#analyzing it and writing meta for it

[nururu]

everyone's always wrong about characters and that's why I talk to myself on here in my own posts.

[pr1ncessasuke]

muruem and killua both on their knees begging palm to save their beloved komugi and gon. I just realized this parallel today and im unwell.

togashi created palm to facilitate the new themes of love and coming of age in the chimera ant arc. and created multiple parallels between the two pairs

[lunarriviera]

#UndertheSkin2, starring Tan Jianci & Jin Shijia [x]

[abstract-moth]

thinking about how Ambrosius originally stood next to the Director far from Ballister and the Queen

and the only reason he was close enough to cut off Ballister’s arm

was because he moved forward to cheer his name

[charlottesbookclub]

should we talk about the interlace on gwayne's horse's armor?

since I spend altogether too much time looking at stills and gifs of gwayne anyway, I figured I might as well share some observations I have about the really interesting visuals that are happening with his horse's armor

this is part art historical analysis, part gwayne meta, and part "let's look at some gorgeous images under the guise of doing visual analysis" so if that's your thing, please read on! if not, that's also totally fine – I get that this is hyperspecific and also a symptom of my very serious gwayne brainrot, so I'm putting everything else below the cut! 💚💚 (also it's quite long – sorry! 😅)

okay I want to be upfront about my qualifications and my shortfalls here: I'm an art history phd student and so basically all I do is visual analysis of objects. I've studied a number of medieval manuscripts that feature interlace (which is where I'm going to draw most of my knowledge from here), and I've taken a seminar (an advanced graduate course) specifically on medieval manuscripts, for which I wrote a research paper entitled "From Kells to Celtic: The Aesthetics of the Book of Kells Illuminations as a Marker of Irish Identity." HOWEVER I am NOT a historian of armor, so I will be taking my knowledge of interlace on other objects and applying it to the armor we see in the show

a short intro

so, the first thing that struck me about gwayne's horse's armor is that it's really different than the other equestrian armor we see, even amongst the other men who came with him from oldtown. to be honest, my guess is that this was likely done in the show to help him stand out and also show that he is a special and precious princess (which he is btw 😌😌) who needs fancy armor for his horse. I'm not sure if further thought went into it than that (but maybe it did! I'm happy to stand corrected here!)

however, the catastrophic levels of brainrot I've developed over this man have compelled me to read much further into it than that, which I shall now proceed to do with great enthusiasm! ☺️

first, let's look at the armor:

it's hard to find really detailed close-ups, but it's clear that the armor is incredibly intricate. not only do we have this very complex interlacing, but certain designs are marked out with different colors and internal patterning, making the whole thing even more visually interesting and complex

while interlacing is used across a vast range of time, cultures, geographical regions, and artistic mediums, given both the visuality of this armor in particular and knowing that westeros is based on medieval europe, seeing this interlace instantly called to mind a style that we today call "insular fusion" (I'm not going to go into all the specifics of it here because that's a post all its own lol 😅). it's a style perhaps most famously exemplified by The Book of Kells, but it is found throughout many different objects of the same period (ca. 700-900 CE)

now let's look at some fucking interlace hell yeah!!!!!!

from The Book of Kells (ca. 750-810 CE)

from The Lindisfarne Gospels (ca. 698-721 CE)

and two non-manuscript examples:

Animal Head Post from a Viking Ship Burial (ca. 825 CE)

and a later example, but one of my favorites:

Wooden Portal of the Urnes Stave Church (ca. 1050-1070 CE)

do we see the vision??? are y'all picking up what I'm putting down???

"okay, charlotte, I see the similarities, but why does this matter?" you may be asking yourself (or maybe you aren't idk), and the answer is: this type of interlacing had some super fascinating meanings and uses, some of which I think we can apply to gwayne! 💚💚

let me break it down from least to most potentially related to gwayne:

the aesthetics of interlace as an identity marker

use of interlace in a religious context

interlace as a status symbol

the protective potential of interlace

and now let's go into detailllllllll!!!!!

the aesthetics of interlace as an identity marker

I bring this one up because it's what I focused on in my personal research on the topic of interlace, but I also think it's the least relevant to gwayne. my argument in my paper was that the aesthetics of the interlace in the Book of Kells have been thoughtfully and intentionally re-used throughout history and into the present as a clear visual marker of identity that draws a narrative back to the production of the Book of Kells. however, in terms of the show, we have very little indication that the particular style of interlacing we see on gwayne's horse is associated with any larger identity concepts. it doesn't seem to be associated with house hightower, as none of the other men with gwayne seem to borrow this motif, nor do we see it associated with alicent (as far as I can tell from the little looking I've done, but I'm more than happy to revise this!). for it to make sense as some form of identity marker, it would have to be clear what identity he's visually referencing, and since his use of interlace seems unique, I think it's doubtful that it's part of a larger visual invocation of identity

use of interlace in a religious context

part of what makes insular fusion so interesting as a style is that it is indeed a fusion of a number of different regional styles, including vine scrolls from the mediterranean, triskeles from the northern british isles, and zoomorphic (meaning "in the form of animals") interlace from northwestern mainland europe. although insular fusion is used to decorate christian objects (like gospel books and churches), its component parts are much much older and have connections to various pagan religions that significantly pre-date christianity. obviously it's impossible to be 100% certain of the exact significance of interlace in any of these religious contexts (there are no written records explaining it), but scholars have a few guesses

one suggestion is that interlace in some way represented the spirit world/the world of the gods, or perhaps even a point of connection between the human world and the world beyond. although the religion of westeros is obviously different than any of the real-world religions that used interlace in this manner, I do still wonder if there could be a religious connection here. it's pretty clear that gwayne's mother was quite religious, and alicent is as well. although we don't totally know gwayne's relationship with religion, we could certainly guess that it's at least a little bit important to him, given the beliefs of the women in his life. I know that the most common religious symbol in westeros tends to be the seven-pointed star, which is not something I see on the interlace on the armor, so I'm not sure how far I would want to take this hypothesis, but I did want to put it out there for anyone who might have further thoughts!

interlace as a status symbol

as I mentioned to in the beginning, I do think it's likely that this particular type of armor was chosen for gwayne's horse because it does come off as a bit ostentatious. the manuscripts with interlace that I mentioned above were hugely expensive and time-consuming projects, and only the most affluent religious communities could afford such luxurious gospel books. given the level of detail on the armor, I have to imagine that the same is true in the world of the show. in some ways, it's a mode of conspicuous consumption; a demonstration of the hightowers' wealth and influence. there's a reason gwayne's horse's armor stands out: because it's meant to. it's meant to set him apart, even from the other soldiers who came with him from oldtown

now this next part is just my own conjecture, but I also wonder if the armor is meant to speak to a more artistic sensibility on gwayne's part. after all, equestrian armor is a very functional object with a very clear goal: to protect the horse. from a purely functional standpoint, the interlace does nothing to serve this purpose (and may actually hinder it a little??), it simply adds a complex visuality to the armor. aside from just flaunting the wealth that must have been expended to commission such a piece, it also suggests that it was crafted by artisans who had both functional and aesthetic goals in mind while creating it. whether it was gwayne himself who directed the commission or not, it seems significant that he chose to use this armor that doubles as a kind of art piece. he does seem to be someone who enjoys the finer things in life, so it wouldn't surprise me if he had an artistic appreciation too, and was using this armor as a way to demonstrate that (or perhaps even just as a way to show his own personal artistic taste/preferences)

the protective potential of interlace

technically, I think "interlace as a status symbol" is the most likely reason for the armor being the way it is, but this one is my favorite theory, so I'm putting it at the top. circling back to the religious uses of interlace, another theory of its religious significance is as a mode of protection. some scholars think that its creators believed that the weaving, intertwined lines of the interlace would confuse and trap evil spirits. building on this theory is the fact that complex interlacing was often used at transitional or liminal points, such as the beginning pages of a gospel book or on the doors of churches. the idea here is that the interlace wields its protective powers at these key entry points against any evil entities that might try to enter sacred or protected spaces

interlace as apotropaic (a fancy technical term meaning "protective," often used in reference to magic or magical practices) seems particularly poignant for an object that was literally going to be worn into battle. now, I admit once again that there is little canon evidence to suggest that interlace is thought of in this way in the world of the show, so I'm running with this theory more because I like it rather than because I think it's legitimately based in canon. but I just think it's very sweet that gwayne's horse would be adorned with this complex interlace that seems to be woven with protective powers. even if gwayne (or others) didn't literally believe that interlace had those kind of powers, the fact that he still made the choice to invoke the idea of protection against harm and evil is a lovely thought. (it makes me think of how people today still might carry a rabbit's foot or have charms against the evil eye, even if they don't actually place stock in the beliefs surrounding those objects. I just think it's cool that generations of cultural belief still imbue these objects with a kind of magical aura). I just like the idea that he (or someone else?? otto? alicent? his mother?) chose armor that might have been associated with protection against harm

and now I'll finally wrap up!!

whew that was a lot! if you've read this far – thank you so much!! I'm honestly not even sure if these thoughts were coherent, but I kept thinking about this when I looked at that interlaced armor, and I just had to get the ideas out of my head lol

but I'd love to hear what others think about this topic! I'm certainly not an expert on the matter, and I'd be super open to hearing if others have different interpretations!

if nothing else, I hope you learned something cool about interlace! (and also just how far I have descended into madness over this man that I am writing pages-long analyses of his horse's armor 😅🤪)

[crimeronan]

thinkin about these lines in the beginning of hollow mind:

and

just. god i love it so much. WHAT a clever-yet-subtle use of foreshadowing. like obviously the audience knows that luz is about to find something big, given everything about belos..... but these lines aren't Really about the overarching season-long plot at all.

luz starting the episode out saying "i need to show people who belos really is" and eda asking "and who is he, really?" what a fun way to say Haha. Luz Is About To Find Out.

This Sure Is An Episode About The Finding Out Part Of Fucking Around!

and the second exchange isn't about the general population of the boiling isles at all. it's about hunter.

thesis statements, themes, etc. hunter doesn't want to think he's wasted his life following the wrong person. luz is about to spend an entire episode searching for something big enough to change his mind. and she won't find it for a long time, because that's how cult abuse and cognitive dissonance and the sunk cost fallacy work.

luz and hunter are both so completely unequipped for what each of them is about to discover. it's gonna color their relationship and their individual senses of self for the Entire Rest Of The Show. they are NOT READY for how their lives are about to change, and neither of them know it.

but the writers do.

so the writers are saying.

:)

:)

:)

okay, kiddos. let's pull the pin on all these grenades.

[craqueluring]

oh my fucking god hannibal blew on the soup in the spoon so it cooled down before he gave it to will. i am in shambles.

okay no but seriously this is literally so representative of hannibal's thought process in this episode in my opinion. he blew on the spoon for like 2 seconds, which would not have cooled it down much at all. its the principle of the gesture, and shows hannibal felt compelled to care for will. i dont think will even saw it (or registered it) because he was still super drugged up, so it couldn't have been for manipulative reasons.

i think it was because in hannibal's mind, at this point, he was equating will to mischa. he just, presumably, performed surgery on will's shoulder and took the bullet out of him, stitched him up, changed his shirt, sat him at the table, and made soup for him. so, already, he is going through the motions of actions that would be seen in this context as displays of great love, consideration, and affection. especially for someone who he both already loves (so the feeling is there in the first place) and also intends to be dead by the end of the night anyway.

at this point, i think hannibal almost regressed to the mindset of a caregiver that he had for mischa because of the parallel he drew in his mind (or bedelia manipulated him to draw in his mind, lol) between will and mischa. because he loved will in the unconditional and irrevocable way he loved mischa, and he believed that the only way he could forgive will was to do what he did to her. hannibal thought he had to eat him. despite this, or, rather, in alignment with this, he saw will as a person he loved. and so, he blew on the spoon. he felt compelled to care for will. he probably did the same thing for mischa as a child

of course, once jack gets there (and also as will starts talking and wakes up more) hannibal gets caught up in the theatrics of it and comes back to the present. but i feel like before that, even just a little bit, he felt compelled to care for will the way he cared for mischa.

what really sells this for me is that in the script, he was supposed to just raise a straw to will's lips. i think this was changed to make this scene more intimate, and also to express hannibal's genuinely caring feelings towards will in these moments.

[the-cat-and-the-birdie]

I don't think a lot of people realize that purity culture often leads directly to racism IRL.

You think explicit graphic violent fics should be censored from AO3? Okay, understandable. But by that logic -

Do you think explicit graphic rap music should be banned from the radio?

Do you think Black people who listen to violent rap music are inherently more violent?

And that the art form is a reflection of them and their behaviors?

Do you think Black people who don't listen to rap music are more stable and deserving of trust than black people who do?

The same way you think people who don't read a certain type of fanfiction are more stable and deserving of trust?

How far does it go?

I listen to rap music that talks about guns, dealing drugs, killing, and gangs.

All my life I've been told that listening to that either 1) reflects a 'true nature' of hidden internal violence or 2) graphic rap music is actively hurting me and should not be played around children.

I grew up with FOX news telling us that rap music should be banned. For being too graphic, too violent, too vulgar.

There are places in the world were black music is restricted and censored for it's vulgarity - drill rappers have been under police surveillance in the past, given court orders that monitor the production and release of their music.

Is that okay? Is that right?

Should this form of black expression not exist? Does it reflect badly on the people who listen to it? Should it be censored, from radios and apps - or even outlawed?

Someone reads and writes graphic, violent, vulgar fanfiction - and you judge them.

I listen to graphic, violent, vulgar rap music - so does everyone else in my neighborhood.

What do you think of us?

Purity culture has been weapon against marginalized communities since the dawn of time.

This isn't a declaration of side, or a show of support on anything. This is not an attack.

This is an invitation and an opportunity for you to reflect on how your views translate to the world IRL.

[tippenfunkaport]

Bow's Character Arc

There was a discussion on Twitter from people who were confused about Bow’s character arc and whether he had one (he very much does, and it’s actually one of the clearest / most spelled out in the entire show!). To help anyone experiencing that confusion and because it’s never a bad idea to understand how character arcs work if you want to be a writer/storyteller, I might as well break Bow’s character arc down for anyone who might find it helpful.

Buckle in, it's nerd time!

At the most basic, a character arc is a change (usually growth) a character goes through over the course of a story. Usually good (positive change arc) but sometimes bad (negative change arc). It’s very often a reversal aka the character is often in the exact opposite state by the end of the story than how they start it out. It can be trickier to follow in an ensemble story like SPOP because there are a lot of characters with parallel story lines going on and multiple arcs colliding in different ways, but She-Ra does a really good job of giving each of the four leads arcs (with Catradora as the main leads, Glimbow as the secondary) near equal time.

Yes, including Bow.

What I think throws people about Bow’s arc is it’s based on hypocrisy.

Meaning…

He encourages his friends to talk it out and share their feelings… while hiding his own feelings from his dads and repressing his frustrations with having to be the middle man between Adora and Glimmer (Season 4)

He declares that average people (such as the kitchen staff at Dryl) don’t need the princesses and are just as capable of fighting the Horde themselves… while he believes himself and his abilities inferior to Princess Entrapta’s

He reminds the others (esp Adora) about the need to accept help… while refusing any help for himself (think about “Don't worry about me. I'm the one who worries about you. Can we go back to that? Please?” in Pulse through to that moment when he agrees to let Glimmer take him to check on his dads in Return to the Fright Zone and literally leans on her)

I think a funny way to sum up his character issue is: Not me, though.

This arc progresses across all five season as he gradually changes. He starts the series out repressing his feelings from both his family and friends while doubting his abilities and refusing to ask for help (he IS Adora’s mirror, after all!). Over the course of the series he learns to express his feelings instead of bottling them up (The Beacon > Reunion > really all of Season 4 but it comes to head starting with Boys Night Out through Beast Island > Stranded), gains more confidence in his tech skills (The Frozen Forest > Signals > Flutterina > Mer-Mysteries > Corridors), and starts to learn to ask for help (The Beacon > Pulse > Return to the Fright Zone).

Which of course all culminates in The Heart Parts 1 and 2 where he finally wraps up all threads at once by

a) asking Scorpia to trust him (putting faith in someone else to help)

b) completing Entrapta’s program to unchip everyone (proving he IS as good a scientist as she is)

c) giving the speech to everyone on Etheria rousing the common people to fight Prime (average people can make a difference… which he now fully believes that includes him).

And while you can make the argument that confessing to Glimmer is part of his arc to share his feelings, the fact is that he completes a full character arc without ever behind reduced to just someone’s love interest because none of his character growth is tied to his romantic relationship at all (which was what the original tweet claimed). It's all his inner journey to have faith in himself and his abilities and how they relate to his friends and loved ones.

And thus the guy who starts the series as “only one around here who’s not a princess” with doubt in his tech abilities ends the series as confident Tech Master and future King of the regular people he sought to inspire, which is about as textbook a reversal as you can get.

Does it come out of nowhere?

His character arc progresses and takes significant focus in the following episodes….

S1:E6 System Failure

S1:E10 The Beacon

S2:E1 The Frozen Forest

S2:E3 Signals

S2:E7 Reunion

S4:E3 Flutterina

S4:E4 Pulse

S4:E7 Mer-Mysteries

S4:E8 Boys Night Out

S4:E10 Fractures

S4:E11 Beast Island

S5:E3 Corridors

S5:E4 Stranded

S5:E9 An Ill Wind

S5:E10 Return to the Fright Zone

S5:E12 Heart Part 1

S5:E13 Heart Part 2

That’s 17 episodes out of 52 which means his character development gets approximately 32% of the focus of the entire show… which for an ensemble cast like this where he’s one of four leads is just about dead on as it's over a quarter of the episodes.

That's a significant chunk of screentime with multiple episodes devoted specifically to his character journey.

Is his journey as flashy and action sequence-y as what Adora, Catra and Glimmer get? No, but it's a) a show marketed to girls so it makes sense they get the more cinematic scenes and b) his arc is more emotional and thus didn't need to hinge on big action like theirs did. Though considering the culmination of his arc is him as a 100 foot tall hologram speaking to the entire planet, I personally feel like that was pretty hard to miss.

If you look at all of this and still want to say that Bow did nothing or had no character arc, I think the thing to ask yourself is: why is it so important to you to discount the accomplishments and character growth of this character specifically?

In conclusion, this is the face Bow makes when he spent five season growing, changing and kicking butt as Tech Master and Voice of Reason and you say he did "literally nothing"...

[virtualcarrot]

[DE] musing abt the limits of superficial acab discourse and the way fandom deals with moral discomfort, I guess

“ACAB”, “the only happy ending should be leaving the RCM”, “you’re a terrible person if you draw/write these characters enjoying the sort of corrupt cop stuff that they canonically do in-game” discourse is killing meeee

God forbid you don’t performatively remind everyone that you do hate cops, actually; and god forbid that you don’t find that True Healing and Happiness for Disco Elysium’s characters can only be achieved by leaving the force.

Metas could be written about how Kim and Harry are actually deeply flawed people who enjoy wielding some form of authority in a way that they actually feel best working as cops

(is it healthy? no. is it Good™? no. Is it true to their character? this is where media interpretation comes in)

Metas could be written about how that doesn’t mean ACAB isn’t real, that just means they’re the kind of shitheads (that we, the players, still love) who enjoy being cops

Metas could be written questioning the amount they’d have to change to adapt to a life as civilians, how much and what kind of a push they’d need to go for it,  if it’s change they could even manage, if they could financially survive it, if they could find fulfillment in any other career, at their age

But no. Why waste time on that instead of easy slogans. I mean, we like them, these characters, and we don’t want to feel guilty for liking them, because what does it say about us, then, that we like flawed cops?

(nothing it says nothing it says we played a good nuanced extremely well-written game that skillfully made us like the sort of character whose past actions include sequestering some woman and beating a dude into disability. that’s what it says. i’d even argue that discomfort is part of the point)

[no-psi-nan]

The first chunk of this post addresses some of your points but to answer it more directly, you're confusing Teruhashi's canon character arc of ADMITTING she likes Saiki with a non-existent arc where she falls in love with who he truly is (which is impossible until he does a power reveal and starts being himself around her for real).

Teruhashi doesn't ever get to know the real Saiki, nor does anyone know him outside of the Psychickers and his family (relevant post).

She thinks he's a guy who sits quietly in the corner and only ever says "good grief". She doesn't know he's a sarcastic mfer who loves to talk back and snark, she doesn't know he spends his free time reading obscure books and playing shitty video games, she doesn't know he'd move heaven and earth to help a stranger and put his life on the line to help a friend.

Teruhashi actually hated the most "real" moment Saiki has been, when they're at the mall/arcade and Saiki smokes her at every single game mercilessly lmao (Saiki won't even let Kaido or Nendo win a game against him, he's extremely opposed to losing). Where's the evidence that Teruhashi would actually LIKE someone who backtalks her and challenges her assumptions? She sure was quick to put Imu in her place lol. And this issue even harkens back to Volume 0, where Saiki questions why girls keep falling in love with him when he's essentially masquerading as a lamp post.

I have a whole post about the karaoke scene specifically too and battled Tumblr to find it for you (I forgor how long ago I wrote this 😳)

So yeah, Teruhashi finally admits to herself that she's in love with a guy that she barely knows anything about, and yet in the final episodes she struggles to compliment him to his grandfather, which hurts his feelings hsfjdlshfks rip.

You'll have to excuse me for not thinking that this is the height of romance lol.

[kimbapisnotsushi]

you seem to have a good read on HQ and your takes are great, so i have a question...and if you'd rather not go there, please ignore this! but i see oikawa get called "arrogant" quite often and i'm curious, would you say he is? what is it that makes people think that? imo he has a plenty of flaws, but i truly don't think arrogance is one of them. self-centered, sure, but not arrogant i think. i'm open to being wrong, i'm just legit so confused by that particular criticism, it makes me doubting my reading comprehension. i feel like that one post that's like "free my man, he didn't do that. he did a lot of other stuff tho" LOL. if you do answer this, then thanks for your time!

oh, dear anon. this is a very very big question and i'm honored you think i am capable of providing an answer that does it justice!! i don't consider myself an oikawa expert by far, but i'll do my best because he's still very beloved to me, and i hope whatever i say helps!

(but also - maybe take what i say with a grain of salt LMAO)

anyways, to get the main point out of the way: i completely agree that oikawa isn't arrogant! i actually haven't seen any commentary about that myself (bless!!!), so i can't say for sure why some people might think that, but my guess is that they think his pridefulness = arrogance — they think that the confidence he has in himself and seijoh contributes nothing to their actual power and is utterly meaningless if they don't win, especially in the face of ushijima. which, like, come on. what kind of captain would he be if he wasn't confident in himself and his teammates? is he supposed to tell them that they're going to lose??? is he supposed to discourage their hard work and effort???

or maybe it's because oikawa acts like he's all that, but doesn't have anything to show for it. who does he think he is? what does he think his pride is worth? what right does he have to go around making grand declarations when he has nothing to his name?

(which isn't entirely true, either, but we'll get into that, promise.)

now, do i think that he can, occasionally, be flippant, shallow, and/or petty? yeah, sure. he's got one hell of a personality about it. even iwaizumi says as much. oikawa is great at being a little shit. it's one of my favorite things about him!

but is oikawa genuinely arrogant, or self-centered? well . . . i don't think so.

see, here's the thing about oikawa: he knows he's good, but he doesn't think he's good enough. i think it'd be easiest to really explain what that meant if we broke this down into two separate parts, so let's give it a go, shall we?

(buckle up, friends, because it's about to get LONG. also: TIMESKIP SPOILERS!! and there's a tldr at the start of the tags because. WOW.)

so, first things first: if people are calling oikawa arrogant, then i'm like 99% sure that they don't actually know what the word "arrogant" means.

"arrogant" is used to describe someone full of themselves. it's used to describe someone conceited and pompous. it's used to describe someone so assured of and invested in their self-importance that they don't care for other people, and if it seems like they do, then it's usually wildly off the mark and still serves to inflate their own egos.

oikawa has never once been like that. he's been pretty much the exact opposite, in fact.

and yeah, sure, by his third year of high school, he knows he's good at volleyball, and that's fine! it's perfectly all right to claim you're good at something if you have the skills/experience to back it up. confidence is healthy as long as it isn't in overabundance, and we actually see a lot of this throughout the series!

(not to mention that this was where ushijima fell short. he was overflowing with confidence. he did not believe, for even a single second, that hinata shouyou and his meager, scrappy little flock of crows could beat him.

but oikawa? he knew. he knew what it looked like to make something bloom.)

the key to oikawa's confidence that made him better was that he could pinpoint others' strengths and weaknesses just as well as he could with his own. and (bear with me, please, i might get kind of boring here bc it's nothing that hasn't been said in the manga before) i don't mean it in the way we see the coaches or more analytical players do, as observations to be taken advantage of by everyone else; i mean that in the sense of how vital it is to his position as a setter. that was always the biggest difference between oikawa and kageyama: no matter how much more raw talent kageyama had, no matter how much better oikawa believed him to be, kageyama, especially in the beginning, struggled to do what oikawa could with a team. kageyama struggled to bring out the best in each player. and it wasn't because he didn't know how -- oikawa freely admitted that kageyama had the skill for it, that kageyama, once he got his shit together, could win against him -- it was because kageyama didn't have that same confidence in himself.

(not until much later, anyways. but that's another story, for another time.)

so, oikawa's confident. he knows he's good. he can bring out the best in each player. he's got a killer serve (and a killer smile!), a mind for tactics that borders on machievallianism, and cherishes the trust he is given like it's something precious. his coaches let him lead without leaning on them. his team has the utmost respect and admiration for him. he has a reputation. from karasuno to shiratorizawa to the whole of miyagi -- there is not a single character who knows oikawa tooru and would believe that he is, in any way, bad at volleyball.

but it's not enough. despite all of that, oikawa still doesn't think he's good enough. and that, friends, brings us to the second point.

oikawa tooru is nothing if not passionate.

so were the others, of course. kageyama kept going after his grandfather's death. hinata kept going while being a nobody from nowhere with no one to back him up. atsumu kept going while osamu didn't. it's not even about just those who went pro -- kenma, kuroo, noya, and everyone else found things that they were passionate about and kept going with it. the entire story revolves around loving what you do and trying to keep that love alive, and, sometimes, that can be really, really difficult when it seems like it doesn't love you back.

oikawa was so insecure over kageyama to the point where he nearly decked the poor kid. oikawa got crushed by ushijima-- who kept telling him that his team was not good enough, that his choices were not good enough, that there was nothing good enough to be proud of -- for years in a row. oikawa was taught that there would always be someone better than him no matter how skilled he was, but if he let that stop him then he didn't fucking belong on the court in the first place.

oikawa tooru is intimately acquainted with not being good enough, but he keeps trying to be. he keeps going. he tries to keep the love alive even if he's not loved back. he pushes and practices and takes a plane far from home to become even better. even if he doesn't have the skill, even if he doesn't have the talent, even if he doesn't have the love -- he still has his pride. and what does that mean, in the end? how far does that take him?

in the end, oikawa tooru walks across a world stage and sees people who believed in him on the other side and calls it a family reunion. in the end, he gets to play the volleyball that reminds him of why he loves it and how it gives him so much love back. in the end, his pride is unyielding and unbreakable, a product of the forge. he molded it with his own two hands. he will not let it falter so easily.

arrogance would not have taken oikawa tooru this far. i hope this has proven that he is anything but.

remember: instinct is something you polish. talent is something you make bloom. and never, ever let anyone else tell you what your pride is worth.

[dotthings]

.

[anarchy-and-piglins]

I don't really analyze/write meta about any characters outside of c!Techno and c!Techno-adjacent characters (mostly in reference to him then), BUT for some reason one throwaway line from The Prison Visit that has always lived in my head rent-free is when Techno mentions the security of the prison seems rather redundant and Sam says "redundancy is safety".

Redundancy as a concept in engineering is very important and a lot of engineers will tell you redundancy is safety, there's just something about the way he says that. The way he says that to Techno specifically while Techno is being lured into a trap. Something about the way Sam says it too, after he's been growing more and more obsessed with the prison project to the point of it costing him his friends, his family, his entire life.

I don't know, just... I think c!Sam analyzers should run with it or whatever-

[utilitycaster]

(Where) can we read your fics?

break into my apartment

find my personal laptop. make sure not to confuse with work laptop

replicate my fingerprint using tape or something or figure out my pin

open up the correct writing app

navigate to fics folder

behold the folder where i keep my fics. lay thine eyes upon it and notice they are all unfinished wips

you can have a beer from the fridge if you want i guess, if you made it this far

also here if you want the finished ones (does not include the one I alluded to)

[howlerbat]

It always bugged me that Flint and Billy never got to talk about what happened to Gates. Their relationship in s1 is vastly different from the rest of the show because at any given moment Flint has Billy’s loyalty but not his trust, and if he tries, however half-heartedly, to gain that trust in s1, later he never attempts to repair that breach again.

I always make fun of that one conversation between Flint and Gates where he sounds like a raving lunatic even though he is normally very good at convincing people. But his underlying guilt makes him so defensive and incoherent that he just lashes out. He knew how close Billy and Gates were (he demonstratively took Billy’s sword during the funeral to show he gives a shit), and if he felt guilty over not saving Billy, he sure as hell felt guilty over murdering Gates.

So after Billy comes back the space between them becomes too loaded with the absence of someone they can’t mention without shattering the fragile truce they forged to keep the crew together. Except Billy does mention him twice in 2x7:

Both times they are conveniently interrupted before Flint’s silence goes on for too long. But Billy isn’t just saying this to tease him, he’s looking for confirmation. It’s unclear how much he knows about what happened but it’s safe to assume the summary he gets from Silver is all he ever gets. And considering what he says to Rogers in s4 (that Flint killed Gates over money) that thought was festering there for some time with no charitable assumptions. He phrases it so differently both times like he wants Flint to react, to admit it, to deny it, to say something. He comes onto him honestly, and expects the same honesty in return. But the most honest reply Flint can give him is not lying.

Flint doesn’t try to dispel Billy’s obvious resentment because on some level he thinks he deserves it. Meanwhile in Billy’s head Flint shuts him off not because he feels guilty, but because he doesn’t.