#They're probably the most competent to lead

[liminalpsych]

Queer reading of Vulgate pt 2: Intro pt 1

The introduction is written by the translator of The Quest for the Holy Grail, E. Jane Burns. Burns begins by laying out the context of the Vulgate Cycle's structure, its history and development, and the different expectations historical readers have brought to the text.

Which underscores how expectation colors perception.

What happens if we imagine the possibility of multiple writers with different backgrounds, views, progressiveness, and agendas? Instead of assuming heteronormativity, homophobia, toxic masculinity, misogyny, and a single unified author with a singular agenda and vision - what if we stay open to the possibility of a different concept of gender than we're used to? What about possible queer subtext and the possibility of queercoding in medieval fiction, not just in modern fiction?

What if we look for those things, rather than assuming and looking for explanations that match the modern stereotypical assumptions of medieval people/writers/beliefs? (After all, it's those modern assumptions that lead to the phenomenon of "history will say they were roommates," or the all too common error of "woman buried with warrior stuff? must be religious, can't possibly be because she actually fought.")

That's what I mean by reading with a queer lens. Because most of the time, these works are read with a heteronormative, gender-normative lens, just unconscious or subconscious as a bias, and so any queer elements are missed entirely.

(Like. I still don't understand how anyone can read the passages with Galehaut as anything other than Extremely Gay. How do you miss that? Yet so many people assume it's "comrades" and "bros" despite the text going out of its way to say that it's more than companionship. Because of the default, unexamined lens that they're using.)

….anyway. off the soapbox. Back to the intro.

"Many literary historians… have mistakenly sought in Arthurian romance a recognizable ancestor text for the modern novel" and are disappointed in the somewhat disjointed conglomeration of the Vulgate. They then either dismissed it as incoherent and terrible, or defended it as having an underlying coherence and attempted to legitimize it by imagining a singular author (or unifying editor).

"The unwieldy mix of spiritual and chivalric modes that crisscross unevenly throughout… mark the Vulgate Cycle as a product of the emergent social and political tensions in thirteenth-century France," with the popularized chivalric tales of knights from the mid-twelfth-century getting infused with Biblical allusions and Grail mysteries around 1200. Prose had a more religious connotation and association than verse, which was more recreational (condemned sometimes as "vain pleasures").

"Lady readers, in particular, were exhorted after 1200 to abandon the deceptive tales of Arthurian knights." Which supports the idea that one of the primary audiences for these stories were women! Women of the 1200's French court, in the case of the French romances, though I'm sure readership extended beyond that.

This is another example of how expectation shapes perception. There's a tendency for modern readers to assume that medieval literature will be dry, dull, misogynistic, homophobic, etc… and so I've seen people assume that the vast numbers of unnamed ladies/maidens/queens are a product of misogyny, of being seen as too unimportant for distinct names.

And certainly there was systemic misogyny in the culture, just as there is nowadays - but I don't think that's the core reason for the nameless female characters. It doesn't match up with the Vulgate's characterization of these women as clever, competent, independent, and saving knights more often than being saved by knights. (Nor does it match up with how many women are named.)

I've heard a theory (probably on Tumblr somewhere, I can't remember where) that the unnamed women are the equivalent of "y/n" ("your name") in modern fanfic. Reader-insert. Perhaps the author(s) expected women reading the story to project themselves onto the characters, and so made extra room for them to do so.

…But back to the introduction once more. Burns unravels the idea of a single author or even a solid, novel-like coherent narrative for the Vulgate Cycle, and arrives at this:

"The Vulgate Cycle then provides us with a text that is not a text in the modern sense of the term, a text that is always fragmentary but always a composite of more than one text, a text located somewhere and uncertainly in the complex relation between many narrative versions created by many authorial if not authoritative hands.

"The literary map accurately representing this cycle of tales would contrast starkly with Lot’s set calendar. It would be a map that changed continually as we move through the narrative terrain it charts. Although it might incorporate on one level and for the text of the Prose Lancelot in particular the existence of a predictable calendar of events, a map detailing the whole of the Vulgate Cycle would have to reflect a much looser and more flexible narrative structure.

"It would be a map with no fixed perimeter, and no set or authorized format, a map that could shift and reshape itself at successive moments and with successive readings."

A shifting mélange of a narrative, flexible and unbounded, containing multitudes, eluding attempts to define or confine it into one single known element…

…Well. That sounds like the very definition of queer.

(pt 1 here)

[localguy2]

I find it highly amusing how in situations where the ninja are separated/it's just the OG four, Kai and Zane immediately assume control/start spearheading the team because apparently no one else is sane enough or in the right mind to do so.

Your honour, they literally have one of the best dynamics in the show, with how they're probably the most protective people in the team. And it makes me mad how this is overlooked by the fandom and the show.

[demilypyro]

I'm interested in the gradual development of Miss Pauling.

Originally an almost incidental character in the Team Fortress 2 comics alone, no official model existed for Miss Pauling for the longest time. Her first appearance was in the WAR comic from 2009, two years after the game's release. She is mentioned by name, but you can tell her character isn't nailed down here yet. They probably aren't even sure if they're going to reuse her at this point. The Administrator herself isn't even fully developed yet.

Despite the tangential nature of her character, she made regular appearances in the TF2 comics, always executing the Administrator's will, though not much was really established about her personality or characteristics beyond being hardworking, extremely competent, and very loyal.

Around this time, the fans started making their own models to use her in fanworks, though with not much to go on in regards to her personality, there weren't many people taking an interest in her. The few times she did appear in fanworks, she was often relegated to just being the token girl character.

In 2013, Valve released Ring of Fired, the first of seven full-length Team Fortress 2 comics that would end up being the main source of character development and plot progression for the universe. And Miss Pauling was there as one of the lead characters, although her characterisation was still rather thin in this first issue.

The big moment here is the Love and War update. In 2014, seven years after the game's launch, the short film Expiration Date was released, the 15 minute video supposedly being a pilot for a potential TF2 tv show. That tv show never happened. However, Miss Pauling was one of the lead characters of the video. It finally gave Miss Pauling an official 3D model, which was notably somewhat different looking from her comic appearances up to this point, as well as a canonical voice.

It also established several defining traits to her character: she was extremely neurotic, kind of awkward, a bit silly, and she had a knack for gallows humor. These traits were heightened with the following Gun Mettle and Jungle Inferno updates, which gave her a bunch of voice lines where she talked to the player characters and let her kookier side show.

These traits would make it back into her characterisation in the comics going forward, finally reaching Maximum Pauling. She became the true Main Character of the TF2 comics, usually being the main perspective character, as well as being the character with the heaviest choices to make as the plot reaches its climax.

While Miss Pauling still to this day doesn't physically appear in the Team Fortress 2 videogame, she has become one of the most important characters of its surrounding universe, and you'd be hard pressed to find a fan who doesn't really like her. It's been fun to watch her develop from an incidental lore character to the unofficial tenth member of the main cast. I'm a huge fan of her.

Okay end of post

[ninupi]

Hello I have a request! Could you write a scenario where either Kakucho or Draken (you can write for both or do one or the other I don't mind) have a crush on reader(they're friends though but they haven't confessed) however there's someone else who also likes reader and asks them to help them get together with reader🥸How would they react? And what would they do? I hope that makes sense 😅

Thank you 😊

Jealous | k. draken & kakucho (separately)

₊˚⊹♡ tags; fem!reader, both of these are in a good timeline where everyone look gets along, mention of reader looking up at draken, everyone lowk making fun of sanzu in drakens lol, ran being canonically blind but refusing to wear glasses is so funny to me LMFAOO, kakucho being a liar boy

₊˚⊹♡ wc; 830 (draken) 331 (kakucho)

₊˚⊹♡ a/n; ahh im so happy I finally found time to write this, I literally couldn't stop thinking about it when I first saw it lol

k. draken

Draken was intensely watching the TV from the couch while Mikey and Mitsuya were competing in mortal combat on the TV. Most of the guys were over at Mikey's house right now taking turns playing the new game. 

"I'm going to kick your ass Mitsuya..." Mikey warned after receiving a combo almost ending his character's life "You said that the last two rounds, maybe you should focus on fighting!" Mitsuya laughed nudging Mikey with his elbow trying to distract him. 

"You seriously suck at this Mikey!" Smiley laughs angering the blonde even more "Next round, you and me asshole!" Mikey yells pointing at Smiley after Mitsuya's character brutally rips Mikey's apart. "Ok let's go, this is gonna be a piece of cake" he smiles while switching places with mitsuya to sit on the floor. 

While the two of them argued about who they wanted to play Draken heard the front door open "I'm home! And I brought y/n so don't be weird!" Draken perked up once he heard Emma mention your name, you two had become friends earlier this year at school and Emma's been bringing you around a lot more. 

"Ok, so no one cares that I'm home?" Emma asks walking into the living room while y/n is behind her "No, not really" Mikey answers locking his character in "Oh screw you Mikey, I hope you lose!" she yells throwing a couch pillow at the back of his head.

"Hi y/n! How are you?" Draken can't help the way his face contorts in disgust at Sanzu's tone of voice "Hi Haru, I'm fine. Are you playing too?" Haru? Draken didn't know that the two of you were so close "Yeah, I played against Baji earlier and won" he bragged causing Baji to yell at him. 

"Are you not going to say hi to me Draken?" you question softly kicking his leg, he can feel the back of his neck getwarm. "Hey" He knows he probably seems like an asshole he just gets so nervous every time he talks to you. But when he sees you smile at him he knows you don't mind his cold demeanor. 

"Come on y/n, let's go!" Emma grumbles grabbing your hand and leading you toward her room "Bye y/n!" Sanzu calls out waving to you "Bye Haru! Bye Draken!" you smile waving at the two of them. Draken gives Sanzu a certain look when he hears Baji speak up. 

"You're so embarrassing man..." he sighs and Draken looks at Baji who's nodding towards Sanzu "Huh? What do you mean?" Sanzu questions offended "When are you going to tell her you like her? I'm sure she knows but it's best to get rejected now" Smiley laughs starting up his round with Mikey. 

"What are you guys talking about? I don't like y/n..." Draken turns to give Sanzu giving him an unimpressed look while everyone else turns to look at him including Smiley who paused the game to do so, much to Mikey's dismay. "NO!" he screamed out at the paused screen displaying how he was about to hit a combo on Smiley's character. 

"Do you think we're dumb?" Mitsuya genuinely questions fully turning to face Sanzu "Hi y/n! I love you y/n! Can I lick your shoes y/n!" smiley mocks Sanzu causing the guys to all laugh except Sanzu who starts protesting in embarrassment "I don't sound like that, and be quiet what if she hears you!" he hisses looking in the direction of Emma's room where the two of you were. 

"Her room is on the other side of the house, they can't hear anything" Mikey explains while fidgeting with the controller in his hands "Whatever man just ask her out already she might say yes, who knows" Smiley shrugs turning back to the tvand unpausing the game.

"Can you help me ask her out?" Draken can't even hide the way his face contorts in disgust before facing Sanzu "What?" he asks even though he heard him the first time "Can you help me ask y/n out?" Sanzu asks again a bit more harshly this time "No, do it yourself" Draken snaps feeling a bit annoyed about Sanzu's presence now. 

He feels Sanzu slump into the couch next to him when he gets up saying he needs a drink when the others ask him where he's going "Get me a soda!" Mikey calls out before losing to Smiley, again. When Draken walks into the kitchen he sees you sitting there almost like you were waiting for him. 

"Hey..." he mutters walking to the fridge "I heard you guys," you say without much emotion "Oh" Draken just continues to stare at the inside of the fridge not really caring about a drink anymore "I don't really like Haru like that you know..." you sigh leaning against the counter next to the fridge. 

Draken can feel a weight lift off of his shoulders "Oh really?" he questions standing up a bit straighter while closing the fridge, without grabbing a drink. "Yeah I kinda like someone else...someone a bit taller." you smile looking up at him. "That's nice to know" he smiles giving you his full attention now. 

kakucho

Kakucho really liked ran haitani, but right now he really wanted to punch his teeth in. "I'm real sorry about that sweetheart, are you alright?" Kakucho watched ran held your arm softly with a clenched jaw as he approached the two of you "Yeah I'm fine, don't worry about it" you smiled up at him.

"Hey, what happened?" Kakucho questioned walking up behind you softly pulling you out of rans hold. "Oh nothing, we just bumped into each other" you explain with a soft laugh while ran moved a bit closer to Kakucho squinting at him. 

"You should wear your glasses, then you'd see where you're going" Kakucho muttered pushing Ran's face away roughly "Come on my eyesight ain't that bad" he laughed standing straight realizing it was Kakucho who joined the conversation. 

"It actually really is, you need glasses" Kakucho sighs wondering how Ran's gotten this far in life being so blind "Oh yeah you should probably get glasses if it's that bad! But I have to go, I'll see you later kakucho?" you question looking at him with hopeful eyes. 

"Yeah, I'll come pick you up" he smiles nudging you with his elbow "Ok great, I'll see you later, bye guys!" you call out, running towards your class "You gotta set me up with her Kakucho" ran immediately says once you're out of earshot, nudging him with his elbow.

  "Yeah, not happening man," Kakucho says walking away from the taller boy "What? Why not? C'mon, help me out man" Ran sighed throwing an arm over the younger boy's shoulder "I'm not gonna help you ask out my girlfriend."

Kakucho is forced to stop when ran stops walking looking at him slightly shocked "Oh man I'm sorry, I didn't know you two were dating…that's my bad" Kakucho refused to look at ran knowing he was lying straight to his face. Ran didn't need to know that right now though, "It's fine, but yeah I'm not setting you up with her."

[inchidentally]

can't believe we live in an economy where I'm backlogged with landoscar content to do my stupid reactions to but gonna enjoy it !!

ok the fact that Lando is given the camera and film automatically makes sense but the way he chews his lip and his eyes dart nervously between the film and the camera itself bc he's choosing which is his and which is Oscar's ??? and his little division of responsibilities makes sense where Oscar takes primary control of the actual (breakable) machinery and Lando tears into the (not as breakable) film BUT Oscar makes sure to let Lando lead rather than help him out bc photography is Lando's Thing and he knows Lando will want to be in charge this time

the way Lando gets SO close into Oscar's space and they're both so comfortable, their stupid little heads tilted together as if their problem-solving ability is heightened by proximity of their little brains. and then when they close the camera up and both their little hands work together

and Lando's feet just sort of slot right in around Oscar's ??

bc one of the first signs of them getting friendlier and closer last season was them easing into each other's space. casual touching is still iffy! they're not "bros" or brotherly in the way Lando is with other driver friends or how Oscar was with the F2 and F3 boys. they maysn't perhaps ever be broey enough with each other to bosh each other around or friendly punching or gay chicken. but The Fondness has progressed to comfortably invading each other's space <3<3 similar to how they watch each other closely while they talk and Oscar starts his predictive text thing for Lando.

Lando "teaching" Oscar about the camera while speaking over Henrik (who actually knows how to use it) bc Lando wanting to be competent but failing while being adorable is His Thing With Oscar - just like Oscar being competent/a very quick learner but always helping Lando's brain to fill in gaps and figure out solutions is His Thing With Lando. they're both genuinely equally competent albeit they go about things in completely different ways, but Lando would rather be loved than thought clever and Oscar would rather have Lando nearby than crow too loud about being a step ahead.

Oscar's high helpless giggle !!!

the way this illustrates the height difference as Oscar's grown and Lando looks soooo teensy tiny

the difference between being in front of the camera where Lando is immediately jumping around and smiling vs Oscar staring stoically into the lens ;__;

AND OK BUT THE SHARING - Oscar goes first bc realistically he and everyone else knows that Lando is absolutely dying to have a go with it and will probably monopolize it the most and they all love him and let it happen

Oscar's genuine "that is perfect!" while watching Lando - Lando's "that was beautiful!" and their thoughts overlapping again

butttt also Oscar saying that so genuinely and looking at Lando Like That bc Lando is busy w the camera and won't see the look on Oscar's face gonna kms over them

[yarrayora]

On Adulthood in Dungeon Meshi Universe

i've seen multiple people use math to convert the ages of fantasy races in dunmeshi into a Normal Human Age, or in this case, a tallman's, as a metric of adulthood

i feel like that's obviously an unreliable way to go about it, especially since a half-elf like marcille exists, her growth is far too slow compared to the short-lived races, and we still don't know how that compares to an actual elf. and that's when you only consider the physical aspects of it.

we have chilchuck who became a dad at age 13, a year before he could be considered of age in half-foot community. maybe with that we could assume 14 in half-foot is like 18 in tallman and do the math from there? except 16 is considered the age of maturity for tallmen in-universe. and we also have to consider whether the concept of legal age exists in dunmeshi universe, because the term of "age of maturity" used in adventurer's bible could very well refers to puberty and not what the society at large consider to be adulthood.

hell, do we even know if different cultures in different continents agree on what age is considered 'adult' even when they're of the same race? probably not! the cultures in dunmeshi universe are pretty clearly insular

for example, back in the touden siblings' hometown, being a gravekeeper is considered an ill-omen, but marcille talked about it as a respectable job falin could have taken if she didn't run off to go dungeon diving with laios

people at the island don't know that rice is a staple food in the eastern continent. and so on and so forth.

so how do we figure out whether someone is an adult or not in dungeon meshi? by figuring out their role in society

let's go back to chilchuck

it could be because adventuring is really dangerous that he retires early, but considering the reasoning provided was "in terms of age" it's more likely 26 is middle-aged or older for half-foots. although since we already find out that he's already a father of three grown adults, nobody would argue against this.

the most controversial topic regarding this whole subject seems to be marcille. was she a child when she was in magic school? was she an adult? surely because she's more of an elf than a human she's actually still a child at the age of 50! especially when an elf's age of maturity is at 80 years old!

we don't really see a lot of children getting their own roles in dungeon meshi universe, but what little we see in canon paints a picture of how children are treated there. let's focus on the orcs

orc is considered an adult at 14, Leed is 14 and she leads her own hunts. and despite their pride as a warrior race, just like every other community they don't make their young hunt for their own food.

so what we got from here is that despite only reaching adulthood recently, Zon considers his sister competent enough to be in charge.

if we use that as a metric of adulthood, then Marcille who was a teaching assistant at the magic school, has reached adulthood for quite a while now. especially when her main job involved researching illnesses, a responsibility you wouldn't hand over to a child

don't forget that a lot of those who came from long-lived races are biased against short-lived ones and dismissing their metric of adulthood

southern continent where the magic school is situated is mostly populated by gnomes and dwarves, so clearly even to them marcille is already considered an adult

even in the real world the concept of adulthood changes depending on the eras and the culture. there were times in history when it was common for 14 years old children to shoulder the responsibility of a working adult in 21st century, and that includes marriage. in japan the legal age used to be 20, and only recently changed to 18 during 2016. but that's not their age of consent either, that's their legal age for being eligible to vote

maybe centuries later when comfort and leisure become much more common in the dungeon meshi universe people will balk at the idea of a 14 years old orc being considered a full-pledged adult, but as of the standard of the year 514, marcille is an adult, and her role in society proves that

[apas-95]

abt the 'exit strategy for capitalism' thing obviously the natural advantages of socialist states will lead to their uncontested military and economical dominance in the coming decades, at which point they'll have both means and motive to buy out bourgeois interests and their 'possessions' and transition the economical system while there's no easy way for imperial core states to outright end these trends, their policies obviously do affect the economical development of socialist states and there's probably enough variance to shift the timetable on all this happening by a couple years, so y'know exert whatever influence you have on the particular flavor of capitalism that's in vogue if done well (and what I'm seeing rn actually gives me hope for that) the capitalists at no point have an incentive to burn the whole thing down out of spite bc they keep earning right until they don't, you know how the saying abt ropes and hangings goes (and if done poorly and they cling to and suck dry the last scraps of the world's economy they control at least everywhere else should be out of reach by then) and my main concern with a revolution is actually that one will 100% get accused of having foreign backing, at which point you just needlessly raise the odds of some general deciding he (or she #imwithher) might as well let those nukes fly (even if they're losing, especially if they're losing) But it's all w/e, I could be convinced either way, this all just makes a lot more sense to me than a succesful imperial core revolution that doesn't end with the northern hemisphere irradiated

fundamentally the notion of a peaceful transition out of capitalism is simply not in agreement with reality. no class has ever abandoned the world stage without fighting to maintain itself, and the imperial core is already both undertaking massive violence and war against the sections of the global south it already has under its heel, and preparing for high-intensity conflict against the communists that have slipped its shackles. there is no point where the bourgeoisie would simply peacefully allow themselves to be stripped of power.

the point of nukes is exactly *why* there has to be revolution within the imperial core, rather than having the rest of the world do the job for them - there is precisely one place the US has no nuclear deterrent against, which is itself. if the thing we're supposed to fear is that both 'the US military's high command, likely facing severe mutiny, rather than ordering a negotiated surrender during civil war, decides to nuke themselves' as well as 'the US strategic missile forces, upon receiving the order to nuke themselves, carry it out', then so be it - such a fundamental strategic insanity would be just as likely to start a nuclear exchange even if there weren't a revolution - which brings us to the final point.

world war is on the horizon. the economic reasons for world war remain as they did a century and a half ago. the world has been fully carved up, and the profits are drying out. the imperialist blocks, principally the US and EU, are driven to compete against each other for their holdings, first peacefully, then through proxy war, and finally through direct conflict. as it was a hundred years ago, the buildup of war is accepted on all sides with the target of the socialist bloc and the potential for its pillaging, but (as has already started breaking out among larger and larger regional powers) any conflict of this sort would manifest as general war and looting, as desperate, recession-wracked imperialists take opportunity as it presents itself. in inter-imperialist war the most ruthless techniques are used, and a nuclear exchange would not be off the table -- and, fundamentally, the conditions that lead to world war are the same that lead to instability, insurrection, and revolution within individual countries.

war is, at this juncture, an inevitability. the only question is whether revolutionary war will win out over unjust war, will convert the war between nations to a war between classes. we are against war, but we are not afraid of it.

[kyeranmari]

The Emperor Incarnated | SVT Destiny Matrix | Jeonghan

hello, this is kyeranmari ⋆.ೃ࿔*:･

welcome to the first installment of my seventeen destiny matrix readings!

since this is a special time, i'd like to start by reading into the destiny matrix chart of my ult bias: jeonghan ⋆˚｡⋆୨୧˚

in particular, i'd like to explore his central arcana.

for those who aren't familiar, the central arcana is basically the energy that lives in your core. similar to your sun sign in astrology, this is the energy that sort of...summarizes all the other aspects & energies you can find in your chart. this is who you are in your most comfortable state.

jeonghan's central arcana is symbolized by the number 4. this is the energy of the emperor.

often associated with "authority, leadership, control, and structure", the emperor is regarded as one of the most powerful energies in all of tarot and numerology. having this in any aspect of your destiny matrix chart calls you to take lead, be dutiful, be in control, and/or be organized. in addition, this also signifies that you have a natural talent for resolving problems, guiding people, making salient decisions, and establishing solid foundations.

and we've seen evidences of these in jeonghan's life and his relationship with seventeen.

one that sticks out to me is, in the first episode of game caterers x seventeen, it was revealed that jeonghan had a very vital role in the group. he was the boys' main confidant and counselor.

he claims that he does this because he doesn't do much in the team (which i absolutely 100% disagree with), and so he took the role of listening and guiding them through their woes.

anyone who has been in this position had once or has constantly wondered why people come to them with the trust that they have the right answers for their problems. and more often than not, they fail to recognize that it is because of their natural gift of wisdom that draws people in.

although i don't know how their exchanges go in particular, as someone with the empress at their core, i could infer that the themes and language of the wisdom they seek from jeonghan is more objective and structural (unlike that of the empress' affective and spiritual approach). despite na pd characterizing jeonghan's role as "motherly", i'd like to argue that jeonghan's approach might be more of a "dad's way" of looking at the world. i am in no way claiming that this approach is unemotional. rather, it's probably more focused on "what are you gonna do about it?" than "how are you feeling about it?"

people with the emperor at the center are generally caring people. they make taking care of the things they love their duty and responsibility. you can expect them to be committed to giving love and affection.

and we could see jeonghan embody this trait through his most recent series called haniwajjong, a special spin to i-goya (his svt rec series) consisting of all the vlogs he filmed starting from september of 2023. according to him, he did this so that carats could have something to watch while he's in the period of military service.

i would be lying if i say i don't find this so touching, that it almost brings me to tears. as a jjongjjongiefan, i couldn't help but miss him a heck ton, even though i used to say that i won't be emotional about it. but alas, and behold! my ult bias is dedicated to caring about his fans. he didn't have to do this. no one asked for it. but he did it out of his own volition.

he found a way to resolve the dilemma between his civic duties and his deemed responsibility as an idol. this, to me, is how he embodies the energy of the emperor the most. im trying not to cry.

people like jeonghan who hold the emperor at their center are also blessed with wit, strategy, and competency to the point of victory. you know that they're in their best state when they win or they're in a situation where they can exercise these qualities.

this explains why jeonghan is just unbelievably good at every game and every sport he participates in. remember when they dedicated a whole going seventeen series (one million won) just so seventeen can have a chance to beat him?

jeonghan shines best in gose series that make use of strategy and brain power (one million won, liar liar, catch stock, don't lie, good offer).

not to mention, he's also athletic as fuck. any carat who's watched at least half of the entirety of going seventeen knows how the members are always drawn to him during physical team games. this moment from game caterers x seventeen is one of my favorites.

because it's in this same show that he's opened up about his energy "deficiency" (he's so my bias here because me too), and yet we see him still play so well, proving that his athleticism stems from a natural gift of it.

jeonghan's smarts go beyond his entertainment career, though, as he's currently pursuing his mba in anyang university. prior to this, he graduated with a degree in practical music (major in k-pop) from hanyang university's institute for future talents. which makes sense, though, as education is important to seventeen as a group themselves!

oh, and another thing!

something one must remember about the emperor is that this card/number has the energy of the divine masculine. in pop culture (on tiktok, specifically, ugh), the divine masculine is often associated with a man who's strong, well-built, powerful, and is a provider. think a hunky ceo with slicked back hair, a clean beard, with his head always in the game. he's always quiet and observant, always watching like an omnipotent being. however, i'd like everyone to understand that while this could be a result of having the emperor in your chart if you're a man, this isn't the one true image of it.

i mentioned this because i know people might be curious about this aspect, too. but quite honestly, i don't want to elaborate on this much as someone's sexuality is even more personal than the aspects i mentioned above.

all i can say is that to me, jeonghan deserves to be the face of divine masculinity more than the average man. because apart from looking godly (taking the literal meaning of divine here just for the giggles), jeonghan expresses his masculinity to us in such a comfortable way. i can't help but appreciate the complexity of his character. to me, jeonghan is what masculinity looks like if it had evolutions, and he's the final form.

besides, didn't seungcheol mention somewhere that jeonghan is the manliest out of all of them? like...look at him....im....weak

if you think i have a preference for long, black-haired jeonghan no i don't i swear i-

in conclusion, it's not surprising that a lot of people love and rely on jeonghan. he has such an admirable and inspiring core that naturally draws people to him. he inspires action within other people, whether it by simply breathing or by using his cutieful antics. to me, he's the perfect caricature of what a man should be.

a true reflection of the emperor at the core.

----------

notes: as i've mentioned in this post, i'll be using seventeen's destiny matrix charts as a way to hone my skills as a reader. i'd also like to note the readings i do may contain inaccuracies as there are a lot of factors that prevent me from reading accurately. though i'm familiar with divination, i'm still at the starting point of my journey in practicing it. plus, i don't know seventeen personally, so i'm basing my readings based off of the things they show us. ⋆✴︎˚｡⋆

i'll also be taking it slow for now, only sharing bits and pieces of information as it takes a lot of energy to read and find supporting materials. so forgive me if the information you might be looking for isn't in any of my readings today and in the future! joesorryhamnida 人´∀｀)

if you have additional input, corrections, and/or questions, please don't hesitate to share them! i'd love to learn with & from my fellow carats ✧ദ്ദി( ˶^ᗜ^˶ ) so let's yap about this together!

anyway, if you've made it this far, thank you so much for having the patience to read through! i know it's a lot of ramble & reflection, but i appreciate your attention! ⸜(｡˃ ᵕ ˂ )⸝♡

see ya in the next post, caratdeul ദ്ദി(｡•̀ ,<)~✩‧₊

p.s. i love you and i miss you so much jeonghan ૮(˶ㅠ︿ㅠ)ა please take care always my love (ෆ˙ᵕ˙ෆ)♡

[15-lizards]

if you’re after dune asks 👉👈 how do you imagine the signature differences in great house clothings?? do they have different embroidery or accessories or colours etc?? what styles do you think they favour??

(sorry, i just started reading dune and i love your asoiaf fashion posts)

Haiii I’m thinking ab dune costumes constantly bc im always trying to imagine what sci fi feudalism clothing would b like

Firstly, I think the Atreides are trying to keep a balance between “militarily competent” and “welcoming and humanistic” in order to be perceived as the ideal nobles. The family dresses in lots of blues and greens as a symbol of their house pride, and the falcon sigil is probably prominent too. I love the inspiration the movie takes from the early 20th century Russian military for the men’s formal dress. Which leads me to my idea that the Atredies are toeing a very odd line of utilitarian military looks and comfortable gowns for Letos propaganda reasons

The Harkonnens are interesting bc they have a lot more color than what's shown in the movies. Their clothes and planet have lots of blues and oranges, like their sigil. Which makes me think Herbert wanted them to be imagined as gaudy and over the top. A sign that they're trying too hard to be perceived as worthy of being noble. This is probably a radically different perception than what most ppl have, but I still hold black leather BDSM Harkonnens close to my heart dw.

The Corrinos would have a similar sense of extreme affluence, but unlike the Harkonnens, they never seem gaudy. Being the rulers of the known universe, they would favor long fabric, heavy ornamentation, very intricate patterns and painstakingly detailed embroidery. The word excess is probably best used to describe the styles of the imperial family. However I do like the more minimalist take in the recent movies as well, it gives off a more stoic and serious vibe, which is fitting.

For the Fenring's I'm sticking by my previous assertion that their name is Chinese, and using mostly the Tang and Ming dynasties to inspire my outfit ideas. I think they prefer a slim, relatively simple silhouette and clean, unbroken lines. I think this better communicates the unassuming, but observant nature that Lord Fenring and Margot give off in the books. Light colors as well, to appear non-threatening. And I didn't have enough space but everyone should go look at my other post ab the Fenrings in my Dune tag so you can all see the beauty of Weimaos and Milis as a fashion choice for them :]

[bestworstcase]

Say, what was that about the 1/2/4 motif for Ozpin you mentioned the other day? I’ve been reading your stuff for a good minute now and I don’t think I’ve seen it come up once before that.

it's about the symbolism of the huntsmen academy teams and the vytal festival; huntsmen and huntresses are meant to "protect their fellow man" and

for this reason, trainees are grouped into teams, ensuring the continual development of communication, empathy, and teamwork; traits that are vital to any guardian of peace.

but the way the initiation process is designed, the way these teams form, creates conditions detrimental to this notional goal: you're tossing a bunch of teenagers who don't know each other into semi-random pairs to choose a single token which, unbeknownst to them, selects the other half of their team, and then you put one of them in charge and more or less tell them to figure it out.

it should come as no surprise that most professional huntsmen work alone or in pairs. there is one (1) singular example of an academic-model team-of-four functioning at the professional level—team BRIR in arrowfell. and of course we have team STRQ, who fell apart in spectacular fashion within at most five or six years of leaving beacon.

aside from the more general issue that the mechanism used to assemble these teams is just not a terribly effective way to build functional teams, the interesting part with regard to oz is that the system is designed such that the pairs are most likely choosing their token under pressure—i.e., while fending off grimm, i.e. not having any time to actually deliberate or discuss or otherwise work together to make this very important, defining choice about their futures; and indeed they're not even told that it will be defining in any sense so they're unlikely to treat it as important at all.

which is to say, the probable outcome for any given pair is that one of them will grab a token without putting much thought into it, and then they run. this is—i suspect, at least in part—a test to find out which of the pair is most decisive under pressure. whether they know it or not, every student undergoing the initiation is also auditioning for a leadership position and the structure of the initiation reflects that.

so you have this one -> two -> four pattern. the teams of four are composed of two pairs, each of which first faces a task which inherently sort of expects one to make the pivotal choice.

and then the end result is one student leading three others with no real structure beyond that. delegation and separation of duties is left wholly to the leader's discretion.

we see this same kind of symbolism at work in the vytal tournament, wherein the point of the quads bracket is for the winning team to select its two best fighters to go on to the doubles round, and then winning doubles pick the best solo combatant to compete for the championship alone by fighting a series of 1v1 duels. notionally the point of the vytal festival is to celebrate peace, cooperation, harmony—but its main event is about breaking down the team into smaller and smaller units until One Warrior emerges as the very best, standing victorious all alone.

it gives the lie to all of ozpin's talk about the importance of standing together; even his Festival About Standing Together is really about finding The Chosen One. the point of the team and of the pair is to act as a good enough foundation for The Lone Champion to reach the actual tournament. the quads aren't even properly part of the tournament itself, they're the qualifiers.

and that's why the teams fail, fundamentally. they exist in a system whose underlying purpose is really to pry them apart and extract singular heroes from teams that are good enough. whether oz consciously intended it this way or just cannot let go of trying to find the right Chosen One to replace himself is an open question, but it is top to bottom designed to find The Ones Who Are Special.

[kujakumai]

would you like to elaborate on the "catastrophic mommy issues"? I'd love to hear what your thoughts are on that lol

Thief King is a child raised by a mass of vengeful tortured souls in the ruined basement where they all died, all of whom are in effect a stand-in for family/community/parents. They are all TKB has left, and they are highly protective of him; they seem not entirely within their right minds, not capable of competent childcare, and they give him explicit instructions on how to destroy and take over the world, which he follows enthusiastically.

I think about this a lot, like a lot a lot, and while we don't see much I think its gotta be a very tangled dynamic. When writing him I tend to use "mom issues" or general references to his mom as an emotional stand in because I think she's probably the most likely person he'd remember clearly when he needs a real face, but that's not necessary. All of Kul Elna is Mom for these purposes.

There is a lot going on here, for example:

>Kul Elna does not seem to leave the temple unless accompanied, or at very least they prefer to stay there. This means TKB probably spent a significant portion of his childhood in the same ruins and possibly the same room where he watched everyone die. Cool! Great!

>Kul Elna appears to be only partially corporeal, limited in their ability to do much besides menace, and TKB says they are "in hell" (unclear what that means). I do not think they are up to the daily tasks of feeding, bathing, or taking care of a small child. I think he probably grew up as an urchin mainly in squalor.

The closest real-life analogue to this is, probably, simply a child in the care of someone who is ill or disabled such that they cannot effectively take care of even themselves without support; so you have a situation where no one has done anything wrong, and this family loves each other very much, and the only real culprit is the society that failed them. But you're still going to end up with a kid who is not getting their needs met, is in a situation that is often stressful and sometimes scary, and that will lead to a rapid Adultification where the kid takes on the role of steward without ever having a proper childhood.

>The Zork-raising instructions were given to TKB by Kul Elna. He tells us this. I am less concerned by Kul Elna's obviously Zork-influenced plan to destroy everything than I am its effect on a 16 year old boy who loves them very much because they're all he has left in the entire world. When did they bring this up? Is it recent? Has it been an ongoing plan for years--has TKB effectively been raised on the idea that he is to be Egypt's own destined apocalypse maiden? How fucked up would that be?

Fandom is hesitant, I think, to ascribe anything malicious to Kul Elna or suggest that their relationship with TKB is sinister--which, for the record, I don't think it is, I think this fucked-up little family has nothing but love for this kid in the depths of whatever humanity they have left--because Kul Elna gets such an unjust treatment in canon it makes us incandescent. Yet the same would apply to TKB--if they want the world in ruins and him at the top, how could he even think anything different? After everything the pharaoh did to them, and to you, of the life they deprived you of? Impossible to suggest something different. You can't tell him they're wrong. What's that old softer world bit; I am a pacifist, and I will be a pacifist until I die, or someone threatens my mother.

>TKB does not need survivors guilt to be an unfailingly loyal Mama's Boy to his ghost family (Ghost's Boy?) but he's got to have it. A simultaneous immense guilt for getting out when no one else did; the immense loss of being left behind, like they all went to become this without him; the weight of being the only one left, the only one who can take revenge not only for you but for them, and if you fail then no one will remember any of their names, or yours. One chance. Avenge them or die a nobody. Don't fuck this up. It's your responsibility, like it or not, because no one else can help, and no one else can help because of what your enemies did to them, which is why you need to do it. It's almost self-justifying.

If you want me to editorialize, I don't think he actually cares much about ruling the world, nor does that goal make sense. I think in the back of his little brain he thinks that if he wins he finally gets to join them somehow.

tldr; I think TKB's relationship with whatever the hell Kul Elna has going on is way, way more complicated and nuanced than even he is consciously aware of and you can love someone very much and still fuck them up immensely (arguably a major them of ygo itself). TKB's has such catastrophic mommy issues he literally tries to end the world. We are talking literal apocalyptic mom issues. Cataclysmic.

[lestappenforever]

hi again!

did lestappen really unfollow each other after the Austrian gp 2019? why?

ps: im new here

Hi anon, and welcome to the unhinged world of Lestappen lore! We're so happy to have you. ❤️

Now have a seat and get cozy, because it's story time.

Charles made it into F1 in 2018 and after spending his maiden season at Alfa Romeo Sauber, his life-long dream finally came true as he was snatched up by Scuderia Ferrari to replace the man, the myth, the legend that is Kimi Räikkönen. Needless to say, 2019 was a big year for Charles. His first season in the team he had always dreamed of driving for. He was ready. He was hungry.

Now, enter Max Emilian Verstappen, who at this point had already been in F1 since 2015, when he was signed at the ripe age of 17. Already a seasoned F1 driver, which is impressive as fuck at that age. At this point, Max and Charles were following each other on social media. After all, they'd known each other for most of their lives, had grown up together in karting, and were now competing at the top level.

Today, we know Austria as the Lestappen holy ground following that podium in 2022. (Borderline pornographic podium celebration? Don't mind if I do.) But, it had potential to become the Lestappen holy ground even back in 2019, because Max and Charles were on fire. Talking, laughing, joking, mirroring each other in the pre-race press conference, and generally acting like teenagers with a crush. (As you do with your emotional support rival.) Things were good. Great, even.

And then Sunday rolled around, and the race happened. Charles and Max were doing what they do best and what they love the most, namely fighting each other on track, likely having the time of their fucking lives. But then this overtake happened, there's a little bit of contact and Charles briefly ends up off the track, and Max goes on to win the race, with Charles finishing P2. (Anyone else hearing "He's just unfair. I'm leading, he wants to pass, he push me, I push him back" and "Nothing, just an inchident"? in their heads watching that overtake? Just me? Okay.)

Charles was pissed, absolutely convinced that Max had done something wrong, that it wasn't a clean move, and the move was investigated, as all similar moves are. FIA, however, ends up deeming it a clean move and Max doesn't get a penalty, meaning his win stands. And, well, this is where Charles Leclerc shows the world what it means to truly be ✨dramatic.✨ (We love a dramatic king in this house, ngl. Nothing is more entertaining to me than grown-ass men acting like children.)

A look that could kill? Check. Dramatically fixing your cap? Check. Looking away dramatically while plotting someone else's demise? Check. Looking like finishing P2 is not a huge accomplishment in your first season in Scuderia Ferrari? Check. Squeezing past as the winner getting drenched in champagne because you're not about to stand there and watch him celebrate? Check. Whatever the fuck this face is? Check.

Now, here's where it gets really fucking hilarious: Charles and Max fly home from Austria on the same flight. On this flight, where Max is probably sitting in Charles' direct line of sight, Charles goes to Max's Instagram and unfollows him. Probably glaring at Max the entire fucking time. Because he's a fully grown adult man capable of making reasonable, mature decisions when things don't go his way. Clearly. And Max, upon noticing this (or his team noticing it), remembers that he is also a fully grown adult man capable of making reasonable, mature decisions, and responds by unfollowing Charles back. Obviously.

It has been four years and our boys have clearly moved past the events of Austria 2019, but the Great Unfollowing has remained. Has it become an inside joke between them, which is why they're still not following each other after all these years? Probably, if Charles threatening to unfollow Matt from P1 with Matt & Tommy during a Ferrari challenge (and fucking following through on the threat, too) is anything to go by. Does it still make me cackle every time I think about it? Abso-fucking-lutely.

[aymayzing]

I have made a Mourn Watcher Rook and then came up with a few quick ideas for some buddies of his down in the Necropolis. And of course I ended up thinking too much about them so here's a post with some info on them

Sotiris 'Rook' Ingellvar

Mourn Watch's crypt baby

hoped to be a mage, ended up a Warrior Reaper

sweetest kindest guy you'll ever meet but also the beefiest and he's like 7 ft tall; also socially awkward. it's not his fault, he spent his youth playing with skeletons

got in so much shit over the War of the Banners he got pretty much banished from the country for a while only to end up leading the effort to save the world??? apparently???

magic and history nerd

ends up snatching THE professor Emmrich Volkarin (no one is fully certain how he managed that, not even Sotiris himself)

Hannes

my original Rook but they ended up demoted to supporting cast, they'd be too powerful as Rook (sorry Hannes...)

street urchin who kept breaking into the Necropolis to steal from the graves and hang out with the undead so much that the Mourn Watch decided it'd make more sense to just take them in

constanly on thin ice with the higher ups but much adored by the spirits

aims to be seen as the silly goofy one of the group but has the best people skills so everyone comes to them for advice. or when they need a lock picked

Mirka Kanarek

archivist poached by the Mourn Watch from the City Hall (the City Hall is still angry) to deal with the bureaucratic backlog in the Grand Necropolis

convinced she has the best job in the world

does no field work, she's a corporate girlie with skeleton assisstants

probably the most normal and well-adjusted from the group

surface dwarf whose family is newly arrived from Orzammar and is still kind of confused and put out by all the dead bodies. they're very supportive of her career though

Visna Lievenkroft

the only member of this crew with a normal career path (read: once her influential rich noble family realized she was a mage, they paid off everyone they could to get her into a program with the Mourn Watch)

she truly loves her work and wishes to remain with the Watch

she is aware she got into the Necropolis due to nepotism and corruption so she works extremely hard to prove herself

has long held romantic feelings for Sotiris but by the time she managed to fess up, he was already dating Emmrich. who actually used to be her teacher. double whammy, I guess. sorry Visna :(

Alvilda Anaxas

yes, from the Anaxas family - the Duke of Cumberland is her uncle

think of her as Sotiris' reverse Hezenkoss - if Emmrich and Johanna started off as friends and academic partners to end up enemies, Alvilda and Sotiris spent the first years of their relationship competing academically and despising each other, only to grow to appreciate each other's skills and eventually become close friends

also got into a lot of trouble over the War of the Banners but Sotiris covered for her; she's still not allowed to work on her own projects which annoys her endlessly, especially as Sotiris is fully reinstated and fighting undead dragons in long forgotten crypts or some other nonsense

[payasita]

Speaking of fic stuff: The Lamb and Nari wake up one morning covered in bandages, surrounded by empty bottles. They have ZERO recollection of the night before. Now what?

He awakes to a taste like bile and rust, and with one hand wrapped in at least twenty layers of gauze.

Narinder takes a second to stare at it, wiggling immobile fingers and contemplating the mechanics of sitting up with a head somehow filled with both cotton and lead. He drops the hand and decides against it, rolling over and pulling a blanket over his head. The movement does absolutely heinous things to his stomach.

A slow minute passes before he realizes he is not under a blanket at all. It's comfortable regardless, so he cannot summon the effort to care. Far softer than anything yet available in the commune. The familiar scent doesn't hurt, warm and securely claimed with his own, and indeed does a good job in blocking out the currently unmanageable stench of the outside world.

Until it's nearly pulled away from him. He clutches onto it with a hiss, and instantly regrets moving so quickly.

"Oh good, you're alive." The Lamb gives it another tug. "Give me back my fleece."

Narinder vaguely remembers having lost a battle against them while at his full divine potential. He'd even had both hands available to him and everything. He cannot truly imagine the odds are with him now.

"Thank you," they huff when he unlatches his claws. He searches for something else to cover his face while they clothe themself. His skull appears to be imploding.

"I am dying," he declares. There's a few seconds of silence. Contemplation on the Lamb's end. Abject suffering on Narinder's.

"Nope. Not sensing it."

"Your competence with the Crown is dubious at best."

"You're not dying," they assure him, lightheartedly, "It just feels like it."

He groans, rolling over and hitting himself in the face with the large gauze lump in his attempt to throw his arm over his eyes. He snarls, and begins blindly picking at it with his free claw to find the edge.

The Lamb snorts, leaning over him. They have an armful of empty bottles under an arm, and are looking infuriatingly chipper.

"How'd you go and do that to yourself?"

He glares at them, pointedly.

"I clearly cannot have done this on my own."

"What, you don't remember?"

"...No," he admits. "What happened, then?"

"Oh, hell if I know," the Lamb laughs, and is saved from having that smile shorn off their face by his vertigo alone.

They move around him and pick up another bottle, inspecting it. "I was at the same feast you were, y'know. And if you'd had all this yourself, you probably would be dead," they gesture to the bundle under their arm, already five or six strong and slipping a bit.

"... Actually, we should probably both still be dead," they tut. "I don't even know what the flock puts in this stuff, 'sides from berries. But wow, they're good at it. Hey, actually, do you think maybe we have the makings of something worth exporting to the outside world? Plimbo's always making trips back and forth to who-knows-where, I bet we could--"

"Lamb."

"Mm?"

"Your chattering is causing me physical pain."

"Oop. ...Guess I should be grateful for the divine healing factor, huh?"

Narinder ponders the irony of wishing Death incarnate to choke, and finally finishes unraveling his hand. He squints at it. He sees no damage whatsoever that might have compelled anyone to waste medical resources on him. Not a strand out of place. He inspects his claws, and finds a bit of blood under them. Odd.

"There must be, like, a dozen bottles of wine in here. Do you think I drank most of it? I remember everyone in the temple cheering when I started chugging one. ...Or, uh. Three," the Lamb recounts, setting the pile down on a nearby table. Narinder watches them, scanning down their body for any abnormalities. No claw marks or stab wounds remain, but they would be gone by now. Still. The fact that he feels metal when he pushes his hand under his pillow is probably worth noting.

"You have a basket around here?" the Lamb asks after a point, "I need somewhere to put these."

Narinder says, "I do not live here."

"...Whuh?"

"This is not my hut."

The Lamb pauses. They glance around, newly curious. Narinder grasps at the bit of metal under his pillow, and retrieves a dagger. It is smeared with blood. He eyes it, vaguely toying with the way light plays off of the dull blade.

"Did I attempt to kill you last night?" he asks idly. The Lamb looks over. They see the knife.

"...Nnnno?" They try, not even attempting to sound certain.

"I believe," Narinder mutters, hardly feeling bothered to spare the focus, "I might have killed someone."

The Lamb looks at him, having the grace to at least look troubled. Narinder, on the other hand, remains far more concerned with the roiling in his stomach.

"... Okay, wait. Wait, I think I remember-- yeah," the Lamb snaps, and points at him. "Yeah! You lost your hand privileges."

"What," Narinder says.

"Yeah! You were doing-- something," the Lamb waves off vaguely, "Yeah, I think I remember-- I had to take the claws away? I mean. That would explain the bandages?"

Narinder glances over. It certainly sounds like the sort of logic they would act upon, in the event of his own uninhibited violence.

"...So I did try and kill you, again."

"Iiii, dunno? I mean. Maybe?" Again, they don't sound remotely sure. The "divine healing factor" does not, it appears, account for episodes of alcoholic blackout. Good to know.

So, trying to kill his spouse was one possible explanation. Admittedly, it wasn't even a far-fetched one. But the ambient stench of this hut offers another.

"Lamb," Narinder sits up, winning a valiant battle with his own vertigo, "Whose shelter is this?"

The Lamb pauses. They look around again at all the bottles strewn about. They look up. At the same time they do, a droplet of blood plops onto their cheek.

"...I think his name was Bremar," the Lamb hums.

"You think?"

"I mean, the Crown can only tell me so much. 'Specially when the corpse in question has somehow been reduced to... uh... streamers."

"Ah."

"So, uh, we should--- we should go."

Narinder growls. His stomach does not agree with the prospect of standing up anytime soon.

"Ten more minutes."

"Nari," the Lamb deadpans, "You eviscerated a guy."

"...Five, then."

[animebw]

Phenotyping the Stereotypical Anime Love Triangle

Something I've noticed over my years of watching anime is the existence of a specific kind of love triangle. One that pops up over and over again, often in some of the most popular shows of their respective eras. And the more I think about it, the more it feels like the skeleton key to really understand The Male Fantasy as it exists in otaku culture. This particular trope, repeated across so many different genres and decades, is a Rosetta stone for understanding how male anime writers approach female characters and why so many of them fall flat. Or maybe it's just a fun little pattern I've noticed that I'm trying to make into a bigger deal than it is. Either way, I need to rant about it for a second so it'll stop bugging me. So roll up your sleeves and let's do some literary science here.

First, we need to define what exactly I'm talking about. This isn't about every single love triangle, nor is it about harems or any romantic situation with more than three participants. No, the breed of love triangle we're discussing here involves one guy at the center, romantically pursued by or entangled with two specific kinds of female character archetypes. The guy in question is pretty versatile: he can be shy, a self-insert, brash and egotistical, edgy and emo, whatever the story needs him to be. But it's the girls fighting over him who matter. Put simply, this is a love triangle where the two female characters represent two competing philosophies of romantic happiness for the male lead. They aren't just fighting over the guy: they're designed around two specific, directly contrasting character archetypes that the guy must choose between as competing statements on what love should be. And everything about the girls- from personality to color design to even superpowers- is designed to emphasize that contrast.

So what are these two competing archetypes? Put simply: Hot and Cold.

HOT: The exciting girl. Probably a tsundere. Even if not, her personality is strong and overbearing. Her hair is red and most likely long. If this is a fantasy setting, she'll be some flavor of alien or superhero or magical warrior, something that sets her above common people. Her elemental power is, naturally, fire. This girl represents challenge and adventure for the male lead. She's someone who crashes into his normal life and upends it, shaking him out of complacency and inspiring to seize his destiny with two hands. If he chooses her, it symbolizes his willingness to reach for greatness and keep pushing himself to accomplish the impossible, proving himself worthy of being such an incredible girl's partner.

COLD: The shy, quiet girl. Her personality is usually sweet and caring, though sometimes she can be a deadpan kuudere instead. Her hair is blue and almost certainly in some kind of bob cut. Elemental power: ice. While the Hot girl is someone new who crashes into the male lead's life, Cold is near-guaranteed to be his childhood friend, someone who's known him for a very long time. She represents stability and domestic comfort. In contrast to Hot inspiring him to rise above him limits and become something greater, Cold accepts him as he is. She's the girl you don't have to change for, the girl who'll give you a long and happy life of simple contentment. By choosing her, the male lead shows he's able to see the happiness right in front of him and mature into a dependable partner.

Obviously, not every example of this trope fits all these parameters. There's plenty of variation in how many aspects of the Hot and Cold archetypes each girl fulfills. But if you look across anime history, you will find that a great deal of 1-guy-2-girl love triangles fall into this pattern to some extent. For just a few examples:

Darling in the Franxx- Zero Two and Ichigo. Probably the most prominent modern example.

Chivalry of a Failed Knight- Stella and Ikki. Go watch Trixie's video series on The Asterisk War for more info on them.

Re:Zero- Emilia and Rem. Obviously Emilia's a huge departure from the Hot archetype, but she fulfills the thematic purpose of someone Subaru must challenge himself to be worthy of.

Oshi no Ko- Kana and Akane. They swap the expected hair lengths, but the personalities are pretty spot on.

Waiting in the Summer- Ichika and Kanna. Never watched it so I may be wrong, but from what discussions I've seen, these two fit.

Shakugan no Shana- Shana and Kazumi. The show where I first started noticing how often this trope popped up.

Guilty Crown- Inori and Hare. Another case where Inori is much more a Cold archetype personality-wise but fulfills the narrative role of the Hot archetype.

Evangelion- Asuka and Rei. Kind of a funny example because they probably inspired a lot of future hot/cold love triangles, but they're also worst-case subversions of their respective archetypes that turn what they represent into something horrifying (What if the spunky foreign girl is actually a walking shell of trauma? What if the demure girl-next-door was actually just Your Mom?). Essay for another day, perhaps...

Blue Box- Chinatsu and Hina. Pretty textbook example of how this trope functions in a normal, grounded high-school setting with no magic or monsters or whatever.

Your Lie in April- Kaori and Tsubaki. See above.

Fate/Stay Night- Sort of an edge case with Saber and Rin both fulfilling the Hot archetype, while Sakura tackles the Cold archetype.

And finally, an honorable mention for Flip Flappers, which asks the question, "What if there was no guy and the girls were just in love with each other instead?"

It's worth saying at this point that I don't think this trope is inherently bad. Writing characters who represent two contrasting ideas or philosophies on how to live is a staple of literature across history. And I don't think all of these examples are bad either! If you've been around on this blog long enough, you know how much I adore the way Re:Zero handles Subaru's relationships with the girls around him. But the reason this trope bugs me so much is, well... have you noticed anything missing in this discussion of what these archetypes represent and what it means for the guy to choose one or the other?

Exactly: What about what the girls want? What are their desires? So often it feels like the girls in this kind of love triangle are written solely for their importance to the male lead, with little consideration for who they are as people. This trope can work, but only when everyone involved has dreams and personal goals beyond the triangle itself, things they want to accomplish that are bigger than who ends up smooching who at the end. And while the guy usually has bigger, more plot-relevant things going on, it's a bit of a coin toss whether or not the girls are allowed that same interiority. More often, they only exist for the sake of some dude's personal growth, denied the chance for the narrative to build something resonant out of their own circumstances and speak to their own experiences. Case in point: Akane being driven to attempted suicide by online harassment in Oshi no Ko mostly just existing as an excuse for her to fall in love with Aqua for saving her with no lingering impacts on her psyche or her relationship with the entertainment industry. Because why focus on how this traumatic turn of events affects her when her story only really matters in service to someone else's narrative?

The Hot/Cold love triangle exists for straight boys and men to explore their perspective on love. It gives male viewers a choice between the excitement of love as a constant adventure that challenges you to be better and the warmth of love as a stable commitment that accepts you as you are, and it tries to guide them toward the answer it believes it's best. But a relationship isn't something you can possess like an object. It's not a choice you can make on your own. It's a partnership between two people, each of whom matters equally in building a life together. And if stories like this fail to show men the importance of the woman's perspective? Then no matter which best girl wins, all girls lose.

PS: Surprise! Stealth advertisement for my webcomic, lol. I actually got the inspiration for Beyond the Sable Shore from thinking about this trope and wondering, "How could I write this kind of love triangle in a way that's actually compelling and meaningful and does justice to the female characters?" So if this discussion was interesting for you and you wanna see me grapple with this trope a little more, feel free to check it out!

[theaceofarrows]

Listen to 'Love Aint It' And I know I'm probably seeing through tinted view, but some of the lines fit SO well for our Hookedhaeart family backstory.

"The people here might smile, but they're two faced and too fake!" Bridget's thinking about how the 'heroes' were supposed to be the good guys yet they locked up INNOCENT KIDS. HER kids.

"Swimming in their tears won't it taste so sweet?" She's thinking about how Auradon made her cry more tears than anything, and now she will make THEM cry.

Red's line "I wish I could compete with all the GRIEF that you've experienced..." She doesn't know exactly WHAT turned her mother heartless, but she knows its got to be bigger then just a 'prank' and if she knew...maybe she could HELP...

No pressure just a musing :)

How are we once again thinking the same thing??

I was listening to this the other day and thinking about double meanings, I agree with you.

"The people here might smile, but they're two-faced and two fake!" The fact that unless you're going with the theory that Hook lies to Bridget at first to lead her on before actually falling for her, then he was more honest about who he was, a villain, never claiming to be something he wasn't. As opposed to people who called themselves "good guys" while sending garbage as the only food source, to a place that they knew had children, some who were the same age as their own children. For twenty years.

"Swimming in their tears won't it taste so sweet?" You said it perfectly, Auradon made Bridget shed more tears than anything the villains could ever do. Most of those tears aren't even for herself, but for the children who were not only taken from her, but sentenced to live out their lives just for being born. Hook may not have been innocent. Bridget herself might not have been completely innocent by Auradon's standards either, but their children were.

The line that gets me the most is Red's, "I wish I could compete with all the grief that you've experienced." Because while Red knows that something happened to her mother, she doesn't even know that she herself has something to grieve.

Red doesn't know that her mother lost three older children and a husband. Red doesn't know that she lost three older siblings and a father. She's lost the same things her mother did, and while she wouldn't necessarily grieve for people she never met, she would still grieve the loss of the life that she could have had.

While we're already talking about this song, imagine if while Bridget and Red were walking away from Cinderella and Chloe, Bridget heard Cinderella's "Look, hon, back in high school a mean prank was played and ever since that fateful day she was never quite the same, it's a shame."

Bridget is enraged at that because that's what she thinks this is about?! A high school prank?! Not her Bridget's family being dragged away from her and locked somewhere where she would never see them again or even know if they were alive? She thinks it's about that prank?!

Thank you so much for the ask!