#WHAT’S THEIR SIGNIFICANCE WITH LENORE

[coconut530]

🔥

[historicity-was-already-taken]

Early Review of The Girl Bandits of the Warsaw Ghetto, to be released Fall 2025

"Elizabeth Hyman has an important story to tell. It is the story of the brave Jewish women who risked their lives attempting to defy the Nazis’ intention to leave no trace of Jewish existence. These women not only acted as couriers and spies for the resistance but also took their place besides Jewish men as active fighters, hurling grenades and firing rounds of ammunition. At the same time, they wrote about the suffering of their fellow Jews so that they would be remembered by future generations. They knew that they might be the last Jews able to tell their story, and as such were committed to documenting the ‘days of destruction and revolt.’ The Warsaw Ghetto Uprising, however, although an extraordinary act, was inevitably limited in scope. Nevertheless, its significance is clear; as the ghetto fighter Mordecai Anielewicz wrote shortly before his death, ‘The dream of my life has risen to become a fact. Self-defence in the ghetto will have been a reality. Jewish armed resistance and revenge are facts. I have been a witness to the magnificent, heroic fighting of Jewish men in battle.’ Whilst the story of the heroic Jewish men who participated in the armed revolt is relatively well known, far less has been written about the young Jewish women involved: Zivia Lubetkin, Tosia Altman, Feigele Peltel, Tema Schneiderman and Dr. Adina “Inka” Blady-Schweiger. Hyman’s meticulously researched book finally brings these women out of the shadows. Drawing on the work of scholars such as Lenore Weitzman, Judith Baumel, Atina Grossman, Sonia Hedgepath, Paula Hyman, Marion Kaplan, Vera Laska, Sybil Milton, Dalia Ofer, Joan Ringelheim, Carole Rittner, Rochelle G. Saidel and Nechama Tec, Hyman carefully explains the gendered nature of Jewish life in inter-war Poland, and how it laid the foundations for the involvement of Jewish women and girls in resisting Nazism. She then draws on an extensive body of primary sources – diaries, memoirs, oral histories, testimonies from those who did and did not survive – to chart the establishment of the Warsaw ghetto and the mass deportations in its final days. The Girl Bandits of the Warsaw Ghetto is a brilliant and important addition to both the scholarly literature on the Holocaust in Poland and more specifically the role of Jewish women during the war. By writing a narrative history of this extraordinary group of women and their work in the Jewish resistance in and around Warsaw, Hyman will be able to reach an audience outside of academia. Through the words of the women themselves readers are able to glimpse something of this terrible time. Hyman uses testimony both wisely and sensitively – weaving it into the narrative so adeptly that it almost feels as if the women themselves are telling the story – and yet not overloading her readers with the often-agonizing words of the writers. It is also to her credit that Hyman resists a moralising or triumphalist narrative: she simply aims to tell the story ... it is a work which should be read widely. The analysis of the source material is extremely strong throughout: testament to Hyman’s skill as a historian and emotional literacy as a reader. I have given an extremely positive account of Hyman’s manuscript. After several decades of working in the field, I nevertheless learnt a great deal from reading it. And perhaps more importantly still, I found myself profoundly moved by the brave young women in the book. In recent years I have become concerned that I am becoming hardened by my research. That I no longer read with the attentiveness to suffering that I once did. Hyman’s ability to infuse the women she writes about with emotions and complex personalities drew me back. A gifted storyteller, she reminded me once again that the women we both study are not just figures from history but complex human beings making excruciating decisions and trying to make sense of what they were being forced to endure as best they could. This book deserves to be read widely. I frequently review manuscripts and this is one of the best I’ve read."

Zoë Waxman

Professor of Holocaust History

University of Oxford

17/09/2024

[le-sapphic-artist]

The Suitcase

It may exist, but I haven’t seen anyone comment on this.

This is Lenore’s suitcase, the one she had handcuffed to her when she arrived.

Lenore herself said that these are her belongings from life, and it’s shown in the comic to be significant items too.

I mean, yeah, pajamas are a pretty standard thing to have, so maybe not those.

But. The first item I wanna talk about is the pearl clip. In one of the maze flashbacks, we see the moment Lenore and Annabel meet for the first time in life.

The maids are getting her ready for the important guest (Annabel) and pull her hair back with this clip.

The next thing is the sewing kit. (the little white box in the top corner of the suitcase.) The significance of the rest of the sewing kit is debatable, but the scissors are definitely important. Lenore uses them to break out of her room at the academy, cut through the maze, and it’s revealed later that she used them to cut her hair in life.

The iconic ring. The one that Annabel wears because she’s a smart woman who said yes and loves her wife fiancé. I guess Lenore only has the box now, but still. Not a lot to be said abt why this is important.

And the gun. The one she (presumably) used to kill Annabel and maybe herself. Ahem.

Anyways there’s still more objects. We see a mirror and a stack of cards/tiny book (idk exactly what it is). When she goes through the bag, Lenore also tosses out a pocket watch.

TBD I guess

[shivunin]

WIP Wednesday

Right under the wire! Thanks for the tag @heniareth!

It is statistically unlikely to still be Wednesday for most of you, but tagging back @dreadfutures @dungeons-and-dragon-age @elfroot-and-laurels @pinayelf @inquisimer in case you have anything you want to share (no pressure, as always!)

Here's a bit from a WIP set immediately after the not-a-kiss scene with Lucanis, ft. Lenore being Totally Normal:

(Lucanis/Rook Ingellvar |486 words | vague romance progression spoilers)

Shouldn’t be watching him like this. It’d been days since they’d almost kissed. She’d been strong. Focused. Had kept things aboveboard and friendly, no matter how much she wanted to ask him… What? What could she say, really? How’s your head feeling these days? Pretty clear? No, that was silly. There was too much else to be worrying about to worry about whatever was between—whatever she’d imagined was between them.  “Well, I did remember it was Lace’s turn to cook,” she told him, focusing on the cutting board with far more attention than was warranted, “and Davrin may have mentioned something about an alarming amount of cheese earlier…” “It was for a cheese soup, I believe,” Lucanis agreed, and his hands moved in her periphery. Taking another sip of coffee, presumably. She suspected it was a proportionately significant component of his blood content at this point. She wasn’t going to watch the way his lips moved when he pressed them to the rim of the cup. 

“You can’t be serious,” she said, though she knew he was. Lace had been most of the way through grating a block of cheese when Rook had walked in.  “You don’t think she would?”  Rook laughed at that, settled the lid on the pot, and turned away again. There was half a block of grated cheese to do something with now—a troubling thought, since none of the rest of them were Fereldan and thus did not share the scout’s love of cheese.  “Well, in any case,” she went on. “The letter came in earlier. I may have waited until she’d started cooking to let her know.” “Devious.” “You wouldn’t be the first to say so.” She tapped her hips, surveying the available ingredients before selecting a likely-looking loaf of bread. Lucanis shifted in her periphery. Despite herself, she looked at him. He’d pressed a hand to his head, forefinger and thumb pinching the bridge of his nose. “Spite?” she asked, and he nodded. “He want to say anything in particular or is he just hungry, too?”  The muscle in his jaw twitched. Slowly, deliberately, he set his mug on the table beside him.  “It is nothing worth sharing. I will make more coffee. Would you like some?”  What could she say? Pity would shame him and sympathy was hardly better. She sometimes wished she had Emmrich’s talent for hearing spirits. Perhaps if she could address both of them at once…but no. Maybe letting him do something for her would help.  “If you’re making it.” “Sweet, with cream,” he said.  The soft sounds of metal and glass to her left told her he’d already begun. Could he see her smiling? Surely not. She’d turned her head enough that she wouldn’t be caught.  “You remembered.” “How could I forget?” he said.  She laughed. He didn’t, but distracted as she was by the absence of the bread knife Rook hardly noticed.

[ghostselkie]

White Raven Dracula AU vampire lore

Alright, so first off, all the misfits are vampires. These are their ages (excluding the time they spent as a human):

Lenore ≈300 years old

Duke ≈250 years old

Pluto ≈230 years old

Eulalie ≈170 years old

Berenice ≈140 years old

Morella ≈60 years old

Now my vampires are going to be really close to the vampires in Bram Stoker's Dracula but it's not going to be exact. Also, all vampires have the same base powers, but as they get older, certain powers start to develop, with them being fully unlocked at the ages mentioned.

Powers and abilities:

Super human strength (average is roughly equivalent to 20 men)

Supper human speed and agility (average is roughly equal to 20 men)

Normal attacks will pass through their body as if it was air

Flight, to an extent. They mostly use it to hover in place and can move about as fast as they can walk normally.

They can crawl up walls and along ceilings in much the same way a lizard can.

Supernaturally alluring charisma (though not all vampires have this to the same extent). They can very easily persuade people to do things on their behalf, even against some ones better judgment.

Teleportation. As long as they've been some where and know how to get there.

Can slip through spaces too narrow for any human to be able to slip through. As long as the gap is the width of a hair, they can slip through it.

They can ride moon beams. Basically, moon rays will speed up how fast they can fly, but they can only do this in straight lines.

Ability to command creatures of the night such as wolves, rats, bats, owls, foxes and moths. This power is typically fully unlocked when vampires who are roughly 50 years old.

Illusory abilities. Typically, they fully unlock at around 100 years old, though the extent to which each vampire can use them varies wildly.

Shapeshifting, typically fully unlocked when vampires reach 200 years old. Younger vampires can shapeshift in to one thing before the age of 200, and this typically becomes their signature form. They can change their size and proportions to an unknown extent (the older the vampire the grater the extent). All vampires can shift in to all manner of forms, but most vampires have a tendency towards certain forms, with others feeling slightly uncomfortable. Regardless of what animals they have a tendency wards all vampires are comfortable as bats, wolves, large dogs, or fog/mist. Note: the attacks passing through them as if they where mist and the slipping through narrow entrances are thought to be instinctive versions of this power.

Weather manipulation, as well as directing elements such as storms, fog, wind, rain, and even lightning. The range at which they can do this varies among vampires. Also it's typically only a power seen used by vampires who are 300 years old.

They can slowly heal injuries as long as they are well-fed. It's quite a bit faster than the rate humans heal at, but not nearly as fast as most pop culture healing factors.

Weaknesses and limitations on powers:

Holly water burns them like acid

Any holy weapons will harm them like normal weapons would a human

Really any object with any religious significance can harm them

A stake through the hart will paralyze them

Beheading will kill them

They are repulsed by garlic (and garlic flowers), and repelled by any religious imagery

A wild roes stalk laid on their coffin will prevent them from rising at night.

All vampires lose most of their powers during the day. They are still quite strong and agile, though not to nearly the same extent. They can also still transform, though only at noon, dawn or dusk (at night they can shift when ever).

They have to sleep in their home land for their powers to recharge at their full rate. They can travel, but their powers will recharge at a slower rate and they are generally hungrier. They will eventually acclimate though. The rate at which their powers recharge will return to normal with in a few weeks.

They can't cross running water unless it's at low or high tide. If it's not during those times then they have to be caried across. And to bord a boat they have to do so during high or low tide, or be caried on board.

They can't enter a place unless invited. Once invited though, they can enter and leave at will.

Death sleep: Vampires go in to a death like sleep most days. It's nigh impossible for them to wake up until the sun sets. They can also go into this willingly and wake any time, even decades or centuries later.

They can't eat human food, if force fed they will immediately spit it out. If food is swallowed they will immediately vomit it up. Also it tastes absolutely foul to them. They can drink stuff, it just dosn't taste as good and they have to throw it up later unless its been mixed with blood.

Inhuman Traits:

They can see in the dark and in complete darkness, and their vision is better than that of a professional baseball player. 20/5 too 20/1. They do have some photosensitivity, so they cant se as well in the day time.

really good hearing

also a decently good sense of smell

They don't cast shadows

They don't have a reflection

Long, verry razor canines

Their teeth are unnaturally white. They are also perfectly straight, like a decade of orthodontia straight.

Some have pointed ears (length varies)

Their eyes glow.

Some can have slit pupils, or pupils of other weird shapes, but those are less common.

Some have claws (don't worry shape shifting can get rid of them temporarily, they can also be clipped, but they'll grow back like normal nails)

Some have harry palms

They can spend years and years alone with out it effecting them mentally, though they will often form groups called coteries, usually for mutual protection, or just companionship, as immortality can be boring if you don't have people to share it with. These groups typically do not exceed ten members.

They are typically more sedentary than humans on account of not being able to travel easily; though it's not unheard of for a bored vampire to be struck by some wander lust, during which they can literally travel all over the globe if they have the means.

Vampirism:

Vampires need blood to survive. Human blood is best for them. Animal blood works in a pinch, so does bottled blood, but it doesn't taste nearly as good, and you need a lot to sate your hunger. Vampires can also drink the blood of other vampires, but this is more of an intimate action as it is a huge show of trust.

The sight of human blood will trigger their blood lust. Upon seeing it, they will feel an uncontrollable urge to feed of that person. Some vampires are able to snap themselves out of it once they've drank enough, some are not. Some vampires are able to direct their blood lust, but regardless, some one is getting severally injured by the end of it.

A complete lack of blood in their system will also trigger blood lust. This type of blood lust is harder to snap out of though; usually one human will be fully exsanguinated before they snap out of it.

For some one to be turned into a vampire they need to be bit by a vampire tree separate times at least 24 hours apart, then drink some of the vampires blood, then die. If they don't die, then they will start gradually showing the traits of vampirism, eventually dying of starvation due to not being able to eat food.

being bit by a vampire feels good (not like vtm good though)

also a human who was bit by a vampire and didn't know it was going to happen is unlikely to remember the event, at least not fully. They might remember the vibe of something happening but not actually what happened. Or they'll remember it like it was a dream with the details being all fuzzy. Or they'll remember the event but their brain will re write it to make it make sense, like they'll think a bug bit them, or something.

I will make a separate post about character lore cause this got long.

[roseunspindle]

I get the feeling Jack and Castiel's redone heaven is a very different thing, besides no walls...

Like, it gives you thing's you want right?

So Dean of course wants Sam so even though it didn't seem like a long drive at a simple bridge stop, Sam's there.

Cas and Dean meet up soon after as well. It's not totally clear what happens between them, but they are running bar together shortly after and have their own house. It's odder when Benny, who was pretty sure he was morosely wandering Purgatory, a tiny amazon child in tow, then their walking out of the endless woods and come upon a bar. Dean's smile is radiant when he see's Benny, and so many things when he see's little Emma. In short order Benny has a spot behind the bar beside Dean while Castiel entertain's Emma with colorful drink parasols. (Jack show's up because he wishes to meet one of his siblings.)

Dean is somehow not surprised when Sam show's up with (he mocks delightedly) a vertaible harem. Madison apparently knows asl a bit and she and Eileen haven't stopped signing yet (Castiel joins in) Jess and Sam keeping giving eachother goopy eyes while Amy and Gabriel chat verbally. (Sam admits he already got to see Sarah, but that obvoiously her husband and daughter are with her.) Dean wonders if it's very selfish of him to be glad Sam's Amelia is nowhere to be seen.

Amy never speaks to him or acknowledges his existance. He accepts that as his jus deserts.

He isn't upset, like he thought he might be when Hannah comes in. (He does make a face at Balthazar but Bathazar makes a face right back so he thinks that's cool)

Jimmy and Amelia show up, and Cas, Sam, and Dean are happy to regale the two of all they know of Claire's life and accomplishments. Sam being the most recently dead knows the most. He and Jimmy get especially soppy over memories (and pictures) of Claire and Kaia's wedding.

Time probably passes. Dean, Benny, Cas, Balthazar and Hannah, little Emma in tow go home and return. They go on walks and drives. Sometimes he and Sam get together for a "just us drive". Sometimes Adam comes with. It's...slow going, but Dean and Sam try and Adam tries...Adam becomes much, much happier when a morose and apologetic Michael shows up. Dean figures he can't throw stones about ones eternal partner...(but he really wants to) (granted he also wishes Gabriel would stop with the eyebrows. He doesn't care if Sam is technically and old man...that is his baby brother why are those eyebrows waggling!) (Lenore who has also come by, her own bar coming into being directly across the street from Dean's, does the same thing. Sam looks delighted and helpess at all his loves. Lenore is a love he didn't even ever consider...but she's hear now and Dean whines because he was the brother with the vampire significant other...Sam's just copying him...) (This doesn't stop him from teaming up with the former trickster for an epic prank war.)

Henricksen makes his way to the bar. Along with sweet Nancy. Dean actually squeaks a bit when Benny gestures her behind the bar. He thinks he feels something like twelve with his first crush with her. It's something so very new and he thinks he likes it. Henricksen "I think you can call me Victor these days" drops by every now and then. He's on Dean's team for the prank war. (Nancy and Hannah get along great)

Dean, Sam (and Adam once he's introduced) are giddy when Henry Winchester arrives.

The real Meg Masters comes in at one point. Sam and Dean thank her again for trying with her last breaths to help them, she tries to aplogize for her angry ghost self but gives up with a happy laugh when they stick their fingers in their ears and sing until she stops. She has nothing to ever apologize for.

John and Mary come in...things are strained between them all. A lot of hurt...a lot of disappointment clouds their interactions. Emma tries to bite John's ankle.

Ash opts to live part time and the roadhouse and part time at Dean's bar, which mysteriously named itself Thursday's Child at some point. Dean also obediently goes to visit the roadhouse at Ellen and Jo's demand. Jo never work's at Dean's bar...but she does eventually make her way home with him and the rest. (Sam points out that he can't mock his number of significant other's anymore.)

Andy Gallagher, when he shows up, shepherding a scowly blonde goth girl and a sweet looking girl in front of him, zeroes in on Sam. He becomes Lenore's bar's resident "guy who sleeps on tables" but often follows Sam home. Lily (who made Sam look like he wanted to cry until the girl awkwardly kicked his shin and told him he tried and it wasn't his fault) and her girlsfriend mostly hang out at Lenore's when they pass through.

One person who goes to Sam's house, not the bar is Barry, the boy Sam had been friends with at Truman, not looking much older than when they were there. It's heartbreaking to think on. Sam does cry, when Barry knocks on his door one day. Interestingly enough, when he heads out to spend time with his friend...Sam is a child again for that time.

One day, when Dean takes a walk alone, he meets a young man. He knows him. Amy Pond's son. Dean accepts his earned censure and if Amy and he are with Sam, Dean know's he won't be seeing his brother that day.

Crowley, really, Fergus Macleod, shows up. He's on a bit of a time share with hell, he can't always be in heaven, his past as a demon being a bit problematic, but gets visiting rights.

More people come, Claire and Kaia, Garth (Dean no longer has any reservations about hugging Garth). Bess, Gertie, Little Cas and Littler Sam, Little Dean...a variety of folks that the winchesters or other's they know drop in and out. It's often busy and crowded and Dean is never truly alone.

It's Heaven.

[mesillusionssousecstasy]

The Fall of the House of Usher : Quotes

"- And if anyone, anyone comes after us, we will exhaust our arsenal until the threat's neutralized. - By neutralized, do you mean sued into oblivion, taken out of the Board, out of the will, on the streets... - Neutralized. Like dead. (Episode 1)

"- Algorithms aren't high tech. They've been around since antiquity. An algorithm is just a finite sequence of all defined instructions to solve a problem, or perform a computation." (Episode 2)

"- Nothing worth having is ever easy." (Episode 2)

"- It's better, I promise, in the moment just before than in the moment after." (Episode 2)

"- We need to talk because when people ask, there are some things you absolutely cannot say." (Episode 3)

"- That's why we've a charity wing, so you paste someone's face on it." (Camille - Episode 3)

"- We remember that he did it, so he did it." (Episode 3)

"- Because opportunity doesn't give a fuck what you're going through." (Episode 3)

"- That's why they hate us. Not because we grabbed the opportunity, but because they didn't." (Episode 3)

"- Like, I make video games, you know? (Leo) - You don't make video games. You give money to people who make video games. No, no. An idea is nothing. An idea is fart that your brain makes. But if you patent an idea, well, then it's an asset. (Camille - Episode 3)

"- You're gonna do the smart thing and go back to your crossword puzzle or else I'll have you fired and sued." (Episode 3)

"- What's a six-letter word for "fucked"?" (Episode 3)

"- I'm gonna need you to tell me who the fuck you think you are." (Episode 3)

"- I can hear Camille's voice in my head right now. "Satin is silk for poor people, no one should wear it to a funeral, unless they died in it." Fuck's sake." (Leo - Episode 4)

"- The other go-to coping mechanism in my family. It's when you direct your more intense reactions towards something or someone that doesn't feel threatening. So you get to react and be angry, be abusive, be violent, even, but you don't risk significant consequences." (Episode 4)

"- Denial, displacement, projection." (Episode 4)

" - But see, I wanted something better. Something better for him. For all of them." (Episode 4)

"- A trait of mine that seemed to skip them somehow... sublimation. That is something that is one of the few coping mechanisms that's considered positive. Sublimation is when a person chooses to redirect strong emotions into an object or an activity that's appropriate and safe. So, instead of lashing out at your employees, you pour your energy into kickbox..." (Episode 4)

"- You drive a car like that, you make a statement. About who you are, where you're going, and how you get there." (Episode 4)

"- Now, let's get a drink, huh? It's gotta be noon somewhere." (Roderick - Episode 4)

"- Something in coke for you? You don't want the designer stuff. It's too dangerous." (Leo - Episode 4)

"- Are you mistaking me for a civilian? I'm not a fucking civilian." (Frederik - Episode 4)

"- You're not who I thought you were. Smart girls are only sex until they don't wanna fuck you, and then they're competition, and then what do you do? You take them down a peg." (Episode 5)

"- It's an opportunity. He's underestimated you. That's a gift. A failure of imagination. He sees you as formidable, he locks down, closes ranks, shuts the doors, battens the hatches. You are a face, you're not a mouthpiece, so just smile and shut the fuck up." (Episode 5)

"- Look, I'm shit at preambles. I made a life by getting to the point, so..." (Episode 5)

"- Why is this happening? - Life is insane. It is madness. The sooner you understand that, the better off you'll be." (Episode 6)

"- Reality's not what it used to be. All that we see or seem is but a dream within a dream. For example.... As those who dream by day are cognizant of many things which escape those who dream only by night. (Roderick) - Grandpa, are you okay? (Lenore) - I am. I'm fine. I'm just... It's been quite a week." (Roderick - Episode 6)

"- Men have called me mad But the question is not yet settled. As to whether madness is or is not the loftiest intelligence." (Episode 6)

"- Shut your mouth, get your shit together. The fuck is wrong with you?" (Episode 6)

"- I don't know anything about anything." (Episode 6)

"- Men are as stupid as they are simple. You're better off. Oh, my God, my first husband. I thought I missed him, but that was just this temporary insanity. This burp your heart goes through. He was fun to ride. Boy. Men, when they think they're immortal, all they want to do is fuck. When they figure out they're going to die, all they want to do is fuck. (Madeline - Episode 6)

"- You don't have to be a tyrant, but if you don't want to be consistently cruel, then you have to be sufficiently brutal at least once to establish authority." (Episode 7)

"- Everything has a price. Every negotiation's a point of entry. Every deal is simply an expression of will. Mutual will." (Episode 7)

"- You're a collection of impeccable, elaborate masks in orbit of a stunted heart. And I understand. You find an adversary, you kill them. You find a hurdle, you jump it or dismantle it. You find a locked door, you pry it open." (Episode 7)

"- Don't be stupid. Can you imagine what that would look like? My own wife trying to get off my own drug. It's a PR nightmare." (Roderick - Episode 7)

"- All soaked with feelings of absolute desperation and dread." (Episode 7)

"- Basically, the closest analogy I can think of is a fish being pulled out of water, only at least the fish gets to die." (Roderick - Episode 7)

"- So, I will take there years of hell over a lifetime with you." (Juno - Episode 7)

"- He and I share that as well. We both understand that... language in its highest expression is musical. What's a poem, after all, if not a safe space for a difficult truth. So there is a limit. (Verna) - No, it's not a limit, it's a standard." (Episode 8)

"- I don't want it, any of it, if it involves serving at some man's pleasure." (Madeline - Episode 8)

"- One of my favorite things about human beings. Starvation, poverty, disease, you could fix all that, just with money. But everyone loves something. And that love there's collateral. (Verna) - No. I have no collateral. Collateral is leverage. And I won't be leveraged. No man or woman has leveraged me in 70 years of life. And I'm not going to cede that ground, not this close to the end." (Arthur Pym - Episode 8)

[gevaudn]

crucify me anyway | pack

"well, well," malarie exclaimed, calling attention to her presence in the hall, "fancy meeting all of you here."

trytas, at the head of his cluster of siblings, stopped and turned to face the approaching hale sisters. eira's hadmaiden, fei, trailed a few steps behind them, her head bowed as it always was in the presence of company. wryly, trytas had to wonder how she got anything done when she was so afraid to look up from the ground. he kindly pulled his eyes away from her to greet the approaching royal sisters. etiquette dictated that he lowered his head, too, but he'd spent enough time with the sisters over the years to know that they'd much rather he look them in the eye. still, he bowed his head respectfully. "your highnesses," he greeted, holding out an arm for eira, as malarie slipped her arm through lenore's, as if they were old friends and not two pawns in a centuries-old feud. "you both look lovely this afternoon."

"no need to fish for information, sir targaryen, i only know as much as you do," malarie teased. there was a playful disposition about her, one that never seemed to let up, even in the face of tension and ire. trytas had seen for himself how red her father could turn when he screamed at her for her lack of orthodox; he'd seen, just as well, how malarie lounged and smirked in the face of such loud disapproval. her gown dragged behind her on the ground as they traversed the corridors, passing by the open windows that blessed them with golden sunlight. "all i know is that his majesty has decided his competent daughters can handle security matters now." she met lenore's eyes then, a brief shadow passing through her gaze. "he says to follow the gods' law, if we can't pass our own judgement."

trytas hummed, but didn't comment. the gods' law was an old concept, one far older than either freya or lexise would care to study, though not one that either himself or lenore would be unfamiliar with. it was, simple and plain, murder; to kill whoever posed a threat to the kingdom, regardless of who they were or what the threat was. it was archaic and trytas much liked to believe that they had progressed beyond such measures, but it didn't necessarily surprise him that the king seemed to find it viable, still.

another moment passed before malarie spoke again. "it was the argents," she said, her tone deceptively light. "they called for this meeting."

trytas looked over at her in surprise. trailing behind her brother, lexise tipped her head in confusion. a lot of what was being said flew over her head. she knew nothing of a gods' law or the significance of the argents calling for an audience with the council. though, if she recalled correctly, the hales were historically the only ones who called for such unions. "why?" she asked curiously.

malarie shrugged as if unbothered. "isn't that the question, sweet?" as they approached the looming double door leading to the throne room, the guards stationed in front of it stepped to the side to pull the doors open for them. trytas let his arm slip gracefully from eira's and allowed the princesses to enter first, then the targaryens, and fei last. as was custom, malarie sat in the king's seat, her sister in the queen's, and he and lenore took up positions on either side of them, while his younger sisters joined the martins in the ring around the ring around the room. fei, ever the traditional servant, stood in the shadows of the room, prepared to race forward if she was needed but otherwise making herself invisible. a quick glance through the room revealed everyone else, exactly where they were to be. all of the representatives from the families of the court: boyds, aenins, maes, vhassos, larkes, porters, martins.

the targaryens were the second highest power in the kingdom, but the families gathered here were all limportant. they all knew what no one else did.

from his spot beside eira, trytas let his eyes fall on the six people kneeling in the center of the room. with his nose, it was all too easy to pick up the scent of seawater clinging to them, just as readily as the scent of blood. one of the six, the enticingly beautiful girl with dark skin and furious eyes, had a cloth shoved so far into her mouth that it was obviously impairing her breathing, despite her stubborn glare and refusal to show vulnerability. beyond that, another cloth was wrapped around to keep it in place, tied so tightly that it would leave bruises. a little further down the line, the long-haired brunette had gone remarkably pale and seemed to be struggling to stay awake. the scent of water clung to her more so than any of them, and he realized after another moment that she must've been a mermaid to smell that way. a mermaid, so far from the water.

trytas kept his mouth shut. the argents were the protectors of the kingdom and it was their duty to do what would keep the princesses safe. it was not his place to question how they restrained the captives, humane or not.

behind the pirates, the argent sisters stood, isabeau a half step behind her elder sister. trytas had very little doubt that they weren't the ones who'd apprehended these pirates; gabrielle, as far as he knew, had never been one for such cruelty. but she would inherit the argent legacy and mantle. whether she was responsible for this or not, she was the one who'd have to explain it to the court. and isabeau was nothing if not faithful to her older sister.

"oh, gabby," malarie cooed, almost a purr in its quiet intimacy, remarkably informal for such an occasion. "what pretty gifts you've brought me today." she smiled, almost catlike, as she addressed the argent heir. "is it our anniversary, love? i fear i didn't get you anything."

malarie hale was remarkable, aurelia thought from the sidelines. her dedication to making everything a joke was one for the ages. it was really no wonder her father cursed her name so violently.

[beevean]

i really have to lament that the standards for female characters in media are still so abysmal that people are happy to eat up #girlboss'd maria and annette in nocturne

when their character bios dropped these past few days, my mind immediately went to this iconic kate beaton comic panel:

and this was a parody of how mainstream media "solved" sexism by invariably making every female character a badass, take no prisoners Action Girl™ (aka the proto-#girlboss) from over a decade ago

Absolutely incredible :^)

What grinds my gears is that the adaptation is deliberately flattening characters who were distinct in the original games and could have been fleshed out in a proper story.

Annette doesn't do much in RoB, true. Her one significant scene is the one where she threatens to slit her own throat rather than join Dracula. Sure, why not expand on that? An average woman without powers or training, but armed with nothing bur bravery in the face of corruption: she may not be able to strike enemies physically, but she won't fall for their mind games, and she might also be rewritten to be intelligent and tactic-- nope she's a metalbender now!!!! she's also a swordswoman!!!!! and she will be politically motivated!!!!!!

Maria is a plucky 12 yo girl without much experience of the world, but who grows to care about Richter and wants to help her. She doesn't understand, nor care, about Dracula's speech about the evil of mankind, while the adult Richter falters: she is pure innocence. Still, her unique powers give her an edge when it comes to demon slaying, all without losing her upbeat attit-- nope she's a political leader now!!!! she's also a swordswoman!!!!!! and she's always serious!!!!!! and she will be politically motivated!!!!!!!

In the original NFCV, Sypha was the only one spared because her personality admittedly was a little more upbeat and warmer, even though she also fell in the trap of being the One Braincell Of The Group. But Greta and the woman St. Germain simped for picked up the slack for her, as they were both the exact shade of competent, no-nonsense tough lady fighter, complete with "good thing I'm here to run your life now" in the former's case.

And the female villains? Striga was the only original one, being the obvious muscle of the group, but she might as well have been a henchwoman. Carmilla? A self-proclaimed queen whose personality begins and ends at #girlboss, all sexy and seductive and manipulative and with a dash of radfem. Lenore? Not quite as girlbossish, but still meant to be seen as cool and sexy (and fucking how) and a great manipulator. Erszbet? So far she looks like Carmilla 2.0. Drolta is the one we know the least about so far, but it's interesting how she was turned from an old human witch to a young sexy vampire.

You see the pattern here?

Annette and Maria are also the latest examples of characters who have been changed for no good reason in an attempt to "fix" them. NFCV hates normal people, they all have to be heroes and magic users and proficient weapon users. Instead of keeping Annette with her role of "Richter's girlfriend and a normal girl", but giving her a more substantial personality, she was completely reworked to be something that she simply isn't, and that rewriting is being praised as being So Much Better Than The Games. As if her original role is so undefensible that she needs to be reworked from scratch.

It's lazy. There is a sore lack of variety in the female cast of these shows. And it pretends to be "progressive" about it. As if women are only worth being celebrated if they're physically active and have a tough attitude.

Meanwhile, I will forever be impressed by how Ayami Kojima and Kou Sasakura took Rosaly, a literal non-entity in CoD whose only narrative purpose was to be the fridged woman, and gave her enough personality, without straying far from the archetype of the kind normal girl, that I seriously grew attached to her, something I would have never expected at first.

[m1xieup]

Hey, i wanted to say that i follow your thoughts and theories about Nevermore for a week now and i have the feeling that your questions are quite perceptive !

SPOIL FAST PASS EP 80 (i think)

[[MORE]]

On the topic of Will, i cannot forget the conversation between Lenore and Annabel in 🌟 the closet 🌟 and more precisly the part about currency. Every time i see a character now it just pops in my head : What do they trade ? What do they expect to receive ? What are their character mental traits for them to think like that ? Why ?

I exposed this because it would be so cool to hear your thought on Will and Montrashor !

Spoilers for Nevermore (specifically 76+), read at your own risk!!!

Hi! Let me say first of all I’m flattered, and I’m glad you’ve been enjoying my thoughts/theories! Now this is quite the interesting question and one I need to give some thought, so I'm sorry it took so long! I hope you enjoy my interpretation though! (strap in though this is long)

What does “Currency” stand for?

What this character wants to receive/how they desire to be treated/ what they desire to be given (and by whom)

What they prioritize when it comes to gain → what do they risk/give things up for (what do they give up?)

Questions to be answered

What do they trade (what is their currency?)

What do they expect to receive (also for consideration; what are they willing to give in order to receive this)?

What are their character/mental traits for them to think like that? Why? (How could their personalities/experiences influence their currency and actions [their motivation]?)

Will

Ok Will. I’ll start with him as he’ll most likely be a focal character for the next few

episodes, and we’ll probably learn more about him. A quick reminder! I am not an expert and these theories/opinions are all based on my personal reading. Now, to the best of my understanding Will’s primary ‘currencies’ are security, and companionship. Will is indecisive, and a bit of a pushover. While his actions could be described as cowardly, I think that is simplifying it to a certain accent. He seems to face significant distress at the thought of Monty not being around to tell him what to do, and implies that he needs someone to control/decide what he does. I personally think this comes from indecisiveness, fear, and low self-esteem. Will consistently gravitates towards strong personalities-- people who will tell him exactly what to do so he can’t mess up, and so he can’t make the “wrong” decision. So what he desires from a relationship is security. A person to provide a sense of safety and comfort. He staunchly believes that Monty has a plan, and has complete faith in him. Now when understanding the meaning of ‘currency’ in this context it’s important to understand that this is what someone wants/needs, and is specifically a tool for manipulation. Will also seems to put a lot of stock in the fact that he and Monty are friends, and that they are companions. Will has been shown to be largely ignored/lonely outside of Montresor, and if my reading of him is correct, he is not someone used to kindness. He seems to be a fairly isolated person, so it seems that Will, in addition to security in the face of his fears and low self-esteem, desires friendship greatly. He states that Montresor is his friend so of course he’ll help Will when he needs it. Not only is he very loyal, in a desire to protect the security and companionship he gets, but he is willing to excuse a lot of mistreatment- both towards himself and others. Because if his friend is threatened, his stability is threatened. This obviously makes Will a very dependent person, which does align with his spectre.

Will’s spectre is interesting to analyze for a couple reasons assuming spectres represent the person in some way. Will is a doppelganger, which already means his entire thing is that he becomes like someone else. This implies that Will may not have a very stable identity, and possibly may act very differently depending on who it is he’s following. Secondly he does not have a face, just a circle of drama-style masks around his head. These masks display his emotions, and even become disorderly when he is drunk. These masks most likely indicate a facade, or the fact Will may be hiding some of his true emotions. His limbs are also surrounded by ribbons. Now, this may not be intentional, but we also know that ribbons are important symbols in Nevermore. They indicate restraint, entanglement, and expectations. They also could function somewhat as strings, so it’s possible they could also indicate manipulation and control. Another interesting detail is that Will is a neutral type spectre- the only other neutral spectre we’ve seen is Pluto, which makes him stand out. If it’s true that spectres correlate with either the circumstances of one’s death, or what they were feeling, this puts Will in a fairly unique place. I feel like his spectre also stands out due to its abilities: duplication. mimicry, and entanglement. Mimicry may be a representation of how he models himself after those that admires.

Now that I’ve discussed what I think his currency is, as well as talked a little about my thoughts on Will’s spectre, I figured I could talk a little more about what I think could lead him to act this way. Now in my explanation of why I chose ‘security and companionship’ I did already talk about my thoughts a little, but I figured I’d talk a little more before moving on to Monty. So I already mentioned that I believe that Will has fairly low self-esteem, and this makes him seek out someone to take the responsibility for his actions, give him validation, and treat him the way he feels he should be treated. Will, at least during the Mystery Manor Arc, blamed himself for the treatment he received from Monty. Now his friendship with Monty involving some part seeking validations may seem counterintuitive, as Monty rarely offers Will any validation, but this may be because he blames Will for it. Will, already thinking he is stupid, and generally negatively of himself, believes this. He constantly asks Monty for validation, and Monty keeps him around with the promise of his friendship and the eventual benefits that would come with that. Will believes in Monty, desperately, I mean he has to. He is so paralyzed by fear about making his own decisions, that Monty seems like a safe-haven. Will seems to be deeply lonely, and may even feel ignored or shunned by his peers. He’s sweet, and yet his peers just do not seem to care-- he’s a background character in his own story! Now this may just be a byproduct of him literally being a side character, but I believe that in episode 80 it was shown that even when the story is being told by him, he’s still treated this way. This would most likely make Will feel deeply lonely. So he seeks companionship, and is willing to give pretty much anything for it. This combined with his dependance, and willingness to put up with mistreatment, makes him the perfect target for Monty. Monty is shown time and time again to be a manipulator, and Will is both willing to be hurt and hurt others for the things Monty will offer him (even if he doesn’t actually end up receiving it). Now what could have made Will into this sort of person outside of just his personality? Sadly, we don’t really know (though we could be finding out soon), but we can theorize! My guess is that growing up Will had an extremely close bond; one upon which he was dependant, one that would have normalized the hostility he faces from Monty, and one that might have made Will into the person he is right now. It’s possible (depending on how closely they follow the source material, which I definitely have thoughts about but I’m waiting to learn more about him) that Will might have lost his parents at a young age, and this might have also influenced him greatly. In summary, Will may not be used to kindness, or to friendships that don’t expect him to fulfill this kind of role. It may be that this is simply what Will is used to and expects, which is sad! I definitely think that Will, alongside Morella, is the most likely to switch sides. In fact I think he’ll have to (see my episode 80 theories). Now I hope this has thoroughly explained my perspective on your questions!

Montresor

Ok, so part of the reason this analysis took so long was that I was having a lot of trouble with Monty. I just couldn’t seem to figure him out- I’d think one thing then think of something that contradicts it a minute later. So after much thought I’ve come to the conclusion that Montresor’s currency may be respect. Now I originally wrote this off as impossible, as in his relationship with Lenore he’s interested specifically because she does not show him respect- in fact she antagonizes him. However, he also states that a large portion of his interest in her is ‘taming’ her (yuck). This may mean that what he desires from this relationship is respect, it's the respect she’ll give him once he breaks her. Monty specifically has a very dog-eat-dog world view, and thinks there are two types of people; winners and losers. He says he himself is a winner, and that the losers are just there to populate their games. Monty may actually be a dark foil to Annabel. Monty views life as a game, and one that is inherently competitive. He also treats others as pawns like Annabel, manipulating and using them to his advantage. He was also the one to first peg Lenore as a true threat in episode 32, where he made Annabel and Lenore compete over Morella. He knew to look out for Lenore, and I think part of what draws him to her is part of what draws Annabel to Lenore- she doesn’t play by the rules of the game. She is a challenge to Montresor, and one he is determined to beat. Another thing I noticed is that while Monty may be reckless, he’s not stupid. He most definitely does have a plan. He is able to compete with big players like Annabel, Lenore, and Prospero and you’ve got to have some sort of strategic ability to do so. He also is very good at picking people. Specifically people that help serve his larger goal- in fact I wouldn’t be surprised if he even has a goal outside of getting that second chance at a life. Monty is a manipulator at his core, and that is part of why it was so hard to understand his currency (I’m still not 100% on the one I chose). Monty often uses different tactics with different people, and acts according to the bounds of that relationship. However, I do feel that what Monty wants ultimately is respect. Annabel gets the best responses from him when challenging his reputation (possibly lowering the respect he receives from others) and when she respects him. He reacts negatively when she disrespects or tells him what to do (such as in the hallway). There is also his track record with insults. He hates them, and takes them extremely personally. He is also very vindictive, and it seems the easiest way to get on his bad side is to disrespect/insult him. He also is one to hold a grudge it seems based on his comments on ‘keeping a ledger’ in the Mystery Manor arc. However, yet again this circles back to Lenore. Why does he keep interacting with her, and is fascinated by her, if he hates disrespect? He wants to prove her wrong. He knows both Annabel and Lenore look down on him, but Lenore does so openly and he is allowed to take out his frustrations on her because she is on the opposite team. Lenore’s respect means more because he had to earn it. In my opinion Montresor suffers from the ever-so-common in toxic men cocktail of an inflated yet fragile ego, ruthless world view, and a deeply buried kernel of self-hatred. Montresor isn’t just fun to hate because he’s evil- but because there is an element of realism to his characterization.

  Now we get on to the ‘why are they like this’ portion of the analysis (I would analyze Monty’s spectre but it has less to do with this than Will’s and I’ve already been working on this a few days and I’m tired). The reason I feel Monty wants respect (as well as control) so badly in his relationships, is that there was a period of time where he did not get it. Monty was a cowboy in the wild west, and as much as the image of a cowboy may be glorious, it really was just another working-class job with a ton of physical labor. In fact during the time period (we think) Monty was alive, he’d be in the same category as coal-miners. He would have moved a lot, and had to do some very dangerous jobs. He also would have been fairly poor, as stated before, being a cowboy was not particularly lucrative. He also would have to have regularly come into contact with rich ranchers, who may not have been particularly respectful. This may contribute to why Monty acts with such particular vitriol towards Duke, who epitomizes the idea of  east coast/foreigner who disrespects him and his background (particularly by calling him a ‘stupid, backwoods hick’) This most likely was a sore spot for Monty during his life- also side note I noticed that people tend to act in accordance to their lives and experiences in them despite not remembering them fully, which is interesting. The point is that as a cowboy Monty would not have gotten the respect he felt he deserved, and that may have influenced what he looks for in relationships aka his ‘currency’. The reason he wants to gain Lenore’s respect and ‘tame’ her is in order to prove himself. Montresor has been underestimated by almost everyone he’s come into contact with. They assume, due to his personality and hot-headed nature, that he is much less intelligent than he is. I think this even applies to the audience- I mean I underestimated him at first! It’s easy to see that Annabel is intelligent; she is cold, calculated, and a strategist at heart. But Monty? No. The thing is I think this was a common theme in his relationships in life, and he resents people underestimating him due to his background. So, he seeks to earn and take respect from the people he thinks are a threat/look down on him. He also has a very ruthless view of the world, one that usually comes from a harsh life, and seeing as we knew he was a cowboy it's very possible that he had a couple bad experiences that made him think this way. It could also be that someone taught him this was true (such as a mentor, or a combination of the two- someone he cared about betrayed him while expressing this sentiment). This could just be how he is, but I find this unlikely. Something caused him to think in this manner. I personally think that the betrayal angle is very interesting, and plausible. So, we know that Monty believes there are two types of people: winners and losers. He thinks of himself, Lenore, and most likely Annabel as winners. He thinks of both Ada and Will as losers most likely- useful to further his chances. He uses them to advance his plans, but I’m not sure he really cares (I do think it's possible he does care and just doesn’t show it, but based on his behavior… it's not likely.) about them. He keeps them around him for their skills, and possibly to boost his ego, but would sacrifice them in a heartbeat. They give him respect, but it's not the same because he didn't have to earn it. They have a blind faith in him. He wants to prove those he thinks sees themself as above him wrong, and he wants their respect more than anything. This makes Monty a very compelling villain, and a fun character to analyze! His unique combination of a high/fragile ego, and possibly some self hatred in there, makes him hard to predict, and even harder to control.

[azaleayoung-blog]

What is dark academia and what does it have to do with social media?

A deep dive into the genre and why it has become so popular.

Dark academia has recently been seeing a growth in popularity across social media, with its aesthetic being displayed in movies, television shows, and primarily novels. 

The year 2020 marked some significant changes in our media landscape. That may seem like a bit of a nonpoint, but the rise of TikTok coupled with the number of people inside due to pandemic restrictions saw an irreversible change within popular trends and aesthetics.

In the literature community, one such trend was the rise of dark academia. Though the subculture primarily exists online, the term is slowly creeping into the mainstream.  In 2022, it was defined by Collins Dictionary as “a social media aesthetic and subculture concerned with higher education, writing and poetry, the arts, and classic Greek and Gothic architecture,” which is somewhat of a broad interpretation. To uncover what makes dark academia such an appealing genre today, one needs to trace back its history; starting with, perhaps most famously, The Secret History by Donna Tartt. 

Published in 1992, the novel is what some point to as the first dark academic novel. A pioneer of its time, it is still quite relevant today — it can almost always be counted on to be present on #BookTok recommends tables at bookstores. Set at a fictional college in New England, the novel follows a group of students studying ancient Greek. The narrator, a student who joined the group after its initial formation, unveils how one of them was murdered by the group’s original members. As far as dark academia goes, it’s got it all — murder, Greek aesthetics, a fancy, secluded college. Unsurprisingly, many elements of Tartt’s magnum opus can be found in other books within the genre.

One of the first notable pillars of the genre is right in the name — academia. These novels typically take place in an academic setting; whether this is at a private boarding school or around a college campus. Still, dark academia wouldn’t exactly be academia without some form of academics. Typically, these characters are often studying Ancient Greek, Shakespearean theatre, or English literature — fields that are, for lack of a better word, pretentious. These topics are absolutely for everyone but are not necessarily accessible things to learn about and interact with, or make a living out of. This does not necessarily mean that if a character is studying one of these topics the novel they are in is a dark academic novel, but a character’s field of study, such as these examples, will often add to the atmosphere of dark academia. 

A significant number of these stories see characters marked by tragedy, mystery, or both at the same time. Whether that involves crime (see If We Were Villains by M.L. Rio) or a mystery to solve (see Truly, Devious by Maureen Johnson), the characters are typically caught up in a problem larger than themselves, like solving a murder (or, in the case of The Secret History, getting away with one). 

Some authors have utilized the genre and its traits to call out and criticize these academic settings which have been historically open only to white and rich individuals, see Babel by R.F. Kuang. 

The novel is set in 1828 in Britain and follows Chinese-born Robin who is forced to give his help to an institution that will only use his work to further their goals of colonization. At school, he and members of his friend group continuously face racism as students of colour. Although Robin is a member of this school community, it is clear that many do not want him there, and he, like many of the other students of colour, are viewed as disposable.

As Lenore Sell puts it in her article Beyond the Aesthetics: An Introduction to Dark Academia, “Some of the novels blame elitist structures at educational institutions for the ensuing destruction, or even a dysfunctional academic landscape as a whole, although this connection is not always the object of overt criticism or satire.” 

For example, in The Picture of Dorian Gray by Oscar Wilde, the characters are not directly opposed to their wealth, but Wilde uses them and their lifestyles to highlight the inherent lack of morality present in these structures. This novel is an interesting case as it holds elements of magical realism and gothic literature as well as dark academia, but its traits allow it to somewhat fit into both genres.

As more dark academic books continue to be published, their popularity seems to grow. However, sometimes what its readers are chasing is more of a feeling or an aesthetic than quality literature. 

Dark academia is directly linked to an old-fashioned kind of style, with modern technology rarely, if ever, appearing in many of its most famous works. The fashion choices of the characters—such as blazers, woolen sweaters, tweed patterns, and just generally darker colour palettes—all contribute to the finely curated aesthetic of dark rooms, classic novels, candles, and typewriters. Sure, these things are all technically dark academia-inspired, but they do nothing more than just scratch the surface of what the genre purports to actually be about: learning, higher education, and literature. 

A genre based purely on its aesthetics and vibes might at first seem to be only superficial and provide no substance. It can, however, encompass an idea or way of life that some crave. Sell writes in her article, “The rise of dark academia can be an expression of the longing of younger generations for a lifestyle temporarily or permanently inaccessible to them.”

This longing could especially be felt by those who are unable to afford post-secondary education, or those typically excluded from higher academic circles. Attending a post-secondary institution comes with a sense of community, particularly for those who live on campus and broaden their experiences by participating in new activities and meeting new friends. These institutions, while being flawed, are incredibly important because of this, as they provide something that many of us want. Following this logic, it’s possible then, that the boom in dark academia’s popularity was a result of people longing for these institutions that were closed during the pandemic or are unavailable to so many people. 

Racism and class inequality contribute to the lack of diversity seen in higher academic settings, particularly because of how expensive post-secondary education can be. It’s why turning to social media to fulfill these dreams is easier for many.

Katie Xu (@katiexsocials), a TikToker who posts about building your personal brand and learning how to market yourself, posted a video on TikTok’s ability to foster human connections, stating, “People on TikTok are connecting to people. When I see someone on my For You page, I listen to what they have to say … I’m listening to them as a person, and I’m trying to understand them as a person.”

While she does not make any reference to dark academia, her idea has merit because of the way platforms like TikTok are designed to make sure you interact with people who share the same interests as you. Social media itself is perhaps the largest and most influential community there is, so for individuals to turn to that at times of uncertainty and find solace in a niche like dark academia is reflective of the weight the genre held then and still holds today.  

Currently, TikTok has over four hundred thousand posts under its dark academia tag, based on videos about the aesthetic and the books that fall into its category. While the majority of the hype (at least in my opinion) has died down a bit, it is still a genre that is very much relevant outside of social media. For example, outside of the literature community, other mediums have used the dark academic aesthetic to tell stories, such as podcasts like The Alexandria Archives or The Magnus Archives. The aesthetic is also present in TV shows like Wednesday or A Series of Unfortunate Events. It can even branch out into music with a more recent example being Taylor Swift’s THE TORTURED POETS DEPARTMENT. 

But to bring it back to literature, one of the most recent books on the scene is Curious Tides, by French-Canadian author Pascale Lacelle. 

The novel has all the most familiar trappings of a dark academic book, but with a magical twist in line with stories in the fantasy genre. Set at a fictional college, the protagonist has to investigate the secret society that seems to be connected to her classmates’ mysterious deaths. Only, these deaths of which she is the only survivor have left her with heightened powers. Similar to Babel, this blend of a different genre with dark academia prolongs the genre’s lifespan and takes it to places it has not traditionally been. 

Like all other trends, the dark academia one will most likely not have wide-ranging impacts outside of its small niches, but I’m talking purely about its aesthetic sense. In the literary market, it looks like there are still plenty more stories to tell that can deviate from the traditional dark academia novel while still using its most popular elements.

[dualcastimpact]

dawntrail impressions pt. xii

In this installment: the sins of a people and—what's this? A mother who's not dead in FFXIV????

Spoilers below the cut, as always:

I'm being a little cavalier about the whole mothers thing but if you really think about it, fathers (or grandfathers) play pretty significant roles throughout all the expansions. There's:

Louisoix, who kicked the whole thing off in ARR;

Heavensward which was almost completely about fathers: Count Edmont de Fortemps' and his foil Archbishop Thordan VII, with one dedicated to bettering Ishgard's future alongside his sons and the other dedicated to preserving Ishgard's past in direct conflict against his son, and Midgardsormr—the father of all dragons—giving his children wake-up calls;

Lyse's relationship with her father helping her understand the Ala Mhigan spirit of resistance better, Gosetsu's adoption of the amnesiac Yotsuyu because of how she reminded him of his dearly departed daughter, and Jenomis cen Lexentale's obsession with Ivalice impacting his children in Stormblood;

the Crystal Exarch and his granddaughter Lyna, Gaius and his adopted children, and that one questline about the young woman on the trail of her father who'd committed suicide in Shadowbringers;

Fourchenault's entire fucking deal in Endwalker;

and finally the well-meaning and doting father Gulool Ja Ja, the father who gave up all rights to that title Hunmu Rruk, and the asshole dad Zereel Ja in Dawntrail.

There's a lot to be said about (grand)fathers in each expansion like I've highlighted above, but very little about (grand)mothers. We don't know jack about Louisoix's wife. The only thing we know about Count Edmont de Fortemps' wife is that she's dead and hated Haurchefant. We don't know anything about Aymeric's mother. Presumably Curtis Hext's wife is dead just like Gosetsu's is, but we don't know anything about her in the context of the resistance against the Empire (unlike Gosetsu and Jenomis' wives whose only role is to be their Lost Lenores). Even in Dawntrail there isn't any mention of Gulool Ja Ja or Hunmu Rruk's wives; maybe Mamool Ja can reproduce asexually so there's no need for a wife in Gulool Ja Ja's case, but surely Wuk Lamat would have a mother?

It's why Miilal Ja is such an interesting character to me; living mothers are very rare in FFXIV, and she's not like the typical living mothers we've seen so far either. Barring Athena, F'lhaminn (as per my knowledge of her from 2.0 onwards), Dulia-Chai and Ameliance are all loving mothers who are in relatively good places—F'lhaminn is supported by the Scions, and Dulia-Chai and Ameliance are rich with loving husbands—while Miilal Ja is living in an abusive society (more on that later) with a very clearly abusive spouse. It makes her taking the initiative to reach out to Wuk Lamat and ultimately reveal the darkness behind Mamook all the more meaningful—it's easy to take action when you're a woman of action (F'lhaminn) or in a position of power and privilege (Dulia-Chai and Ameliance), not so much when you're beaten and downtrodden like Miilal Ja.

———

Bakool Ja Ja the Mighty: "...What, couldn't wait to laugh at the failure?"

It's not an uncommon shōnen trope, the secretly-insecure braggart who blusters and boasts and bullies his way to hide and overcompensate for his perceived failings, who's later revealed to be facing intense pressure and abuse from a domineering patriarch. It doesn't excuse everything he's done, but among the four claimants it makes him a far more relatable character than the others—even (especially) stock shōnen hero Wuk Lamat. It's easy to dismiss this line as part of his egotism, but this is simply a boy hiding away and licking his wounds after failing to do the one thing he's supposedly good for. Maybe it's just my own experiences, but it's hard not to relate to that or at least feel a little sorry for him—especially after Zereel Ja's very public display earlier.

———

Miilal Ja: "The Third Promise seeks to learn about Mamook. She may be our chance to finally end what we have been powerless to stop."

Miilal Ja: "Talk with her. Tell her...what we have done."

And now we come to the truth of the matter: the darkness within Mamook's heart.

———

Bakool Ja Ja the Mighty: "Fine. Perhaps it's only right that we be the ones to speak of it. "Blessed" as we are..."

Bakool Ja Ja the Mystic: "Do you know how blessed siblings are made?"

Krile: "I heard that they are born to Hoobigo and Boonewa parents."

Bakool Ja Ja the Mystic: "Such unions between clans were originally arranged to stop infighting. The war between the Xbr'aal was going poorly, and we needed to be united."

Bakool Ja Ja the Mystic: "Then one day, a child was born. One blessed with two heads...and tremendous power."

Bakool Ja Ja the Mighty: "When this child grew old enough to lead our army, we became unstoppable. The Xbr'aal had no answer, and we drove them all the way back to the trees above."

Bakool Ja Ja the Mighty: "That taste of victory awakened our greed. We became obsessed with conceiving more and more of these superior children. No matter the cost..."

Bakool Ja Ja the Mighty: "Of the countless born, most die...trapped in their shells."

Bakool Ja Ja the Mystic: "Only one in a hundred survive."

Remember what I said earlier about how it's all the more meaningful that Miilal Ja is the one who takes the initiative to bring Wuk Lamat into the fold, in hopes of ending that which they "have been powerless to stop"? Even this shows her limits—as the Autarch's wife, as the one who gave birth to the blessed siblings Bakool Ja Ja, not only she would have not been exempt from having to conceive as many children as she could in hopes of one of the children being a two-headed Mamool Ja, she would have been expected to contribute the most. We don't know if the Autarch's wife plays a role within Mamook society—if she was seen as a guiding matriarch for the womenfolk—but if she did, she would have not been able to console those grieving for their lost children, or defend those suffering from what is essentially sexual slavery.

Because that's one thing that I don't see people talk about when it comes to this particular revelation/plot point—it's sad and tragic that so many children are conceived and die in their shells, essentially stillborn, but nobody talks about what it does to the men and women involved. If we're going by the idea that Mamool Ja can reproduce asexually, that might not have been an issue but! Blessed siblings are explicitly said to be born from the union of Hoobigo and Boonewa parents, therefore it's unlikely for them to come from asexual reproduction, which means sex is involved, and treating the men and women of Mamook as a never-ending baby factory is no different than subjecting them to sexual slavery.

Miilal Ja is so tied to this pervasive cycle herself, it's to the point where it's not she who reveals the darkness within Mamook's heart to our heroes—it's Bakool Ja Ja who's telling this story. And yet she's the one who reaches out to Wuk Lamat and acts as the bridge between her and Bakool Ja Ja—the hope of Mamook. Without her, there could be no reconciliation. There could be no hope for Mamook.

And it all began with the words of a weary, downtrodden mother and wife. That means a lot, I think.

———

Bakool Ja Ja the Mighty: "If we are "blessed," it is only because we yet live. Unlike our brothers and sisters who were sacrificed for the glory of Mamook."

Bakool Ja Ja the Mighty: "Of course it's horrible! It's an atrocity we can never take back!"

Bakool Ja Ja the Mighty: "Those children died so that we could live! So we had to succeed, no matter what! To fail would mean it was all for nothing! ...Nothing!"

Bakool Ja Ja the Mighty: "...But I did fail. I squandered their sacrifice."

And there we have it. It's not just pressure from the overbearing, domineering, abusive patriarch—it's the weight of all the dead children before him, born to die for the sake of Mamook's glory, so heavy on his shoulders to the point where he's internalised the sins of Mamook as his own.

———

What will you say? > I sympathize with your pain, but... > Don't use them as an excuse.

There comes a point where as much as I enjoy seeing my Warrior of Light take center stage, I don't really like how the game shoehorns the Warrior into reacting in situations that don't involve them. Dawntrail has several of these instances, and they're all the more aggravating considering Wuk Lamat is supposed to the main character—so why is the Warrior of Light chiming in when it doesn't involve them? Remember, the Warrior of Light is only acting as a mentor, an outsider providing a third perspective, a neutral party there to assist their chosen claimant. They're not here to judge, what the heck.

———

Bakool Ja Ja the Mighty: "I...I should never have been born."

Now that's just fucking sad, man.

———

Of course, since Dawntrail is basically the shōnen manga/JRPG tropes expansion, we can't have a scene between the stock shōnen hero and her bully of a rival without a rousing speech from the hero!

Wuk Lamat: "You're wrong."

Wuk Lamat: "You didn't ask to be born as you are, and—you aren't responsible for your siblings' deaths."

Wuk Lamat: "The people obsessed with blessed siblings are. They made their choices...but they don't make yours!"

Wuk Lamat: "Since when do you let others push you around, Bakool Ja Ja? What do you want? Say it!"

Bakool Ja Ja the Mighty: "I...want it to end."

Bakool Ja Ja the Mighty: "I don't want any more to die."

Wuk Lamat: "Then you have my word. We'll put a stop to this madness."

———

Can't forget the bully turning over a new leaf and apologising...

Bakool Ja Ja the Mighty: "I'm sorry. For what I've said...and done. I don't expect your forgiveness."

Wuk Lamat: "You had your reasons. I'm glad I could know them."

...and a heart-warming scene of the two putting aside their differences to work together for the betterment of all.

———

Aaaaaand finally the stock shōnen hero derails the tension with a cheeky, juvenile joke—that's always a classic!

Wuk Lamat: "Which is to say...you're not a complete alpaca's ass."

(sighs)

I have Thoughts™ about this whole plot point, most of which I've outlined re: Miilal Ja and the inherent sexual horror of Mamook's obsession with the blessed siblings, but also I know, I know the premise of so many stillborn children being birthed to the point where it's said to be countless is supposed to be horrifying in itself, but a good degree of that horror is diluted by the sheer fact that the Mamool Ja are, well, non-human. They're very distinctly reptilian-coded, they would have been (and were!) known as beastmen before FFXIV did away with that terminology, Bakool Ja Ja states that the infants die in their shells which means they're born from eggs... and I get that a life in an egg is a life regardless but people don't really think of eggs that way! You don't feel sad when you see a smashed bird egg, or mourn the loss of potential life in that egg. Yes, it's very likely Mamool Ja eggs don't quite work that way but it doesn't really register; there's so much distance from the reality of that horror that it doesn't really sink in. We know so little about how Mamool Ja reproduce and procreate and the exact circumstances surrounding a Mamool Ja's birth—do they lay eggs? do the women keep the eggs within them until the embryo inside reaches infancy like a pregnancy, or do the eggs mature outside the mother? is laying an egg as painful a process as giving birth?—to the point where that horror doesn't really connect for us. I can't help but wonder why they made this a plot point with the Mamool Ja—was it a clever way to create conflict around the existence of two-headed Mamool Ja, or was it because if we applied this same concept to a more mammalian or human-like race, it'd be a thousand degrees more traumatising? Imagine women constantly getting pregnant and giving birth to stillborn babies, again and again and again and again—

It's the stuff nightmares are made of.

I'd usually say I'm happy to hear your thoughts on this matter, but 1) I'm STILL at level 95 MSQ so would appreciate no spoilers regarding the Mamool Ja since I know we learn a little more about them in the later stages of the MSQ; and 2) it's frankly too disturbing to think about.

[mrbensonmum]

TV Show - The Fall of the House of Usher VIII

Madness has now completely consumed Roderick, and we finally get an answer to a previously asked question: Is Lenore also one of the Usher children, and must she share the same fate?

People are falling from the sky as a symbolic representation of the Usher family’s, or more specifically Roderick Usher’s, deeds. It’s a drastic image that, in my opinion, is not without significance. Especially since it’s not just a brief shot—it goes on for quite a while, and we even see the bodies pile up. It’s practically the prelude to the meeting with Auguste Dupin.

As we see all the already deceased children appear, Lenore is among them as well. Thus, all of the Usher children are gone, and now we finally understand why. We also finally learn what happened on New Year's Eve in 1979! (I always chuckle a bit here, since 1979 is my birth year.) Even though we’ve already been given a grim picture of the Ushers, this image gets filled in with even more gruesome details. Madeline and Roderick are bolder and more ruthless than we ever imagined. And yes, they will stop at nothing, even murder, and we learn who the first victim is and how they met their horrifying end.

But before that happens, Lenore and her mother are saved, as they call the police. Before Lenore passes away, Verna reveals to her that her mother will live a peaceful life and that all the money she inherits will be invested in a foundation named after her.

Before Roderick’s conversation with Auguste, Pym and Madeline also meet with Verna at the Usher house. Madeline is forced to realize in a very intense way that perhaps she’s not as tough as she has always appeared to be. The timelines blur a little here, but she meets with Roderick in the basement once again, and something horrific happens. Roderick drugs her, removes her eyes, and replaces them with stones, just like in an ancient Egyptian ritual.

In a conversation with Pym, Verna speaks about a client and the deal made with them. Due to certain searches and which search results my post might appear in, I won’t go into detail here. However, this is another critique the series beautifully wraps up and throws right in our faces. Could Verna actually be the Devil himself? Pym’s question about whether this client will soon get their comeuppance remains unanswered. But who knows? Maybe it will happen soon!

Could there have been a better choice for Pym than Mark Hamill? I don’t think so! And here’s a provocative question about Pym: Could he be the only honest and upright person among all these other characters, who have clearly stared into the abyss, as Nietzsche described, for too long and too deeply? But it’s not just about the abyss—it’s also about the struggle with monsters and not becoming one yourself, which fits perfectly, in my opinion. However, this is a question the series doesn’t answer, leaving it up to each viewer to form their own conclusion based on what’s shown.

In the end, it’s undeniable, especially after Madeline’s monologue, that the series also serves as a critique of society. I’ll definitely have to check whether a similar critique is hidden in the original short story that inspired the title.

It’s interesting how the house in which Auguste and Roderick have been staying all this time metaphorically represents the titular “House of Usher,” and it too crumbles into dust and ashes, just like the entire family. Before that, we see Madeline rushing up from the basement to strangle Roderick. The previously mentioned ritual, which was only hinted at, is now visually confirmed. It’s horrifying, but after everything the series has shown us, perhaps this is a fitting end for the Usher siblings. But was that the point of it all?

Although he’s only a peripheral character, I find it quite satisfying that Auguste Dupin seems to find peace in the end. At the Usher family grave, he closes the chapter, as his case no longer makes sense, and Roderick’s confession is now irrelevant. He talks about how he wants to spend the next phase of his life with his partner—a very pleasant conclusion!

The Fall of the House of Usher, what a series. The casting, the settings, and even the use of CGI have all gone the extra mile. More effort was put in, rather than just settling for an average series. And the connections to the works of Edgar Allan Poe—there’s a lot of research involved, otherwise, the real fans would call you out, but I haven’t seen any backlash.

Even the recitations of the works—while I can’t claim to have understood all of them—are always delivered at the right moments by the respective characters. And I have to give a shoutout to the German dubbing team. Even though I can’t verify the accuracy of the translations, they clearly paid attention to ensuring that the voices carried the proper weight.

Reflecting on all these connections in a post is going to take some time. There are quite a few stories I want to revisit, and I want to do it properly. I’ve seen that the Wikipedia article on the series already lists some, but I’d like to refresh my memory with the stories, especially those that share titles with the individual episodes.

I wholeheartedly recommend The Fall of the House of Usher. It’s a series in which you can truly immerse yourself, especially with all the previously mentioned connections. But even if you don’t care about those, the series still leaves a lasting impression. There’s plenty to reflect on, to discuss, and perhaps even to rewatch. In the end, however, that’s for each viewer to decide, and the series gives you that freedom. Maybe that’s why I like it so much. If you just want to enjoy it and be entertained, great. But if you want to take a deep dive like I am, the series offers that too. It’s wonderful that such content is still being made. But I’ll save my Hollywood criticism for another time.

Picture of my Deep Dive! (Can't wait to read the book about Arthur Gordon Pym!)

[ozziescribbler]

Can you tell me your opinion on the "dead mom" trope in Hotel Transylvania with Martha Dracula, and explain why "love at first sight" is a harmful trope?

I don't mind "dead mom" in writing all that much... Execution is what makes or breaks that trope. Hotel Transylvania, very much like Finding Nemo, at least has enough dignity to show how the widower dad's grief and trauma influences his approach to single parenting. Which is more than can be said about Disney princesses having dead mothers. Disney dead mom became a pattern to such a degree that Moana's mom allegedly got resurrected during late writing stages (it's quite obvious when you notice how small her role is compared to dad and grandma). Seems like unless widowed dad is a (co-)protagonist, there will be a lot less thought put into making his kid a half-orphan. So yeah, Martha Dracula/Lady Lubov being dead was never the problem.

The problem is Hotel Transylvania's entire philosophy around love, and how in the climax of the first movie Martha is used to legitimize the entire fucking "zing" idea. In one single scene, the script's ENTIRE PHILOSOPHY turns out to be "For a Zing only happens once in your life." The Dead Mom has spoketh and she can not possibly be wrong because moms who are dead are always good and right about everything and only their widowed husbands errr! See: Deceased Parents Are the Best, The Lost Lenore and Too Good for This Sinful Earth on TV Tropes.

It should really go without saying, but let's say it anyway. It's wrong. It's fucked up. It's amatonormative. This movie says that love at first sight is real and that you should blindly follow it because you won't get another chance at it. Imprinting is real and good and fuck you if you think otherwise, I guess. Because it's not like tons of people, in real life AND fiction, happily fall in love more than once or end up in toxic relationships just because there was initial attraction (dare I say, a zing), right? /s

And, as @wormwoodworms commented under my last post about HT, it's just a bad, lazy trope to play straight:

What's the point of love story if it says that true, undying love starts at eye contact? If the movie's central subplot is Jonathan/Mavis romance then WHY can't they just naturally grow attracted to each other? WHY their first impression ("Zing") is given so much significance over the scenes them getting to know one another?

Ironically, as I said before, it's a good thing this flashback to Dracula couple meet cute was left on cutting room floor:

It's sentimental for its own sake and adds nothing. This romance is sufficiently established in other scenes of the final movie. If they left that in, Mavis' dead mom would basically have better established romantic plotline than Mavis herself.

Also, as much as I appreciate third movie letting Dracula move the fuck on and retconning the "once in a lifetime" part for him, BY THE FIRST MOVIE'S LOGIC his second love is illegitimate and he should not marry Ericka. Fuck you, Drac, be lonely and miserable for the rest of your unlife because your one and only zing is dead!

[shivunin]

The Lovers (beside/not solely LI) and The Moon for the Rook tarot ask please ✨ (and good luck with the microwave, hope you're all ok! D: )

Thank you, Arja! <3. All is well, something oily was burned really badly in the microwave and it ruined the poor thing :/ Was not planning on a new microwave anytime soon, but at least the house stopped smelling like inescapable smoke now that it's gone haha

(Rook Tarot Asks)

The Lovers: Who is your Rook's most significant relationship within the Veilguard? How do they help Rook feel seen and understood?

Oooh this is harder than I expected to answer. Lenore's worldview is very limited still at the beginning of the game. She's spent a year travelling with Varric, but formed very few close friendships beyond him in that time. As a result, her friendships with each of the others are precious to her for different reasons.

Of them, I think Neve is her closest friendship. She and Neve have a similar sense of humor and she could listen to Neve talk forever. One of her favorite parts of travelling with the others is listening to Neve unravel a mystery with the help of the other companions. They hunt down serials for Bellara together c:

The Moon: How does Rook's past impact their values? Does their past come with any biases or blind spots they have to account for?

Lenore is still working with a very Nevarra-centric worldview by the time the game starts. I think she has always been interested in other cultures, but the information she's working with is cursory by necessity. She's always wanted nothing more than to stay in the Necropolis forever, so her necromancy studies took up almost all of her time and her violin filled most of the rest.

She is very much the sort of person who only realizes the experiences she considers relatable are not universal only after she's said them out loud. In the beginning, this leads to her reeling her personal stories waaaay in because it's difficult for her to gauge what's uncomfortable for others (especially re: necromancy). She opens up a lot after Emmrich joins them because he navigates this with a great deal more grace, but that long period of not feeling the pressure to respond with her own experiences helps her understand the others' cultures and expectations better.

[soul-dwelling]

Not to spoile the final MHA chapter, but it actually does makw me apreciate the ending of SE's manga lol

(I still have another question I have been slow at answering about My Hero Academia, and I will get to answering it soon--and now that the manga is reaching its final chapter Sunday, I will post that answer after the final chapter is released.)

I did read the spoilers online.

I do not like this ending, but as I say below, it is an ending that does match the overall philosophy this manga has had since Chapter 1. And even as I dislike this ending, I do appreciate and even like or love some of the details, whether stuff from the earliest chapters that get payoff, long-term setup-and-payoff by Horikoshi (that one scene right before the PLF War finally gets payoff in this chapter), parallels between the very first chapter and this final chapter.

But I don't like how abrupt and fast certain details are. I can appreciate the final chapter showing the actual work done to make the world a better place; I despise how the final chapter skips over significant steps in the work to be done to make the world a better place to just show, "And the characters managed to succeed at their goals!" No--I am here to see the struggle to make that better world, I don't want to just skip to, "And now things are better!" I know this is a bizarre comparison, but even Wakko's Wish made sure to hold your hand and take you through how things got better for the characters. This ending is just, "And now so-and-so is super famous!" No--show me how they got to be famous, show me how they made that accomplishment, created that program, improved the world--don't tell me, give me that story.

I'm not sure how I feel about Izuku's ending. It answers a long-term problem that has been there since Chapter 1, and I don't think this solution actually addresses the underlying problem that has been there since Chapter 1, especially as it replaces one form of inequality with another.

I don't like the refusal to acknowledge the work certain characters did, how their contributions are overshadowed, that we don't get to see how certain characters got to be so well loved and famous--again, show us the work done, don't just skip to, "And now things are better!" I don't appreciate how undervalued Izuku seems.

And a lot of my disappointment with this ending and this manga overall is just my own fault: I have had a decade to get to work with a friend on My Hero Academia fics and headcanon that it is difficult for me to accept this ending when my own headcanon is what I prefer. (Don't even get me started on how much I prefer the ships my friend and I have compared to the lackluster ships this manga and its final chapter go with or imply or just edge close to then whiff and don't commit to.) This chapter is going to please a lot of people; it's not going to please other people.

Also, the confirmed deaths leave a sour taste in my mouth. Like where Izuku ends up, that fits what is Horikoshi's philosophy, but, first, I am disliking his philosophy more and more, and second, that doesn't change that the logic ("This character totally can survive this fatal injury, but this character doesn't") fails at being believable, whether in terms of worldbuilding or philosophical meaning. As a certain someone on Tumblr has done a really good job pointing out, the choices to kill off certain characters undermines a lot of the messaging, and it doesn't help that it produces "bury your gays," "lost Lenore," "stuffed in the fridge" tropes that use the deaths of LGBTQ+ and girl and women characters to further the character progression of mostly cishet or cishet-coded or boy or men characters.

I also don't like which deaths are confirmed or strongly hinted at, with zero closure for certain characters and a refusal to permit page space to emphasize, "This character is dead, this is the last pin we are putting on who they were, what they meant to these characters." The same goes for how this manga ignored what Midnight's death meant to Aizawa and Mic, but if I start talking about that, then I'd have to talk about MHA Vigilantes as well and how that series had a far worse ending than My Hero Academia, and this post is already long enough.

All of that being said: this ending is better than that of Soul Eater. (It doesn't help that both Soul Eater and MHA ended their manga run right around my birthday, so, yay, another disappointing manga ending to celebrate another revolution around the sun--FML.) And it's a hell of a way better than Fire Force. Soul Eater ended with the worst jokes because Ohkubo cannot commit to a serious moment without undercutting it with the worst kind of joke: it's not even that he allows some needed levity with a joke that is appropriate for the situation and actually helps reinforce the point he was making, he literally went from, "My friend has had a life of trauma and now remains with that trauma for eternity to protect others," to, "LOL boobs and groping girls." Fire Force shat all over the meaning of Soul Eater, undermining the point of the latter and screwing over the potential message of the former. But My Hero Academia at least ended with a reinforcement of some of its key principles: a hero can appear where you don't expect it, don't judge a book by its cover, teamwork is needed rather than only individualism, discrimination sucks and should be shunned and shamed, and the world is not fair but that doesn't mean we can afford to not make it more fair and equitable so don't give up, improvise to do what you can to help others, and keep moving forward.

...Also, I really do not like the designs on the last page. My complaint here is similar to how I complain about the designs of Bungo Stray Dogs when showing a change in ages for characters: the designs on the last pages of My Hero Academia just look off-model, not like the characters are older. I have a major hang-up about that detail, and I'll talk about it after Sunday, but I really do not like when illustrators don't know how to draw their own characters.

(Sidebar: This is not only about Horikoshi: I'm also glaring at Ohkubo and those new art museums pieces of the Soul Eater characters. If those are supposed to be older Maka et al, then I don't know what is wrong with Ohkubo's stylistic preferences because he just refuses to make anything look consistent. I know Ohkubo's art style has changed a lot over the years--but pick a style and stick with it: between the manga and the anime and now these new art pieces, Maka has had at least eight [insert Death the Kid reference] designs--early manga, the first anime, the Baba Yaga Arc, the final arc, the NOT manga, the NOT anime, the Fire Force-era Twitter art, and now these museum pieces. And none of them look enough alike to work as a progression in his art style.)

Also, Mineta never paid for his crimes--horrible ending to this manga.