I chose to illustrate the "break up" scene from Us Against the ''Almost'' bc the three of swords' key meanings include heartbreak, emotional pain, sorrow, grief, and/or hurt, and its rly rly painful for them both...but its necessary
(Kato's kinda right in pointing out his own toxicity and anyway,, Anarchy needs to be available for when chey shows back up like a month and a half later)
and part of the three of swords can be as a reminder that pain, sorrow and grief are a necessary part of life, that pain exists but isnt forever and can provide clarity!! which is why im choosing this break-up as opposed to the one with Fawkes bc...idk that relationship was a clusterfuck whereas this one does make Anarchy realize "okay...not just crossed wires...i'm romantically attracted to another man" AND he's willing to risk admitting that, even if it doesnt work out
and for K-O it DOES help him realize that he's not ready for a legitimate relationship and that he has issues with accepting real love, which idk if he let himself be fully aware of before?? he also really, really tries to put someone else before himself, which is smth he struggles with a bit when it comes to emotional stuff. He tends to really need people's attentions so it wouldve been easy for him to agree to a relationship and let himself wreck it but he sees that pattern of behavior in himself and stops it before it happens even though it means breaking his own heart.
Three of Swords
ʜᴇᴀʀᴛʙʀᴇᴀᴋ, ᴇᴍᴏᴛɪᴏɴᴀʟ ᴘᴀɪɴ, sᴏʀʀᴏᴡ, ɢʀɪᴇғ, ʜᴜʀᴛ
ᴡʜᴇɴ ᴛʜᴇ ᴛʜʀᴇᴇ ᴏғ sᴡᴏʀᴅs ᴛᴜʀɴs ᴜᴘ ɪɴ ᴀ ᴛᴀʀᴏᴛ ʀᴇᴀᴅɪɴɢ, ɪᴛ sɪɢɴᴀʟs ᴛʜᴀᴛ ʏᴏᴜ ᴀʀᴇ ғᴇᴇʟɪɴɢ ɪɴᴛᴇɴsᴇ ᴇᴍᴏᴛɪᴏɴs ᴏғ ᴘᴀɪɴ, sᴀᴅɴᴇss, ɢʀɪᴇғ, ᴀɴᴅ ʜᴇᴀʀᴛʙʀᴇᴀᴋ.
ᴛʜᴇ ᴛʜʀᴇᴇ ᴏғ sᴡᴏʀᴅs ɪs ᴀʟsᴏ ᴀʙᴏᴜᴛ ᴇᴍᴏᴛɪᴏɴᴀʟ ʀᴇʟᴇᴀsᴇ. ᴡʜᴇɴ ʏᴏᴜ ʜᴀᴠᴇ sᴜғғᴇʀᴇᴅ ᴀ ᴍᴀᴊᴏʀ sᴇᴛʙᴀᴄᴋ ᴏʀ ʟᴏss, ɴᴏᴡ ɪs ᴀɴ ᴇxᴄᴇʟʟᴇɴᴛ ᴛɪᴍᴇ ᴛᴏ ʜᴀᴠᴇ ᴀ ɢᴏᴏᴅ ᴄʀʏ. ᴇxᴘʀᴇssɪɴɢ ʏᴏᴜʀ sᴀᴅɴᴇss ɪs ᴘᴀʀᴛ ᴏғ ᴛʜᴇ ᴄʟᴇᴀɴsɪɴɢ ᴘʀᴏᴄᴇss ᴀɴᴅ ʟᴇᴛᴛɪɴɢ ɪᴛ ᴀʟʟ ᴏᴜᴛ ᴡɪʟʟ ʜᴇʟᴘ ʏᴏᴜ ᴍᴏᴠᴇ ᴏɴ ᴛᴏ ʙᴇᴛᴛᴇʀ ᴛɪᴍᴇs. ᴀʟʟᴏᴡ ʏᴏᴜʀsᴇʟғ ᴛʜᴇ ᴏᴘᴘᴏʀᴛᴜɴɪᴛʏ ᴛᴏ ᴇxᴘᴇʀɪᴇɴᴄᴇ ᴛʜᴇsᴇ ᴇᴍᴏᴛɪᴏɴs, ɴᴏ ᴍᴀᴛᴛᴇʀ ʜᴏᴡ ᴘᴀɪɴғᴜʟ. ᴄʀʏ, sʜᴏᴜᴛ, ᴏʀ sᴄʀᴇᴀᴍ ᴀᴛ ᴛʜᴇ ᴛᴏᴘ ᴏғ ʏᴏᴜʀ ʟᴜɴɢs. ᴅᴏ ᴡʜᴀᴛᴇᴠᴇʀ ɪᴛ ᴛᴀᴋᴇs ᴛᴏ ᴇxᴘʀᴇss ʏᴏᴜʀ ᴀɴɢᴇʀ ᴏʀ ᴘᴀɪɴ ᴀs ᴛʜɪs ᴡɪʟʟ ʜᴇʟᴘ ᴛʜᴇ ᴇᴍᴏᴛɪᴏɴs ғʟᴏᴡ ᴛʜʀᴏᴜɢʜ (ᴀɴᴅ ᴏᴜᴛ ᴏғ) ʏᴏᴜ. ʜᴏᴡᴇᴠᴇʀ, ɪᴛ ɪs ᴀʟsᴏ ᴇssᴇɴᴛɪᴀʟ ᴛʜᴀᴛ ʏᴏᴜ ᴄᴏɴᴛɪɴᴜᴇ ᴛᴏ ғᴏᴄᴜs ᴏɴ ᴛʜᴇ ᴘᴀᴛʜ ᴀʜᴇᴀᴅ. ɴᴏᴡ ɪs ᴛɪᴍᴇ ᴛᴏ ᴀᴄᴄᴇᴘᴛ ᴡʜᴀᴛ ʜᴀᴘᴘᴇɴᴇᴅ ᴀɴᴅ ᴍᴏᴠᴇ ғᴏʀᴡᴀʀᴅ ᴡɪᴛʜ ʏᴏᴜʀ ʟɪғᴇ.
ᴛʜᴇ ᴛʜʀᴇᴇ ᴏғ sᴡᴏʀᴅs ᴄᴏᴍᴇs ᴀs ᴀ ʀᴇᴍɪɴᴅᴇʀ ᴛʜᴀᴛ ᴘᴀɪɴ, sᴏʀʀᴏᴡ ᴀɴᴅ ɢʀɪᴇғ ᴀʀᴇ ᴀ ɴᴇᴄᴇssᴀʀʏ ᴘᴀʀᴛ ᴏғ ʟɪғᴇ. ᴡɪᴛʜᴏᴜᴛ ᴘᴀɪɴ, ʏᴏᴜ ᴡᴏᴜʟᴅ ɴᴇᴠᴇʀ ᴇxᴘᴇʀɪᴇɴᴄᴇ ᴛʜᴇ ᴄʜᴀʟʟᴇɴɢᴇs ʏᴏᴜ ɴᴇᴇᴅ ᴛᴏ ɢʀᴏᴡ ᴀɴᴅ ᴅᴇᴠᴇʟᴏᴘ ᴀs ᴀ ᴘᴇʀsᴏɴ. ᴇᴠᴇʀʏ ʜᴀʀᴅsʜɪᴘ ᴄʀᴇᴀᴛᴇs ᴅɪsᴄᴏᴍғᴏʀᴛ, ᴡʜɪᴄʜ ɪɴᴇᴠɪᴛᴀʙʟʏ ᴛᴜʀɴs ɪɴᴛᴏ ᴀɴ ᴏᴘᴘᴏʀᴛᴜɴɪᴛʏ ᴛᴏ ʙᴇᴄᴏᴍᴇ sᴛʀᴏɴɢᴇʀ, ʟᴇᴀʀɴ ғʀᴏᴍ ʏᴏᴜʀ ᴍɪsᴛᴀᴋᴇs, ᴀɴᴅ ᴄʜᴀɴɢᴇ ᴛʜᴇ ᴄᴏᴜʀsᴇ ᴏғ ʏᴏᴜʀ ʟɪғᴇ ғᴏʀ ᴛʜᴇ ʙᴇᴛᴛᴇʀ. ᴡʜɪʟᴇ ᴛʜᴇ ᴘᴀɪɴ ᴍᴀʏ ᴄʟᴏᴜᴅ ʏᴏᴜʀ ᴠɪsɪᴏɴ ғᴏʀ ᴀ ᴛɪᴍᴇ, ɪᴛ ᴡɪʟʟ ᴇᴠᴇɴᴛᴜᴀʟʟʏ ʙʀɪɴɢ ᴄʟᴀʀɪᴛʏ ᴀɴᴅ ᴇɴᴀʙʟᴇ ʏᴏᴜ ᴛᴏ ᴘᴜᴛ ᴛʜᴇ ᴘᴀsᴛ ʙᴇʜɪɴᴅ ʏᴏᴜ. ᴛʜᴇ ɢᴏᴏᴅ ɴᴇᴡs ɪs ᴛʜᴀᴛ ᴛʜɪs ᴘᴀɪɴғᴜʟ sᴇᴀsᴏɴ ᴡɪʟʟ ᴘᴀss. ᴡʜɪʟᴇ ᴛʜᴇ ᴛʜʀᴇᴇ ᴏғ sᴡᴏʀᴅs ʙʀɪɴɢs ʜᴜʀᴛ ᴀɴᴅ sᴀᴅɴᴇss, ɪᴛ ɪs ᴏɴʟʏ ᴛᴇᴍᴘᴏʀᴀʀʏ. ʏᴏᴜ ᴡɪʟʟ ʙᴏᴜɴᴄᴇ ʙᴀᴄᴋ. ᴛʜᴇ ᴄʟᴏᴜᴅs ᴡɪʟʟ ᴅɪssɪᴘᴀᴛᴇ, ᴀɴᴅ sᴏᴏɴ ʏᴏᴜ ᴡɪʟʟ ʜᴀᴠᴇ ᴀ ʙᴇᴛᴛᴇʀ ᴘᴇʀsᴘᴇᴄᴛɪᴠᴇ ᴏɴ ᴡʜᴀᴛ ʏᴏᴜ ᴄᴀɴ ʟᴇᴀʀɴ ғʀᴏᴍ ᴛʜᴇ ᴇxᴘᴇʀɪᴇɴᴄᴇ.