#MY ANALYSIS*CRIES*

[your-zipper-is-down]

I saw people in the UU server discussing how Tella's speakers work, so now I'm gonna give my main hc here since I'm too shy to write it down there directly lmao.

SO. It all started with this extra:

The red part says: "Holes like Nico's" which made me think that, actually, Tella's speakers and Nico's pods work quite similarly:

They both are connected to their brain; the pods allow Nico to store and get information, the speakers allow Tella to transmit his thoughts into words and, on a physical level, both are capable of levitating.

On a meta-level, that could be the reason why Tzk decided to match these two up during spring arc (we didn't have enough information about either of them at the time, that's why I consider it more "meta")

But then, where did Tella get Nico's tech?

Billy got it for him. It's not a confirmation, but my most solid piece of evidence:

Nico and Mico are showing Billy HOW the tech works, Mico literally is holding what I can assume is the blueprint or the dossier about it; and at the parallel, we have Tella (recruiting Rip and Latla). I don't think is a coincidence.

We also know Under had the tech/knowledge to adapt Nico's tech- they made the mechanical arm and goggles that Creed uses and Latla's broom bike. There are also the gates that we never learned how they work (I don't think is an artifact as many believe, mostly because Billy says that using them leaves a "trace of energy" that Union could track; no artifact does this for all that we know).

This leads me to my main hc: Tella's abilities with his speakers aren't related to UnTell, at least not completely. Like Nico use of his pods doesn't require him to use UnForgettable, just his brain power, Tella's speakers, when he uses them to attack or other things besides talking or "stopping", also only uses his brain; he is strong like that.

[redr0sewrites]

i will forever defend these two- NOT to start discourse but they are both so heavily mischaracterized by the fandom its INSANE like omg yes they are flawed but they are also trying their best PLEASE leave them alone 🙏🙏🙏

as usual im yapping in the tags if anyone cares

[stopper-my-heart]

I did not have on my Heartstopper season 3 bingo card that I would be crying over drawers

Heartstopper S3E4 | S1E1

(They hit me as a reminder of Charlie's safe place and a suggestion that the clinic can be or is one too)

[noxiousgrace]

In my mind i keep assuming krs spent his entire life alone and surviving on his own

But that isn't the case, there's clearly proof that he was at some level helped by other people

He mentions it often

He was saved by social workers from his uncle when he was a kid

LSH saved his life

Grandma kim always looked after him like her own son while LSH was gone

CJS and LSH died for him

And so many other incidents

But why does it feel like he's still all alone?

I think his tendency to self isolate is why i keep assuming he survived on his own, when he very much didn't.

Everyone fails him or leaves him eventually, he ends up all alone so often that it's hard for me to think about krs as someone who's had support.

He's had the rug pulled out from underneath him so many times, that it no longer shocks him anymore (take chapter 1-3 for example, he was so chill about waking up in another world and stated he didn't have anyone who he'd miss

But that isn't true either, krs spent 10-ish years of his life as team leader and protected his coworkers time and time again, of course people would miss him. In elisehns illusion, Kim Min Ah and Bae Puh Rum came to check up on krs who hadn't returned to work.

While he mentions the physical support and companionship he's received from other people, his mental wounds run too deep.

He keeps a very clinical count of who he owes and who owes him in return, support is not a familial thing to him, it's transactional

The biggest reason grandma Kims death affected him so much was that he owed her A LOT, she was always quick to have his back and support him, Willing to treat his bruises over and over again despite her ability being limited.

Same with CJS and LSH, they supported him more than his own family ever did (parents dead and an abusive uncle), he was devastated that he couldn't spend the rest of his life with them in order to "pay back" all of their kindness so far.

He doesn't feel responsible for their deaths, but he feels responsible for every opportunity he lost to care about them in return. He mourns the future he could've had with them and the happiness krs could've brought to CJS and LSH.

"you can't smooth things over with the dead" is something he said in the novel, around the time choi han figures out who he is and krs is ready for CH to be extremely upset with him.

Krs!Cale feels responsible for everyone who shows kindness to him, a part of it is because whenever someone has cared about him, his heart always cared about them in return. And krs caring about people caused them to get hurt, that's why he feels the need to protect them so that they don't fall victim to krs' affection, and he actually has enough time with them for their "kindness" to be evened out.

This is why he's annoyed when his group grows larger and larger because of his subconscious altruism, there's so many opportunities for all of them to get hurt before he's done caring about them to the amount he thinks is acceptable, it worries his emotionally stunted heart.

Anywho, i think he feels alone to me because of how little he opens up to other people. He is a self isolating king and manages to be the most famous man ever.

I want him to open up that scarred heart of his and finally allow himself to be loved beyond transactions.

[shinjiikar1]

I've been trying to think about what I want to say about these first two episodes of Love in the Big City. I'm watching it slowly, it's a show that makes me want to sit rather than rush ahead, and it also hits a little too close to home to enjoy freely (I've only watched the first two episodes so far and my knowledge of the rest of the story is fairly vague so bear with me).

Go Young experiences two major losses. The parallels between these losses, what could have been vs. what can never be again was what particularly stood out to me.

Mi Ae represents a beautiful time that is forever lost. After she gets married, there's no one he can be fully himself with. He simply doesn't have another relationship on that level, platonic or otherwise, and that's truly such an isolating experience. Who do you call when you're in trouble? Who do you complain to? Who will always be your first port of call?

Often, youthful friendships are particularly intense, you're at a point where the world feels so enormous but you don't quite know what to do with it, or yourself yet. Everything still feels new and exciting. You meet people who understand you in ways you've never been understood and can't imagine it won't last forever.

And then you experience that loss for the first time.

Kim Nam Gyu experiences it too. It's clear early in their relationship that Go Young is overwhelmed and uncomfortable with the intensity of Nam Gyu's feelings (his expressions during the padlock and ring scenes in particular). He feels suffocated and anxious, he's not ready for it. So, rather harshly (at least the first time) he ends things. I've been on both ends, which makes it a lot easier to empathize with both of them. While I feel for Nam Gyu incredibly (especially as I read him as very neurodivergent), that discomfort is not something easily resolved, and it's only made worse by his inability to move on. But how can he when he also has no one else?

In the end, Go Young mentions that he missed out on what could have been a long and lasting love with Nam Gyu but I wonder if that's true. Would he have eventually opened up and reciprocated that intensity? Or would he have continued to wallow in his discomfort and let that resentment pile up even further? It's hard to say, but based on the way he behaves, I think the latter. He just wasn't in a stage of life to accept it yet, without the experiences he has with Mi Ae, and without Nam Gyu's death, would he have made it to that point before it became too much? He says he didn't really believe love was possible for someone like him, it took him a lot to get to the point where he even starts to believe it; I find it hard to imagine that he could've gotten there purely through a relationship with Nam Gyu at that stage, as sad as that might be.

Mi Ae offers a bit of an interesting foil here. She chooses loss, but the loss of her authentic self. She chooses the safe option, a stable relationship and job, pleasing her parents, following societal expectations. Maybe the guy isn't quite right, but in the end what seems most important to her is that security, and she's willing to take a loss to get it. As others in the tags have pointed out, Go Young doesn't have that option. There is no option that will (mostly) guarantee him security and safety that would even be remotely tolerable and grant him any degree of happiness. Perhaps he could have chosen to lose parts of himself to be with Nam Gyu, but that wouldn't have provided him the type of security Mi Ae enjoys. If something went wrong and it didn't work out, he could stand to lose even more.

I think that's something that a lot of cishet people fail to understand, and part of what these episodes have done so well for me. Really underlining how the queer experience differs and how isolating it can be (which I think is reflected in Nam Gyu as well).

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

----------------------

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[hanafubukki]

Thinking about how for all that he is worshipped, Malleus is invisible.

No one sees him.

Always seen on the surface level but never deeply.

Always talked about but never talked to.

Always alone.

Lilia has once said he didn't want Malleus to become the hero of a fairy tale.

But that's exactly what he has become, the hero of his people.

The figure head.

In this way, he's not so different from the Knight of Dawn is he?

Only known by name and title, but not the person.

[raayllum]

So I've been trying to figure out what the fuck is Up with the pattern of Ezran giving up his crown (3x04 yes, but particularly in the scenes with Rex Igneous in 4x08 and Finnegrin in 5x06) and I think I've got it

E: My father was a strong king, and I wanted to carry that strength with me. But he also taught me that strength isn't always about weapons and war. This crown reminds me of that lesson.

Which, given that it's confirmed we'll see Ezran's pacifism be tested, and the crown being representative of his relationship with Harrow in a variety of ways + lingering grief and anger towards Runaan... Tested indeed, it seems!

[comically-blu]

Welp now I share this night thought I had on twitter: Ford may had spent his high school graduation alone.

Buckle in, this is a Ford-centric analysis in a way!

Ford could’ve known some people, from the social clubs and classes he had. But they could’ve been acquaintances at best for the introverted nerd. Not only Stan is his twin brother, Stan was practically his rock throughout their childhood, his only best friend! He was always by Ford’s side, they were inseparable.

Then, Stan gets kicked out by their own father. At the day of their graduation, their parents could’ve been definitely there so technically Ford wasn’t alone. Maybe a celebration might’ve happened.

In graduations, there are assigned seating, usually arranged by name. Stan could’ve been next to Ford if he actually graduated. Instead, Ford was surrounded by unfamiliar faces he isn’t close to at all. He might’ve been known as one of the weirdos in his class. Imagine him giving his valedictorian speech with so few people, h specifically his parents, that he only recognizes in his audience. For how much he thinks of himself as a freak, there are people in there who made him feel such a way.

Ford must’ve felt so empty. Like sure, Ford was very much deeply hurt and angry at Stan for what he thinks Stan did to sabotage his chance to go one of the considered best colleges for tech. Maybe he did feel some resemblance of freedom, thinking Stan must’ve been holding him back from his future.

But really, Stan was the one he was the closest to, the biggest part of his whole life. Stan was gone.

Maybe that was all what caused Ford to be such a workaholic. To cope with the void he left, Ford invested his time in his own research and studies. Something that he always invested in for his own genius. All to get used to being alone and move on from Stan, his brother. All before and after he met Fiddleford as his first friend.

The woes of being the favored golden genius in the family, huh…

Still, he couldn’t help to feel loneliness to eat him up. Enough for a certain triangle to take advantage yet relate to him.

[l0uterstella]

CHARCOAL WHITE: ENGLISH LYRICS

CHACO I know you know my friend's dropped by the dogs CHACO, HANGYON No one sleeps at midnight BADOBARM The untraceable street knights CHACO The fluffy town tone BADOBARM The cold, cold banana and the swinging ghost carrot CHACO, ALL Can't wash charcoal white

CHACO Let's get things clear, it's always black and white It's exhausting, isn't it? My gray HANGYON Falling into the hourglass, turning it upside down and deceiving time, the future, and even oneself

CHACO Can't take my sense o' shallow HANGYON Tangled up with weakness CHACO Can't fake it to my shadow BADOBARM It becomes an inseparable shadow CHACO But I'll believe in my charcoal

ALL It was as dazzling as I thought it would be, yet it wasn't enough All there is is my tiny self It'll be painful, but just get over it HANGYON Overcome Soar into the air CHACO Burning until this heart turns gray BADOBARM It's even faster than the wind Heyday, heyday, heyday, heyday, running away

CHACO I know you know my friend's dropped by the dogs CHACO, HANGYON No one sleeps at midnight BADOBARM The untraceable street knights CHACO The fluffy town tone BADOBARM The cold, cold banana and the swinging ghost carrot CHACO, ALL Can't wash charcoal white

HANGYON I knew the field would suit you Bloom as you please, astragalus, no no no BADOBARM Up up up I don't wanna hear any of that Clap clap clap relaying messages, come on The audience cheers in our recognition

CHACO Can't take my sense o' shallow HANGYON Somewhere along the way, he got scared CHACO Can't fake it to my shadow BADOBARM Pretending not to see the feelings

CHACO But I'll believe, yet even so I can't help but fool myself See, it'll never turn white, this charcoal

CHACO Like the first snow or a cotton wool I'll never be as good as you Cover myself in ashes so that I can say I am me Oath to you

ALL It's all the same in someone else's eyes I'm building up walls of my own Break it all down, think about it, go beyond BADOBARM Overcome Wearing a robe of light CHACO Let all these emotions be, as gray as they are HANGYON Rushed by the heat ALL Heyday, heyday, heyday, heyday, running away

[hawkeyeslaughter]

i think the thing i really do love and enjoy about henry probably most is that he genuinely tries to understand people . i think the obvious example is how he treats klinger , he doesn’t write him off or anything , he just simply understands the fact that ( at least early seasons klinger ) is simply doing what he can to get out on a section - eight . and he does the same thing with hawkeye , when hawkeye is upset ( sometimes you hear the bullet and sticky wicket , off the top of my head ) . he doesn’t get impatient or angry with hawk when he knows something is genuinely wrong , he talks to him to try to understand why hawkeye is acting like this . or in doctor pierce and mr hyde , when he literally asks trapper , “ why does he do these things , mcintyre ? “ he’s not asking just to ask , it’s genuine . why does he do it ? and you know it’s not just with people he likes . although he does love hawkeye and trapper and klinger and radar etc . etc , but he even does it with frank and margaret . even if it’s really obvious from his demeanor before frank and/or margaret even talk to him that he definitely won’t agree with whatever it is that they have to say , he still hears them out . i mean , yes , he has to , but there’s something else to it . he does what he can to talk frank off the ledge and actually find out and understand what it is that hawkeye and trapper did to upset him and if it’s really anything worth getting that worked up over . it’s a very little detail but it’s a very important one , i feel like .

[mytyldotwav]

FREEEEEEEESIAAAAAAA

Freesia is a song from Guilty Gear XRD. But it could have been released in Strive and still hit just as fucking hard. That's because it's applicable to multiple aspects of the story.

Sol Badguy is one of the most powerful characters in the GG universe. At least, he's in the top 10 (probably??). Despite that, he's a grown man who is a grief-stricken mess and has questionable direction to his life.

In my opinion, this song is best interpreted as coming from Frederick. Not Sol, the Badass god-like gear that has saved the world on several occasions. Frederick Bulsara, the man that lost everything important to him.

The start of Freesia is someone reaching out to Frederick. Because really? Frederick does a lot of brooding and self-isolation. He wouldn't reach out to someone otherwise. His head isn't in the clouds, it's in space, drifting aimlessly amongst the stars.

But everything is fine, Frederick says. There's enough air for at least 2 people where he's at, and he's alone. So everything is ok. Frederick, or more accurately, Sol, has everything he needs. He's achieved great feats normal humans only could dream of achieving. He's reached greater heights than anyone ever has, and yet? Something is still missing.

There's enough air for 2 people up there. Boundless information. Wisdom beyond that of any normal human. But there's enough air for 2 people. And he knows why, but he can't bring himself to say it.

"The whole world is kind to me"

Yes, Sol has reason to be happy. Everyone has rewarded him for saving the world. Everyone appreciates what he has done in some way, and every day brings fresh start. The world has been ushered into a new era of peace; but there's someone missing. But Frederick can't bring himself to tell anyone what it is.

"Sorry, sorry, sorry..."

It'd be ungrateful for him to imply something was missing, or that something could be wrong. Sol apologizes, but laments his cowardice.

This next portion feels more like Frederick reaching out, or at least telling someone in passing about how miserable he is:

"The world may crumble down with just one piece missing"

Now, he is (to the best of his ability) trying to be genuine and honest about how life's trials have affected him. Frederick is saying that if he can't get that one thing back, if he can't reach his goals, why continue? Without this thing he's been pursuing for DECADES, actually being obtainable, his life has no purpose. He's just a shell of a man looking for comfort in the past.

This is where the dam breaks. This is where Frederick and Sol's lives converge into one. Frederick Bulsara is Sol Badguy and vice versa. He can't pretend that his reasons for fighting and living don't come from a place of loss and pain. He's not just bounty hunting for money, not just traveling the world because he can. His emotional strength isn't there because he's fixed all of his problems. His experiences have made him physically stronger, but mentally? He's exhausted and desperate for rest. Everything he has done up to this point has been for Aria Hale. But if she's gone, everything falls apart. There is no point.

That's why the song is named Freesia. A Freesia is a flower from South Africa that is commonly seen at weddings. They typically convey deep trust, friendship, thoughtfulness and sometimes purity.

And then the line hits. You know the one.

This moment in the song is an outburst of love, both platonic and romantic. This is the moment where Sol can't hide that he's still Frederick. He's still human. And damn it, he still loves that woman-- as Aria or Jack-O.

"Here I am" is a resignation. He tried ignoring the emotions building up inside of him for so long, neglected his humanity, acted as nothing but a weapon for so long, and he is tired. The mask falls off. He is finally allowing himself to be vulnerable and honest with the world.

Sol isn't proud of it.

He shouldn't have isolated himself for so long.

He shouldn't have lied about his emotions.

He shouldn't have pushed so many kind people away.

If he had done those things, maybe there would be less blood on his hands. Maybe he would have lived a more normal life.

But he knows that's not true. Aria meant too much to him. Sol would still miss her as desperately, even if he continued down a different path.

Yes, he had reasons to feel the things he felt. But at the same time, there were also so many people willing to help him start again. and he sees it now, as clear as day. Aria had been his world for so long. But he was missing so many beautiful things because of it. Frederick had spent so much time trying to save Aria that he became single minded in his endeavor. It led him to become isolated. It kept him from living his own life and that's what Aria wanted for him so badly. She didn't want to weigh on his mind, she wanted the happy memories of them to help Frederick continue living.

So the apologies tumble out again for the last time.

Frederick was surrounded by, and floating through galaxies. Worlds of people surrounded him and yet everything was touch and go. A passing greeting. A quick handshake. Knowing glances. He had recognition, respect, power, and yet, when the fight was over? Sol would leave it all behind again and move back to Aria. But that isn't what she would have wanted.

Reading through the lyrics, I initially thought Frederick was saying that he couldn't protect or save Aria, and that was what the final line meant. But I believe that's not the whole message. Frederick wasn't able to prove himself to Aria: Sol didn't keep living on like she wanted him to. He forgot her final wishes in his grief, and for the first time, he sees that. Now, finally, Frederick is ready to fulfill them.

• ○ ● Thanks for reading! ● ○ ●

[collieii]

i'm sure it's been said but i do love how trimax handles wolfwoods death. i've seen so many stories that have characters die and they just go away after. i'm really used to stories where the other characters aren't allowed to grieve, the story keeps going and it feels like the other characters aren't really affected or get over it really easily. but in trimax wolfwoods death is so important. we see other characters grieving him. vash protecting the orphanage, expanding his power when he really shouldn't, because it was wolfwood's home, even though wolfwood is already gone. he gets an actual burial. vash and livio eating their way through the grief, which is more comedic but still shows us how important he was to the two of them, sets up how in many ways they're fighting in his memory.

even after he's gone he's still present in the story in such a strong way. we can see how he's affected the other characters, even when they don't explicitly mention him it's obvious that they're thinking about him. what he did when he was alive, and his death itself, are so important to the story even after he's not there. not just in a really abstract "this is someone we lost" way (though there are a lot of times his death and sacrifice motivate vash and livio to fight harder!) he's present in the finale in a material way to livio, who uses his serums to help fight against elendira, which ofc also ties into the way wolfwoods choice to ally with vash and fight against knives gave livio strength to do the same. wolfwood showed him that there are things worth fighting for, things worth protecting. that your body is a weapon, but you can choose what to do with it, use it for something meaningful.

and the way vash kills legato in order to save livio? vash outright says that he did it to protect what wolfwood fought for, sacrificed his life for. it's tied to the ongoing arc between vash and wolfwood, their conflict over the necessity of killing others. wolfwood pushed vash into having an understanding of his views when he was alive, demonstrating the necessity of that violence. simultaneously, vash inspired wolfwood to follow his path, a kinder one. vash remembers what wolfwood said to him, and his death gives those words added poignancy. wolfwood well and truly sacrificed everything to protect what he loved and fight for what he believed in. how can vash let that go to waste? he sacrifices something just as meaningful to himself, and he pulls the trigger. it brings him closer to wolfwood in a way he never was before. he understands now, fundamentally, what motivates people, motivated wolfwood, to act as he did when he took lives. there are so many other ways wolfwood is present in the story after his death i can't talk about all of them but it makes me so crazy

[heph]

I mean this in the most loving way possible but I feel like you're going to explode and take all of us with you when you finish this damn show 😭

If by "explode" you mean make a lot of analysis text posts and if by "take all of us with you" you mean make y'all sad with my analysis then consider me a pipebomb 😋😋😋

[dramaqueer-commie]

ylfas baba yaga scene made me cry so i wanna talk about it

first off, her calling the girl "little one" was such a good subtle way of embracing the role switch and i loved it. and the way she treated the role, obviously having learned from the wolf, but still being very her in it, something she has to do, but not in a malicious way...

what if death isnt serious and challenging? what is death isnt a horrifying skeleton in a dark cloak with a scythe and an hour glass who shows up like a ghost and challenges you to a chess game of destiny?

what if death is nice? what if its comforting? what if death gently rocks you to sleep while it tells you you led a good life? what if it wraps you in its cloak and leeds you to a path into a beautiful forest?

death is terrifying for the living, but that doesn't mean it is for the dying

[thenothlng]

i hope its us in the end detail shots below the cut.