light”). The place should correspond to Juliet’s fears:

Shall I not, then, be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or, if I live, is it not very like,
The horrible conceit of death and night,
Together with the terror of the place—
As in a vault, an ancient receptacle,
Where, for these many hundred years, the bones
Of all my buried ancestors are packed:
Where bloody Tybalt, yet but green in earth,
Lies festering in his shroud; where, as they say,
At some hours in the night spirits resort—
Alack, alack, is it not like that I,
So early waking, what with loathsome smells,
And shrieks like mandrakes’ torn out of the earth,
That living mortals, hearing them, run mad.

It should be that terrifying. And, most importantly, it should specifically be Capulet’s crypt rather than some random church. Basically because by poisoning himself in the vault of his wife’s family, Romeo is destroying the patriarchal system (as well as reinforcing again his rejection of his own surname and the whole feud; he chooses to “set up” his “everlasting rest” in Capulet’s tomb rather than in that of Montague).

I find it very symbolic that they both die alone, surrounded by Tybalt’s and Paris’ corpses—the two men who thwarted their love the most—; I actually think it’s very significant to make them die separately. It reinforces the repressive isolation that they both experimented throughout the play. If you think about it, we not only witness the evolution of their love but also their evolution as individuals. We get to see how their relationship alters their social identities (i.e. Romeo’s willingness to love Tybalt, Juliet’s sexual liberty, etc.), and when their society rejects these new identities, they tragically decide to commit suicide. (More on this here.) I think they not only kill themselves for each other, but also for themselves, and this is something that’s highlighted by the fact that they die alone.

Besides, having Juliet wake before Romeo’s death kind of blurs the Liebestod trope—that is, death is not truly dividing them, but finally bringing them together. They kill themselves because they cannot be together in life, ergo Romeo promises he “will still stay with thee” because death will turn him into Juliet’s husband again. (There are actually lots of references to wedding rituals in this scene.) So when he says “thus with a kiss I die” (“die” meaning both to lose your life and to have an orgasm) he is not really saying farewell. He is kissing her right before dying to “seal with a righteous kiss / A dateless bargain to engrossing death”. However, in the Luhrmann version, Romeo dies thinking that death will separate him from Juliet, and so his last kiss is not a “dateless bargain” but a goodbye. (Overall his death lacks something if Juliet wakes in time. This awesome lesbian version also made Romeo die after Juliet’s awakening, but neither Luhrmann nor the lesbian production dared add new lines and he just stays speechless until he dies and I find it very weak? If Romeo saw Juliet live again, he would surely say something. If Shakespeare had wanted Juliet to wake before his death, he would have written it like that, but he didn’t. I feel like Luhrmann is changing the meaning of the scene just to increase the dramatic effects of it.)

I also think it’s highly important to make Friar Lawrence enter the scene between Romeo’s and Juliet’s deaths—he gives Juliet a very suitable option in terms of religion:

Come, I’ll dispose of thee
Among a sisterhood of holy nuns:
Stay not to question, for the watch is coming.

Juliet is breaking the rules again by refusing to hide at a convent and spend the rest of her life devoting herself to God and mourning her dead husband. She prefers to commit suicide. But what’s even more irritating about Luhrmann’s version is that Juliet doesn’t say a word after Romeo’s death, which weakens the character a lot. Their conversation ends with Romeo’s “thus with a kiss I die”. It’s a pity, because her last words are really potent, especially considering that daggers were seen as a masculine form of suicide (whereas poison was often attributed to women. My kids love burning down gender roles): “O happy dagger! This is thy sheath: / There rust and let me die” (with another pun on “to have an orgasm”). By introducing Romeo’s dagger into herself she’s again claiming her right to be sexually active. This metaphor is weakened by making her use a gun instead (AND BY CUTTING OUT HER DEATH SPEECH LIKE!!! HOW DARE YOU!!!).

Another thing that I wish were included in the movie is Capulet and Montague’s reconciliation. I find it vital for the message that the play wants to transmit. After all the violence, the prejudice, the social oppression, Romeo and Juliet’s death puts an end to the war between both households (I say households and not families). The patriarchs admit the wrong they did, and it’s just so satisfying to hear them apologize. I think this is kind of the whole purpose of the play—I would dare say this last conversation is the reason the whole story was told in the first place. The prologue focuses on the households’ violence, and it actually mentions Romeo and Juliet to express that their death ceased the violence:

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life,
Whose misadventured piteous overthrows
Doth with their death bury their parents’ strife.

However, in Luhrmann’s version, Capulet and Montague only stand side by side without saying a word while the Prince reprehends them, leaving up in the air whether or not they will take their children’s advice and replace hate with love.

But apart from that, I actually did enjoy it!


It’s been a long journey for me, but I finally did it!

Since doing a proper review of this would take me too long (as well as me not being knowledgable enough about the Tales series to be a definitive source) I’ll instead do what I usually do and write things I liked about the game, things I didn’t like about it and then finish it off with my general thoughts!


-The voice acting. Honnestly, I think the english VAs did a fantastic job here. I give massive props to Christina Valenzuela for her performance here as Velvet, as I think she really does a good job of expressing the subtle emotional aspects of her character through her voice. Also, Taliesin Jaffe, Amber Connor, Benjamin Diskin, Erica Mendez and Erica Lindbeck all did a fantastic job as Eizen, Laphicet, Rokurou, Eleanor and Magilou respectively (Erika Linbeck especially seemed to have had the time of her life doing Magilou’s voice X D) There were really only a few instances where some performances felt a little hammy and “soap opera-ish”, but they really didn’t bother me at all.

-The characters, especially the main party. The way they interact with each other is very similar to how the “The Guardians of the Galaxy” characters interacted with each other: they’re not all instantly buddies at first, and there’s even some tension between them, but throughout the game, seeing them warm up to each other was very satisfying and heartwarming to me. It helps that the voice acting is so good and adds a lot of weight to the characters. Not only that, there are a ton of optional dialogue prompts, called “Skits” that pop up on the bottom right of the screen that flesh out the characters even more, and they were all fantastic. Some were insightful, some were heartwarming, and some were downright hilarious! I highly recommed checking them all out, they’re really worth it!

-The combat. It’s fun, it’s fast paced, it’s flashy, it’s simple to learn and hard to master, and best of all YOU CAN PLAY 4-PLAYER LOCAL CO-OP. While the game is perfectly playable alone, I highly, HIGHLY recommend you play this game with a group of 2-4 people for the absolute best experience; it’s the most fun you’ll ever get out of the combat system from this game.

-Customizing the looks of your character. As you progress through the game, you can unlock various outfits and accesories for your characters to wear, which range from cool looking to downright ridiculous. I admit I had a lot of fun dressing up my characters and seeing their costumes show up in in-game cutscenes and during battle. Just be careful not to dress them too ridiculously if you want to follow the story carefully, cause certain dramatic scenes might lose some impact if your character is wearing a mascot-like costume with a funny moustache X D


-The overall world map, town and dungeon layout design. Barring a few exceptions like the final dungeon and Yseult (which may have to do with me loving beach settings in games), a lot of dungeons and towns felt very plain looking and samey. Not only that, the game felt very “corridor-like”, and I didn’t feel as much of a sense of exploration and discovery as I did with previous “Tales of” games, which is ironic since exploration and discovery is a big theme in this game. There was also WAY too much backtracking, and although there are some things to help you travel faster (and keep it from being a total bore), I felt like it wasn’t enough and it still felt like a slog sometimes.


I really liked this game! I’ve been craving for a good action JRPG with good voice acting, and this game did the job! The characters were definetly the main highlight of this game for me, and all the problems I had with this game were overshadowed by how much I cared about the lives of the characters I was playing. They made me want to spend hours on sidequests and completing optional stuff just to see more dialogue out of them, and I don’t regret any of that time spent. And re-living that fun I had when I played my first “Tales of” game with my friend when I was a lad brought me much joy to my life : )

So bottom line, I definetly recommend playing this game! It doesn’t do anything too new or revolutionary in terms of game design and story, but it’s a damn good Action JRPG!

“I love you, Barnes.” : Bucky Barnes/Winter Soldier (Part 3)

Author’s Note: I can’t find a good gif for this part, oops. This is the last part of “I love you, Barnes.” and I certainly do hope you guys liked it. This was probably my most violent imagine/story. 

Also I know this is somewhat short compared to the others, but I wanted this to be separate from the violence and anguish. 

I’ll post a PSA regarding other requests and future plans. If you haven’t read the first two parts, here are the links: 

“I love you, Barnes.” Part 1  “I love you, Barnes.” Part 2

Tagged: @bethv2001 @peachesandauthors @lovemeretro

Word Count: 1,646

Fluff & Angst (sorta)


The darkness didn’t feel like how you had expected it. It was as if you were just in a deep, deep slumber. Death certainly did not feel like this.

Your body, it was regenerating, past life’s mistakes being erased from yourself.

It was as if you were floating. Waiting on a mystical being to give you your right of life. Thankfully, that being granted your will of life.

Everything was a mere blur, you could see sounds and hear colors. It was a profound moment of your rebirth.

Air was flowing through your body, enticing your blood to flow. You willed yourself to focus your sight. And the first thing you saw made you feel as if you were in heaven.

“Oh, doll…” Bucky’s bright blue eyes burning into yours. His hands were placed lovingly against the sides of your face. “Welcome back, Y/N.”

You turned your head to look around the room. Everyone from the Avengers, to Scott, T’Challa, Rhodey, and even Dr. Cho was there, standing with large smiles on their faces. Bucky’s cold, metal hand brought you back to looking at him. “I died… I felt it Bucky, why am I here?” His smile vanished from his face when you asked him that.

Dr. Cho cleared her throat, “Well, you were experiencing the first effects of death, you were close but we made it in time to get you.”

That didn’t answer any of your questions though. You looked exhaustedly at the doctor. “Why am I here? Or more like, how am I here?”

The doctor nudged her head towards the corner of the room. How you hadn’t notice the large hunk of metal science never occurred to you. “That, is the Cradle, it’s a device that can heal wounds by grafting a simulacrum of organic tissue to the patient and having it bond to the patient’s cells. Your regenerative abilities could only heal you so quickly. But basically this is what helped you fully and quickly heal all of your injuries, and by judging when we got there… The Cradle was our saving grace.”

You nodded your head, taking in everything that Dr. Cho had said. Everyone watched you closely as you pursed your lips and sighed. “Can everyone leave?” You looked towards your companions and acquaintances. “Except for Buck, I will very gladly talk to you all later. I need to speak to him.” Wanda already knowing what’re you’re feeling respected your wishes and was the first to leave. Slowly everyone followed the Slovakian woman out.

“Doll? What’s wrong?” Bucky stared at you worryingly. He grabbed a chair and placed it by your bedside. “Are you okay? Do you need me to get Dr. Cho again?”

You shook your head, tears started to pool into your eyes. Flashes of Mark covered in your blood ran through your head. Bucky gently grabbed your hand, rubbing your knuckles to coax you into speaking with him. “Is-“ Your voice cracked slightly, “is he dead?” Bucky’s face paled when realizing what you were asking.

“We don’t have to-“

“Yes we do.” You interrupted. The tears you tried to hold back were now freely falling. “He, that monster, did things to me Buck. Horrible things that I was most certain of that I was going to die from. What if that was my fate? What if I was made to die by the hands of some sick, twisted being. The scariest part though Buck, do you want to know?” Your fear and sadness became a mixture of rage now. Bucky nodded his head, unsure of what you were about to tell him. “He was the grandson of the man who first took me. The look in his eyes told me all of the horrors that he went through. The scariest part though… Is that he was human. A fucking living, breathing, in the flesh human had done this. Ever since I left that facility, I was training for situations like these. And you know what! I couldn’t handle it, I couldn’t fucking handle it Buck!”

Bucky was watching your now distraught form sobbing in the bed. He wanted to hold you, to tell you that everything was going to be okay. But he knew, in all honestly that it wasn’t okay. You were taken from the safety of the tower to be brutally tortured and almost killed.

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Like Father, Like Son (3x17: The Jolly Roger)

This one-shot is part of Twenty First Century Man, a series of canon compliant one-shots that explores Hook’s thoughts and feelings as he adapts to the Land Without Magic. Check out the master-post for a complete list of one-shots in this series.

Like Father, Like Son
Episode 3x17: The Jolly Roger
Rated: G

Hook + French fries

Killian wondered whether or not he would ever stop feeling anxious around Henry. He supposed he might eventually; the lad’s memories would return at some point. Then he could stop pretending he wasn’t Captain bloody Hook, and he could be more truthful about his relationship with Neal.

But perhaps Henry would have some strong feelings about Captain Hook pursuing his mother, especially given said captain’s history with his father. And grandfather. Especially since, in this world, Captain Hook was a villainous character, and though Killian considered himself a changed man, his past was far from clean.

He’d initially been inclined to believe that it wouldn’t be an issue; the afternoon and evening they spent together after Neal’s funeral had gone smoothly enough. Henry seemed to appreciate what little Killian could tell him about his father, and he even seemed to enjoy sailing quite a bit.

Today, however, had been a different story.

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Episode 5x11 - “White Lies - Part 1” (Contains spoilers)

It’s hard for me to write this post, because I still can’t believe what had happened. I think we all knew and expected Taylor would get shot. I expected him to be temporarily or permanently incapable of filling the Assistant Chief of Special Operations position. I definitely did not anticipate him dying. I was sure he would live. So I am utterly shocked, and I feel like the show has lost a valuable actor with no option to ever bring him back for a cameo in the future (except maybe in a flashback).

The star of the night is absolutely, without a doubt Mary McDonnell. We all knew she’s talented, and many of us lamented the fact that her talent was being underused this season. That has definitely changed last night. The badass display of her taking Dwight Darnell down could put to shame any Quentin Tarantino movie. And then, just when I thought I saw everything this woman could do, it became clear that the talent that’s oozing from her is endless.

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anonymous asked:

I keep seeing posts by the b ship bitching about being trolled and lied too. Who do you feel is most responsible for the trolling? Sg and the others were clear beforehand about the relationship between b and d. What's your take?

Hi there my anonymous friend,

This really is a rather sensitive question for this fandom but as controversial as it might be I do think it’s a legitimate inquiry and a topic that needs to be explored and perhaps even. addressed because at the end of the day “trolling” really is responsible for a large portion of the negativity around here.
The validity and reliability of statements released by TPTB, the cast and other media sources regarding TWD characters and their “potential” relationships is obviously debatable and dubious for a lot of reasons BUT I know a lot of fans take their words seriously and could be setting themselves up for a major disappointment when they don’t get what they feel was “promised”. 

Season 4 and the Carol/CARYL situation taught me a hard lesson when it comes to putting too much stock into what is being said because more often than not the words we hear are not translated on screen the same way we think they should be AND bottom line is that we really shouldn’t need to read an article about the show in order to understand the story being shown to us.

Upon getting your question I did a little research to familiarize myself with the exact quotations and their timing AND ended up discovering a rather interesting pattern in the “coverage” of the Daryl and Beth storyline. 

My media excursion showed this “unlikely duo” wasn’t put together to create a new romantic option for Daryl Dixon and was only ambiguously left “un-denied” after “Still & Alone” premiered and it had become apparent that there was a following out there that had interpreted certain emotional scenes with a “love angle”.
Basically Daryl and B*th weren’t planned with romance in mind and the quotes before and after “Still & Alone” essentially confirm that when Scott Gimple was asked about its possibility on Talking Dead after the premiere of Season 4, HE really was telling the truth with the now infamous “I am not even entertaining that” line. 

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