#Steele Resolve

[eurydice-pens]

thinkin about forgotten vaugarde odile again hehe

[hoarding-stories]

So we have

A Completely split party

Wavebreaker

A very drunk Eursulon

Information on Wavebreaker (that nobody but Ame knows)

Steel on the way (3 days out)

Suvi at the governor's house

A very proactive fox, out of the city

Ame, following the Fox

Naram imprisoned & hurting

Orima pissed

A hold order on all shenanigans

Next episode is gonna get crazy

[deanlenzart]

still recovering from the season 4 finale. description in alt text

[the-judicial-assistants-notebook]

I see your tags on the Wocky and Alita art, I would love to hear your thoughts on Alita actually!

I only need one person to show interest in what I have to say for me to talk forever and ever, thank you. HAHA Okay, in seriousness, this won't be as thorough/long as the Klavier post because... there really isn't much to her, but I find it extremely interesting how Alita falls into the same category of witnesses as April May and Dahlia without being — and I mean no offence to her when I say this — stunning? Like, with April and Dahlia, there's a very clear mass appeal to them which most people point out. Contrariwise, Alita's appearance is really only commented on by Trucy, and just glancing at her portrait, you can see that, without her slightly outlandish fashion, she's frankly nothing to write home about.

So why am I discussing this? Surely it's a little reductive to analyse female characters beginning with their appearances? Usually, yes, but that's the thing about this category of witnesses: their pretty faces aren't just pretty faces.

For April and Dahlia, their beauty is part of their arsenal. It functions as both their defence and their weapon of choice; they know how to wield it to bring people under their heel. Alita being ordinarily pretty instead of drop-dead gorgeous deprives her of that weapon and leads you to wonder how she became a mafia heiress to begin with. It also parallels her to Mimi Miney in a way that goes beyond the 'murderous nurse who worked for and killed her awful boss' comparison you get on the surface. Presumably, Alita, like Mimi, only got to where she was because she managed to fool the people around her into believing she was less dangerous than she actually is. Mimi did this by feigning stupidity and inviting people to underestimate her. Alita seems to do this by showing them what they want to see.

When she first meets Apollo and Trucy, Alita stays quiet and spends more time listening to them than she does talking. Once she has a hold on who they are, then she slips into her persona, and I find it interesting how she doesn't even attempt to come across as particularly delicate or lovelorn? Instead she goes for the relatively typical role of a distressed, indulgent loved one earnestly entreating Apollo for help. I'm inclined to say she does this because her read on Apollo makes her realise that he'd likely be exasperated or annoyed by such a person; but it's also almost as if she knows she doesn't have the disposition to pull off that frail, damsel-in-distress archetype and has resigned herself to being ordinary. Like how she looks. The next time she has to reapply her persona, Alita's appearing in court, and again she makes subtle adjustments that best suit her situation. The judge is old, so she takes a chance on expressing her dedication as a wife while balancing her dedication as a righteous citizen, which works. But oddly enough, despite her successes, I don't think Alita is actually good? At donning disguises? Everyone I've seen discuss this case has been able to guess almost immediately that she's the culprit, and maybe we're just prepped by past characters like her that have appeared, but I don't think she's even that convincing in the game.

Both the identities she assumes are risky manoeuvres that happen to fall in her favour, and she's not particularly dedicated to maintaining the front. When she asks Apollo to be Wocky's defence, she admits that marrying him is largely a chance at a more exciting life than some great love story; Plum Kitaki straight up says that there's a darkness in Alita she doesn't like, despite how docile Alita behaves in front of her; and Wocky has moments where he slips up and calls her things like, "imposter" and "fallen angel", implying that at least subconsciously, he knows she's not what she makes herself out to be. Even her general mannerisms don't greatly differ between her actual self and the mask who's blunt her claws — nothing is ever overtly coy or cutesy — and when Apollo brings up the fact she was Wocky's nurse, she drops the facade almost immediately. There's no waffling, no, "Whatever do you mean?"s or, "You're scaring me"s, just the statement, "I don't know what you mean by 'meaning', Mr. Justice!" delivered in a sudden cool, frosted steeliness.

And I think that steel is what really makes her different.

See, the other women are all driven to crime by some defining trait in themselves caused by their circumstances. For Dahlia, it's her desperate need to be free of the Fey clan; for Mimi, it's grief over her sister's unjust death; and for April, it's her fear of Redd White. You don't really get that with Alita. Instead of there being something dark in her life that leads her down this path, she just seems... tired. Tired of being "pretty enough" but not "gorgeous", tired of being the obedient nurse to the corrupt doctor, tired of being ordinary. There's no predatory external force pushing her into a corner, there's no abusive family beliefs pinning her down. There's just an ordinary life, lived dull and ordinarily, and she had had enough. So what does this girl, who's tired and ordinary in every way except the steel that lines her spine, do to get out of this?

She gambles.

Marrying into the mafia was a gamble, seeking Apollo as council was a gamble, shooting Dr. Meraktis was a gamble. Every decision she's made since she met Wocky has been a series of high-stakes gambles that leave her life on the line all so she won't be second-best anymore. This time, she was going to be the one on top. No matter what.

... And I'm sorry for loving evil women, but girlboss?? Girlboss???

I've heard people say they're disappointed that her "breakdown" is just an extension of her usual damage sprite, but it's honestly one of my favourite "breakdowns" in the series ever? Just because it isn't really one? Everything Alita has done up till now has been reckless, calculated risk, of course being convicted for murder is no different than losing in any other aspect of her life. Of course you're not going to get more than her damaged sprite, because this doesn't warrant a more dramatic reaction. She's lived this whole time knowing it could all come crashing down around her, and it finally did.

She made a bad bet. You caught her. Oh well.

The frosted girl of steel, standing tall to the very end. It's kind of sad that, even after all that, she's still seen as only second-best, incomparable to mimi, dahlia or any of the other women who've stood in her place.

[1pcii]

brainstorming zoluko dynamics

[right-there-ride-on]

Deciphering the Civil War Arc

I will openly admit that even on my third readthrough of SBR this is probably the arc I had the hardest time grasping. It's clearly thematically rich, but what, exactly, is it trying to say? This is my attempt to better understand what the hell is happening in this stand battle.

I'll start off with a little bit of Hot Pants and Johnny, because their parallels fascinate me.

HP revisits the idea of 'sacrifice', one of the most prominent themes in SBR (brought up even in a light way during the very early chapters, when we see Gyro must choose between what to carry with him into the race, tossing aside whatever he decides not to take.)

Notably, Johnny and Gyro just had another arc dealing with the idea of 'sacrifice': Sugar Mountain. Johnny has already sacrificed the corpse parts to save Gyro (quite a few times, actually). The difference here is that the sacrifice is no longer governed by an equivalent exchange.

We know HP began collecting the parts for the Vatican in order to try and do something that would earn them 'forgiveness' for the death of their brother. Now, under the effects of Civil War, it's shown that the 'sacrifice' of the parts (to a supposedly 'larger cause' (namely Valentine, though this could be substituted with the Pope)) demonstrably did nothing to alleviate their personal guilt. How awfully Christian. HP advises Johnny to hold on to the corpse - if giving up the corpse parts to a larger cause did nothing, then perhaps holding onto them will unlock the path to forgiveness - but before the conversation can continue HP's guilt quite literally begins to suffocate them.

We now introduce the idea of not only 'sacrifice', but 'sins' and 'purification'. Guess the Christian influences aren't only aesthetic after all.

Of course, it's 'pure water' (holy water) that can purify one's guilt (guilt being the end result of committing a sin).

Now the idea of 'sacrifice' is being correlated with the ideas of both 'sins' and 'guilt'. A sin here is, essentially, the idea of 'sacrificing' for an unworthy cause (e.g. killing someone for a selfish reason).

Chapter 56: Civil War (Part 1)

We cut to Gyro encountering Axl Ro and Civil War. These are Civil War's first words, which tells us something about the theme of the arc. The question being posed is, put simply: Are your sins ('sacrifices') worth the guilt you now carry?

SURPRISE STARPANTS PARALLELS:

HP too is seeking the corpse parts to find forgiveness (to bring their 'negative' up to 'zero'!). There are some differences worth noting: HP kept the cause of their brother's death a secret, while the cause of Nicholas' death was quite literally shouted to the entire staff by Diego. The guilt ate at them inside, so they turned to God to find forgiveness. Johnny, meanwhile, pretended not to give a fuck about anything to avoid being constantly told to his face by George that his brother's death was his fault. HP hid among the holy while Johnny drowned in debauchery. But both of them seek forgiveness and some sort of return to normalcy, which they both believe can be achieved through the corpse. Through the corpse, all 'sins' can be forgiven - even sins committed in the corpse's name (think of all the people killed in the corpse's wake, noted by Valentine in Chapter 86: Ball Breaker (Part 3) - he literally calls Johnny a sacrifice!)

HP's backstory is immediately followed by the return of Johnny's own ghosts - he himself says that he's haunted every night by his guilt, manifesting inside and outside of dreams as Danny. Yet, even though Johnny claims he can shoot it (put his guilt behind him), we see that he continues to waver. Johnny, like HP, is caught between selfishness, guilt, trauma and redemption.

Johnny's illusion via Civil War is literally Nicholas parroting back the rhetoric about his death that George and Johnny believe about Johnny himself.

Chapter 57: Civil War (Part 2)

Ok, manifestation of trauma and guilt is here. How do we beat it? Jesus Christ himself gives Johnny some extremely cryptic hints.

We'll round back to this. I'm not even sure my interpretation is correct, but hey, that's what this whole exercise is for.

'Pure water' (holy water) only works for a while. Guilt (in the form of Danny) continues to hound Johnny, while HP and Gyro are literally being suffocated by their own. Furthermore, even once Johnny confronts what he perceives to be the source of his guilt (manifested via Civil War), we see that killing Axl Ro does nothing but strengthen Civil War, because in order to 'purify' himself of his 'sins', Johnny has sinned once again (by killing selfishly). The guilt thus compounds, unloading Axl Ro's guilt onto Johnny while Axl Ro, through the 'sacrifice' of his life (generally seen as the most selfless act one can do - think Lincoln's Gettysburg Address, which I'm sure the location of this arc is a reference to), is the one actually purified.

This is not a condemnation btw I think Johnny should be allowed to kill whoever he wants.

Chapter 58: Civil War (Part 3)

Axl Ro, through the 'sacrifice' of his life - or, more accurately, through having the resolve to sacrifice his life - is the one to achieve purification. Someone committed the ultimate sin against him, leaving him 'purified'.

He even spells it out for us:

The pursuit of the corpse has caused countless casualties. Those who were 'enemies' to Johnny and Gyro were 'allies' to Valentine. It really does come down to perspective. Anyway, the point is, Civil War has now condemned Johnny as the ultimate sinner. 'His' guilt (Axl Ro's) begins to quite literally start tearing Johnny apart.

Jesus again warns Johnny:

Jesus essentially guides Johnny through his trauma, helping him understand that he’s worthy of forgiveness and thus deserving of healing - but only if he himself has the resolve to move forward (and fight for the corpse). It's quite interesting that Jesus appeared to Johnny instead of, you know, the person of faith in the next room. Could it be because, as Johnny implies in Chapter 56: Civil War (Part 1), HP hasn't 'truly' devoted themselves to God, but rather is using religion to try and alleviate their guilt (because it turns out they were not actually gathering the parts purely for the Vatican, but also for themselves)? I can't say. I'm not well enough versed in theology to even begin unpacking that. Anyway, Jesus helps Johnny understand the truth of his trauma, and the 'sins' he supposedly committed against Nicholas and his father. Prior to the confrontation with Axl Ro and his vision of Jesus, Johnny even states, "I didn't throw him away! You threw me away! You didn't even come to my races! You didn't even come to see me in the hospital when I got shot!" (Chapter 58: Civil War (Part 3))

Some part of Johnny already understood he was unfairly blamed for Nicholas' death, but that's still guilt (his greatest 'sin') that he's carried with him up until this point. His heart is wavering because some part of him doubts he's even worthy to have the corpse parts - doubts he's worthy to be forgiven. But with Jesus' final warning, Johnny finally understands that Nicholas' death is not his burden to bear, and he no longer wavers on what must be done. He resolves to complete the corpse and be 'purified', even at the 'sacrifice' of his life.

Still, we're in the middle of a stand battle. Johnny is still under the effects of Civil War, but this guilt isn't his. Axl Ro is the one running from his guilt, his sin, his sacrifices. He allowed a massacre to occur in exchange for his own life - hardly an equivalent exchange. He's in the one in possession of the corpse, but he is unworthy of it.

Axl Ro becomes so enraged at the thought of someone like Johnny touching the corpse that he 'sacrifices' Johnny in order to keep the corpse to himself - thus committing the ultimate sin and condemning himself once again.

Chapter 59: Gettysburg Dream

Johnny, however, has been purified. We see through Axl Ro's comments and panic what kind of person he really is. He looks down on Johnny, calling him 'trash' and cursing him out (while holding the Holy Corpse!) This is a common theme is Steel Ball Run. We see it with Blackmore and later Valentine too - each of them proclaims themselves the only ones worthy of the corpse. Why? Well, their goals are loftier than Johnny's, better by default simply because they claim it's for a noble cause. Their sins should be forgiven because they did it in the name of good.

Yet, from what I know of the Bible, Jesus wasn't the sort of person who would have accepted that argument. In fact, Jesus was well-known as a miracle worker and man of the people. He probably would have much preferred healing a disabled man to helping a man kill a young girl (Blackmore), aiding a Confederate soldier (Axl Ro), or making one people's superior over others simply according to which nation they belong to (Valentine).

SBR ended with the corpse locked away, everyone left alive concluding such a thing shouldn't be in the hands of anyone. So, despite Gyro and Axl Ro's protests - is Johnny threatening to destroy the corpse truly a bad thing? Does anyone really 'deserve' the corpse at all?

Should anyone truly have the power to decide who deserves to be forgiven? To decide which causes are just and which ones are not? To decide what peoples deserve the right to good fortune?

To decide who has worth and who doesn’t?

Final notes:

In the case of Nick's death, Johnny was not guilty. In the case of collecting the corpse parts and being willing to kill to keep them? A little blurrier, but by examination of the text we see that, a majority, if not all of the time, Johnny and Gyro only kill in self-defense. It's not really a 'sacrifice' (sin) then, but an equivalent exchange - someone attempted to take their lives, and that person's life was taken instead.

Notably, self-defense (or rather, the protection of another) is the same excuse Valentine uses at the end of Chapter 59: Gettysburg Dream, and we see that he is free of the effects of Civil War.

I think (and this is a pretty big I think), Civil War's themes culminate in this: You cannot earn forgiveness as long as you deceive yourself about your sins. Whether the guilt is yours or forced onto you by somebody, you need to understand it. Forgiveness will not be achieved through sacrifice and sinning, but by being able to look yourself in the mirror and be okay with what’s happened to bring you to where you are.

To put it simply, don't run from your guilt / ‘sins’ (as HP did through the church, and as Johnny did when he shot anyone but himself) and don't blame others for your mistakes / guilt (Axl Ro). The only way to be truly ‘purified’ of your guilt is to have grace with yourself and find the resolve to move forward.

Civil War, the arc and the stand, is about overcoming trauma, forgiving your mistakes and accepting redemption.

I am totally open to discussing this further, as even now I am not so sure about this conclusion. This was just my reading and I'm very open to hearing that of others!

Thank you for reading.

[letmemendthepast]

the whole thing with tenza is SO fucking good. before the story even STARTS he understands that criminality and morality are two separate concepts—from the very beginning, he's actively seeking to save someone the shogunate was determined to execute unfairly. and then he just DIES. we meet him, learn he's bold and stubborn and virtuous and kind, and then we watch him die trying to protect nurugai because he knows her status as a death row criminal is undeserved. and GOD talk about haunting the fucking narrative. his self sacrifice weighs so heavily on shion and nurugai both, and it takes shion the entire story to fully come to terms with tenza's death and his own sense of justice for nurugai. as for other characters, an obvious example is that fuchi doesn't claim "crime and evil are not the same" until chapter 91, while tenza is dead by ch 22. it's just so interesting to introduce him (and kill him off) so early in the narrative when he understands something everyone else needs about a hundred chapters to figure out

[chiropteracupola]

no flowers for the forgotten

[hesbabygirl]

happy birthday Shinn Asuka you will always be famous

[sachermorte]

the next person who crawls in my inbox to call me roderich hetalia is getting tied to a chair and forced to read my fic like that one scene in a clockwork orange btw

[tewwor]

just a reminder that nanami isn’t immediately sent into an episode by fire post shibuya, but seeing a gas range ignite or a hearth or any other source of large flames does make him flinch. even if he’s aware of it ahead of time and steels himself — his body remembers the feeling of being set ablaze even if his mind does not ( memories are still spotty about the details for a while )

[smilingmxsk]

((Got school schit to do and then I may be here.....))

[immediatebreakfast]

How terrifying it must feel to be on the Demeter today, from a hopeful travel with a crew of nine to what seems to be an unending nightmare shared by four sleep deprived people in the middle of a fog. With a clear route of where they are going, but still feeling lost.

Sleep now means danger, sleep is the most vulnerable time for these sailors. Today, sleeping means violently waking up by the first hopeless scream left behind by one of your men in the middle of the night, and only coming to see nothing. Just like all of your other men.

Another one of your workers taken while you pray for god to hear you, to help you in this time of pain, and horror. However, the captain realized something, the fog follows them. The ship still follows its course despite not having someone steering her.

But the fog follows them.

"only God can guide us in the fog, which seems to move with us; and God seems to have deserted us."

There are only four people aboard on the Demeter right now, with a single intruder who hides in the fog.

[wont-stop-biking]

bro you are LOCKED the fuck IN do not purchase new clothes while your weight is in freefall bro!!!! pants already dont fit bro! dont hit that checkout button do not!

[baldrickwhethers]

RARHGHGHGHGHH I'VE FINALLY CAUGHT UP ON SEASON 3 AND IM SO MAD AND HAPPY AND RHGRHGHRGHRHGRHGH

[dutybcrne]

Making myself sad by wondering if Kaeya had NEVER seen Diluc mad at him before that fateful confrontation