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aquilaofarkham · 1 year ago

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Dying Has Never Frightened Us: Intergenerational Trauma, Healing, & the Burden of Legacy in Castlevania

An analytical and interpretation essay that discusses how the concept of family legacy and duty can lead to intergenerational trauma in the Castlevania franchise. Focuses primarily on the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

☽ Read the full piece here or click the read more for the text only version ☽

THE BURNING NEED FOR RETRIBUTION: INTRODUCTION

The world has trauma. It is deep, collective, spanning its roots over centuries and territories dating back to when the borders of today never existed, and it has largely gone untreated—but not undiscussed.

From children’s cartoons to award winning dramas, trauma has become one of the most common topics for media to discuss, depict, and dissect. It makes sense given the sort of physical and mental gauntlet which society has been through in the past five years. Sometimes even in just the past twenty-four hours. From an uptick in disasters stemming from climate change, the rise of publicised policy brutality, genocide as a result of settler colonisation, new developments coming to light after decades of denial regarding the residential school system in Canada, and of course a global pandemic which is still making ripples. Then there is the recent examination of generational trauma which differs from culture to culture. The open wounds we’ve already left and will be leaving for future age groups.

Seeing how fiction reflects reality and vice versa, it isn’t any wonder that movies, television shows, and video games find ways of processing this worldwide sensation of frustrated ennui along with the need to find answers as to how regular citizens can fix things, including ourselves, when politicians and world leaders cannot. When reality cannot provide satisfying resolutions, when we are left confused and even angrier than before due to the apparent shortcomings of institutions meant to provide relief towards the average person, it’s natural to look towards specific media. Whether for coping mechanisms, validation for this collective and personal trauma, or simply for cathartic release so the emotions don’t have to remain bottled up.

Castlevania , both its original 2017 series and the most recent entry of Castlevania: Nocturne (as well as the video games which the show is inspired by), is no stranger to this popular trend of storytelling and characterisation. Yet this trend also comes with its own controversy. When done with a deft writer’s hand and a layer of empathetic critical thinking, trauma in fiction and how we heal from its intergenerational effects can be a powerful tool in raising awareness in regards to something left forgotten by the larger public or it can allow viewers to look inwards at themselves. Done poorly or with a lack of empathy and taste, then the floodgates open.

But beyond the usual discourse surrounding trauma in fiction (how to portray a “realistic” panic attack, what makes a “good” victim, the problematic connotations of forgiving one’s abuser, etc.), Castlevania has its own things to say about the lingering effects of grief, guilt, and pain over the course of thirty-two episodes (now a fourty episode runtime with the inclusion of Castlevania: Nocturne season one). The series—particularly the first which ran from 2017 to 2021—has now gained a reputation for being one of the darker animated ventures tackling themes of religious corruption, abuse, sexual manipulation, and injustice among many others. The value and thoughtfulness of each depicted theme ranges from being genuinely compelling to delving into mere shock value yet the series is also known for its uplifting ending and cathartic release from such dark themes.

One could write entire dissertations on each complicated character and their developments. From Dracula’s suicidal tendencies as a result of unchecked grief to Isaac’s conflicted redemptive journey beginning with his unflinching loyalty to the king of vampires and ending with him forging down his own path in life. How characters such as Carmilla, consumed by her inner agonies and burning hatred towards the world to the bitter end, was left isolated from her sisters until she was forced to choose the terms of her own death, while others like Alucard, Sypha, and to an extent Hector rose above their individual torments in favour of hope and survival. However, this examination will focus on the series’ titular family of vampire hunters. Namely, the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

Note: this essay will delve into speculations and purely interpretative hypotheses stemming from the author’s own opinions in regards to how they personally read the presented text. It will also discuss heavy spoilers for the majority of Castlevania games and the first season of Castlevania: Nocturne.

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WHAT A HORRIBLE NIGHT FOR A CURSE: THE CYCLE OF TRAGEDY IN THE CASTLEVANIA GAMES

This examination begins in the exact same place as the show began with its inspirations and references: the original video games developed and distributed by Konami Group Corporations. It’s easy to get swept up in the notion that because of the technological limitations with video games at the time, the Castlevania games are devoid of story or characterization. Yet even the most bare bones of a story found in the games can still have something to say about the burden of legacy and how trauma left unconfronted has the possibility of tearing down that legacy. The most prominent example being Castlevania: Symphony of the Night , arguably the first game to begin delving into a deeper story and character driven narrative. It follows the events of Castlevania: Rondo of Blood , a game which portrayed its protagonist Richter Belmont as a force of nature in the face of evil, always knowing what to do, what to say, and emerging victorious without so much as breaking a sweat (or candelabra).

In keeping with the time of its release and the landscape of popular media particularly in Japan, Rondo of Blood feels like a traditional 1990s action anime complete with brightly coloured cutscenes and character designs reminiscent of Rumiko Takahashi and Rui Araizumi (despite the usual classic horror elements present in every Castlevania game). This is most evident with Maria Renard, the second playable protagonist who attacks with her own arsenal of magical animals and even has her own upbeat theme music during the credits when players complete the main story in “Maria mode”. Richter also shares many similar personality traits with his counterpart, namely his optimism in the face of danger and the confidence that he will be the hero of this narrative.

Of course all this changed in the direct follow-up to Rondo of Blood , the aforementioned Symphony of the Night . Arguably the new staple of future Castlevania games to come, not only did it change the gameplay and aesthetic, it changed the very core of the characters as well. The game even begins with the same ending as Rondo of Blood where Richter fights and defeats Dracula with the help of Maria. Then during the opening crawl, we discover that during a time skip, Richter has vanished and Maria is searching for him. Surely this will be nothing less than a heroic rescue and the most powerful Belmont of his century will be restored to his rightful pedestal.

Yet for the first half of Symphony of the Night , the player is faced with a sobering realisation—the villain we’re supposed to be fighting, the one responsible for conjuring Dracula’s castle back into existence, is Richter himself. No longer the hero we’ve come to adore and look up to from the previous game. Of course, the player along with new protagonist Alucard both know that something isn’t right; perhaps Richter isn’t in his sound mind or some nefarious force is possessing him to commit evil deeds. But unless the player solves the right puzzles and find the right in-game items, Symphony ends with Alucard putting down Richter like a rabid dog. However, this ending can be avoided and a whole second half of the game is revealed.

Richter’s canonical ending is left ambiguous at best, tragic at worst. He laments over his moment of weakness, claiming the events of the game were his fault despite Alucard’s insistence that confronting Dracula was always going to be inevitable. Still, the tragedy of Richter’s fate and how he is portrayed in Symphony of the Night comes much later, when it’s implied the Belmonts are no longer capable of wielding the fabled Vampire Killer, a leather whip imbued with supernatural properties that has been passed down generation after generation. One mistake and misjudgment left the Belmont legacy in a perpetual long lasting limbo with the titular hunters themselves seemingly disappearing from history as well, leaving others such as the Order of Ecclesia to pick up the fight against Dracula’s eventual resurgence. It isn’t until the height of World War II (the setting of Castlevania: Portrait of Ruin ) when the whip’s true potential is finally set free thanks to the actions of Jonathan Morris, a distant relative of the infamous vampire slaying family. However, the only way in which Jonathan can reawaken the Vampire Killer is by defeating a manifestation of the person who last wielded it and also whom the whip abandoned nearly two hundred years prior—Richter Belmont.

Yet players and fans don’t get to see it in the hands of another Belmont until the events of 1999 when Julius Belmont defeats the latest incarnation of Dracula and seals his castle away in a solar eclipse. Even then, he loses his memory until thirty years pass and he’s forced to do battle with Soma Cruz, an innocent transfer student who is also the reincarnation of Dracula. If the protagonist of Castlevania: Aria of Sorrow succeeds in defeating the cosmic threat that has awakened his supposed “evil” destiny, then Julius can finally lay down the Vampire Killer in peace (until the sequel Castlevania: Dawn of Sorrow , of course). If not, the game ends with Julius keeping his promise to Soma should he lose sight of his human side and let Dracula be reborn once again. In a scene that directly mirrors the beginning of Symphony , Julius enters the castle throne room, Soma throws down his wine goblet, and the screen goes black. The cycle continues anew. Julius has upheld the duty of his family name but at what cost.

The theme of tragedy getting passed down through different generations, permeating from person to person even with those who are not Belmonts, is a staple of later Castlevania games following Symphony of the Night . In some instances, pain and trauma is what jumpstarts the story moving forward. Castlevania: Curse of Darkness begins with its protagonist Hector in a direct parallel to Dracula swearing revenge on the one responsible for the murder of his wife; an ultimatum that follows him every step of the way, fuelling his rage and determination up until the penultimate moment when his goal is within reach. Yet even then he cries out, claiming this “murderous impulse” isn’t truly him—it’s the result of an outside force he himself once aided before defecting before the events of the game.

Something similar occurs in Castlevania: Lords of Shadow , an alternative reimagining of the franchise that while still a topic of division amongst most die hard fans has also seen a resurgence of popularity and reevaluation. It begins with Gabriel Belmont grieving over the death of his own wife (a trope which is unfortunately common amongst the majority of Castlevania titles). This is a wound that follows him throughout his journey until an even more painful and shattering twist regarding Marie Belmont’s demise is revealed to Gabriel later in the game.

However, there is one example from the games that stands above the rest in regards to the sort of damage which generational trauma as a result of familial duty and legacy, upheld to an almost religious degree, can inflict. So much so that even a declaration of retribution can evolve into a generational curse.

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HUNT THE NIGHT: LEON BELMONT & THE MYTH OF FREE WILL

The Castlevania timeline didn’t always have a set beginning. An inciting incident by which all future stories, characters, and inevitable calamities could base themselves off of. Rather it changed from game to game until a definitive origin was settled in 2003 with the release of Castlevania: Lament of Innocence . For at least two games, the starting point was supposed to be with Simon Belmont, making his way through a labyrinth of dark forests and cursed towns, before finally traversing the ever changing fortress in Transylvania to defeat Dracula. He even went as far as to gather the remains and resurrect the eponymous lord of his own choice just to rid himself of another curse entirely.

Castlevania protagonists are always cursed by something. Whether it be the cause of Dracula’s influence, their own actions as seen in Lords of Shadow , a curse of the flesh like how Simon had to tackle his own ailment in Castlevania II: Simon’s Quest , or something else just as common as Dracula’s curse: the burden of honouring a family duty.

A basic yet iconic 1986 entry followed by a sequel that had potential especially with the first appearance of the now famous “Bloody Tears” track but suffered from a rather confusing and lacklustre end product. Then suddenly the starting point for the franchise timeline changed drastically. Castlevania III: Dracula’s Curse despite the numerical inclusion in its title stands as more of a prequel, detailing the exploits of the Belmont who came before Simon. Not much was altered in the grand scheme of things; the titular vampire hunter still essentially slays Dracula with the help of three other playable characters, said final boss having been driven mad and more violent than ever by humanity’s slight against him. However, not only were the methods by which Dracula is defeated changed but players were given more insight into the sort of burden placed upon the Belmont family name.

When the story of Dracula’s Curse begins, protagonist Trevor Belmont isn’t revered as a legend or hero but rather a blight on larger society who the people only turn to as a last ditch effort against rising evil. The regular god-fearing people of Wallachia now fear the Belmonts and their power (it is also implied that some still feared the barbarian-esque Simon despite his legendary status) so the family is excommunicated. Trevor is forced to enlist three other outcasts—or simply two other fighters, depending on which version of the story you examine—in order to carry out the family business. Even when the rest of the world has shunned them and there are plenty of others just as capable of stopping the forces of evil, a Belmont still has a destiny to fulfil.

Yet once a series has gone on for long enough, things within the established canon are bound to change—again and again. Whether through re-examination in order to line it up better with present day morals and sensibilities, or through good old fashioned retconning in favour of something more interesting, more thought out, or less convoluted. Other times, it’s simply because either the creator or viewers wanted it to happen. In 1997, this occurred with the release of Castlevania Legends on the GameBoy, a prequel to Dracula’s Curse that was meant to serve as the actual origin for the Belmonts, Dracula, and even his son Alucard. Instead of Trevor, the very first Belmont to fight Dracula is now his mother, Sonia Belmont, seventeen years old and already burdened with the glorious purpose of her bloodline.

Sonia is undoubtedly the protagonist of her own story with agency and drive. However, the game ends with a stark reminder of why the Belmonts have a place in the Castlevania universe. The last we see of Sonia in Legends is in the form of an epilogue where she holds her newborn child and states that one day when he’s grown, he will “be praised by all the people as a hero”. Despite her triumph over Dracula—a monumental feat itself—it seems that her purpose in the end (the purpose of most Belmonts other than to forever fight evil in fact) was to merely continue the bloodline so that descendants can carry out a promise made centuries before by another Belmont—someone that neither Simon, Trevor, Julius, or Richter ever knew.

The inevitability of sudden retcons within long-running media was not as kind to Legends as it was to Dracula’s Curse . Because of how the in-game events conflicted with subsequent entries (for example the implication that Trevor is actually the son of Alucard, thus further tying the Belmonts to Dracula through blood as well as duty), both Legends and Sonia were completely removed from the canon timeline. This is merely one reason why the next attempt at creating the definitive origin for the franchise, now a cult favourite among certain subsections of the fan community, was regarded with some animosity. However, twenty years after its release, Castlevania: Lament of Innocence is considered by many as an underrated entry. It is certainly the darker title where both the hero and villain stumble through their own hardships yet neither emerges completely victorious by the end.

The opening narration crawl of Lament of Innocence describes the lives of Leon Belmont and Mathias Cronqvist. They spend most of their lives as reflections of each other; one grows into more of a fighter while the second is coveted for his intellect and ambition. Both are valorous, honourable, and products of their own respective plights. Despite his service to the church, Leon is soon systematically stripped of everything save for the clothes on his back because he wouldn’t follow their orders blindly. While Mathias is forced to watch as an uncaring god (the very same god he serves) takes away a figure of pure virtue and love. This figure, Elisabeta Cronqvist who appears to be a splitting image of Dracula’s next deceased wife Lisa Tepes, was the last remaining tie Mathias still had to whatever bit of morality he still feels, which he eventually throws away when deciding to drag his only friend and everything he holds dear into hell alongside him.

The difference is how both men react to those personal horrors and how they let it govern their pasts, presents, and futures not just for themselves but for others who follow after the dust has supposedly settled. Two men, two best friends turned hateful enemies because of an interlinked tragedy. Not only that, but also because of their perspectives, morals, and the way they view a world that is unkind to them. Both were spurred by the death of loved ones, both used it as a conduit, or rather a catalyst for the radically opposing directions in which their choices take them and their families. Leon chooses to struggle onwards towards a world free from darkness and horror despite his pain. Mathias chooses to revel in that very same darkness and pain with a fire that would burn for aeons. In the end, one thing is absolute. A single thing the two men can agree upon as they flee down adverse paths: one of them will destroy the other.

Yet the timeline of Castlevania proves that this choice comes at a great cost for the Belmonts in particular. By the end of Lament of Innocence , Mathias has revealed himself to be the great manipulator pulling the strings behind the scenes. Due to the immense grief he felt over losing Elisabeta to a presumably common illness made untreatable because of the time period’s medical limitations (coupled with his own arrogance and narcissism), Mathias finally becomes Dracula. Dominion over death and even god by has been achieved by doing what Leon’s righteously moral mind cannot comprehend: transforming himself into an immortal creature driven by bloodlust. All he had to do was lie, cheat, and cruelly outsmart everyone else around him. That of course includes Leon as Mathias’ manipulation tactics were also the cause of the mercy killing of Sara Tarantoul, Leon’s fiance, to stop her from turning into a vampire herself. After watching his former friend escape before the sun can rise and disposing of Dracula’s constant right hand man Death, Leon finally feels his anger over such a betrayal boil over. He gives one final message to Mathias, now the new king of the vampires: “This whip and my kinsmen will destroy you someday. From this day on, the Belmont Clan will hunt the night.”

This is how Castlevania: Lament of Innocence ends. Unlike other entries like Symphony of the Night, Aria of Sorrow, or Harmony of Dissonance , there is no good, neutral, or bad ending that can be achieved if the player is aware of certain secrets and tricks. There is only one for Leon and Mathias. The inclusion of multiple endings in some Castlevania games versus a singular set ending in others may seem like a small coincidental narrative choice in conjunction with evolving gameplay, but it matters in the case of Lament of Innocence. From the moment Leon enters the castle to rescue his fiance, the wheel has already started turning and his fate is sealed. Mathias has already won and Sara, along with future Belmonts, are already doomed. And Leon’s ultimatum made in the heat of the moment would go on to have repercussions centuries later. “Hunting the night” gave the Belmonts purpose but it also burdened them with that exact purpose. While Dracula deals in curses, so does the Belmont family—a curse of duty that gets passed down throughout the bloodline.

Leon Belmont was of course never malicious or cruel like Mathias was. He never wanted to deliberately curse his family because he suffered and so should they. His choice was made out of anger and retribution. Still, it goes on to affect Simon, Sonia, Julius, and others in drastic yet different ways. Yet in the case of specific Belmonts like Trevor and Richter, we see how this family legacy can have varied consequences in far more detail through the introduction of animation and serialised writing into the Castlevania franchise.

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SOMETHING BETTER THAN A PILE OF RUINS: TREVOR BELMONT & STRENGTH FROM LEGACY

If there’s one thing that Castlevania makes abundantly clear with its four season runtime, it is that trauma does not inherently make people better or more virtuous. We of course see this from the games with Mathias and his personal crusade against god which leads to the complete dissolvement of his closest friendship. Or with Hector and the rage he feels towards his wife’s murderer, who also happens to be his former comrade under Dracula’s employment. Even Leon’s promise to both his friend, now his most despised enemy, and future descendants can also be an example of how gut reactions to pain, grief, and betrayal can have damaging consequences in the long run. This particular dissection of trauma when it affects a survivor negatively and in almost life-altering ways while still giving them a chance at achieving their own method of healing is most apparent with the animated representation of Trevor Belmont.

At its core, the first season of Castlevania airing in July of 2017 with four episodes in total is inspired by the events of Dracula’s Curse with the following seasons taking more from Curse of Darkness along with original story elements. It begins with the brutal execution of Lisa Tepes after she is falsely accused of being a witch. Shortly afterwards, Dracula declares war on all of humanity in an explosion of grief-riddled vengeance (a declaration that is not dissimilar to Mathias’ cursing of god after Elisabeta’s admittedly more natural death). Hundreds of civilians are slaughtered in the capital city Targoviste and hoards of night creatures descend upon more townships across Wallachia.

This would be the perfect opportunity for a Belmont to stand up and fight back except there is one problem: the Belmonts have been eradicated from this world on false grounds of black magic and aiding the vampire lords instead of hunting them—much like how Lisa was slandered and paid the price with her own life.

The only Belmont left surviving is Trevor himself and his introduction does not paint him in the most optimistic or even heroic light. In the midst of being excommunicated by the church, he’s been wandering aimlessly for the past few years while languishing in whatever tavern he stumbles upon. In one particular bar Trevor finds himself in, he overhears the other patrons cursing the Belmonts and blaming them for Dracula’s siege upon humanity. He tries to stay out of it and not bring too much attention to himself until one glance at the family emblem stitched into his shirt breast is enough to ignite an all out skirmish.

Trevor hides his true identity not because he’s ashamed of it, but for his own safety and self preservation. In fact, the opinion he holds of his family is the total opposite from disdain for the sort of legacy they have saddled him with even in death. He reacts strongly to false accusations directed towards the Belmonts, angrily correcting the bar patrons by stating that his family fought monsters. However, he quickly realises he’s said too much and tries saving face by once again detaching himself from possibly being connected to the aforementioned Belmonts.

It’s only when Trevor is backed into a corner and is fresh out of snappy drunk retorts (thanks to a few hard hits to his nether regions) does he finally admit to his real lineage. As mentioned earlier, Trevor finds himself caught up in the first real brawl of the series not because of the pride he feels in himself but the immense pride he feels for his bloodline. All the while, he’s given up trying to hide what he is—a Belmont—and what he was born to do—fight fucking vampires.

Every time Trevor has the opportunity to bring up his bloodline whether in a fight or in conversation, it’s usually spoken with some bravado and weight even when he’s inebriated. However, when visiting the ruins of the Belmont ancestral home in season two and thus directly confronted with what little remains of his family legacy, Trevor loses all that previous bluster and becomes far more contemplative. He doesn’t reveal much of what it was like to actually live as a Belmont, only that it was “fine” and “no one was lonely in this house”. Even when staring up at the portrait of Leon Belmont, he says nothing and instead firmly grips the very weapons which his ancestor must have also wielded.

It’s clear that Trevor feels no shame, bitterness, or lack of respect towards his family history despite the hardships that have come with it. Still, it’s difficult for him to truly accept the duty of being a Belmont and Trevor continually struggles with it over the course of two full seasons. Upon arriving at the ruined city of Gresit which is under constant threat of night creature attacks, Trevor doesn’t seem particularly concerned with the people’s plight or with helping them. He inquires about what’s been happening by speaking with a few local merchants but it’s only in order for him to gain a better picture of the situation that Gresit finds itself in. Otherwise, he’s simply passing through on his way to another tavern, fist fight, sleeping spot, or all three. Until he puts aside his own needs for self-protection in favour of saving an elder Speaker (a fictionalised group of nomads original to the Castlevania show who have made it their mission to help less fortunate communities and pass on their histories via oral tradition) from a potential hate crime committed by two supposed men of the cloth.

This moment acts as a representation of the first chip in Trevor’s carefully maintained armour. During the bar fight, he claimed over and over again that he was a Belmont in both skill and purpose. However, Trevor hasn’t done much to prove such a proclamation. Because of his ennui and poor coping mechanisms due to lingering trauma, he’s been all talk and not a lot of action—until this point. At first he tells himself to walk away, this sort of confrontation doesn’t concern him. Then he remembers where he comes from and uses the very same family heirloom to help someone physically weaker than himself.

Yet when he accompanies the elder back to where the other Speakers have found shelter from the monsters repeatedly demanding their heads as well as future night creature attacks, Trevor’s metaphorical walls are erected back up. He won’t take any part in this eradication of humanity whether as a victim or perpetrator and especially not to stop it. The people of Wallachia made their choice in the unjust murder of Dracula’s innocent wife, they made their choice when they decided to massacre what was left of his family, and the church made their choice when they decided to fight Dracula’s armies themselves without the Belmonts. Why should he lift a finger (or whip) to save the masses?

Despite this nihilistic attitude, Trevor proves to be a poor defeatist. He still desperately wants to protect the Speakers and warns them of an oncoming pogrom planned for them. A massive hate crime fueled by superstition and facilitated by the corrupt Bishop of Gresit which will supposedly save the city from night creature ambushes (this can be interpreted as a direct allegory meant to comment on how minority groups such as Jewish and Romani communities were used as scapegoats during the Mediaeval period). However, the Speakers refuse to budge and decide to face the angry and misled crowds head-on. They instead tell Trevor to leave in their place which, in a burst of frustration, spurs him to finally act like a member of his clan should.

What follows next is one of the most defining moments of the series for Trevor, cementing his place as a Belmont. Another corrupt member of the church demands to know what he could possibly stand to gain from fighting back considering his downtrodden state and the fact that he’s entirely outnumbered. Trevor’s answer is simple: nothing. The Belmonts don’t protect everyday people for any great reward or because of any strong personal ties. They do it because it’s their duty and the right thing to do. Trevor even mirrors something which the elder Speaker told him; a family mantra that encompasses the very purpose of the Belmonts, dating back to Leon: “It’s not the dying that frightens us. It’s never having stood up and fought for you.”

Trevor’s healing journey does not end at this moment. He still has moments of hesitation where someone like Alucard has to forcibly remind him of his place as Belmont, saying he needs to choose whether he’s really the last of a long line of hunters or a drunkard. This leads to a fight sequence that nearly spans the length of an entire episode where Trevor further proves himself by taking on at least three different creatures all with varying degrees of strength, skill, and fortitude. Episode six of season two is the ideal example of not only Trevor’s determination but also his quick thinking. Moments such as him wrapping his cloak around his hand so that it doesn’t get cut while his sword slices through the throat of a minotaur or using a set of sticks to beat against an adversary when his whip is knocked away. Being a Belmont means using one’s intellect (no matter how unconventional it may seem) as well as one’s muscles.

There is also another albeit less violent instance at the start of season three where he still feels the need to hide his surname while in an unfamiliar village. Then there is the revelation that malicious stories about the Belmonts and their supposed demise still circulate amongst rural Wallachian communities. Yet despite coming from a family of old killers (a term Trevor uses before facing off against Death in the final season) his family name remains his strength and the weight of both the Vampire Killer and Morningstar whip keep him grounded rather than burden him. The Belmont name carries such weight throughout the series that by the end, there is strong consideration from Alucard of naming a new township nestled in the shadow of Dracula’s castle after that family.

Trevor deals with his pain and trauma quietly, almost numbing it with the assistance of alcohol and dodging the harder questions regarding what his family was really like. He still finds strength in remembering what the Belmonts are here for despite the tribulations that come with the family name. Hardships that continue and evolve nearly three hundred years later.

—

THE THINGS THAT MAKE ME WHO I AM: RICHTER BELMONT & STRENGTH FROM LOVE

Depending on what sort of mood you might find the author of this essay in, their favourite Castlevania game will vary. At the moment, it’s a three way tie between Symphony of the Night for its artistry, Lament of Innocence for its story and characterisation, and Aria of Sorrow for its evolved gameplay. However, one personal decision remains relatively consistent no matter the mood or time of day: Richter Belmont is the author’s favourite Belmont and the inclusion of him in the latest animated adaptation Castlevania: Nocturne has only cemented that fact.

It makes sense from both a narrative and marketing standpoint as to why we’ve suddenly gone from the events of Dracula’s Curse/Curse of Darkness depicted in the previous series all the way three hundred years later to Rondo of Blood . Narratively, Richter and his companion Maria Renard already have a direct link to Alucard through the events of Symphony , which Nocturne will most likely cover and be inspired by in its second season. Marketing wise while also appealing to the largest demographic possible (even those less familiar with the games), amongst more recurring characters like Dracula and Alucard, Richter is arguably one of the most recognisable Castlevania figures right down to his design.

Certain traits and visual motifs of other Belmonts have changed drastically over the years and with each iteration. Meanwhile, from Rondo and Symphony , to Harmony of Despair and the mobile game Grimoire of Souls , to finally Nocturne and the inclusion of Richter as a playable character in the fighting game Super Smash Bros Ultimate , specific elements of Richter never waver. This includes his blue colour scheme, his tousled brown hair, and his iconic white headband. All of which carry over in the first season of Nocturne which not only expands upon Richter’s character first established in Rondo of Blood but also further examines said character.

For example, Richter’s true introduction directly following the downer cold opening is without a doubt the farest cry from Trevor’s. While Trevor’s first scene acted as a sobering depiction of what happens when physically/mentally damaging coping mechanisms mix with unacknowledged grief, Richter’s first fight gets the audience’s blood pumping, complete with a triumphant musical score and a showcase of his skill with the Vampire Killer. Richter is cocky, but not reckless. He’s sarcastic, but not sullen like Trevor was. Because of his upbringing after the death of his mother, filled with positive affirmations, he values the wellbeing of others along with their fighting experience. Yet his confidence does not overshadow his acknowledgement of the family burden. Richter is well aware of how heavy the Belmont legacy and duty can weigh upon an individual’s shoulders along with how closely it can tie itself around a person’s life and their death—a reminder as well as memory which haunts him for nine years.

When Nocturne begins, its first major fight sequence takes place between Richter’s mother Julia Belmont (an original character for the show) and the vampire Olrox, an enemy taken from Symphony of the Night now reimagined as a seductive, complex Indigenous vampire on his own path towards vengeance against the very person who took away the one he loved most in this world—just one of many thematic parallels to the first series, this time referencing Dracula’s motives and justification for his grief. Just when it seems like Julia has the upper hand thanks to her magical prowess, Olrox transforms and ends her life in a swift yet brutal manner. All of which happens right before ten-year-old Richter’s eyes.

Julia was simply doing her duty as a vampire hunter and her life as a Belmont ended the same as most of her ancestors did: in battle while fighting for the life of another. Why then did it hurt Richter most of all? Why does it haunt him well into his early adult years? And why was it seemingly more so than how Trevor’s trauma haunted him? There are two probable answers to this, one being that Richter was only a child, directly confronted by the cause for his mother’s sudden and graphic death with no way of fighting back despite being a Belmont.

In the case of Trevor, although he was a few years older than Richter when his entire family and ancestral home were burned in front of his eyes presumably by the same people they were supposed to be defending, the circumstances which followed them afterwards are vastly different. For nine years Richter was surrounded by those who loved and cared for him whereas Trevor only had himself and the hoards of average Wallachians who hated him because of superstitious rumours and the church’s condemnation. Trevor had over a decade’s worth of experience in becoming desensitised to his pain and trauma, masking it beneath self deprecation and numbing it with alcohol. He wasn’t even aware of the fact that he was a deeply sad and lonely individual until Sypha pointed it out to him.

Despite his bravado and brighter personality than his ancestor, Richter is also an incredibly sad, hurt person who suffers somewhat from tunnel vision. He obviously has empathy and wants to protect people from monsters, vampires, and the like. More so than Trevor did during his introduction before his moment of self-made rehabilitation. However, he doesn’t seem to care much about the revolution itself or what it stands for. He attends Maria’s rally meetings but he doesn’t take active part in them, opting to stay back and keep a watch out for any vampire ambushes. He admits that he doesn’t really listen to Maria’s speeches about liberty, equality, and fraternity. And in the most prominent example of his disillusionment with fighting for a larger righteous cause, when given a revolutionary’s headband, he shoves it into his pocket and mumbles about how tired he is of everything.

This could be interpreted as defeatist if Richter wasn’t already trying so hard to uphold his family duty and maintain a level head. He needs to have a sense of control and almost achieves it until Olrox so casually confronts him in the middle of a battle which Richter and his friends seemed to be winning until they’re forced to flee close behind him. When Richter runs away and emotionally breaks down the moment he’s finally alone, it isn’t because he’s weak or cowardly. On a surface level, it was due to his fear and panic over not being able to face his mother’s killer (someone who has proven to be much, much stronger and more powerful than any Belmont). Yet it was also a form of harsh admission to himself. He couldn’t maintain that aforementioned sense of control and perhaps he never will, not where he is right now at least.

It isn’t until he’s reunited with his grandfather Juste Belmont (long thought to have died, leaving Richter as the final Belmont) that this negative mindset brought on by unresolved trauma begins to shift. In many ways, Juste is another callback to what happened with Trevor. He suffered an immense tragedy in the past and has since spent his entire life drifting from tavern to tavern, avoiding his own grandson and instead leaving him in the care of people far more capable of raising him and instilling better morals within the youngest Belmont.

Other mentor-esque characters appear in Nocturne such as Tera who raised Richter alongside her biological daughter Maria. There is also Cecile, the leader of a Maroon group which Annette joins after escaping slavery. Despite their individual pains, these two women maintain the hope that humanity can be changed and the evils of the world can be defeated. Meanwhile, Juste has thoroughly lost his own hope. He reveals to Richter that “evil will always win” because of how it permeates everything and is far stronger than any Belmont, even the most magically inclined members. No matter how many Draculas, Carmillas, or Lord Ruthvens are defeated, it will always find a way to creep back to the surface whether through the upper class of France or through the very colonisation that nearly wiped out Olrox’s people or enslaved Annette’s family.

One of the first things that Juste says to Richter directly references the sheer weight of the Belmont legacy, all of which culminates within the whip itself. This can also be a reference to the Vampire Killer carrying a living soul as Leon Belmont was only able to awaken its true power by sacrificing Sara Tarantoul. The whip has both a metaphorical and literal weight which the Belmonts must come to terms with.

Yet for Richter, family is maintained not through blood ties, which can easily die out or be abandoned because of generational trauma, but through the people we find and attach ourselves to. Under the immediate threat of losing his found family, all of Richter’s pain and anguish explodes when his magical powers violently return to him in one of the most visually impressive and cathartic moments of Nocturne season one, complete with an orchestral and operatic rendition of “Divine Bloodlines” taken straight from Rondo of Blood as he ties the same headband he nearly discarded earlier around his head. Then once the dust settles and Richter is asked by Juste how he managed to tap back into that great power, he simply responds with the most obvious answer he can come up with: there are people who love him and he loves them in return.

This is reiterated when Richter is reunited with Annette and describes the same revelation when she asks how he was able to regain his magic. Not just a mental revelation but for Richter, it was a physical sensation as well. Just when he believed he had lost everything, something reminded him of all the things worth protecting in his life and all the pain he’s had to endure.

Richter finally donning his iconic white headband is symbolic of not only his decision to actively join the French Revolution but also his revelation that the love he feels for Maria, Annette, and Tera is his own righteous cause. That, to him, is worth defending just as much if not more than the concept of a centuries old curse turned legacy.

—

SLAVES TO OUR FAMILIES' WISHES: CONCLUSION

Richter, both his game depiction and his recent Nocturne iteration, acts as a reflection and subversion of what a Belmont is along with what that family duty means to different members. Trevor found healing from his trauma through his duty. Richter found his healing through love. Of course Trevor loved Sypha and Alucard in his own way, but throughout the entire first series, from the moment he removed his cloak at the end of season one to standing up against Death in the finale, his driving motivation was always to preserve his family’s legacy despite his own shortcomings. The Belmonts were all but gone and Trevor had been exiled, excommunicated, and turned into a societal pariah. Had he given into despair and continued with his vagabond ways, who else would wield the Morningstar, the Vampire Killer, or any of the knowledge cultivated by previous Belmont generations?

But for Richter, family legacy is more of a nebulous concept. It gets mentioned in conversations and we see its varying effects on individuals, but even when Richter is reunited with Juste, the immediate priorities of his found family takes the place of his blood family. This, according to him, makes him a Belmont.

It is also important to consider that we are still only on the first season of Castlevania: Nocturne with season two having been renewed and in production merely a week after its initial premiere. With the reveal of Alucard as a last minute cliffhanger in the penultimate episode, it will be interesting to see how his own characterisation as well as his close tie with both the Belmonts and his own family burden will further develop especially after three hundred years within the show’s timeline. One of the biggest possibilities is that in contrast with his youthful brashness and instability that was the crux of his character in the first series, Alucard might serve as a sort of mentor figure or perhaps his own generational pain will bond him further to Richter and Maria, more so than he was in Symphony of the Night . Then there is the question of whether Richter in the midst of the apparent losses he suffered during the finale of season one will follow down the same path that his video game counterpart did.

In 2020, the author wrote another Castlevania -centric essay which detailed the visual, thematic, and aesthetical shifts of the franchise from its inception during the 1980s all the way to the 2017 adaptation through focusing on how these changes affected Alucard. By the end of that essay, it was mentioned that despite the show being renewed for at least one more season, the overall future of Castlevania remained unknown. This is still the case for now.

Though one can make educated assumptions and theories, there’s no way of knowing what sort of direction season two of Nocturne will take with its themes and characters. This is doubly true for the games themselves. Despite the anticipated releases of the Silent HIll 2 and Metal Gear Solid Delta: Snake Eater remakes, as of now Konami has not revealed any official decisions to remake, rerelease, or produce new Castlevania titles. One can hope that due to the success of both shows along with the anticipation for Silent Hill and Metal Gear Solid remakes that something new will be in store for Castlevania in the near future.

Castlevania , both its games and animation adaptations, prove that there is a place in this world for every kind of story. In the last episode of season one airing in July 2017, Alucard states what could very well be the thesis of the entire franchise: “We are all, in the end, slaves to our families’ wishes”. Yet even if we cannot escape the narrative we’ve been latched onto or, for dramatic purposes, cursed with, there are ways in which we can combat it and forge our own healing process.

—

MEDIA REFERENCED

Castlevania (1986)

Castlevania II: Simon’s Quest (1987)

Castlevania III: Dracula’s Curse (1989)

Castlevania: Rondo of Blood (1993)

Castlevania Legends (1997)

Castlevania: Symphony of the Night (1997)

Castlevania: Aria of Sorrow (2003)

Castlevania: Lament of Innocence (2003)

Castlevania: Curse of Darkness (2005)

Castlevania: Lords of Shadow (2011)

Castlevania (2017—2021)

Castlevania: Nocturne (2023—)

#castlevania #castlevania netflix #castlevania nocturne #trevor belmont #richter belmont #leon belmont #castlevania symphony of the night #my writing #god its been so long since i wrote an actual essay pls be gentle with me.....

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iambicpentameterhamster · 4 months ago

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Every umbrella academy character ranked (seasons 1-4)

After that shitshow of a fourth season, i felt it necessary to redo this.

#36 -The Sparrows (Jayme, Alphonso, Fae etc.)

The show had no clue what to do with these characters. They sit around being evil for a little while only to promptly die within four episodes. Also one of them is a fucking cube?!? Whats up with that?

#35 - Sloane

How come she disappears in season 4 but not sparrow Ben? So much of this makes no sense.

#34 -Sparrow Ben

I hate this character with my whole being. He goes around calling people emo as if HE DOESNT WAKE UP EVERY MORNING WITH A SCOWL ON HIS STUPID FACE AND EMO HAIR ON HIS STUPID FOREHEAD. He's so rude and awful and i'm given no reason by the show to give a shit where he ends up.

#33 -Carl Cooper

This one speaks for itself.

#32 -Reggie's wife

The two of them annoyed me so much.

#31 -Viktor

Moochy emo sod. Elliott Page's acting got progressively worse throughout the series (and i like Elliott Page, but this wasnt his best work.)- season 1 Vanya was tolerable, beyond that i couldn't stand this character. All his jokes land flat and he has the charisma of a piece of cardboard.

#30 -Season 4 Five

For the sake of this ranking, i am treating seasons 1-3 Five and season 4 Five as seperate characters. Seems like the writers were doing the same. What the fuck, guys? How do you bulldoze a character this badly?

Season 4 Five was unfunny, selfish, cowardly, and most of all on a different plane of being from the Five we all knew and loved. Screw you, season 4 Five, you're not canon.

#29 -Season 4 Lila

I'm treating Lila the same way. Season 4 Lila was an injustice to seasons 2-3 Lila.

#28 -Harlan

Couldn't care less about him. He represents to me when the umbrella academy started going to shit in season 3.

#27 -Jennifer

Again, we are given no reason to care about her.

#26 -Pogo

He was just there for the exposition. They never explained why Reggie was doing experiments on monkeys??

#25 -Reggie

He was quite a good villain but i still hate him. Really goofy at times, too.

#24 -Jean and Gene

They were quite good actually. If season 4 wasn't a dumpster fire, i reckon they'd have been able to really shine.

#23 -Cha Cha

This is getting into better territory. I liked Cha Cha, she was badass, but not well developed.

#22 -Detective Patch

Again, i liked her, but she wasn't given much time to develop as a character.

#21 -The Swedes

They were funny, whimsical villains that were fun to watch on screen. Funny and whimsical are two adjectives that TUA used to embody.

#20 -Elliott

My guy just wanted to eat fish and be a conspiracy theorist 😔

#19 -Sissy

Welcome back, Sheldon's mum.

In all seriousness, she was well acted despite Viktor's actor giving her nothing to work with, so props to her.

#18 -Dave

WE GOT ZERO MENTIONS OF DAVE IN SEASONS 3-4?!? DESPITE HIM BEING A HUGE PART OF KLAUS'S CHARACTER?!?! WHEN I CATCH YOU WRITERS-

#17 -Destiny's children

I am in fact an active member

#16 -Luther

I have bumped Luther up my list because in seasons 3-4 he sort of embraces his goofiness, but in seasons 1-2 he is an insufferable, incestuous moron. He is up here for good character development and i wished he could have ended up with Sloane.

#15 -Agnes

She was really cute and sweet, i liked her a lot. RIP season 1, you were peak.

#14 -Herb and Dot

They were sweet and funny too, and i miss the whole idea of the time commission.

#13 -Kenny's mum

An honourable mention

#12 -Grace

Grace was super well performed and poignant. I have no issues with Grace.

#11 -Stan

Live, laugh, love Stan. I hate that the trauma of losing him was never mentioned in season 4 for Diego or Lila.

My top 10

#10 -Lenoard Peabody/ Harold Jenkins

I stand by him being one of the best-acted and most cleverly written villains of all time. He is not only a well-executed surprise villain, but a scarily accurate one, and the actor plays him to perfection. We even start to like him before the cracks show. Also he looks like a creepy version of Lin Manuel Miranda.

#9 -Ray

Season 4 did Ray DIRTY. It was completely out of character for him to just walk out. They could have at least have him die in a tragic accident or something. Season 2 Ray is the perfect, most charismatic, ideal man and i hold him in my heart forever and in my head Alison and Ray ended up together.

#8 -Hazel

He had one of the best arcs on the show, period. Continues to represent everything good about the first two seasons of TUA. He was flawed, he was human, he was loveable.

#7 -Umbrella Ben

He seemed like he could have been a brilliant character with more screen time. His sacrifice in season 2 was a genuinely moving moment. The backstreet boys moment is SO FUNNY and his and Klaus's dynamic is something i really miss.

#6 -The Handler

We don't appreciate The Handler enough. The show started rolling downhill as soon as The Handler was gone. She was the glue that held the show together, one of the best villains/antagonists in TV history.

#5 -Allison

Yes, season 3 Allison made some stupid choices and did some terrible things, but a lot of it came from grief and she redeemed herself in season 4 imo. Seasons 1-2 Allison was one of the most charismatic, endearing and empathetic characters on the show.

#4 -Seasons 1-2 Lila

I love you. I miss you. Come back to me.

#3 -Diego

Bumped up the list for being a CONSISTENTLY good character who is flawdd but still extremely loveable and hilarious.

#2 -Seasons 1-3 Five

Seasons 1-3 Five would shoot season 4 Five in the face. He is the daddy here, and season 4 Five is the creepy uncle.

Original Five is a masterfully crafted, hilarious, unique, intelligent character and i will not let season 4 ruin it for me.

#1 -Klaus

This needs no justification.

What do you think? How far do you agree?

#the umbrella academy season 4 #the umbrella academy season 2 #the umbrella academy #the umbrella academy cast #the umbrella academy season 1 #the umbrella academy season 3 #klaus hargreeves #five hargreeves #diego hargreeves #lila pitts #reginald hargreeves #allison hargreeves #luther hargreeves #viktor hargreeves #ben hargreeves

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aoioozora · 6 months ago

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https://www.tumblr.com/aoioozora/755542119339474944?source=share

Not you supporting literal murderers, why tf should anyone care about people who cause nothing but suffering/destruction, murdering and raping innocent civilians for a living?? Someone using "barracks bunny" isn't the end of the world, it isn't that deep who tf cares if we want to be barracks bunnies. If mfs don't want to be called that frfr then they shouldn't enlist in the first place, people like her deserve everything they get coming to them

[The post in question]

Anon, I get where you're coming from, and I admire your sense of justice towards innocents.

But please, don't generalise all soldiers as people who WANT to cause suffering. I do not condone or support any of these things you've mentioned, and people who enlist in the army, I'm sure, do not join to murder and cause suffering. They just want to serve the country. And it just so happens that when it's time, they are called to fight simply for defending the honour of their country and the safety of their citizens. I can't speak for all soldiers, but I'm sure a lot of them wish peace and safety was not brought about through strife.

And oftentimes, the ones who enlist are the ones who suffer under the oppressive hand of their government by being forced to kill. Sure, no doubt there are soldiers who revel in causing destruction out of their hatred, but can you say it's the same for all soldiers? Besides, not all the jobs in the military mean they get to kill people. My aunt is a retd. Major and she was an education officer. And when she enlisted, I'm 100% sure she didn't enlist because she wanted to kill and murder and rape.

I'm sure you're smart enough to understand this much.

Look, this is the sad reality of the world. Death, destruction, and suffering are commonplace, and it's something we have to sadly come to accept. That doesn't mean it's right. But remember, what we see around us is out of our control. We cannot control what laws governments pass, what they order their soldiers to do, etc. And sometimes, soldiers can be brainwashed by propaganda and be ignorant of facts too.

I know, the injustice sucks, and I completely get it. But you can't be unjust and blame soldiers for all the misery in the world when you don't know what they're going through. Ultimately, it's not right to judge because we don't know their thoughts, their background, their beliefs, mental state etc.

And yes, I agree with you to some extent that calling someone a "barracks bunny" isn't the end of the world. I've been called a whore and the world didn't end. We just gotta take it in our stride and move on because we have better things to do. But does it mean it's still not severely hurtful? It hurts, and for some sensitive people, the anxiety of being perceived that way can live with them for a long time. Nobody deserves to be called such hurtful things, whether you like them or not.

If you want to be called one and be one, then sure, go ahead and knock yourself out. I don't support promiscuity but I support your freedom to choose. But don't go around saying that female soldiers deserve it because they're "murderers". I don't know if you're a woman, but if you are, I feel like you're not really being a girl's girl here. A real girl's girl would support freedom of choice, whether you like that choice or not. A real girl's girl would understand that there's more to it than what meets the eye. Hell, it even goes even if you're not a woman.

Also, it's not about "if they don't want to be called that, they shouldn't enlist". They SHOULDN'T be called that, period. You hear similar shit in corporate too like "she slept her way to the top". Iterations of it are everywhere! It's disrespectful, rude, discouraging, and degrading. Women go through enough already, this is too much. No woman deserves this nonsense, especially if they're hardworking and sincere, no matter the industry. Forget about them being women for a moment; can we just treat them as human beings? With feelings, aspirations, dreams? Hell, even dignity?

In our passionate rants, are we forgetting that other people are human just like us?

Anon, you are free to have your opinions, but please don't be rude about it. Consider that not everyone is out here trying to actively hurt people. And maybe consider being brave and bringing up your concern to the OP instead of me, since she's a soldier and I'm just a civvy. I'm sure you'll get insight better than mine.

And in conclusion, I suggest you read my favourite poem No Men Are Foreign by James Falconer Kirkup. I hope it's relevant to your concern and gives you a fresh new perspective.

Thanks for reading this Anon, and whoever comes across this. Forgive me if I've been rude or inconsistent anywhere. And if I've missed anything, let me know. I'm open to a civil discussion.

I rest my case. Good day/night.

#aoioozora answers

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raayllum · 2 years ago

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hello what are your thoughts on a rayllum situation a la percy and annabeth in which either or both give up a great power/opportunity to be with each other?

while I’m not really sure we’d ever see this in canon I love the idea of it

So Rayllum has had PJO / Percabeth energy to me for a long time

And I am deeply intrigued by what lengths Rayla and Callum will be willing to go to save each other, as keeping one another safe has always been one of their biggest priorities and brought out their most batshit sides. We already know what Test of Love Rayla is going to have (leaning towards next season but could also see S6) in terms of her being willing to risk the world when Callum is possessed again ("You let him live but you killed us all / You have two choices: you all die, or just the evil wretched human dies") in favour of fighting to break him free and save him. It's already been textually confirmed, symbolically, as well that she will successfully save him.

“Wow. So they look identical, but they might kill you or they might save you,” Callum said.

“Exactly. Just like me…” Rayla smiled. (Book One novelization)

This will of course play a big hand in restoring their relationship, as well as herself, to what they/she used to be. A complete inverse of her "We can't save everyone, there's too much at stake" dismissal in 4x05 that shows how jaded her time alone had made her, traumatizing her to a point nothing else she'd ever been through (almost losing her hand, losing her family, her village, etc) had pushed her to. But of course to Callum, "Rayla is a hero" and that's what makes her who she is, and it's the positive side of her self sacrificial / selfless nature (as the self sacrifice is still alive and kicking in S4 with going after Viren, being the first to give Rex a gift, etc etc as well as the self loathing). Her saving him is the perfect "wrap it up in a bow" of setup and pay off for all of it, and her arc in general from a S1-S5 type deal.

I think there's a lot of layers to Percy's choice to give up immortality in the books (not only for Annabeth, although yes, definitely for her) but also taking into account for what he asks for in its stead: for the gods to be accountable, to pay their dues, in the ways heroes and mortals too often have instead. It shows his maturity, his series long disgust at injustice and unfairness, his beloved impertinence to say what he thinks regardless of the consequences. To honour Luke and all the other fallen demigods, but also himself.

On that level TDP doesn't have quite the same set up (although we'll see about holding humans and Xadia more accountable for the deep history / the Startouch elves as gods) but if Rayla is going to risk the world to save him, then he also has to accordingly risk the world to save her. This is particularly true as Rayla's heroic nature ad deep love for Callum is emphasized in all prior seasons, as well as the latter majorly in S4. We'll have an easy time believing she'd made that kind of decision for him. With S4, it throws a little bit of a wrench into Callum's side of things, but that's all the more reason for him to do it; to reaffirm his massive, life altering, world changing love for her (she, who desperately needs to know she is loved, too, after all this time). After all on his side of things, her absence has to affect him more than shutting down and more than just being obsessed with magic; a "I lost her once, I won't lose her again" justification if he does something batshit for her would give retroactive narrative reasoning on his end, and it'd be very earned, I think (since we see how messed up he is over her absence in 4x01, even after all that time). And again, Rayla cannot only save him - she also has to mess up, to need to be bailed out - in order for her to actually learn her lesson about self worth and sacrifice and why she needs to fucking stay or at the very least, fully accept that Callum will always be coming with her.

After all, they both need the opportunity to choose each other, to save one another, and as always, I think Callum giving up the Key of Aaravos to the villains (whether the Key is just for the prison, or Aaravos' heart, or whatever) if Rayla had gotten captured and her life was on the line makes a lot of sense. Big tag about it here, & masterposts (pre s4 and post s4). So I'd say that's my big percabeth "giving something up majorly for the one you love" schtick.

Either way I can't wait for S5 to make me cry

#rayllum #s5 speculation #s5 #arc 2 #pjo #thanks for asking #predictions #dippers-vest #cube hostage exchange theory

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islamicquotesandreminders · 1 year ago

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Ibn Al-Qayyīm (رحمه الله) described Allāh’s Greatness, saying…

He governs the affairs of the various kingdoms and He commands and forbids, creates, sustains, gives death, gives life, gives power, strips power (to and from whom He wills) and alternates the night and day.

He gives varying fortunes to people and alternates governments (and states), destroying some and bringing some into existence.

His Command and Power are dominant in the heavens and their zones, the earth and all that which is on and in it, in the seas and in the air.

His Knowledge has encompassed everything and He counted everything. He hears all types of voices and they do not confuse Him. Rather, He hears each voice in its distinct language and need, and no voice will make Him busy from fulfilling the need of another, and no need will ever escape His Perfect Knowledge (and His Power to deliver).

He does not become bored because of the many needs of those who need. His Sight encompasses all that which there is. He sees the movement of a black ant on a barren rock during a dark night.

To Him, the Unseen is uncovered end the secret is secret no more, “Whosoever is in the heavens and on Earth begs of Him (its needs from Him). Every day He has a matter to bring Forth (such as giving honour to some, disgrace to some, life to (some, death to some, etc.).” [Sūrah ar-Raḥmān, Verse 29]

He forgives an evil deed, makes depression vanish and brings reprieve from disasters, relief for whoever needs it, wealth for the poor, guidance for the misguided, light for the lost, help for he who is desperate, fullness for the hungry, cover for the barely clothed, cure for the ill and ease for he who suffers.

He accepts he who repents, gives reward for he who does good, gives aid for he who was dealt with injustice, destroys an arrogant person, covers mistakes, gives safety after fear end elevates some people and humiliates others.

If those who inhabit His heavens and His earth and all those whom He created, whether mankind or the Jinns, had hearts similar to the most pious heart, His Kingdom will not increase.

If all His creation, whether mankind or the Jinns, had hearts similar to the heart of the most wicked heart, this will not decrease from His Kingdom. Also, if all those who inhabit His heavens and His earth, all mankind and all the Jinns, the dead and the living, stand up on one strip of land and each asks Him for his need, and He then fulfils their needs, this will not decrease from what He has a bit.

He is the First, nothing is before Him, the Last, nothing is after Him, the Most High, nothing is above Him, and the Most Near, nothing is nearer than Him. He, Exalted and Ever High as He is, is the Best Whom one can and should remember, the only One Who deserves to be worshiped and thanked, the Kindest of all those who own and the Most generous of all those who are asked to give.

He is the King Who has no partner, the One Who has no competitor, the Samad (Self-Sufficient) Who has no offspring, and the Ever High, none like unto Him. Everything perishes save His Face and every kingship is bound to perish except His.

He will only be obeyed by His Leave, and His Knowledge uncovers all disobedience to Him. When He is obeyed, He thanks for it, and when He is disobeyed, He grants forgiveness (for those who truly repent to Him). Every punishment from Him is just and every bounty is a grace. He is the Closest Witness and the Nearest One with His Perfect Care. He controls the forelocks of everything and has the full records of all deeds end the books of all ages. The hearts are unmasked to Him and the secret is unveiled. His giving and punishing is merely a Command, “Verily, His Command, when He intends a thing, is only that He says to it, ‘Be, and it is!’” [Sūrah Yāʾ Sīn, Verse 82].

Quoted in “The Weakening of Faith - Its Symptoms – Causes & Cure” by Shaykh Muhammad Saleh al-Munajjid

#islam #muslim #allah #god #islamic

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jewishzevran · 6 months ago

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4, 8 from essentials and 26 from dao for janna!

4. What is their moral alignment?

On a d&d scale, I'd put Janna firmly in neutral good, with some true neutral leanings. For the most part, she is more than willing to put herself at risk to challenge injustice, she is kind and helpful, and she believes that legality does not always equal morality. However sometimes she will make selfish or morally questionable decisions to benefit herself and those she considers family, even if it is not strategic, wise or just to do so.

8. Do they have any notable scars, markings, tattoos, etc.?

Janna has facial tattoos! I hc that they are the same tattoos her mother had and Janna got them to honour her after her death. She has a massive claw scar across her abdomen from the archdemon fight, and a couple of smaller scars from other various run-ins with darkspawn.

26. What happened at the end of Witch Hunt? Did your Warden allow Morrigan to go through the Eluvian?

Janna lets Morrigan go, and it is with a genuine wish for her health and safety. She was only searching for Morrigan because she'd heard other people were also after her, and wanted to give her a warning/assistance.

questions here [x]

#janna aeducan #my ocs #oc questions

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comingtoyoursenses · 1 year ago

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About to have a nice shower, get into clean cozy pjs, and lay the fuck down <3 today wasn't strenuous but I am so tired !!:0 🩷

I think too much all the time about what's right, what's wrong, what's just, what's unfair, etc. I think all the time about how injustice impacts us globally, how governments hurt us and pit the working class against eachother, and how can enough of us break free of the cycle to implement real change in the places we reside. I hate how easy it is to polarize society with clickbait. I really desperately want to be a part of something that makes the world better. My manager talked to me about it and I always get a lot from her, I'm more than grateful for her.

I feel like I'm at a weird in between stage in my life where I'm moving onto a different phase... Like it feels like I'm entering another chapter of my life. I'm also beginning writing for my honours thesis this year.

Reading all about love is extremely meaningful and important to me, I've cried a lot reading it.

Goodnight ^__^🩷

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nijjhar · 10 months ago

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Royal Priests give to the Church and do not steal money as salaries etc,... Royal Priests give to the Church and do not steal money as salaries etc, in the service of Mammon. https://youtu.be/Z6I-h7GBb78 In the Footsteps of Christ Jesus, we are solitary Royal Priests capable of Preaching the Gospel, the Fountains of the Gospel or thinking logically. https://youtu.be/5ysVskLhoho We learn the Gospel from Father Elohim within our hearts and speak what the Holy Spirit instructs us. The Priests learn the Scriptures from the dead in the letters to University Professors and become super dead hireling Dog-Collared Priests working for Mammon and telling people that they are men of God. They are the greatest hypocrites produced by the Messianic Jews who believe Christ has not come yet and keep all the 7 Candles of Menorah at par. The Middle Candle of Elohim, Shams, is raised above the other six of Yahweh in honour of Christ Jesus. MESSIANIC JEWS ARE THE GREATEST KILLERS OF CHRISTIANITY WHO CREATED THE POPE = TEMPLE HIGH PRIEST AND HIS KILLER STOOGES. https://youtu.be/5ysVskLhoho We Preach the Gospel Truth from the Rooftops with great authority. A Testimony by an American Soldier:- Youtube channel - Truthsoldier I served in the satanic Iraq war. I openly am shamed for that and asked for forgiveness for participating in that war. I actually had my awakening while over in Iraq. My eyes were opened to the injustice of that war. The Iraqi people loved Saddam; they had whole stories with nothing but Saddam’s face on everything. Since then I have been speaking out against the US and ISRAEL on my Youtube channel. Here is my contribution:- Holy spirit, common sense, shatters the constraints of the dead letters, the Holy Books. If we have One God, our Supernatural Father of our souls, then there should be one Faith. In Christianity, Jesus said One Fold called the Church of God headed by One Shepherd, our Bridegroom Christ Jesus/Christ = Satguru Nanak Dev Ji, the Second coming of Jesus. Solid Proof; this Golden Temple is of the same size as the Holiest of Holy that used to be in Jerusalem and its Curtain held the Secrets of the Oral Torah = His Word was rendered from the Top, the Temple High Priests, to the Bottom, the village Rabbis off you go – Luke 16v16; Law and Prophets were till John and thus, everyone makes a direct approach to God through His Word = Logo = SATGUR PARSAD. So, these hireling Dog-Collared Priests and Mullahs, cannot give your account to God as the Rabbis used to give at Passover. So, they are "ANTICHRISTS" that have a following of the spiritually blind Super Bastard Fanatic Devils - John 8v44 -, Hindu, Jew, Sikh, Christian, Muslim, etc. Outwardly, and not spiritually inwardly. These spiritual selves Hindu, Jew and Christian, are never born like Christ, the Title and they never die but the tribal selves Judah, Levi, Jatt, Tarkhan, etc. were born and they will die. Thus, Jesus was born and Jesus died on the Cross and rose on the Third Day and NOT CHRIST, THE TITLE. Books:- ONE GOD ONE FAITH:- www.gnosticgospel.co.uk/bookfin.pdf Greatest Blasphemers and Killers Blair and Bush being considered by Anti-Christ Bishops for the Nobel Peace Prize. The Nobel Peace Prize should rather go to Assange and the Iraqi Journalist who threw both his shoes at the hypocrite Bush in Iraq. https://www.youtube.com/watch?v=9qHdTpTXHvE&list=PL0C8AFaJhsWz7HtQEhV91eAKugUw73PW1 Christ Jesus was killed by the Temple High Priest Hypocrite/Blasphemer against the Holy Spirit and so were Bush and Blair who at the backing of Jewish people in the USA destroyed one country after the other starting with the cradle of Humanity Iraq, the Land of the forefather of the Chosen People who is no more faithful to Abraham but has become sons of the Highest Satan Al-Djmar Al-Aksa. Blair and Bush’s blasphemies against the Holy Spirit are bearing Fruit in economic chaos created by Virus https://youtu.be/0WBYOmpDuCs American Jews are today – http://www.gnosticgospel.co.uk/GrimReaper.htm Destroying one country after the other, so that the scripture is fulfilled. Also, do not forget the partition of India and how the dirty hearted-British divided the homeland Punjab of the brave Jatt tribal soldiers who fought in the two World Wars for the British. For the unlisted videos:- www.gnosticgospel.co.uk/Unlisted.htm My ebook by Kindle. ASIN: B01AVLC9WO Private Bitter Gospel Truth videos:- www.gnosticgospel.co.uk/JAntisem.htm www.gnosticgospel.co.uk/JOHN 8V44.htm www.gnosticgospel.co.uk/Rest.htm Any helper to finish my Books:- ONE GOD ONE FAITH:- www.gnosticgospel.co.uk/bookfin.pdf and in Punjabi KAKHH OHLAE LAKHH:- www.gnosticgospel.co.uk/pdbook.pdf Very informative Channel:- Punjab Siyan. John's baptism:- www.gnosticgospel.co.uk/johnsig.pdf Trinity:- www.gnosticgospel.co.uk/trinity.pdf

#youtube

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skztea · 3 years ago

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˚₊· ͟͟͞͞➳❥ What SKZ members value most in a partner? -> req by lovely anon!

✦ bang chan ੈ✩‧₊˚

-> companionship

• i feel like companionship is extremely important for chan, which is something that his partner would have. Being away from his family for 3 years+ is tough, despite all the smiles and giggles he plastered on his face. There will definitelt be times when he felt disappointed, hopeless, empty, exhausted as most of the things are piling on him. He is the parental figure of the group, where he has to carry multiple responsibilities at once while being alone in korea without next of kins around.

• As his partner, she understood all his circumstances and she makes sure she will provide the most companionship for him as possible. Not necessarily be beside him 24/7, which is highly impossible since he is living in the dorm but she will consistently check up on him, making sure he is eating his meals, getting enough sleep, lending her listening ear whenever needed etc to make him feel engulfed safely in her arms. There isn’t anyone whom he can really confide in as his members are heavily tied with career and his family are miles away, the only person he can resort to is his partner. Being unconditionally by his side gives him lots of securities, at least he won’t feel afraid if he falls, because he knows someone else is there to catch him. Of course, he would also reciprocate a good amount of time with his partner as well which makes it a 2-way healing relationship.

“Im so grateful to have you by my side, unconditionally accompanying me and providing the most comfort when i am at my worst,” he breathed into the phone as he stared at the ceiling, smiling at the image of you floating in his brain.

“Hey, isn’t what lovers are for? Of course im always here for you,” you chuckled softly at the other end, causing the latter cheek’s flushing as he placed his palm over his palpitating heart, also chuckling at how you managed to make his heart race even after years.

“You are very clear of my soft spots for you.”

✦ minho ੈ✩‧₊˚

-> trust

• scorpio men…the first thing that pops in my mind is -> spiky. I mean i can see my dad’s shadow on minho 🤧 because both of them are scorpios and both are really spiky and sarcastic on the exterior and they hates, injustice. So i guess i can assume that minho really hates hinderance/betrayal from people he is close to, especially his partner. I would see him valuing trust and transperancy very much as he dislikes people who doubt him without a valid reason. To me i feel that trust is like one of the most fundamental yet crucial values that a relationship should possess.

• he would value trust alot from his partner because he feels honoured when she believes in him. It’s not that she put all the eggs in one basket but she felt that if she has chosen someone as her partner/lover, she would want to have faith in him, in whatever things he does, in the feelings he has for her and how he will juggle his career and relationship. Some partners would overthink if their companion will seek other relationships when they are not physically together to kill temporary boredom but as his partner, it isn’t even the case. The more she overthinks, the more it will happen. So might as well she just gives him the trust, letting him do his runway. Trust doesn’t need to be expressed frequently but by the tone and attitude, minho will understand that his partner is trusting him ultimately in every aspects he does -> which makes him trust her in the same way she did.

“Why do you trust me so much? Are you not worried if i will go back against the will one day?” Your lover gently carassed your arms as he backhugged you, face nudging into the crook of your neck as he teased.

“Why would i be scared? I trust you because i trust my decision of choosing you, as well as knowing your personality for years,” you speaked in no doubt, making the latter giggled softly as he hugged you tighter.

“Damn, you always know how to make me fall for you all over again.”

✦ changbin ੈ✩‧₊˚

-> commitment

• i can see that changbin values loyalty and commitment alot, like alot. He always emits that sense of brotherhood among the members and i believe that it applies in relationship too. Once he is committed, he will really put his partner at the tip of his heart and if ever the partner betrays him, wow, he will be a volcano that erupts explosively (may even hunt you down and teach you a lesson before letting you go). Like he will think that if the partner don’t wanna commit to the relationship why even get into it at the first place? Solve yourself before finding someone to solve it for you.

• highly appreciative of how committed his partner is. Doesn’t need to be all times on the line or text, but knowing how to make her presence when needed makes him elated. Things like visiting him in his dorm, buying him food at times, accompanying him physically or virtually, supporting him before his stages etc. Most importantly, knowing how to draw a decent line with other opposite genders. He will be extremely touched to see his partner appearing in almost all the events, sitting one side quietly and delicately taking beautiful pictures of him and sharing with him later. There isn’t a need to say much, but just enjoying each other’s presence no matter when and where is what makes him loyal to his partner too. Both knowing that they can’t meet all the time but still doing well on their life makes them cherish each other more and fall into each other’s arms when they need it makes the relationship priceless.

“I didn’t expect you to come!” Changbin almost crashed into your arms as you went to the dressing room to visit him.

“Of course i have to! It’s been so long since you had a physical fansign event and i just want to visit and congradulate you bub,” you reciprocated the hug as he giggled foolishly.

“You are the best babe, always appearing when i think of you.”

✦ hyunjin ੈ✩‧₊˚

-> empathy

• well it’s well known that hyunjin is attracted to someone who has lots of empathy and is able to put herself into his shoes while he shares his worries. I think this is an absolute value that everyone should have instead of being self-centred. Furthermore, Hyunjin is someone who is extremely sensitive and fragile on the inner, he needs a partner that is able to understand him and his concerns that are never shared with others before. He may like someone who knows how to be grateful for life and her surroundings, being a living reminder for him that humanity still exist.

• he values this because firstly it’s hard for him to open up his heart, spilling his truthful thoughts to someone with the fear of hurting anyone close to him. There are countless times when he wished he was braver to speak to other members, but the hurted face makes him gulp down all the words. Also afraid to bother his parents, the only person he can be vulnerable with is his partner. And that is why empathy is very important. Being an idol is easily complimented or bashed, in just a couple of clicks or punches of the keyboard warriors. His partner have to be someone who is able to stand in his perspective and understand his situation, lending a solid pillar for him to rely on. If his partner isn’t able to create that safe space for hin then he will only be drowning instead of redempting himself. However, getting him to speak up for the first time is as tough as hard rock stone, but once he feels secured to spill he will not be able to stop, because he already places all the bet on her.

“Talking to you always makes me feel so much better, you are a cure to my heart,” planting a soft kiss on your forehead, he rubbed slow circles on your cheeks as his face is inches away from yours.

“Hey, don’t always bottle up things in yourself, telling someone is better than suffocating on your own,” wiping his strand of tears away, you adored by looking at his redden eyes, still holding that youth of innocence in his eyes.

“I love you,” he breathed before leaning in to meet your lips with his.

✦ jisung ੈ✩‧₊˚

-> accountability

• jisung…hmm being someone who is kinda ‘problematic’ in a sense where he becomes slightly destructive during arguments or conflicts, he will have nothing to say but salute his partner for being extremely accountable. We all know that every member said jisung has issues with each of them and how other members tend to approach him first, i feel that he will take a longer time to cool down as his partner. Nothing wrong for sure, everybody has their own ways of resolving conflicts. But for jisung i feel that he will look up to his partner who is accountable for her own actions as he may not have the courage to do so at times.

• Initiating a chill conversation after a fight or apologising first during a fight doesn’t mean that one lost. It is more about how she cared for his wellbeing, worried that he will be too affected by the conflict that impacted his work. If she is in the wrong, she definitely will own it up and apologise. Even if she don’t, but she will make sure that both of them have come to a consensus before life moves on. Instead of starting a cold war or carelessly saying break ups all the time, his partner will make sure he sees her perspective as well and piecing things up again, which is something that jisung may not have it. His partner will be someone that allows jisung to grow, learning to how to better resolve conflicts with others. A handful of partners will tend to accomodate or avoid conflict but his partner won’t. It is important to let him see the impact of his and her actions and how both of them can work hand in hand to understand and cherish each other after every fights, and that’s what make jisung enlightened as a human, son, friend, colleague and lover.

“You know, i always feel so bad that you have to be the first one to step up to talk to me even though it’s my fault, but you don’t blame me for it,” the latter teared as he hid his face within his palms, shameful to look at you.

“Hun, it doesn’t matter who stepped up first but what’s important is that, we learnt each time we argue, we cherish each time we fight…there are no perfect relationships and all we need is, consensus,” ruffling his head, he embraced you into his arms as he whispered multiple “im sorrys” into your ear.

✦ felix ੈ✩‧₊˚

-> vulnerability

• vulnerability is one of the most essential values as well. If you are not vulnerable to your partner, then to who else? A partner is there to support and love you when you are down and vice versa. Felix being someone who is sentimental would greatly adore his partner being all vulnerable infront of him, so that he feels the responsibility to keep you happy or happier each day you date him. Felix is the kind that really hold his partner tight and close to his heart, almost spending all his free time texting or talking to her to make sure she is doing fine.

• since he is someone who cares very much about people he loves, he would want to he a solid support pillar for his partner. He will take his time to get to know her, learning about her successes and struggles before meeting him, especially if she has any past traumatic relationship so he knows what to do to avoid hurting you. Being vulnerable will pull each other alot closer and interwining the hearts, which is something that felix finds it romantic about. He probably imagined endless times how his partner would lean on his chest and sharing worries or insecurities, and he would reassure her until she believes in him and light again. It also made him feel honoured that his partner trusts him fully and hoping he will make a good presence in her life, be the one that pulls her out of the muddy water that she choked in for long.

“Lix, you know i really hate burdening people with my own issues, but you seem like the one who enjoy hearing them the most,” fiddling his fingers, you looked at that latter who has glowy eyes staring at you for the past 15 mins.

“Babe, we are couples for a reason, i want to be someone you can fall back on and someone that helps you to be successful,” gently caressing your strands of hair as his eyes gazed across your features.

“You can always rely on me,” planting a soft kiss on your forehead, he teased you with another eskimo kiss that made the both of you giggle.

✦ seungmin ੈ✩‧₊˚

-> communication

• seungmin just gives me that vibe of being a good communicator. Like even though he looks like an introvert introvert (like all quiet and such) but i feel he is someone who is very patient when comes to conversing with his loved ones. The need of expressing how you feel about things is so crucial but deadly as people tends to derive it in another manner. If there is no communication in the world then people will never understand and support each other, not even mentioning giving and receiving love. Communicating doesn’t always have to be talking about serious issues, but casual conversations are good enough to have a gauge on how other party is coping.

• he would appreciate that from his partner because he feels that it is rare for people to be straightforward and honest with their opinions these days. People just tend to put on a facade or fake a smile to brush off things that things they don’t agree with or hurted them instead of truthfully expressing that those comments actually make them upset. As his partner it is important for her to let him know that what are the things they can work on rather than bottling up inside and ending by exploding all at once. Communication is about understanding and empathising with one another and if everyone avoids that, then what is the point for getting together? He really appreciates how his partner will get him to sit down, focusing on her as she depicts her thoughts. A relationship is like a ping pong, where both parties need to learn to reciprocate, communicate, understand each other.

“Im not good at mentioning things at times but you complemented me so well,” walking down along the paveway, both of you are licking the ice cream on each hands and throwing loving glares at each other.

“Of course, i know what is running in your mind,” winking playfully at the taller figure and lightly shaking his bigger palms.

“We fit each other like yin yang,” patting the top of your head gently, he retrieved your hand back in his.

✦ jeongin ੈ✩‧₊˚

-> respect

• lastly, i feel that jeongin values respect alot. Being an aquarius men, they usually prefer independence more, be it themselves or their partners. The respect given to each other, knowing that each other needs that private space as well is vital, making it a bonus that his partner possesses. For sure, he dislikes people who are clingy and mushy, prefably someone who is more rational and knowing how to limit her contact with him. Furthermore, he would love someone who respects his opinion and such instead of brushing them off. Validating one even if you don’t agree still shows you care for the person and hope to find a consensus.

• Independence that i mentioned before is not supposed to be inclining towards the negative aspect of it. Well, most people tend to perceive relationships as: couples relying on each other. However, we need to learn that life still goes on and every individual needs to take care of their own before they support others. If both were to constantly dependent on each other, both will burnout. His partner will remember this theory by heart and knowing that she needs to play her own part, including him. Everyone has their own boundaries and the simplest way is to respect each other instead of making yourself more superior. Jeongin will greatly appreciate how his partner will acknowledge his words even if she don’t exactly understand, but giving him the space to do the things he need. She will not always expect jeongin to give in to her, but more like both getting to know each other’s pov and become closer and stronger.

“I was afraid to get into a relationship because im worried if im not able to commit as much, my partner will be upset, but being with you erases all my worries away because you understood my concern and respected me,” your boyfriend who never backhugged you before broke his record.

“Jeongin…i get what you are worried about, because i priortises your happiness and comfortness over anything…like what you have done to me too,” grabbing onto his hands lightly, you assured him as he sniffed at your shampoo scent that lingers along your hair.

“Thank you for respecting everything i did, you are like my soulmate understanding all my needs even without me saying it.”

-> oh my goodness i finally finished this after doing 4 drafts. Not even kidding, 4 drafts. I was concerned with my work so i kept scraping off but this is it already i’ve tried my best ✋🏻🥲 | come join my 200 followers event here!

m.list I | a.bout

#skz headcanons #stray kids headcanons #skz imagines #stray kids imagines #skz #stray kids #skz scenarios #stray kids scenarios #bang chan imagines #lee know imagines #changbin imagines #hyunjin imagines #han jisung imagines #felix imagines #seungmin imagines #jeongin imagines #skztea — general works ┊͙ ˘͈ᵕ˘͈#skztea’s gift for anon ｡･:*˚:✧｡

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laulink · 2 years ago

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U played 3hopes yet...? SPOILERS IF U HAVNT. Geez the BEs really dont have a good day on AG huh. They seem utterly miserable when recruited except for maybe petra but well the lady has to move on for brigid. As compared to recruiting BLs to SB, recruitment on AG really is only about survival? Ashe and Mercedes are miserable on SB but at least they have Lonato & Jeritza. Dorothea has 0 supports with BLs. Bernie stays in her room. Linhardt is sick and tired. Does the kingdom even care abt Brigid?

I played SB but not AG, though I did hear a few things from it (I'm not looking for spoilers but I don't mind them either).

Yeah, the BE really only join for survival in AG from what I've seen, while recruitments in SB are always about playing on heartstrings a little. I think that's because, weirdly enough, not being at Garreg Mach for a full year has allowed Edelgard to grow closer to her friends because she didn't have to lie to them, distance herself from them and betray them after a full year of companionship, while the BL, as you would expect, are not very close because they've barely spent any time together (aside from the Faerghus Four and Dedue). The BL also had no reason to work together more than your average King and Lords/Knights for two years while the BE were enlisted by Edelgard/their fathers to help prepare the upcoming war, therefore allowing them to grow closer as friends, like they would have at Garreg Mach (more or less), but without the betrayal at the end.

So when you get into the war, the only reason the BL fight are out of loyalty to their King/country while the BE, on the other hand, having been aware of what would happen from the start and being allowed by Edelgard to back out of it whenever they wanted, go into this conflict with firm beliefs and convictions (that Edelgard's reforms are necessary, that she's the only kind of ruler that will try to understand them and their needs and take care of them, etc). To recruit a BL, you just need to give them something they value more than their loyalty to distant, barely-talked-to-them-twice Dimitri, and for Ashe and Mercedes it's not too hard to find that ; if you want to recruit a BE, however, you'll be hard pressed to find anyone or anything in the Kingdom or Dimitri's beliefs that they relate to more than Edelgard's views and dreams for Fodlan, so the only way to get them to leave the Imperial Army is to tell them "either you join me and live or you die". And the Empire and Edelgard have never been nearly as obsessed with loyalty and nationalism as the Kingdom, so of course the BE value their lives more than the "honour" of dying for their ruler.

On top of that, Edelgard is a ruler who values individuals, their specific qualities and dreams, even if she's not particularly close to them (re : Lord Lonato and her being bothered at his death in Houses even though he wasn't a lord of the Empire) and who will never kill anyone or want them dead if she doesn't absolutely has to (not even Rhea) ; Dimitri, on the other hand, despite believing that his officers and friends deserve to live and disliking injustice... well, really doesn't mind killing people even if there are other options available (purging the western nobles instead of putting them on trial and in jail) and has a bit of a tendency to detach himself from what happens to his allies if they're not people he personally cares about (re : Lord Lonato in Houses and how Dimitri didn't try to empathise with him, even though he was a lord of the Kingdom). So when a BL joins the Empire, sure, they're bummed out about being a traitor and having to fight their friends, but at least they're welcome with open arms by a ruler who sees them as more than simple pawns, someone who tries to empathise with them and will want to bring them in the inner circle and listen to their opinions, while when a BE joins the Kingdom's army, they're feeling bad about fighting their friends, about fighting against the ideals they want to defend, and they are faced with a ruler who sees them as assets to use in his army, but whose ideas he won't ask for and that he won't mourn if they are killed.

So yeah, that's a bit of a bummer for the BE. I don't know how things are in GW when you recruit the BE, but Claude is more similar to Edelgard, in his beliefs and the way he interacts with his officers, than Dimitri, so I expect the BE have an easier time adjusting to being in the Alliance than the Kingdom.

(On Brigid specifically, Dimitri doesn't seem to have any interest in it one way or another and would probably be easy to convince to give them their independance, but still, Edelgard gave Petra her blessing to surrender and has already promised that Brigid would be an equal to the Empire/Fodlan, so while Petra has to push through for her homeland, there's no doubt she's aware that things would be smoother/easier if she had to deal with Edelgard instead of Dimitri, if only because Brigid has only ever been the Empire's vassal state, never the Kingdom, so Edelgard is bound to know more about it than Dimitri)

#fire emblem three hopes #edelgard von hresvelg #dimitri alexandre blayddid #black eagles #blue lions #analysis

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harajukumasked · 3 years ago

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Press Release Dated 31st Oct 2021

MUSLIM SCHOLARS ABUSED BY SAUDI REGIME

There are many atrocities committed against Islam and Muslims by the Saudi regime, however few are as heinous as their abuse and humiliation of Muslim scholars. The kufr (non-Islamic) regime’s crimes involve arbitrary arrest, detention and torture, including violating the honour of ulema, invariably for just speaking about Islam and supporting Muslims.

Some of the legitimate Islamic scholars who have been falsely imprisoned and who are subject to such abuse include:

• Sheikh Sulayman bin Nasir al-Alwan (given a 15 year sentence in 2013 but was due to be released in 2019). Sheikh Sulayman al-Alwan is known to be amongst the strongest scholars in the region of al-Qaseem and he has written numerous books in the fields of fiqh (jurisprudence) and daw’ah (propagating Islam). His 'crimes' include questioning the legitimacy of the Saudi rulers.

• Waleed bin Saleh As-Sinani Al 'Aameri As-Subay'ei (imprisoned Since 1995, 26 years!) Sheikh Waleed As-Sinani, from the city of Anayzah, has been detained because he exposed the Saudi regime's military aid of the disbelievers and their own legitimacy to rule. During his stay in prison, his sons, brother, four of his nephews and in-laws (husbands of daughters and uncles of his sons) were also arrested.

• Sheikh Khalid bin Muhammad bin Hamad Al-Rashid (arrested and imprisoned without representation for 5 years which was arbitrarily changed to 15 years) Khalid ar-Rashid's sentence expired in 2020 but the Saudi authorities have not released him. His 'crime' was supposedly criticising Saudi politicians.

As a general policy, the Saudi regime add insult to injury by depriving prisoners of the most basic rights; usually they cannot contact a lawyer and they are held without any formal charge, they often do not know what crime they have been accused of and nor do they know when their investigation or detention will be over. Many scholars and callers to Islam have served their sentences but remain behind bars and all of them are subjected to the appalling treatment mentioned above as well as threats and insults.

The unjust Saudi judicial system regularly arrests and beheads people without a fair trial and in the absence of evidence. People are often imprisoned, murdered, tortured and are even disappeared without trace and whoever tries to trace them suffers the same fate, while thousands of the Saudi royal family are above the law. Not even Saudi women, who protest for the release of their husbands and children who were kidnapped, are spared arrest and humiliation.

The apostate regime of Saudi Arabia (currently under king Salmān) rules by other than what Allah (SWT) has revealed and hence oppression and injustice are inevitable.

As Allah (SWT) mentions about Pharaoh, who also ruled by Kufr:

“Verily, Fir'aun [Pharaoh] exalted himself in the land and made its people sects, weakening [oppressing] a group among them, killing their sons, and letting their females live. Verily, he was of the Mufsidûn [i.e. those who commit great sins and crimes, oppressors, tyrants, etc.].” [EMQ 28:4]

JOIN THE TWITTER STORM:

FRIDAY 5th Nov 2021

10pm London

6pm New York

1am Riyadh (on 6th Nov)

9am Sydney (on 6th Nov)

#Free_Sulayman_alAlwan

#Free_Saudi_Scholars

#فكوا_أسر_العلماء_في_السعودية

Anjem Choudary

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akinari-kashihara · 3 years ago

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I'm thinking a bit about Caligula (1) and Persona 5 and how the represent the "societal outcast"

For the record, I hate to compare them but I do have thoughts

Like, I feel you could describe it as an active vs passive role?

Most Persona 5 characters aren't really outcasts are self-proclaimed "outcasts" because of their own actions. It's a reaction to things they do, which are more often than not standing up and making their own choices. Stepping in against injustice in whatever form that may be. The only one that isn't really in this is Futaba, who is wrapped in a million layers of plot relevance because, well, how else could she exist in this cast.

But they're not really outcasts. They get a little kickback and consequences for their actions, but ultimately they still have a massive friend circle. They're still very much in the circle of society, they never really exit that. They just make a decision and will mostly continue their lives just the same, except for one thing that's changed.

Persona 5 characters remain easily relatable to the entire audience. Everyone makes a decision in their life that has consequences. Stand up for what is right, even if it means maybe 3 people will be mad at you for it. Then you have characters like Sumire who have problems much more severe than that, but instead, that just has no consequence on her life. It literally doesn't matter than Sumire is impersonating someone else, it is never brought up until its the Big Twist. It has no effect on her life. Even then, she is still very much in the circle of society, an honour student with a scholarship and she's pretty and athletic, etc etc etc. Anything they do to make her seem not that comes off as unrealistic and superficial.

They're very much outcasts in the [whichever Sprouse brother voice] "I'm Weird" way. If that.

Caligula, meanwhile, has characters who are very passively rejected from society. Society isn't built for the people that Caligula decides to focus on. We have characters who genuinely can't easily return to society. They don't have major support networks to help them and it takes a lot to gain their trust - IF you can gain their trust.

It feels like the characters are genuinely struggling to rebuild their connections and open up because they know they'll get rejected under normal circumstances. People aren't always open to people who are mentally ill, on the autism spectrum, trans, just generally struggling to adapt to society for any reason. Some of the characters aren't ready to be open to others helping them.

They're very genuinely outcasts in the most common understanding of the word. And that's why they can have queer characters while Persona continues to hand us a load of straight people who at best get some queer bait played for laughs, or have a TERRIFYING MOMENT WHERE THEY THINK THEYRE GAY only to go PHEW nevermind I am conveniently very straight.

Anyway this was incoherent rambling don't worry about it

#Caligula #The Caligula Effect #The Caligula Effect Overdose

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godsofhumanity · 3 years ago

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BOOK IX | HOMER'S ILIAD | LITERATURE REVIEW

SUMMARY: Agamemnon doubts that the Achaeans will ever capture Troy, and suggests to his comrades that they return to Greece. Diomedes and Nestor are disappointed in Agamemnon's cowardice, and Nestor reminds Agamemnon of his injustice towards Achilles which has undoubtedly cost them their losses in the war so far. Agamemnon admits his mistakes and offers to compensate Achilles for his insult, however, Achilles refuses to be bribed and instead decides that he will leave Troy to go back to his own home in Pthia.

previous book / all books / next book

Book IX begins with Agamemnon summoning his comrades together and announcing that he feels quite hopeless, and they're gonna go back to Troy.

in my previous posts, i've mentioned many times this idea that not all those considered heroes in the Iliad are "true" heroes- as in, though Agamemnon and Menelaus are royal, and they fight a lot, and they're very powerful, they're not truly heroes in the same way that we consider Odysseus, Achilles, and even Diomedes to be- and my evidence for this was chiefly in the way that they interact with the gods- being able to recognise them in disguise, and having actual conversations with them beyond that of cryptic dreams as with Zeus and Agamemnon.

before, this was mostly just a speculation on my part, but in Book IX, Diomedes says something that i think really just proves this point. he says to Agamemnon:

"But the son of scheming Cronus endowed you by halves only. He gave you honour as the chief ruler over us, but valour, which is the highest both right and might, he did not give you."

Diomedes sums up my sentiments about this quite perfectly, though i couldn't think of the word before- Agamemnon has all the money and the power, but he has no valor; his courage and bravery is lacking, he is only confident when he knows that he will win.

in contrast, heroes likes Diomedes, as much as i don't like him, though they may not have the same wealth and power as Agamemnon, have courage and faith in themselves and their people even when victory seems out of their grasp.

where Agamemnon is ready to give up and bail, Diomedes is ready to keep on fighting, even if it's just him and his pal Sthenelus:

"If your own mind is set upon going home- go- the way is open to you... but the rest of us will stay here till we have sacked Troy. Nay, though these too should turn homeward with their ships, Sthenelus and myself will still fight on till we reach the goal of Ilium..."

the difference between the true heroes and the rest is quite clear.

now,, previously i've had a lot of hate for Agamemnon, and i still hate him, but i have to commend him for putting aside his pride and his ego and actually acknowledging his mistake in insulting Achilles, though he has an ulterior motive.

in Book IX, Agamemnon actually admits that he was wrong, and promises to give Achilles a LOT of compensation- he'll give Achilles tripods, gold, bronze, workwomen, Trojan women, one of his own daughters free as a wife, PLUS the extra dowry that comes with a marriage; several cities, meadows, horses, etc.

Agamemnon sends a few trustworthy comrades to the tent of Achilles where he hopes his offer will be met positively and Achilles will rejoin the battle. the group consists of; Phoenix (an old knight who was involved in raising Achilles as a child), Ajax, Odysseus, and Odius + Eurybates (heralds).

when the gang gets to Achilles' tent, Achilles invites them to sit on "purple rugs":

"Achilles then greeted them... With this he led them forward, and bade them sit on seats covered with purple rugs..."

the colour purple has long been associated with royalty, luxury, and power.. tbh, i'm not familiar with the technicalities of an ancient Greek war, and what kind of fabrics they'd have been using- but from a literary perspective, i think the colour purple here is of great significance- the fact that the group is permitted to sit on these fine rugs of purple symbolises the great esteem and honour that Achilles holds them with.

though Achilles is angry with Agamemnon, he is not so rude that he'll insult his comrades as well by not treating them with proper respect.

even so, though he treats his guests kindly, Achilles shows us that he isn't a pushover, and cannot be bribed with gold and nice words.

in the previous book (or was it the book before that aha), the motif of the hound was introduced as a comparison for two particular characters, the more important of the two being Hector.

in the previous comparison, Hector's association with a hound was a compliment and testament to his fighting prowess... but here, in Book IX, we see the symbolism of a hound turned around once again:

"... tell [Agamemnon] in public that the Achaeans may hate him and beware of him should he think that he can yet dupe others- for his effrontery never fails him. As for me, hound that he is, he dares not look me in the face."

here, Agamemnon being compared to a hound is not a good thing. though dogs can represent courage and loyalty, they can also represent the reverse too- the saying "running with one's tail between one's legs" stems from the instinct of dogs to tuck their tails between their legs when they're scared or submissive.

Agamemnon's inability to go to Achilles' tent himself and present his offer contributes to this image of Agamemnon being cowardly and dog-like. he submits all these grand offerings before Achilles, but sends others to do this work on his behalf.

we could argue that Agamemnon, as a king, doesn't need to go to Achilles in-person,,, but at the same time, being a king, his refusal to look Achilles in the face is evidence of his prideful nature and suggests that his apologies are not from the heart- as Achilles knows.

Achilles brings up in an interesting statement:

"I will be appeased neither by Agamemnon... nor by any other of the Danaans, for I see that I have no thanks for all my fighting. He that fights fares no better than he that does not. Coward and hero are held in equal honour, and death deals like measure to him who works and him who is idle."

Achilles knows that there isn't really any true justice- in the end, death doesn't discriminate between those who are honourable and those who are cowardly, and thus, there isn't any real point in fighting. yet-- they are fighting:

"Why, pray, must the Argives needs fight with the Trojans? What made the son of Atreus gather the host and bring them? Was it not for the sake of Helen? Are the sons of Atreus the only men in the world who love their wives? ... Agamemnon has taken her from me; he has played me false; I know him; let him tempt me no further, for he shall not move me."

Achilles says that Agamemnon has double standards. it's okay for Agamemnon to wage war on account of returning Menelaus' wife to him,, but in the same breath, he has taken Briseis, who is a woman that Achilles supposedly loves as his own wife "though she was but a fruitling of my spear", from Achilles... much like Paris taking Helen from Menelaus.

i wrote a little more in detail about Achilles and Briseis here so i won't write further.. but i think Achilles' argument is an interesting one.

in the next part,,, things get a bit wacky. Phoenix is an old knight who befriended Achilles' father Peleus, and was invited by him to care for and raise Achilles when he was born.

i must say, i have to admire Phoenix's boldness in straight-up spitting out his whole life's story in front of the whole company-

if you're unfamiliar with Phoenix's story, essentially, Phoenix's father Amyntor became enamoured with his concubine, much to the anger of his wife, Phoenix's mother.

of course, Phoenix's mother did what any rational and sane mother would do, and asked her son Phoenix to take revenge on Amyntor by sleeping with his beloved concubine. Phoenix was, obviously, hesitant about the whole affair, but over time, concedes and agrees to do it. his father gets pissed about it and curses Phoenix to never have children of his own :((

i know that this is greek mythology and i shouldn't be expecting it to be normal,,, but i couldn't help laughing at this scene.. everyone's sitting around very sad about Achilles being stubborn, and here comes this old man recounting the story of that one time when he slept with his father's gf because his mum asked him too..

anyways,,, Phoenix obviously doesn't recount the story for the shits and giggles--- his aim is to educate and enlighten Achilles, and to appeal to his emotions.

i particularly love this little description of a baby Achilles that Phoenix recollects:

"It was I, Achilles, who had the making of you; I loved you with all my heart: for you would eat neither at home nor when you had gone out elsewhere, till I had first set you upon my knees, cut up the dainty morsel that you were to eat, and held the wine cup to your lips. Many a time have you slobbered your wine in baby helplessness over my shirt."

in addition to reminding Achilles about their past, Phoenix also recounts the tale of Meleager who, like Achilles, had refrained from saving his town when it was endangered by war out of anger, but eventually was supplicated by his wife, and went out on his own accord to save the city, and was not compensated anything after that. by contrast, Achilles is being compensated greatly for his return to the battle, and still he is refusing to participate.

unfortunately, Phoenix's storytelling proves futile- Achilles refuses to rejoin the fight, and doesn't believe that it's worth him losing his life on the battlefield for Agamemnon.

in any case, the book ends on difficult note for the Greeks... Diomedes rebukes Agamemnon for offering so much to Achilles, thinking that he is only encouraging his "spoilt" behaviour,, and the group resolves to go to sleep and think about the rest in the morning.......

#homer #the iliad #review #long post

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lacrimaomnis · 3 years ago

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BRF Reading, 5/7/2021

I am planning to continue reading for the rest of the BRF members on how their July would be, but I had this question popping on my mind when I had my tea earlier today, so I feel like I need to draw on this. I've been seeing allegations and teas of Meghan did this, Meghan did that, she's crazy jealous towards Catherine, she's overly obsessed with William, she is abusive towards Harry, she wants to be the Queen Consort, etc etc yadda yadda. This honestly had me wondering, how does Meghan look at herself? What does she see when she sees herself in the mirror? How does she perceive herself? This is also one reading I'd like to try a new spread of cards, so there is also that.

As written, this is merely a speculation and therefore must be taken with a grain of salt. This speculation is not true until proven otherwise.

Naturally, my question is, how does Meghan perceive herself?

Cards drawn: Six of Pentacles, Three of Pentacles, Five of Wands, King of Wands, Three of Cups, The High Priestess, The Fool, Temperance, The Hanged Man, Knight of Pentacles

Remarks/Comment: I tell you, working with a spread where half of the cards are major arcana is honestly shit. So many energies to read from, so many energies pulling the reading this and that way.

To make it more digestible and bearable to read for us all (and for me to type), I will divide the cards I've drawn into two parts. I will start my analysis with the first part, and then I'll be going over to the second part, and then the conclusion will be an overall overview of the spread.

First part: Six of Pentacles, Three of Pentacles, Five of Wands, King of Wands, Three of Cups, The High Priestess.

This section of the spread is the so-called "the cross" part, where these cards represent the happenings of the subject's life, internally and externally.

Now, the cross part itself can be divided into two parts: the axis and the wheel. The axis is the two centre cards, which are the heart of the matter, the foundation of the reading, the energy of the reading, whatever the semantics are. The rest of the cards are the wheel, the events that revolve around the central issue.

First card: Six of Pentacles. This is the so-called "present situation" card, mostly about what is currently happening at the present time, and also reflects someone's state of mind and how they perceive the situation (or themselves). Now, this is interesting, because this reaffirms what I have been seeing a lot with other readers: that Meghan and Harry are in debt. Six of Pentacles is generally a card of generosity, self-care, sharing wealth, and charity -- but one of its meanings is also unpaid debts and that meaning just jumped out of the cards. As one of the two cards of the axis, this tells me that this is one of the two parts of the heart of the matter. Meghan and Harry are in debt and they cannot pay for it.

Second card: Three of Pentacles. The so-called "problem" card. Generally, this card represents teamwork and collaboration, but because of its place, this card tells me that Meghan perceives herself as working alone and without allies. There are disagreements, or to be more Shakespeare-ish, disharmony. Combined with the Six of Pentacles, this tells me that Meghan and Harry are in disharmony, probably because of the outstanding debts that they cannot pay.

Third card: Five of Wands. The card of fighting for the sake of fighting. This is the "past" card, and as such, this is also similar to the card of "past influence". There have been fighting in the past. There is a change. There is tension. This card tells us that everyone is fighting to be heard, but no one is listening. This is how Meghan viewed herself: that no one is listening to her. She has told herself in the past that she was a victim, that no one listened to her when she spoke, and she used it as a weapon in public. Remember how she told Oprah in that interview that she was not "heard"? That she was "belittled" and "bullied"? That the Royal Family "bullied" her by allegedly asking what Archie's skin colour would be?

Fourth card: King of Wands. This is the so-called future card. Along with the tenth card, this usually speaks about how the near future would impact the final resolution/the outcome. King of Wands is a card about someone who is a natural-born leader, a visionary, honoured, and an entrepreneur. So, this card could mean that in the future, Meghan perceives herself and wants to be perceived as all these good things. But in reality, she is someone who is impulsive and ruthless. She doesn't think things through and cannot decide which lies to keep feeding the public with, which is why her stories are riddled with lies and holes. And the more she gives in to her impulsiveness, the more that everyone can see those holes in her stories. And even if she decides on one lie to keep and feed the public with, that can be debunked. Very easily.

Fifth card: Three of Cups. This is the "conscious" card of the cross part, talking about assumptions and desires. Cups are the suit of emotions, and Three of Cups is strongly associated with celebration, and it is an interesting card to come up with, to say the least. She desires to be celebrated. The centre of attention. But, this could also say that she's been partying very hard or is just overspending in general, which could answer why she had those outstanding debts she cannot pay.

Sixth card: The High Priestess. This is the so-called "unconscious" card, the underlying reasons for the manifestation of desires/assumptions seen in the fifth card. The High Priestess is a feminine card, speaking about intuition, the subconscious mind, secrets, withdrawal, and silence. This is interesting because at least for me, the cards do not match. When we celebrate something, it is because of something that has been answered. A birth, a promotion, a big event that brings such joy that it is worth celebrating. The High Priestess is the card of being quiet, trusting your intuition, and discarding all the unnecessary influence in order to understand your mind and what your intuition is telling you. This tells me that Meghan's desires and her underlying unconscious, the things she cannot control, are not matching, meaning she does not even understand what she wants.

But, as I am not confident in this interpretation, I decided to draw a clarifier on The High Priestess.

Clarified by: Three of Wands. Man, what's up with the Threes today? This card is about progress, expansion, foresight, but also about the lack of foresight. This tells me that Meghan lacks the foresight to see ahead, and so she doesn't understand what she wants and how to get there.

This part explains the second part of the spread, the so-called "staff" section. This part is given context by the cross-part, and this part is generally about someone's life outside of the situation presented by the first part of the spread.

Second part: The Fool, Temperance, The Hanged Man, Knight of Pentacles.

Honest to god, I do not like working on this part. The energy here is confusing, it feels like four people are pulling me in different directions at the same time. I've tried my best.

First card: The Fool. This is the card of beginnings, innocence, holding back, recklessness and risk-taking. Position wise, this is the card of the so-called "influence of self", so this card shows us that Meghan put herself in the situation represented by the six earlier cards by being reckless.

Second card: Temperance. This is the card of balance, moderation, patience. This is also the card of imbalance and excess. As the card of external influence, this led me to believe that people close to Meghan may have been advising her (and probably advising Harry as well) to not live excessively. To temper their emotions and not to get set off by the slightest of things. Now, as we all know, this is not their forte.

Third card: The Hanged Man. The card of waiting, stagnancy, resistance, indecision, and sacrifice. This is the card of hopes and fears -- so this card can be interpreted two ways. First is the interpretation of hope: this card might be interpreted that Harry and Meghan are hoping that people would be waiting to hear from them (aka positive PR), that everyone would bend their backs and knees at their whim, available at their every beck and call. That everyone would sacrifice everything for them.

The second interpretation would be that the fear of sacrifice. They feared sacrifice, particularly Meghan. Meghan does not want to leave Hollywood and the US, the reason she moved back to California soon after Megxit. I am thinking that she wants to be a non-working royal while she still has those juicy royal connections, something that we are all familiar with. She is asking for benefits but does not want the sacrifice that comes with it.

Fourth card: Knight of Pentacles. The so-called card of "possible outcome", this card is closely tied with the fourth card of the first part, the King of Wands. The Knight of Pentacles is the card of hard work, productivity, routine, self-discipline, boredom, and perfectionism. The King of Wands tells us that Meghan is way too impulsive to be able to be productive and do something more worthwhile other than doing PRs attacking BRF and sending out the same narrative again and again (productivity). She is too impulsive to have any kind of self-discipline and to accept responsibility.

Conclusion: This is one long and exhausting reading. Meghan and Harry are presumably in some kind of situation, money-wise, most probably outstanding debt. But instead of acknowledging that, Meghan still insists on pushing the narratives to make her the Diana 2.0, the People's Princess, the person that BRF throws away because she stands against "injustice", and above all, a victim. She desires to be celebrated, but she doesn't even know why she wants to be celebrated; she doesn't even know what she truly wants. She lacks the foresight to get what she desires. She wants the benefit of being a working royal but does not want the sacrifice that comes with it. So yes, she perceives herself as someone so important that she must always get what she wants, but she doesn't even know what she wants.

#reading: brf #g reads #this is one long ass reading and i am very exhausted #good night everyone

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