#anaylasis

[leafatlaw]

it gets dark way too early now, so im think about Rand and exactly he decided to give up

[xxdigitaldream]

i wonder if it's worth larger text rambling here since it's kind-of the place to be doing it vs twit lol i wonder if yall would like my anaylasis of aspects and stuff more-so here and ramblings about thrax and red alert

[vinegar-rights]

r u fine with people wanting to discuss mh lore with u......im sorry i just think ur anaylasis of mh is one of the coolest ive seen in a while

yeah thats fine :) <3 i love talking abt marble hornets!!!!!!!!!!! ask away yall!

[noramthe]

I'm going to post a licht route anaylasis? Idk what to call it but anyway it's coming soon hopefully when i finish his route because i just started it again to do the dramatic ending

Very excited🫣🫣

[bonkerin0]

Hero anaylasis!

Hero at first glace is the golden child between kel and him, he is the smart and kind older brother that will try to help anytime needed but if taken a deeper look he is actually a husk of his former self. He is covering his anxiety by putting more work into his table and using it as a way of escapism! he took medical school not just wanting to help people but to trying to get away from the thing that reminded him of mari the most which is cooking! He doesnt hate it but everytime he cooks it will always remind him of mari and him cooking with each other and etc! Hero is also afraid of losing the praise of his parents and praise by others imo, where people lack he tends to cover so he can look mmore talented and get more praise. All in all hero in my eyes is just an anxious person who is afraid to lose the one final thing that let him move which is praise from others!

[im-fairly-whitty]

I want to ask your opinion on something that I've been wondering: We knows that Coco continued to love music in secret all her life and even sung to baby Miguel, so, why didn't Coco just lifted the music ban after Imelda died? Was she respecting her mother's memory? or did she believe to some extend that music was bad but just couldn't help loving it? And while we are on the subject, what are your headcanons about Coco's relationship with Imelda growing up?

Why didn’t Coco bring back music when she was the matriarch?

This is a great question, it all comes down to family dynamics!

Let’s take a look at the different stages of the Rivera family over the last few generations shall we?

1. The Young Couple^^

Imelda and Hector are married and live together. Their relationship is star-crossed and overall stress levels are relatively low, decisions are made together as a team, probably often bending to Imelda’s strong opinions. Keep in mind that Hector is 17 and Imelda is 18, meaning that their emotions run comparatively high and hot, both their disagreements and decisions are likely dealt with quick. 

Current family authority figure: Largely irrelevant, they’re a couple of kids who do everything together and don’t yet have any serious responsibilities other than keeping each other happy. 

2. The Young Family^^

Coco is born and now the couple becomes a family. Stress increases considerably as the new parents now have to care and provide for a child, leading both Hector and Imelda to take their roles much more seriously. For Imelda, this means putting Coco’s needs before her own (as referenced in the movie) but for Hector, this means taking his music more seriously so that his career can effectively provide for his wife and daughter.

Current family authority figure: Hector has nothing but the utmost respect for his diosa, meaning that he does not lord his male status over her, but the fact remains that he is indeed a man in the early 1900′s and he ultimately has the final word on family decisions. Unfortunately, one of those decisions is to go on the road with Ernesto. Imelda is unhappy with the decision and doubtless she voices her opinions loud and clear, but she does recognize/respect Hector as the main provider of the family and of course trusts that he will come back home to her.

3. The single mother^^

When Hector never returns, Imelda becomes a young single mother with a daughter to provide for. She learns a new profession, opens a shoe shop, and becomes fiercely protective of her child. Being a single parent is difficult and shouldering the burden of filling both parenting roles hardens her, making her headstrong personality into something sharper. 

Current family authority figure: Imelda by default has complete control and responsibility in this family of two. As the parent of a young child, everything she says goes, including her absolute ban on music as a kind of emotional revenge against her missing husband. As the shoe shop grows Oscar and Felipe come to live and work with her, but her status as their older sister gives her authority over them as well, meaning they fall under the music ban as well.

4. The lone matriarch^^

Several years go by with Imelda being in complete and undisputed control of the family. When Julio begins courting Coco he undergoes a rigorous approval process to gain Imelda’s blessing. Imelda is NOT going to let her daughter end up abandoned like she did, meaning that in order to join the family Julio also must completely give up all music. He completely defers to her will, submitting to any and all of her rules in order to be with Coco. The Rivera household gains another member (and shoemaker) for the first time in over ten years.

Current family authority figure: Imelda’s status remains unchallenged despite the arrival of a new family member, which sets a precedence of controlling authority that remains in force throughout the rest of her life.

5. Mamá Imelda^^

Time passes and Imelda remains in complete control. The music ban remains in force and an entire generation of children are raised under it, truly believing that music is evil. Coco is old enough to remember life with music and hides her secret love of dancing. It is not until she injures herself while dancing and scares her two young daughters that Coco comes clean about it to her mother and gives up her dancing habit altogether. (A scene from the novelization.) 

Coco respects her mother’s wishes and is now sandwiched between her mother and the rising generation that all reject music, so she keeps her continuing respect for music to herself. She has been raised to put her family before music, and she does just that, no matter how much it hurts her.   

Current family authority figure: Imelda all the way.

6. Coco y Julio^^

When Imelda passes away in the 1970′s the Rivera family is a bustling business with at least two generations living in the home. Coco becomes the new matriarch, but instead of directing the family by herself, she has her loving husband by her side. There is a strongly established family culture by now that all the family members down to the children uphold (including her daughter Elena). Coco could technically have brought music back at this point, but remember that she’s spent her entire life hiding it. To do so would be to re-write the emotional core of the Rivera family that has been built on everything that “He-Who-Must-Be-Forgotten” wasn’t. Ie: Family always comes first, never leave your family, no music.

Besides, Coco isn’t the headstrong single mother that Imelda was, Coco values her relationship with Julio and presides with him as an equal partner. This makes her less likely to try dramatically upheaving the family just because she as an individual would prefer to have music, she cares for the group before herself. 

Current family authority figure: Coco, but operating under the very strong legacy of Imelda and the expectations of the rest of her family, who have all been raised to rigidly respect the rules Imelda set. Since Coco has also been raised to put her family first she respects her mother’s wishes and simply continues to steer the family the direction Imelda did.

7. Elena takes control^^

Coco grew up in a very emotionally turbulent time, meaning that her wishes were always bent to obey her mother out of necessity, but Elena had the luxury of growing up in a stable home with both parents. This means that Elena’s firey streak has never had to be repressed, allowing her to fully take after her Abuelita Imelda. 

Elena has grown up fully believing in the music ban and enforces it religiously within the family, believing that by doing so she is protecting them all from the kind of evils of the mystery man who abandoned her abuelita all those years, the man who has haunted whispered adult conversations in her home as long as she can remember. When her Mama Coco begins to decline Elena rises as Imelda’s spitting image, doing whatever she deems necessary to protect her hard-working and beloved family.

Current family authority figure: Elena all the way. While her mother was more docile when it came to sharing authority, Elena rises magnificently to the role of matriarch.

The Future:

The Rivera family has always been one full of love, but the roots of this particular family tree were badly scarred, triggering it to develop strong defenses against anything that could hurt it that way again. While Coco as an individual kept music and her Papá’s memory alive in her heart, she existed as only one part of a larger group that she had been trained to always put first.

The Rivera paradox is that change couldn’t come from Coco alone, it had to be initiated by Miguel, a member of the rising generation, who could reach out and support Coco with his own music. The beautiful part is that “Remember me” is a song that spans all the generations of the Rivera family, from Hector (Father) to Coco (daughter) through Miguel (great-great-grandson). 

“Remember Me” heals the hurt the Rivera family has endured for generations from both ends, reviving memories of the past while being played by Miguel, who represents a bright musical future for the Riveras.

[sitabethel]

Hi I was wondering if you could explain the appeal of deathshipping to me. I don't understand that ship (it seems to me that yams Mark just wants to kill people and I don't know how I feel about you having feelings for him).I want to know why its so popular and why so many people ship it. I am into thiefshipping tho(mostly because of ygotas lol). Thanks so much!!

I can’t speak for why *every* deathshipper likes the pairing, but I can go into a few of the reasons why *I personally* like it. Oh boy, this is going to be long, so it’s going to go under a cut…

The Ryou side of Deathshipping: So when I first got into the fandom (2012-ish?) the vast majority of Ryou-paired fics had Ryou-crying-often hurt/physically abused-victim of non-con acts/abuse And not only did I hate these fics but they seemed so … ooc. I read the manga, but I didn’t see the anime, so scenes like Ryou getting attacked in the church, and Tristan tossing the Ring (only for it to come back on its own) weren’t part of the ygo reality that I knew existed until later, so it was honestly confused why ppl wrote him as such a weak victim. Ryou is a strong character. We know this, because people who aren’t strong that put on the Ring catch fire (Pegasus watched this happen right before he got the Eye). So one part of the appeal of Deathshipping is that Ryou is so strong, so clever, so capable, and such a horror-nerd that he sees this crazy monster character and is just like… aaaaaaw. In a good Deathship fic, Ryou uses his cleverness (and kindness) to always stay a step ahead of trouble. He’s capable and empowered instead of weak and victimized. 

Also, the whole seme/uke relationship dynamics of older fanfiction often plays out like a cis-het, abusive male in a relationship with a cis-het, victim female (although both characters are actually male, the “ukes” often read like badly 2-D female characters). And in them, it’s like the uke never gets to *enjoy sex* (hence the non-con). There’s this weird notion of “bad men like the “yamis” have raging sex drives and *need* sex, but if you’re a good “hikari” character and nice, then heaven forbid you do any of that uncouth sex stuff unless pressured into it, forced into it, or roped into it under inaccurate notions of “but he loves me so I guess I have to”. 

And this concept offends me. Women have sex drives. Nice people have sex drives. Kind, loving, caring people have sex drives. Even *gasp* some Aces have sex drives (they might lack sexual attraction, but that doesn’t mean some aces don’t feel erotic desire). So, going back to deathshipping, Ryou was getting portrayed as this sexless, uke character, and it’s just nice to write him as not only strong, clever, and kind, but as someone with all these good qualities who also has a sex drive, enjoys sex, and even *double gasps* initiates the sex instead of waiting on the more aggressive character to do it for him! (*side note: this is not to say that Ryou *has to have* a sex drive or sexual attraction. Ace!Ryou headcanons are awesome. I’m just talking about what I have fun writing when dealing with Ryou’s character). 

The Yami Marik Side of Deathshipping: First, I think it’s important to note that in canon, Yami Marik is not a full person/human. He’s not even a fully developed alter ego. Yami Marik is a Emotional Part Fragment of Marik’s disassociation disorder. His purpose is the hold the memory of the initiation, and to hold/process things like pain/anger. Why is this important?Because it means Yami Marik’s character has the ability to quickly grow/change in ways that other characters wouldn’t. I mean, obviously a fic can use Yami Marik as the antagonist and keep him in a simplified, angry state that just wants to murder/hurt things, but most of the times in deathshipping the author asks, well what would happen if he became fully human? What would happen if this Fragment ended up in a full body without a host ego to feed it commands? How does he process the past trauma? How does he move forward and grow as an individual? How does he connect with other people? What type of a person *could he* become? Even in shared body fics, Emotional Parts can evolve into more complete personalities, so the potential for character growth is still there. 

I mentioned this in author notes before, but I still like to apply the Soggy Potato Chip theory to Yami Marik (a child wants to eat a crispy potato chip, but will eat a soggy one if it’s the only way he can get a chip at all. Likewise, children want positive attention/interactions, but if they can’t have any, they will behave badly to get *any* (even negative) sort of attention/interactions.) Yami Marik has *only known* soggy potato chips. Poor thing doesn’t even know they come in crispy- Ryou becomes his first experience with a real chip (positive human interaction). Again, it’s about development and growth. 

Basically, is the human soul capable of growing/healing even after extreme abuse/trauma?  I know deathshipping is a relationship, but the underlying themes are usually (at least in my fics) about trauma recovery. Yami Marik trying to recover from Marik’s childhood. Ryou trying to recover from the death of his mom/sister, the neglect of his father, the spiritual wear of being the Host of the Ring. They’re both complex characters that have been through a great deal of emotional trauma, so it’s nice to see them play off each other in a relationship while both growing and becoming better people on their own and as a couple. *That* is the appeal of deathshipping for me. 

In conclusion, giving Yami Marik a puppy in Creepy Hide & Seek was the greatest thing I ever did, um, I mean- I hope this has given you some insight into why some ppl like the ship- it’s because it describes the characters as complex human beings capable of moving beyond their pasts and growing/thriving. Ryou isn’t a 2D “perfect” goody goody. Yami Marik is redeemable despite past mistakes. There’s potential for their character dynamics to play nicely off each other in a relationship, and that sometimes includes (because it’s a romantic relationship) healthy exploration of sex, and sometimes it just includes  simply establishing an empathy bond with another person. 

[prisonerofthegoldenland]

The Use of Yasu Over Sayo - Reasons and Analysis-

The last time that I tried to explain why I prefer using Yasu over Sayo in regards to the main story culprit of Umineko, it was not all around coherent looking back, so, this is me trying to expand on my points and make it better. =^)

 1) ambiguity

The name Yasu gives rise to an ambiguous truth to new readers.

 ‘The truth’ of Umineko was never meant to be easy, you were meant to search, and work, and put in effort to reach the heart of the story. (on the story teller’s terms.)

Umineko is so! SO! great in my opinion, because on the surface it is a pretty ‘simple’ story, and you go in expecting there to be a clean cut end, but, that’s not really how it plays out at all. By just using Sayo, you are giving people who haven’t and, never will reach the end of the story, for whatever reason, the wrong idea in a LOT of ways.

2) Yasu does not just equal Sayo/Shannon and it is really confusing to limit this character to the name Sayo.

(Definitely a lot of debate about this one so let me state my case.)

Sayo = Shannon persona

<p>Yoshiya = Kanon persona

if you play around with the kanji a bit yoshiya’s name, can also be read as Sayo Yasuda.

However, it is still ultimately a fake name given in order to hide the true Lion, or the person behind the persona’s. Regardless of intentional writing or not both alias’ end up only belonging to their respective personas.

<p> The reason I see it this way is because, the name Sayo very much gets tied into Shannon. as the VN hammers in and, vice versa with Kanon and Yoshiya. Both names and counterparts are false identities, therefore I cannot connect both sayo or yoshiya to anything other than those personas and not the actual ‘true’ character (who we are told is actively hiding) behind them.

To clarify, I do realize that yoshiya is deffinately not really brought up as much. I also realize that Battler was the one to write Kanon a “real” name, as opposed to Yasu themselves. However meta world (and story flaws) aside, its just an important point in my opinion. 

This is because, actual story wise, it does not make sense for Kanons real name to be written into the story at all. unless it was connected to and, a very important hint to the face known as ‘Sayo’ or ‘Shannon’.

There is also a scene in the manga, where Will is questioning Shannon/Sayo and it really highlights, just how empty the Shannon sona actually is when brought into the spotlight. like it’s chilling how robotic we are shown Shannon’s self is. actually yasuda-yoshiya really did a good anaylasis in my opinion which you can find below.

  http://yasuda-yoshiya.tumblr.com/post/106895054442/jiniattou-7-weights-this-scene-was-so-perfect 

 3) Yes, the character HATES the name Yasu, and I think that perfectly highlights the raw nature of the culprit.

Since of course they did, it was a reminder of who they ‘actually’ were behind the illusions, and they hated every aspect of themselves right up to and including their suicide. That is what is so painful about Yasu, it’s the fact that at the end they honestly believed that they were not worthy of existing. And that their entire existence was a nuisance, and ‘fated’ to end in tragedy from the point that their life as Lion was erased. Since at that final breaking point, there was no ending persona that they they could fully take on that would allow them a happy ending. I think the fact that yasu never planned on staying alive, regardless of the outcome, really kind of emphasizes this.

4) WHO AM I? 

 “Illusions to Illusions" 

Although we are given the straight forward question of ‘who am I?’ it’s not -really- the actual question. If it was, we could point our finger at the selfish culprit and be done with it. (and even Will who is shown to be insensitive as hell in his search, refrains from pulling just one name out, most likely for a reason.) The thing is, to tell them who they ‘actually’ were was never the point. Rather, it was a plea for someone to understand their pain and suffering. The character was split with both their gender and identity issues, and there really is no way to take that lightly, which kind of involuntarily leaves you with the third very confused person in agonizing over the why.

Conclusion

 in the end Sayo and Yoshiya are both fake identities made by Yasu for different reasons to make life more bare able the same way they created Gaap and Beatrice To help with their loneliness and insecurities. So everyone describing “Sayo” as the overall true sona kinda makes me sad? Since it is not who they really are, it is a part of them, but not the overall. Hence why yasu is an easier way to describe them in regards to the person behind Shannon and many others, because the illusion of shannon/sayo the one george fell in love with. Was definitely not Yasu themselves therefore Sayo/Shannon easily becomes a lie, as she is not the entire truth, and i just feel like people throwing Sayo as the full person are missing this, they are missing the heart. In my opinion by acknowledging the existence of Yasu you’re acknowledging the person behind the illusions. So yes, while Sayo is an important part that makes up Yasu I do not consider them the fully correct way to refer to this person 

You don’t have to agree these are just the reasons I personally use Yasu over Sayo Yasuda. 

[im-fairly-whitty]

I love how this analysis examines Hector as a dynamic, rather than static, character. It especially draws attention to the fact that it is when he matures, as his new family priorities influence his own paradigm, that his brotherly relationship with Ernesto sours and tips fatally out of balance.

While Hector is growing and emotionally adapting to new situations that are making different demands on how he allocates his emotional energy, Ernesto becomes the static character who is unwilling to change.

The truly interesting thing about the dynamic between Ernesto, Hector and Imelda, is that Hector is challenged to find balance between the loyalty of brotherhood and the new, stronger loyalty required of marriage.

We see that Imelda and Hector are both willing to give a little, to adjust and shift their expectations to find balance. Hector chooses to travel and Imelda lets him, but no matter how accommodating they are, a sign of sacrifice and maturity on their part, but it will never be enough for Ernesto.

Ernesto is not looking to adjust and mature as time progresses, he is instead possessive of Hector’s time and loyalty, feeling cheated by anything that his new family requires.

While this attitude may have been endearing in a child who clings to his best friend or maybe even in a teenager who wants to protect and look out for his four years-younger brother, this attitude sours in an adult, becoming desperate and childish as Ernesto never gets what he wants. (Which is everything.)

Hector’s dynamic character growth feels like a threat to Ernesto’s static nature, and that’s ultimately what results in Hector’s early death when Ernesto chooses to react to that perceived threat with violence.

Hector’s character is one that is always shifting and adapting, an element of a character that is the first to be over-simplified in fandoms, so I’m terrifically glad to see it acknowledged and validated here.

You write such amazing analysis on the characters, I was wondering if you had any particular thoughts on Hector's personality when he was living vs what he's like 90+ years after death. Like, my gut reaction is that the goofiness and trickster mentality can't be purely post-mortem but at the same time... 90+ years is a long time to shake old habits and learn new ones, and he was so young that he was probably still developing as a person/adult when he died...

aieee!! really, I should be asking you this (would love to know your thoughts if you’re game), you’ve written what is my favorite piece of coco meta here!

This is a great question with endless answers - what little we do know about Héctor in life is either from an unreliable source (Miguel’s opening narrative, Imelda’s carefully constructed depiction of the past as a hook to persuade Miguel) or from the condensed accounts that are his flashbacks (but that could also be projections by Héctor or Miguel, as opposed to objective accounts), so I think one could go any number of ways with him and create plausible, satisfying narrative.

I like your gut reaction, and tend to also think that his goofiness and trickster mentality were already present in life, his goofiness especially. He has such a wide range of motion too, and while that speaks for years spent learning how to manipulate his bones in order to cross the bridge and dodge the police, it’s also easy to picture him as loose-limbed, as unabashedly physical with his gritos and inventive dancing. I tend to also see him as clumsy outside of performance, in part because of how often he’s described as staring “dreamily” into the distance in the novelization, in part because he’s so tall and didn’t have many years to grow into that in life (perhaps only starting to do so by the time he died).

As far as his tricks go, I guess I tend to imagine it as a matter of degree: whereas in death he’s constantly crossing boundaries - breaking his body apart on purpose, moving between realms high and low, unsettling gendered roles and social norms - in life I could see him testing boundaries on a smaller scale with far smaller stakes. There are existing takes on this that I really, really like where he does things like cause small-town mischief with animals (@theysayitsonlyapapermoon’s Las Mañanitas and Lo Siento), where he steals things too small to be missed (also Lo Siento) or comes up with ways to rig the system and pay less (@somanycandles’ The 9:15 from Santa Cecilia) or stories to get out of trouble (@pengychan’s Halfway) or into shows (@slusheeduck’s The Liberties You’re Taking). This sort of mischief is well within the bounds of what a teenager without much money would do to gain attention or access to adult venues, and Héctor definitely has the charm and probably the motivation as well to pull those tricks off (even more so if one situates him within the context of the revolution). Much as I love the idea of him already cross-dressing in life, Ernesto’s complete inability to recognize him in drag (and general machismo - would it even cross his mind that the imposter-Frida could be a man?) makes me think this was something Héctor started doing after death, or only pulled with the twins and Imelda (as in @im-fairly-whitty’s Old Habits Die Hard).

That being said, my sense is that something changes for him after marrying Imelda/having Coco. Keeping in mind that the flashbacks could be his own projections of how he imagines himself having been, that they might project a distorted image (especially the one of him singing to Coco), I still can’t help but think that he comes across as quite serious in them - serious and smartly dressed even at home, as though representing something for his family. For all his awareness that Ernesto would probably hate him for leaving, for all that he could have disappeared for a cigarette and gotten on a train without Ernesto knowing any better, he makes the gesture of saying goodbye to his friend, even staying on for the fatal drink when he clearly has no real desire to do so (his look out the door). Even if the decision to leave was completely spontaneous and spur-of-the-moment (I tend to think it wasn’t, that it simply took him a very long time to work up the courage to tell Ernesto his plans, but the flashback can be understood differently), there’s something considerate about his behavior, a desire to make good and keep this bridge from igniting in flames - a move to stay within the boundaries of friendship, as opposed to crossing it, as Ernesto certainly will (being “of the cross”) - and it makes me think he was beginning to see himself as an adult who’d overcome the need for tricks and games and lies, an adult with responsibilities who didn’t need his own behavior to reflect upon his family or put them at risk. It’s of course also implied that he’s exhausted, that he’s tired of sleeping in bad beds and playing with a partner who doesn’t love music in a way he can respect, but that can be read as a form of yearning for stability. One could of course make this more complicated and add that he perhaps also feared Imelda might see through him to his insecurities, that she might leave him for someone wealthier, someone who could offer greater stability to Coco - the sorts of paranoid mantras that go through people’s heads when they’re far from home - if he didn’t clean up his act, that sort of thing.

Once dead and prevented from crossing the bridge, of course, the rules change… but I’ve gone on so long already, I won’t ramble on any further. Thank you for the ask, it’s such a pleasure to think with you!

[squuart]

OOF idk what’s going on in one of the fandoms I’m super into right now but uh here’s my fresh hot take:

If you’re a minor do fucking not go into things that are for adults and do NOT talk to adults about this thing while lying about your age. Not only is it not good for you the minor but you’re gonna get someone in trouble for lying to them 3:< !!!

Also... I’m a strong believer of fiction is fiction and partake in what you want. Some things I’ll admit I really don’t agree with bc of the things that have happened in my life but like, as long as you understand fiction isn’t fucking reality like... idk it’s ridiculous. I watch csi Miami u wanna tell me how problematic that is lmao. Plus this thing has warnings and listed all potential triggers so.. ??? I mean, horror movies and shit exist so if you wanna talk abt how bad this game is give me an anaylasis on every single slash film bc apparently if u ever have watched one and enjoyed it then ur gonna do it irl

Idk I’m tired of this debate. Just partake in the content you want and block what you don’t want, it’s really that simple to do on here. I know the difference between what is wrong and right and take in the media I know I can handle

[db-best]

Global Flare Tips Market 2019 Comprehensive SWOT Anaylasis | UOP (Honeywell), Fives ITAS, Zeeco – Montana Ledger The Global Flare Tips market report mainly studies the size, recent trends and development status of the Flare Tips market, as well as investment opportunities, government policy, market dynamics (drivers, restraints, opportunities), supply chain and competitive landscape.

[la-bruja]

im taking notes for rhetorical anaylasis and i can crunch the key elements into mcyt rp and idk how to feel abt that

nobody:

me, in my notes: oh i can use hermitcraft for this

[jimjams-fiddles]

Things I love: my hero academia

Things I love more:solid critiques of bnha

Things I love even more:critiques and anaylasis of the universe

Things I love the most:well formed anyalsis of that universe's inequalities, relating to things like class and quirk and how the hero business is a cog in an unequal economic system.

[fern1e]

I wrote a huge anaylasis on fern, his emotional state, and the grass curse but I fucking deleted it Rip

[bestdroneforthejob]

Global <b>Drone</b> Software Market 2019 Comprehensive SWOT Anaylasis | Airware, Inc., 3D Robotics ... https://ift.tt/2rgBMIY

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[tarume]

I really enjoy the linguistic anaylasis and this just enriches the story so much

I saw this post by @danosphere91 and I was going to reblog it and just ramble in the tags for a minute, but it got way too long for tag rambling very fast and I figured if I’m going to ramble I may as well just go ahead and let myself ramble for days. 

‘Cause, like, I’ve been thinking about One Piece having different languages since somewhere around Alabasta in my first watch, and I always kind of low-key headcanon it as being a thing going on in the background.

Like, there’s a standard language enforced by the World Government, but of course it gets tweaked a bit as the years go by and some islands don’t have much contact with other islands, and then there are places the World Government doesn’t control and it’s really anybody’s guess whether or not the people there will be able to speak a language anyone recognizes. While most of each individual sea speaks the same language, most islands in the Grand Line have their own languages, since going between islands can be so difficult. One of the most notable exceptions is the islands connected by the sea train, which have agreed upon a shared language to make trading easier. 

The Marines all speak the standard language, and officially that’s all they’re really supposed to speak, though most are aware that there are some circumstances that call for a language shift. A good early indicator of what sort of person any given marine is is how willing they are to cycle through languages and dialects until they find the one the person they’re talking to is most comfortable conversing in. (Akainu probably doesn’t speak anything but Standard.)

The East Blue group has a bunch of inside jokes that only work in the East Blue dialect, and sometimes they’ll try to make a new one and it just completely falls apart because the slang in Syrup Village is not at all compatible with the slang in Cocoyasi Village and then everyone is just speaking nonsense. 

Luffy’s language skills are just a fucking mess because he learned some from Garp, and some from the people in Windmill Village, and the entire time Shanks was in town and for like two weeks after Luffy just practiced talking the way Shanks did, and then he learned stuff from the mountain bandits and Ace and Sabo and people in the Grey Terminal so it’s all just a mashup of different grammar rules and slang terms and everything else until he’s almost speaking a different language altogether. You know how he does that thing where, after having something explained, he’ll go ‘ah, its a mystery (insert thing here)’? It’s partially because his standard isn’t very good and, rather than try to cross the language gap, he just lets it go. He usually understands a lot more than people think, he just doesn’t have the language skills to communicate it. 

Sanji isn’t much better; the fighting chefs come from all over the East Blue - to say nothing of all the language quirks Zeff picked up in the Grand Line and from his crew - and it shows. He’s a little more aware of it than Luffy though, and can usually at least pick one style and stick with it for the sake of consistency over the course of a conversation. His ability to do this slips when he gets mad, and he’ll also start adding in stuff from the language he spoke while living in the North Blue - his arguments with Zoro usually dissolve into physical fights around the time no one can tell what he’s saying anymore. It’s even worse against enemies - Black Leg Sanji is known as ‘that one Straw Hat who will scream nonsense at you while he kicks your face in’.  

All those verbal tics characters have? Heavy accents. Law, for instance, never really got the hang of speaking Standard and when he does it - as he usually does in the Grand Line - he does so with a heavy accent that’s a mix of the general North Blue accent and the Flevance-specific one. All of the Minks have accents because of the way their mouths are shaped. ‘Garchu’ is a general greeting and carries a strong sense of community because they can all say it with pretty much the same pronunciation. Bepo lost his accent as a child from trying to sound more like Law, Shachi, and Penguin.

Speaking of Law. He rarely speaks Flevance’s language, but he writes all his notes in it. If people see them, they often assume he’s being paranoid or planning something, so he’s writing in code or something. Really, he’s just trying to make sure this last piece of Flevance doesn’t die before he does.

Big crews with people from lots of different backgrounds, like the Whitebeard Pirates, have to learn each other’s languages in order to communicate, and the crew ends up with a language that’s made up of all their different slang words and figures of speech. You’re really part of the crew when you can communicate fluently in it. Ace isn’t good at picking up new languages - Makino teaching him the proper dialect to be able to thank Shanks for saving Luffy was a nightmare - but the rest of the crew, especially the second division, helps him out where they can. Marco has a pretty heavy accent but he’s fluent in pretty much every language that’s ever come onboard. 

The language of the Celestial Dragons is holy and no one else is allowed to speak it. With the exception of a few slave commands and a handful of employees, no one else is even allowed to understand it (plenty of people pick up on parts of it, of course, but you’d better not let on that you can understand it where they can see you). Doflamingo still speaks it to himself or at other people sometimes, as a ‘fuck you’ to all of them. No one else understands it so no one realizes how he’s forgotten a lot of the grammar rules, how he’s lost the accent and now the words break on his tongue, how he’s never had - never will have - a vocabulary better than a ten year old child. 

Brook’s speech patterns range between ‘posh gentleman’ and ‘your embarrassing grandfather who thinks it’s still normal to say things like ‘groovy’ unironically’. 

Chopper had to learn how to speak human languages from scratch. He can read tons of different languages fluently, but he can’t really speak any but Standard - he can’t get the hang of pronunciation, slang words, or context clues. He’s also not very good at tonal indicators or facial expression cues, since they weren’t things little baby reindeer learn (this is part of why he never realizes when Usopp is lying about things like having 8,000 men - in addition to his naivety, he can’t pick up on the tone shift that Usopp takes on when he starts telling stories). 

Franky, in addition to whatever his biological parents spoke, Standard, and the language of Water Seven, can also speak some of Fishman Island’s language. Iceberg used to speak it better, but these days Iceberg is out of practice because the government doesn’t think much of people speaking it (yay, racism). Franky spoke it with Kokoro when she’d come to visit, and would help Chimney practice it too. 

And while we’re on the subject of Fishman Island, they probably don’t get access to very good education, especially for the lower class citizens (*coughracismagaincough*), so the lower class the citizen the less likely they are to be able to speak Standard well, if at all. This is one of the arguments used for keeping them out of world meetings, to justify enslaving them, and so on - ‘look, they can’t even speak the language’. Those who can speak Standard usually do it with a thick accent, partially because of the education system and partially because of their mouth shapes. 

Koala learned a decent amount of the Celestial Dragon language while a slave, and then the Fishman language from the Sun pirates. The latter is a comfort language; lots more positive associations with it than any other language. She relearns the Celestial Dragon language in the Revolutionary army to help translate things. 

Sabo and Koala have some difficulties at the beginning of their friendship because Sabo’s noble accent and some of the terms are ingrained in him and last past the amnesia and it reminds her too much of the Celestial Dragons and other nobles. He purposefully uses more slang and forces a more casual accent around her. He isn’t sure why he’s so much more comfortable talking like that than he is talking like a gentleman. 

So, yeah, I could go on for about a thousand years because I’m a linguistics nerd, but basically languages and the cultural and social implications thereof are super interesting and I like thinking about them, can you tell.