#// character meta

[ofcrowsanddragons]

Chewing on the idea of Lucanis seeing a darkness within himself (the demon that was there all along) and feeling like there's something deeply Wrong with him. Not just interpersonally, but that he's dangerous in a way that's not just tied to being an assassin.

"Say I cast out Spite, with all he's learned from me. What then? What if I free myself, but unleash a true demon of Vyrantium?"

I can leash myself, but if Spite has taken on my darkness, my rage that I bury so deeply, then what happens when I unleash Spite?

What if Lucanis believes that there's something barely leashed in him, that means he'll take whatever excuse a contract can give him to enact some sort of twisted justice in an unjust world? (Ambrose's slaves, mouths sewn shut, unleashing vengeance demons and baiting the mage into becoming an abomination so he'll have something to FIGHT.)

Did Determination learn Spite from me?

What if Lucanis believes there's something deeply wrong with him, and it's so tied up in the way that his empathy and desire to take care of people was beaten out of him in training (he's just being practical) and that he's willing to trust beyond all reason because he needs people he can trust (and maybe even walk straight into a trap to get it over with) (surrender)...

That he can't tell where the rage (that he can't afford) ends and the softness (that he can't afford) begins.

I will not be this.

I cannot be unleashed.

[seventeenlovesthree]

Mimi Tachikawa's clothing style - a meta analysis

While their clothing styles are arguably an underlying theme in both Koushirou's and Sora's ways of self-expression (even if it's never at the forefront of their arcs), no other character lives and breathes the idea of expressing themselves through fashion as openly as Mimi. So after Taichi, Yamato and the two redheads, let's take a closer look at Digimon Adventure's very own fashion queen, shall we:

Adventure (+ Our War Game), age 10/11:

If there is one thing the viewer can immediately tell about Mimi, it's probably her favourite colour: Through the course of Adventure, you will rarely see her wear an outfit that doesn't include one pink item of clothing (or at least an accessory) at minimum. While she also has a preference for red shades, she absolutely loves pink in all its variations - on her everyday outfits as well as on her pyjamas! In terms of style, Mimi loves to combine comfort with "being fashionable". The feminine red cowgirl dress and beige-brown - assumably - shearling boots are not exactly the most practical items to wear during a camping trip; but they perfectly complement her favourite item, the pink cowgirl hat she hides her long, wavy hair under in a ponytail. In general, hat(s), dresses/skirts and boots are a repeating theme for her, as we will see later on.

Mimi didn't exactly start Summer camp unprepared, as she wears brown gloves (in a similar colour as her hair) and carries around a brown bag with camping equipment all the way. On the other hand, as Mimi grew up in a sheltered household, at the beginning of Adventure, she is very prone to let everyone around her know when her comfort is being disrupted. Thus, it's no surprise that she got coerced into exchanging her travel-ridden outfit (probably sweaty and dirty at this point) for a fancy white-pinkish (!) princess dress, as PicoDevimon's intrigue aimed to corrupt her. After all, she was overwhelmed by the situation - and loves pretty clothes and being comfortable, so she (understandably!) gets lost in the convenience of luxury for a bit. Thus even Taichi telling her how "impractical" the dress would be as a traveling fit couldn't shake her out of it for a while. However: As a mix between red's passion and white's purity, pink symbolizes love, nurture and compassion - and so it shall also come as no surprise that Mimi (encouraged by Sora) eventually found her way back to the right path and leave the spoilt attitude behind for the sake of her duty.

Even though she'll leave the beloved hat behind with Palmon in the Digital World at some point as well - it won't be the last hat she'll own. And also not the last pink one!

02 (+ Diablomon Strikes Back), age 13/14:

The transition phase between Adventure and 02 already shows Mimi getting a little more experimental with colours, as she actually added white, blue and green - her signature colour - to the mix. However, the viewer is not prepared for just how experimental Mimi would turn out to be! And neither were the animators, as several of Mimi's incredibly varied concept outfits didn't make it into the anime - but let's go through it step by step:

At the beginning of 02, we learn that Mimi's family has moved to the USA - and if the cowgirl aesthetic hasn't been an indicator before, 13-year-old teenage!Mimi will go all out on the American aesthetic and a style that couldn't be more early 2000s: Wearing a crop top that couldn't be closer to the US American flag if she tried, a white short skirt and high heels with white kneesocks. Most notably, for the majority of the season, her favourite colour pink will be a permanent part of her - as she chose to dye her (a little shortened, but more voluminous) hair pink. Additionally, she has adopted the star motive for herself - which we have previously only seen on Taichi! Mimi herself wears them either on her shirt - or as small hairclips in her hair.

Speaking of hair - unfortunately, the viewer won't get to see most of her hair experiments (namely the dark brown dreads, the highlights and the space buns). In one episode, her strawberry blonde perm (and pants!!!) can be witnessed at least - and eventually, we'll see her return to her natural hair colour. She also returns to the cowgirl aesthetic in Summer, once again wearing a pink hat (!), a white cowgirl dress, boots - and pigtails.

In general, one can tell that Mimi undoubtedly enjoys her youth abroad, as she seemed fascinated by American culture and the idea of "expressing herself freely" as a 10-year-old already. In the Adventure novels, it is already implied that Mimi stood out among her peers in school and - similarly yet differently to Koushirou - may be considered an "odd" in contrast to more "more traditional" Japanese customs (such as Sora's kimono-wearing mother as a traditional iemoto). Mimi also never fit into lifestyle aesthetics like Gyaru or Lolita, but definitely thrives in experimenting with extravagant, less traditional clothes and hairstyles through Summer that draw attention and display her personal interpretation of femininity; outfits that are funky, stylish (mainly crop tops, short skirts/shorts and high boots) and, most importantly, individualistic.

By the end of the season and the start of winter, she goes in a bit of a different direction: Her winter outfit is probably one of her most iconic ones - as well as the most high-femme she's ever been: Mimi fully commits to the spirit of Christmas by wearing a pine green goat and hat, accompanied by her long(er) flowy hair, a mahogany red skirt and light brown boots - it's cozy and mature and very Christmas-tree-y! A similarly mature vibe is maintained during Diablomon Strikes Back, as she wears a yellow turtleneck, a mahogany red skirt, a star necklace and brown boots. She doesn't exactly grow out of the experimental expressionist phase - but gets more balance into it. It's all very symbolic for 02!Mimi, who isn't just incredibly self-confident, but has also grown out of her "spoilt princess" tendencies. Instead, she has her own mind and insists on it - in a constructive, self-assured way!

Tri, age 16:

Tri!Mimi is mostly consistent with the majority of style elements we have discovered so far and actually adds a fashion-related element to her arc. First, let's focus on the things we are familiar with - and add the aspects that are new:

By now, Mimi has stopped dying her hair regularly and mostly sticks to wearing it open and/or with a headband. Sometimes, she does wear a ponytail, still cherishes the cowgirl hat whenever it fits - and in one scene, is even seen wearing unconventional bangs (and bunny ears that almost let me doubt that it was her for a moment, but since she actually wore stars - for the first and only time in Tri -, we can tell that it's her!). Thus, she still likes to experiment with variety!

Clothes-wise, she still prefers (mostly short!) dresses/skirts/shorts, (sandal-)boots - and of course the colour pink in most of her everyday outfits (with splashes of red, green and blue in between), including yukatas! Tri also lets her wear jeans for a change - but rather rarely.

Her school uniform includes exactly two aspects that differentiate her from the way Sora wears it: First of all, she adds a splash of colour by wearing red-white sneakers (whereas Sora wears standard loafers). Second, she wears rolled-up long sleeves in Summer - and is the only one who does so besides Yamato.

Last but not least, let's talk about the formerly mentioned US American influences that got her in trouble for a bit: After transferring back to Japan, she suggests hosting a Hooters-like café for the school festival - and thus her outgoing, funky (and undeniably more revealing) ideas clash with her more traditional, reserved Japanese classmates.

Her general sentiment is that she doesn't see the use in holding back or hiding her true feelings and thoughts for the sake of pleasing others. It's her sense of sincerity - that gets perceived as egotism by her classmates- that requires her to balance herself out again (and not just in fashion, as she also got into a fight with Koushirou over priorities as well):

She has to find a way not to give herself up while simultaneously not stepping on everyone else in the process - and just like she did when she got seduced by a princess dress at age 10, things eventually get resolved. Working with Sora and Meiko to create an orange-purple cheerleading outfit, her performance and enthusiasm doesn't just impress her classmates, but helps her to reconcile with them - as the outfit may have shown more skin than they initially anticipated, but was still a good mix between practical, fun and cute for them to seem more open to the idea of experimentation themselves. This subplot also greatly contributes to Meiko's character development, helping her to get a little bit more confident herself!

To quote her in the English dub here: "Fashion demands courage."

Kizuna, age 21:

Kizuna represents a small shift in Mimi's expressionist attitude - or rather, as she stepped into the world being an entrepreneur, running her own online business, she interprets some of her prior style elements a little... Differently, depending on the situation:

She still loves (short) dresses and will never give up on pink - however, her everyday outfit appears a little different than what we are used to with her. It's still colourful and funky, complemented by earrings and bracelets with splashes of colour. But gone is the cowgirl hat - and the hair she used to wear open for most of the past ten years has been tied back into a (loose) bun. The style is very difficult to describe and even though it's very much Mimi-esque in the way it's individualistic - it looks a little more kindergarten teacher-esque as well. In contrast, her business meeting outfit - a strapless long-sleeve shirt, a black belt and a high-waist skirt in burgundy red - combines familiar elements of Winter02!Mimi and Tri!Mimi.

The epilogue, approximately age 38:

38-year-old Businesswoman-slash-experimental-TV-star-cook!Mimi elaborated on the look of 21-year-old Businesswoman!Mimi - and while her look definitely evolved, she also returned to her roots again, finding a balance between "more traditional" and "individualistic": She's back to wearing her hair open, it's a little shorter and, depending on how she styles it, either wavy or frayed. The pink cowgirl hat is back too - as well as the whole cowgirl aesthetic, because, let's be real, she would always find a way back to it, considering how it had become such a reoccurring theme for her.

Final thoughts (and headcanons):

Mimi being as experimental as she has always been, trying out all the different things - in both fashion and life itself - absolutely stands for her honest, pure nature. She absolutely has her own mind and trusts her intuition a lot - and this experimental yet straightforward mindset will lead her to make decisions in the end: It helps her to learn exactly what she wants/likes and what she doesn't want/like. Go big or go home, don't hide who you are deep down inside!

It's a very progressive, empowering mindset - and so it shall not even come to any surprise that it's mainly (but not exclusively!) female characters she inspires with her way of thinking. Whether it's Miyako who heavily idolizes and wishes to be like her as she blushes and smiles serenely to herself; Meiko who gains a lot of self-confidence through Mimi's support and encouragement and kisses on the cheek, so she bursts through her self-destructive thoughts and gets "out of the closet box" at least a little more; her female classmates who actually adore and admire her school festival outfit and performance; or, last but not least, there is Sora, who used to take Mimi under her wing, and is, as an adult, reassured by her in return to "spread her wings freely" herself. Personally, it's very difficult for me not to see Mimi's influence and general theme as a metaphor for self-discovery in terms of gender-representation and sexuality as well. (I've made similar points for Sora and Koushirou in their respective analysis posts as well; the former is such a strong contrast to Mimi not only in the way their personalities, styles and arcs contrast each other, but in how Sora struggles so much with her own self-representation in return. The latter's temporary crush on Mimi may even play into the idea of self-discovery as well, but that's a topic for another day. Mimi - in my personal opinion you don't have to agree with! - actually has a lot of aroace energy, as she never actively pursues romance herself in the series. But at the same time, the wlw vibes she causes when she's in the same room with other girls cannot be overlooked! Also, not to say that she doesn't inspire male characters - such as Jyou, Koushirou and Taichi - at various points as well, but that the beautiful part of Mimi's theme of empowerment: even more power to the bisexual vibe as well!)

However, as it is often the case with themes of self-discovery, that kind of sincere, outgoing attitude may not be to everybody's liking. It may even cause Mimi's more revealing/emotion-based choices to clash with other people's preferences. And, as Tri suggests, it may even be controversially considered self-centered and indecent instead of self-confident and empowering by some.

For example, the fact that she spent most of her early teenage years in a - in comparison to Japan - more open society in terms of fashion choices may be met with suspicious eyes among some of her Japanese peers. 02!Mimi did pick more revealing clothes after all, which were typical for Western teenagers in the 2000s - and Tri!Mimi was 100% used to that kind of style, liking to show skin and feeling free and happy while doing so! Which definitely collided with Meiko's more closed-off clothing choices.

(On a different note, it shall not be ignored that she was also the focus of a lot of heavily sexualized/objectified marketing materials back in the Tri era. So while her wearing crop tops, short skirts and high boots absolutely IS a Mimi!thing, Tri's half-naked fan service promo art can and should be taken with a grain of salt. And while it's not exactly linked to her clothes, Mimi had already faced a lot of Digimon (!) back in Adventure hitting on her as a 10-year-old - such as Numemon and Sukamon -, trying to date her in a rather scummy fashion, so her being the center of weird "fan service" and uncomfortable encounters has always been a thing.)

On the other hand, her learning/knowing exactly what she wants also includes her having reoccurring preferences she will always come back to. And thus, as she grew more mature and self-assured, Mimi never gave up on her own personal roots: The comforting power of pink - let's remember: as a mix between red's passion and white's purity, it symbolizes love, nurture and compassion. And, of course, the nostalgic cowgirl hat that will always link her to her literal soulmate - who wears a pink, almost hat-like flower on top of her head.

[pesky--dust]

the "diagnosis" Chilton gave Will during his trial was the one closest to the truth ("Will Graham has never been diagnosed. He won't allow anyone to test him. He has carefully constructed a persona to hide his real nature from the world. He wears it so well, even Jack Crawford couldn't see past it. (...) There is not yet a name for whatever Will Graham is.")

unlike Alana Bloom or Jack Crawford, he saw what a manipulator Will was and that in front of them he played a poor, confused, wounded bird ("(...) A particularly-manipulative one at that. Poor, confused, wounded bird for Agent Crawford and Doctors Lecter and Bloom. And for me, well, I get the psychopath's triumvirate: charm, focus and ruthlessness. The charm, of course, being debateable.")

he believed Will that Hannibal may be the Chesapeake Ripper and said Jack Crawford: "Hannibal once served me tongue and made a joke about eating mine. It's hard not to at least consider it.". Jack ignored him. (I think Jack was already planning some large-scale action against Hannibal, but that's a topic for another post)

he called Dr Lecter "Hannibal the Cannibal"

he understood that Will Graham was alive because Hannibal Lecter liked him that way

criticized Jack for letting Will and Hannibal get closer to each other and then leaving Will alone ("You dangle Will Graham and now you cut bait. You are letting Hannibal have him hook, line and sinker.")

when Jack expressed hope that the relationship between Hannibal and Will was one of those friendships that ends after the disemboweling, Chilton told him: "I would argue, with these two, that's tantamount to flirtation. Will is going to lead you right to him." and let's be real, he was right.

[incorrectsmashbrosquotes]

It's actually funny, in a meta way, how people are salty about Miquella being a villain. Because, like, that's how it is in-game too.

The people of the Lands Between wanted Miquella to be the solution to their problems. To be the promised savior. The God who would get it all right and do what Marika tried to do and failed so resoundingly, bring an age of infinite prosperity.

But, no, it doesn't work like that. Gods can't solve their problems. The Gods want their own ends and then convince people that what they want is what's best for them. The fans are the same as the poor bastards in the Haligtree, waiting for their savior, only for it to turn out he's just another spoiled kid.

It's brilliant, from a writing perspective. They kept Miquella vague, letting the Soulsborne fandom do what it always does, theorize, investigate, and build up ideas. We built up an image of Miquella as a savior, a hero, one of the only truly heroic characters to understand and get it right.

But in the end, Miquella fooled us as well as he fooled his own people.

[suguruhul]

i understand why people are upset about gojo's ending, but it definitely aligns to what gege planned for him as a character. not many people (if more than one: suguru) really cared about gojo satoru beyond the facet of being the strongest sorcerer alive, their main weapon, the six eyes.

from beginning to end, from birth to death, gojo satoru was made to serve jujutsu society.

you can count on one hand how many times the other characters are shown to really care about his mental, emotional and physical status beyond the fact that he can actually fight to protect them and the world. this is just how his relationship with others was. he was more an entity than anything else.

the few who got close (suguru and arguably sukuna) and tried to get close (shoko, yuji, yuta...) were still met with a barried he put between himself and other people, mostly because gojo himself recognized his role as the strongest, and to a point even enjoyed it. he didn't care for his family, had a few friends and wasn't even the typical mentor figure you usually see in anime. even the way megumi talks about the years they spent together is proof of that.

the people in this world mourning him as the strongest is something they need to do. but people mourning him as gojo satoru, the man, don't really exist in it anymore.

gojo only cultivated superficial relationships with every and anyone that came his way because he actually acknowledged his importance to the world. that doesn't mean, somewhere, somehow, deep within himself he didn't long for it. unfortunately, he didn't achieve that in his lifetime.

gojo wasn't written to be a happy character. he was written to show what the pinnacle of jujutsu society has to offer: tragedy, loneliness and war. however, that doesn't mean he was unfulfilled with it: he liked being the strongest, he liked fighting, he liked being gojo satoru.

people who cared about him, he acknowledged them. helping his students, his friends and colleagues. people who didn't, he dismissed. that's who he was.

so no. i don't think people "moving on" from his death is out of character. i think it's pretty much spot on to his character setting. he had his own version of a happy ending: dying in battle against his greatest enemy, meeting a loved one in the after life, and helping build a better society/world to the youth he fiercely fought to protect.

i think that, for him, in a sense, it was enough. for the fans... that's another story.

[warpedpuppeteer]

It's interesting how Buck's love interests are all written in a way that ends because of the reason they meet/happen in the first place and then of course, we have Eddie.

Abby, who changes Buck's view of a healthy relationship but then turns around and ghosts him, making him wait for months on end and letting him realize she's not coming back on his own.

Ali, who meets Buck during a dangerous situation in his line of work and then leaves him for how dangerous his work is.

Taylor, who lashes out at Buck for using her as a fake date and saying she thought she could trust Buck to be a friend who then ends up using him for her career and chose to put his friends in danger.

Natalia, who's there to help him embrace and deal with his temporary death but it leads to their break up because of the constant talk surrounding death when Buck's not comfortable with it.

We can't confirm for Tommy till it ends but it's important to note how he offers to get Buck into his interests like flying and muay thai yet doesn't show effort with Buck's interests like dressing up according to the bachelor party theme despite Buck being stressed about it. And we also have the fact that the entire reason they got together was due to Buck's jealousy for Eddie which he then claims to be was for Tommy. Makes me think they are either going to end because of differing interests OR because of the jealousy issue popping up again.

Funnily enough, every scene above has an Eddie parallel:

Eddie co-parents with Buck and not only does this not stop after a dangerous event but Eddie also has Buck down as a legal guardian (healthy relationship - Abby).

Eddie is in the same dangerous line of work and they have each other's backs. This happens right off the bat too.(dangerous job - Ali).

The Lawsuit era and The Dispatch era - both where they "betray" each other but manage to work through it (betrayal/lie - Taylor).

Eddie doesn't pressure Buck to talk about his temporary death until Buck's ready and is more focused about him living than in his death (death doula - Natalia).

Eddie who has different interests than Buck (poker, basketball and UFC/MMA) but also manages to show interest and actively takes part in whatever Buck comes up with; he suggests their outfit for the themed party AND ends up staying there for Buck even when others leave (different hobbies & showing interest/taking part - Tommy).

Absolutely fascinating when you start noticing that Buck's relationships keep failing for one reason or another and then we have him and Eddie who face the same sort of situations but they still come out of it stronger together.

It's clear that there's a reason Buck is able to overcome anything when it comes to Eddie (that conversation with Maddie about being there for each other even at their worst 👀) and we've already established that everything Eddie looks for in a partner is already something he has found in Buck. So really, all that's left is for them to realize that hey, the one I'm looking for is right in front of me! 🤷🏽

And yes, it's been said to death (hah) but you don't find it son you make it. And Buck and Eddie have already made it.

[syncstones]

The last two to leave work for the day

[kaizokuou-ni-naru]

The "Luffy's fruit is a Zoan" reveal/retcon was extremely controversial when 1044 was first released; do you think Oda did a good job foreshadowing it?

yes!! it addresses a lot of idle questions i had about luffy's powers for quite some time (while also raising a ton more, of course, but that's the nature of one piece).

(all of my thoughts here and on gear 5 in general owe some credit to @grainjew, who has been my main discussion partner on this topic)

luffy's fruit has always been, from what we've seen, kind of weird for a paramecia? obviously since the categorization of 'paramecia' is sort of a grab bag and a lot less well-defined than logias or zoans, that's kind of a hard claim to make, but generally speaking, most of the paramecia users we see throughout the series do not have their powers always on. (the strongest counter-example i could think of to this trend is brook, and even that is one i think you can argue.) luffy's power is way more passive, in the sense that he doesn't have to activate it- it's just there, always. even seastone and seawater do not make luffy not rubber, they just sap his energy and stop him from stretching himself, as we see as early as arlong park.

that is weird! what we see of most other paramecias is that they have to use their powers intentionally, even when those powers do involve transforming their body in some way, like with mr. 1 or alvida. there's a whole plot in dressrosa about knocking a specific paramecia user unconscious so she'll lose her grip on her power and it'll disappear. luffy will stretch when he is asleep, when he is underwater, and without knowing he's doing it. he's always rubber.

so luffy is weird for a paramecia, though not completely unprecedented. his power has always seemed to me to be... almost logia adjacent, in the sense that he's made from a specific material and all his powers are based on being that material, but that doesn't quite track either. aside from the fact that the thing he's composed of is tangible and, again, he can't turn it off, he clearly has access to a greater level of complexity in his transformations than logias do (whose devil fruit powers seem to be basically a binary system).

which actually leads me to compare him to chopper, who is the zoan we know the best, and who, conveniently, also ate a version of the hito hito no mi.

i think the way luffy and chopper interact with their powers is actually very similar. much like luffy, chopper was fundamentally altered by his consumption of a devil fruit in a way he cannot return from. he can still look like a normal reindeer, but he can never actually be one, because the most important trait his devil fruit gave him was human sentience. and he would still have that if you put him in seastone, he just wouldn't be able to transform. similarly, luffy had his body fundamentally altered by his fruit in a manner he does not seem to be capable of even temporarily reversing. he can't make himself not rubber any more than chopper can return himself to being a normal reindeer.

like chopper, luffy's power progression has been based around finding new ways to transform his body and force it into new and more powerful forms. his gears are roughly comparable to chopper's points. that is zoan stuff! chopper is the main other person we see interact with his fruit in that specific way. so, yeah, i actually do think it does make sense for luffy's power to have actually always been a zoan. at the very least, it makes more sense than him being a paramecia, to me.

however, having said that, i also don't think it's as straightforward as luffy just being a zoan instead of a paramecia. we see that the awakening of his fruit definitely has both paramecia and zoan qualities, since he's transforming both himself and the environment around him, as well as other people. (the wiki puts this down to him being a mythical zoan but i just don't think that's true. kaidou is also a mythical zoan and he is completely baffled by what he's seeing.)

i made a bunch of jokes in discord about luffy being devil fruit nonbinary while i was reading this chapter- there's three genders and you have to pick one, and you can't just go switching it up, etc- and i do think that what luffy's fruit indicates is that the sorting system of devil fruits itself is imperfect. outliers do exist that don't fit cleanly between the lines- which we already knew! just look at katakuri.

[0rb0t]

"Why is sonadow being forced on us now"

no no, you don't understand... nature is healing. this is how it WAS 15 years ago. what you're calling sonadow now is just how sonic and shadow used to be before sega butchered sonic and shadow's characters

[wwillywonka]

SPOCK: CHILD OF TWO WORLDS

[sparring-spirals]

Still emotional about Fy'ra Rai and Opal, actually. Thought dump time bc i. dont have the energy to cut this down effectively.

Because at that point in the episode, Opal is doomed. Not in the fun little "oh things are getting worse ;)" kind of way we'd been experiencing leading up to the fight, or even IN the fight. At that point in the fight, Cyrus is dead. Dorian and Dariax have their minds twisted, bodies clambering away from the fight. Morrighan has felt, firsthand, just how far gone Opal is, holes in her mind, her friend broken. The heartbreaking sentence of. "You can always come back." understands that she is gone already. She's lost already. Opal has forgotten Ted. Opal has forgotten herself.

So at that point in the fight, we know Opal is doomed. Us as the audience, the cast, the characters. Aabria is running through each of the other crownkeepers and it is more of a goodbye than a round of combat. Defying the Spider Queen invites death, with zero hesitation- Cyrus's body as physical evidence of that. The terms were very clearly set: You leave Opal, you let her be lost. Or you die. (Leaving Opal anyway).

and Fy'ra Rai then. Grasps the crown, understands intimately that she can break it off and it will kill Opal. (I will free you, if you want me to. We would lose you but you would not be taken). And asks, what do you want me to do. What do you want.

and Opal says, I want you to leave. (I want you to live.) and Fy'ra Rai functionally says. No. Sorry. That's not one of the options.

If you wanted to go. I will do that (your blood on my hands). If you want me to stay, I will. But I'm not going to leave you.

There was the point where Fy'ra Rai broke into the communication and I felt my insides sink because. Look. Lets be real, Aabria had already demonstrated the stakes here. The gesture would not be rewarded for the gesture alone. The Spider Queen's terms were: You leave Opal. Or you die.

And Fy'ra Rai said: no.

I don't think I'm overstepping to assume that if Fy'ra Rai had failed the intimidation check, she would have died. This entire thing hits me so hard because I think Anjali knew that too. I think Fy'ra Rai knew that too. Yes, Fy'ra Rai convinced a Betrayer God to negotiate. She carved a third option out of a non-negotiable situation. She knew what would happen if she failed and did it anyway, with no fear, no regret, no waver in her resolve. She had lost enough sisters. She wasn't going to lose anymore, no matter the personal cost. That's part of why it succeeded, I'm sure, but.

Just. Fuck me. The amount of resolve. The amount of love. The amount of conviction. "I am. A protector." You know your friend- your sister- is doomed. So no more negotiating away from that. You step to her side and you grasp her hand and say- doom me with her.

And in some, sideways way, this saves you both, at least for a little while.

Because this story is a tragedy. This ending is a sad one. We know this already. But think about- Opal, under Lolth's bidding, alone in the dark. Think about Fy'ra Rai, alive, intimately aware that she had failed to protect yet another sister.

And think about what we got, instead: the two of them, in deep darkness, danger encroaching- holding hands. Someone they love at their side. A champion. And her champion.

This is still a sad story. But it's not the same one. Fy'ra Rai stared down a Betrayer God and made her change her mind. She stared down a Betrayer God, and her love and conviction changed the nature of the story. It shouldn't have been able to. But she did.

Fy'ra Rai chose to doom 2 people instead of one, and the sheer strength of her love and will managed to save them both, at least for a little while. Isn't it funny how that works? Isn't it devastating? Isn't it. fucking incredible?

[ofcrowsanddragons]

Rookanis and Romance Archetypes

I have longer thoughts that I should probably write out, but here's where I'm at with Lucanis and Rook as a romance (I Love Them).

First of all, when you're looking at the capital-R Romance genre (not to be confused with the Romanticism movement, because we WILL be here all day), one of the most important bits of analysis to start with is determining what the "fantasy" might be and who it's for. Judgement-free. Occasionally, a friend will approach me about a book, boggled that all their friends like it, and we'll play this game. "What's the fantasy" is important, because otherwise we get bogged down with judgements like "Don't women know that a love interest like this would be bad for them?"

Yes, usually. Take the older stereotypical bodice ripper where the love interest kidnaps the heroine and carries her away to have his way with her. In this fantasy, the heroine is perceived as beautiful and irresistible and doesn't have to cross the social boundary of Having Desire. Another version of this is more common today (in the books that people will admit to reading), and that's the fantasy where the heroine has desire, but the love interest is uniquely capable of intuiting it and returning it.

Coming back to Veilguard:

Lucanis/Rook is flipped in-game, as far as romance archetypes go. For all that Rook is the protagonist of the game at large, you get hints in early game flirting scenes that this romance isn't going to go the way you might be expecting. When it comes down to it, Rook is the love interest, and Lucanis is the hero (i.e., the character referred to more commonly as the heroine).

In the romance arc, of the two of them, Lucanis is the one with the Disney/musical theatre "I want" song. The fantasy is for someone to see him as he is and to reach out for him where he's at. This feels impossible at the beginning! He's newly an abomination, he's a killer, and he feels that there's something deeply wrong with him as a human being—that there always has been.

His fantasy becomes that as he works through his current family issues, his dangerous supernatural malady*, and his sometimes panicked response to the pressure of saving the world, there's half a chance that there might be someone who will wait for him at the end of it. And when he gets to the point where he can face the Mortifying Ordeal of Being Known, there will still be someone who looks at him and sees something better than what he sees in himself.

The fantasy for the player is an uncommon one, for the romance genre: it's the fantasy of being capable of being that person to someone else. Rook can be capable of handling anything life throws at them. Rook doesn't need to be afraid of any kind of violence. More importantly, Rook can be worthy of that kind of trust.

Next time, I argue that Neve/Lucanis and Rook/Lucanis are both illustrations of healing in a positive direction, but in different ways.

*Don't @ me over this. Being fused together the way they are is dangerous for both Spite and Lucanis

[fancyfade]

Difference between Bruce and Dick as Batman.

So I know that there's a lot of temptation to compare Bruce as Batman to Dick or Damian, and Dick as Batman to Damian, often with a "oh well obviously Bruce was meaner/Dick was nicer", but I do think they have a neat contrast that fandom often overlooks (as well as some parallels).

Robin: Year One #3

Batmatn #408

Batman and Robin #6

Dick and Bruce both will deal with whatever current threat exists, before fully helping wounded Robin, getting a verbal "I'm fine" confirmation. They clearly do care about Robin. But they also have an obligation to protect people Bruce tries to physically stop joker. Jason's not fighting Dick, but he is trying to talk him down and talk him into getting help, like he did in Battle for the Cowl. The characters also generally avoid a wounded Robin -- it's just easier to see for Bruce, because Leslie calls Bruce out on it "you're leaving (to go deal with this?)" whereas no one questions Dick leaving Damian once he's got medical care and doing his own mission to revive zombie bruce. I imagine this is partially from guilt (we do see Bruce blaming himself for Dick's close call, and Dick framing Damian as his responsibility in Battle for the Cowl) and also possible due to the whole 'batman has a job, robin's physically OK now so time to help protect people' thing.

A strong difference is after the character's get injured and treated. Bruce becomes overprotective, and continues being emotionally distant, which understandably upsets Dick. He is so overprotective he benches Dick each time he is wounded seriously, and that creates friction between them.

Robin: Year One

Batman #408

Contrast this to Dick's general lack of protectiveness. Nothing changes when Damian gets wounded as Robin. Which works well (emotionally) for Damian and it works for the conventions of the genre.

Dick is generally not portrayed as very emotionally overprotective when Damian is injured, and when Damian is captured, he often expresses more verbal concern for the people who captured Damian than Damian himself.

Batman and Robin #9 - Damian, with a new metal spine, got thrown off a building by the zombie batman dick accidentally revived.

Batman and Robin #13

Detective comics annual #11

I should note: I think it would be uncharitable to assume that Dick expressing more verbal concern that Damian will hurt the supervillains who have him kidnapped means Dick doesn't care about Damian. We see in Batman and Robin some of Dick being worried when Damian is shot, and we see Dick telling Azrael they need to find a quicker way to get to Damian when Azrael is talking about how to find the guys who took him. And also, you know. I just don't think Dick would care more about the supervillains that Damian. But Damian is regarded as a tough kid, he'll be fine no matter what, and he represents a threat to other people (interestingly, something I've seen fans accuse... Bruce of doing to damian? Even though Bruce was much more protective and wasn't worried about Damian killing Nobody when Damian was going with Nobody, or Damian killing the Saturn Club guys when Damian let himself by kidnapped by the Saturn club guys to find civilians to rescue)

But I am analyzing here the actions he does and the words that he says, and what the writer dedicates panel time to. I think it's interesting that Bruce and Dick's similarities with regards to Robin getting injured involve emotionally removing themselves from the situation and focusing on cases, and then their differences are in the follow up. Dick often maintains a status quo, which is satisfying to the Robin character (he does not feel like he's being fired or judged) and fits with the conventions of the genre. Bruce often becomes overprotective to a degree where the Robin character feels estranged from him, and is excluded, resulting in alienation from robin and coming across as the "bad guy".

I find it very interesting that Dick avoids repeating mistakes of the past that Bruce made (becoming overprotective of Robin to an alienating degree and firing him) by doing things that would be read as callous or uncaring to the reader if he wasn't Dick, I guess.

P.S. I know some people say this is why they regard Morrison's Dick as OOC, but I didn't have any place to fit that acknowledgement in the above paragraphs, but I think it's important to note that this was not just Morrison's Dick. In general Dick as Batman era was way different than Nightwing Rebirth era Dick or even post 2011 Dick.

[whetstonefires]

Honestly the most interesting thing about the Jiang interpersonal dynamics that is being totally slept on is how Jiang Fengmian's power as head of the family affects everyone, including him.

Yu Ziyuan knows Jiang Fengmian won't use his power against her unless he feels like he needs to, and that he doesn't fear her and isn't going to feel like he needs to act in self-defense unless she attempts significant physical harm, so short of that she can do whatever she likes against him, and he won't resist.

But if the collateral damage to the kids of her verbal attacks on him goes above a certain level, he says one word and she stops.

He just goes, 'wife.' ('My lady' but it's just a polite term for wife.) Sort of disapproving. Same kind of way he talks to Jiang Cheng when he acts like a shithead, but without the subsequent attempt at an ethics lesson.

And bam. Momentum halted. That line of attack is out of bounds. Nobody likes this, but good god it works.

And because they both know he ultimately has all the power, that Yu Ziyuan's lifestyle of privacy and doing exactly as she pleases at all times and so forth is all something that exists by Jiang Fengmian's generosity and sufferance, and she hates it, and he's not comfortable with it either, he sets that boundary really high, and she gets away with all kinds of cruelty because it's all stuff she's strictly allowed to do, entitled to do. So he'd be abusing his authority over her, by constraining her right to exercise her power within normative bounds over the people she outranks.

Even if she's using it harmfully and in a way directed by spite, these are her rights, she's not technically abusing her power, and her primary target in all the episodes he actually witnesses is him who outranks her; she's not being one of those mistresses.

So he'd be overstepping if he tried to constrain her, he'd be one of those husbands. Just like she always accuses him of.

(This is why she keeps insisting that she's also the master of jiang sect and he's 'forgetting' that in contexts where it doesn't make a huge amount of sense.)

Anyway, the fact that it's impossible to unpick where Jiang Fengmian's moral principles stop and his conflict-avoidance kicks in with this relationship is so much more interesting than the weirdly sexist readings I keep seeing, where it's all the conflict-avoidance and he's an unmanly loser who lets Yu Ziyuan bully him and his kids without ever standing up to her, for no good reason. When actually they have a really interesting and fantastically realistic toxic relationship.

He has a good reason! His reason is he's uncomfortable with the patriarchy! And guilty that his wife is miserable! And that he doesn't love her correctly! So he gives way as often as he can, trying to fix it!

But it doesn't fix it, because no amount of giving in to her gives her cause to trust him, and if she doesn't trust him and she knows that if he actually cares about an issue her ability to get her way will disappear, she can't feel secure about any of it. And therefore everything, especially Wei Wuxian the symbol of that fact, makes her angry and Want To Punish.

[salroka]

The people who are personally offended when Bull betrays you after sacrificing the Chargers just confuse me. Bitch you did that to yourself. Did you really think he was gonna choose you (the person who let everyone he loves die) over his people? You think he's gonna just ignore orders from a superior when you've given him no reason to be loyal to you? When he has every reason to be more loyal to his own people?

[killugon-truther]

okay but killua becoming addicted to gambling the way he did for like, 5 secs during the greed island arc makes sm sense from a psychological standpoint, at least to me. 😭

like…

“it’s not like it’ll KILL me!”

*sees a man die after hitting the jackpot 5x in a row and using the exact same die that killua was*

*literally continues to do it anyway* 💀

also,

killua: assassins NEVER take risks. 😤

also killua: *becomes a gambling addict in, like… two seconds*