#and also a natural extension of his character arc

[luka--lu]

Anthropological and philosophical analysis of Viktor’s story in Season 2 - Part I

Finally gathered thoughts that floated in my mind since Season 2 had ended. These will literally be my first posts ever, will be a bit chaotic, please be kind, I’m shy. But also very critical.

I’ll preface this by saying that I’m not a person with a disability. I cannot claim to know this experience, because I simply don’t. I love Viktor as a character and it so happens he has a disability, it’s something I always consider when engaging with his story. Besides, his story revolves around his disability since S1 Act 2 and he kind of falls into the trope of ‘disability as character motivation’, but he’s much more than that. And that’s what I want to explore in these posts.

My analytical approach is obviously influenced by my experience as an able-bodied person. I’ve had extensive courses on disability studies while at university and focused my bachelor’s thesis partially on disability representation in media (I focused on scars and ‘deformities’, something many Arcane characters have, but that’s perhaps for another post). To people out there who have disabilities and wish to engage with this post - please let me know your thoughts, I’m genuinely trying to learn more.

I want to stress that in my analysis I’m not saying Viktor is entirely ruined as a character by the writers or is bad disability representation. I analyse his story from the perspective of philosophical, cultural and social contexts, and through disability studies theory. I’m not an expert and certainly can't speak on behalf of people with disabilities, I'm talking as an anthropologist and enjoyer of storytelling and art.

Ok that being said, I’ll try to make it coherent and divided by topics, because these’ll be long posts. Some thoughts are a bit disjointed, I’ll be sharing some of my ideas for how Viktor’s arc could’ve been improved. Hopefully it makes sense as a whole.

TRANSHUMANISM & POSTHUMANISIM

Transhumanism as a philosophy and social movement originates from the notion that many people are forced to live worse lives than necessary and can’t reach their full potential. One of the most important thinkers of transhumanism Julian Huxley argued that application of science can prevent poverty, illness and change the world for better. He literally wrote that ‘the man can manage evolution’. 

Viktor represents transhumanist ideology in a way that, in Season 2, he literally can’t refuse the job - he was forced the moment Jayce fused him with the Hexcore. Sure, he could have refused to use its power, now residing in his body. But the writers chose to disallow him that choice. So Viktor ‘heals’ Huck and begins his Jesus Era. Viktor later asks Singed if the doctor believes in fate, which is followed by Viktor declaring evolution has a course - superseding nature. This way Viktor exemplifies Huxley’s idea of what transhumanism is:

(...) whether he [man, as in human] is conscious of what he is doing or not, he is in point of fact determining the future direction of evolution (...). That is his inescapable destiny and the sooner he realizes it and starts believing in it, the better for all concerned. (Huxley, Transhumanism)

If the Hexcore was actually sentient and controlled Viktor, then I guess it’s the soul of Julian Huxley.

The same way Huxley's work was grounded in a desire to make the world a better place, so is Viktor’s. His dream of betterment of his people was the primary motivation of Viktor’s character, but it got hijacked by the magical mumbo jumbo of the Hexcore and Arcane powers in S2. His transhumanist ideology wasn’t developed organically, the story just jumps to act 2 and then 3 without proper explanation as to why he turned to this philosophy so radically.

Important to add, Huxley was a eugenicist. Kinda wild to take transhumanist ideas and write Viktor’s, a disabled dying man’s arc, the way they did. Viktor wanted to use technology to change the world, but writers said: ‘hmmmm, what if… magic?? And eugenics! because he has internalised ableism now!’ But more on that later.

Central question regarding transhumanism is who decides what’s an enhancement and what’s a limitation. The short answer is: it’s a personal choice, we can use inventions to improve quality of life if we wish. Yes, some things can be a choice, but in reality it’s kind of compulsory, because the society is built in a way that demands conformity.

Viktor changed himself instead of trying to change the world the way he intended to in S1. His arc was derailed from his initial will to act for the society that needed positive change. Progress for Piltover meant technological advancement in the name of scientific and economic gain. In Viktor’s transhumanist vision, progress is about extending the self - to live without suffering, to cure physical and mental afflictions of Zaunites. It goes beyond his motivation to cure his disease, his actions in S2 don’t fit his characterization in S1. This is why I believe inserting parts of his original League Lore into Arcane would have made an amazing story with transhumanism as background.

Good part of technology is that it gives us opportunities for different forms of embodiment. Embodiment, important in phenomenology and feminist studies, means how we experience ourselves as a living body that feels the world as we inhabit it -  how we experience it in connection to us, simultaneously being influenced and influencing the world. There’re plenty of theories that tackle this concept, but let me go the short way.

Transhumanist philosophers talk at length about progress in relation to embodiment. Some critics ask questions about the ethical side: who’s gonna get to use the technology to enhance themselves? What about people who can’t afford technology used for the enhancement? How will technology influence the embodiment of certain people? Specifically, what does this philosophy say about disability?

I will talk more about disability in another section, but the transhumanists consider physical disabilities as something open to changes. Different technologies can be used as mobility aids, different advanced procedures could help in various ways improve the standard of life for people with disabilities.

But there still remains a question: what kinds of disability are considered in need of improving by technology? If technology changes a disabled person's body so they can function similar to able-bodied people, then is the category of 'disabled' even relevant anymore? Is there a definite line when it comes to influencing the body with technology? What kind of progress do transhumanist actually seek and for whom?

We don't hear Viktor’s stance on ideas similar to transhumanist ones, until his talk with Singed, but it's a bit convoluted and isn't developed well enough to be an interesting take on a very controversial and fascinating philosophy that is transhumanism. It’s only indirectly addressed at the end by Old Man Jenkins Viktor when he says ‘There’s no prize to perfection, only an end to pursuit’, meaning that the glorious evolution doesn't really have a destination, even though Viktor believed so.

The change transhumanists seek can never actually reach a final, perfect end - who and when will decide what the end of human evolution looks like? What is the ultimate, trans- or even posthuman form we’re supposed to achieve? Arcane seems to argue that nobody will ever be able to decide, even with godlike powers and knowledge.

Old Man Jenkins Viktor calls back to primary belief of posthumanism, which Nietzshe wrote about:

Man is not the effect of some special purpose, of a will, an end; nor is he an object of an attempt to attain an ‘ideal of humanity’ or ‘an ideal of happiness’ or an ‘ideal of morality’. It is absurd to wish to devolve one’s essence on some end or other. We have invented the concept of ‘end’: in reality there is no end. (Nietzshe, Twilight of the Idols)

Posthumanism is another philosophy that provides an interesting context for analysing Viktor’s arc in S2. I first focused on transhumanism, since his story originally involved using technology to change lives. But Viktor seems to mix transhumanism and posthumanism.

Posthumanism is more about getting rid of core values of humanism. it’s about going beyond what makes humans, well, humans, which is a lot of things (biology, culture, economy, science, politics, environment, religion, social relations ect.). Posthumanism states that humans aren’t really that special, and argues that there are many other creatures and things that are equally as innovative as humans. It’s a philosophy critiquing anthropocentrism. It dismisses the notion of humans as apex creatures that can control and bend the world to their needs and will. The will to extend ourselves and find power within us isn’t exclusively a human trait - all organisms and things on Earth have that potential. (Interesting, that in the destroyed Piltover Jayce saw, the flora and fauna still expanded at the top of the Hexgates).

Viktor’s story isn’t really about that, but it ties to posthumanism when Viktor declares that emotions clash with reason, humanity is a contradiction which causes destruction, so there’s the need to go beyond humanism. Viktor’s ideas about human nature aren't really posthuman. His thought as he was dying after Jayce's attack revolved around the humanist idea that humans actually have an unchangeable essence.

Posthumanism, as understood by Gilles Deleuze and Félix Guatarri, states that there’s no essence of ‘humans’. There’s only the potentiality, which comes from an individual will to create oneself, apart from fixed rules of the world. Funny enough, Viktor speaks about similar ‘charge, potential, impulse', but I don’t think it’s in any way connected to Deleuze’s idea. The philosophy of Viktor in S2 seems all over the place with trans- and posthuman ideas underneath, but it's an interesting mix that I wanted to explore, even if only on surface level.

Deleuze is fucking difficult to understand, French philosophers are the demons that always kick my ass, but they had some good stuff to say. In 'Postscript on the Societies of Control' Deleuze claimes that society is made by machines, not only in technological sense, but also by different systems: social, political, economic, religious ect. Every system is a machine. In the case of Piltover and Zaun, the social and political machines categorize people and program them to inhabit certain identities and spaces. Human body is also a machine consisting of different anatomical systems. We are machines living in machines, the flow of information and experiences between us and the world is constant. In a way, even before Viktor tried to change everyone into machines, the world was already run by machines.

I also think that technological posthumanism is an amazing lens to analyse the usage of Hextech and its final destruction of the world in Arcane. Technological posthumanism states that humans use tools and technology as integral to our identity and functioning. Inventions are made by humans, but inventions also invent humans - we use tools, art, machines, that extend us, that make us. Humans don’t make technology because they’re free and rational, rather they’re free and rational because they make technology.

Donna Haraway says we're already cyborgs, because tool-making and technology is always a part of our evolution - we incorporate the world into our bodies. We use tools, but according to posthumanism, tools use us in some sense, like a parasite. Interesting that Viktor becomes literally a mix of flesh and machine, influenced by the Hexcore.

Going further, posthumanist thinker Bernard Stiegler writes:

(...) the pursuit of the evolution of the living by other means than life - which is what the history of technics consists in, from the first flaked pebbles to today, a history that is also the history of humanity. (Technics and Time, 1)

Evolution's course is always directed by technology and tools. Stiegler asks: ‘Who’ or ‘what’ does the inventing? ‘Who’ or ‘what’ is invented?.

Jayce and Viktor invent Hextech. Piltover, City of Progress, is made by the development of Hextech. Hextech invents Piltover’s identity, makes its citizens and government free, rational, innovative and progressive, in opposition to Zaun, which supposedly lacks these traits. Is it really Viktor who causes the calamity in the end? Or is it Viktor and Jayce’s invention of Hextech that caused the end of Piltover? Was it humans using technology, or was it technology using humans? Technology can be human’s progression in evolution (as Viktor represented) but it can be the destruction of the world (as Jayce saw in the apocalyptic Piltover). There is no predestined essence or course, there is only the potentiality.

Viktor’s arc with the transhumanist/posthumanist Messiah plot fits a subgenre of these philosophies which states there’s a possibility of a Posthuman God. It means that humans, no longer limited by nature, flesh and emotions, will be able to grow into a god-like state of intelligence. It’s not about ascending to a literal god like Viktor did, but more about posthumans being so advanced and intelligent that modern-day humans wouldn’t be able to comprehend it. It is tied to Nietzshe’s Overman ideal, but that’s another long story.

Summing up, the writers butchered Viktor’s character and did something typical for the general transhumanist discourse. That our problems are technological, not political and social, it’s about science that changes our embodiment, and we need this change because the world is unfair. But why is it unfair? Too difficult of a question for the writers apparently… I'll be dissecting it further below.

* Interesting to add, transhumanists of today go as far as suggesting we’ll be able to upload our minds into computers/certain devices and this way live forever. Viktor sorta reminded me about that with his astral plane self. There was a movie with Johnny Depp with this idea, Transcendence. This movie is bad tho (*Wendy Williams voice* Guess who’s jealous of Viktor Arcane? … JOHNNY DEPP!)

DISABILITY

In The capacity of contract Stacy Clifford Simplican distinguishes two ways of thinking about disability: medical and social. Medical model means that people have a medical problem when we compare their state to fixed diagnostic norms. The social model is about how society creates disability by making the world adjusted to able-bodied people, while disability is an exception to the norm, an anomaly. 

What the social model explains is that the problem isn’t the disabled person’s body, the problem is that they didn’t have a chance to design the world that would accommodate everybody. Medical model is appealing to able-bodied people because it allows them to dismiss their anxieties connected to disability and the possibility of acquiring it. People would have to then face the fact that society is actually unfair, so the medical model allows thinking there’s a distinct difference between able-bodied ‘normal’ people and persons with disabilities. There is ‘us’ (able-bodied) and the Other.

The idea of a cultural Other is key in various theories, especially in post-colonial critical theories, disability studies, social stigma theory ect. It basically means that the dominant group considers everyone who’s an outsider or lacks certain attributes essential to the group, as inherently different, oftentimes meaning lesser, therefore considered ‘other than us’. The Other needs to be distinctly alien to the normative group or culture. In case of people with disabilities the line marking the difference is located in their bodies.

In season 2 Viktor literally crossed the line (haha see what i did there) by rejecting his disabled body and changing into the Machine Herald. By rejecting his embodiment, he wished to fit into the ‘perfect’ embodiment represented by the people of Piltover. However, I consider Machine Herald Viktor as the epitome of what Piltover society considers as the Other. At the end of S2, for people of Piltover the line between what’s worth saving and what’s dangerous yet again locates itself in the body of the Other. The body that originated from the embodiment of the disabled Zaunite.

Viktor’s body is central to his character. We see his embodiment is an experience of pain, struggle, not only physical (he feels his body eroding) and emotional, but also social, he’s a Zaunite in Piltover. He’s double stigmatised as an undercitizen and a disabled person. Theory of stigma tells us that problems disabled people experience oftentimes aren’t connected to the disability itself but to the unequal, negative approach, harmful representations and institutionalised practices that cause the stigmatisation. It all reveals itself in ableism. One of the most important authors of disability studies, Rosemary Garland-Thompson wrote at length about these topics, notably in Extraordinary bodies. I’ll be referring to her work a lot in this post.

Viktor changed his body in S1 and then again in S2, he became Machine Herald, what he thinks is ‘the most he’s ever been’. But Piltover still thinks of him as the Other, a threat - and we know that in their worldview ‘Zaunites’ equals ‘danger’. And here’s the thing - ‘disabled’ is a position you get in a concrete socioeconomic context.

Viktor’s Jesus arc and commune activities focus on ‘fixing’ people and allowing them to live on the outskirts, away from the stigmatising society. Paradoxically, he fixed Zaunites to be able-bodied, like Piltover’s society accepts, but Zaunites can’t join that society, they’re still on the outside. Arguably, they’re trying to create an alternative for the stigmatising society, a new ‘Herald’s vision’. But why does this vision involve getting rid of disabilities? 

‘Overcoming limitations’ isn't really about transforming the body. As Abigail Thorn said: ‘You're not gonna fix homelessness by turning homeless people into inspector Gadget’. Arcane S2 Viktor took the wrong angle on the whole ‘helping the Zaunites’ thing. The show for sure states that. And that makes me sad and mad because it’s just.. idk stupid? Viktor as he’s established in S1 is fiercely intelligent, has very strong morals and convictions. He acts recklessly and crosses ethical limits only when it comes to saving himself from literally dying. I don't see how he would go from ‘In pursuit of great we failed to do good’ to complete opposite and being SO misguided in act 2-3 in the 2nd season. They character assassinated him so hard it’s almost unbearable. Still love him, but gods, look how they massacred my boy. Anyway-

Viktor’s disability makes him significantly different from the rest of the cast - as Garland-Thompson wrote, the figure of Otherness is a result of interpreting and giving meaning to bodies. It gives categories and paradigms, which then give us identities. By making Viktor a person with disability the creators had the responsibility of understanding that their writing has real life consequences. Representation in art and media is a means of identification for real life people who relate to Viktor’s embodiment.

Disability is not only a physical state of being, a form of individual embodiment, but also an economic one. It’s true for Viktor - he self-described in S1 as ‘a poor cripple’ - using the language of his oppressors, clearly to pinpoint how he’s perceived by the normative majority of Piltover. I’d argue this doesn’t tell us how he actually feels about his disability. We don't really get his thoughts on it. I see many people assuming he thinks of it as an imperfection from the start and point to S1 when he shies away from the spotlight and then more obviously in S2 Jayce basically confirms to the audience Viktor’s internalised ableism in The Speech.

But I’m not so convinced. Viktor in S1 strikes me as someone who hopes his work will talk for itself, so he doesn't crave the spotlight, but it absolutely could be argued that the reason he hides in shadows is to protect himself from the scrutiny of onlookers. It might be an argument for him thinking poorly about himself and Arcane is known for ‘show don't tell’, but I sort of… wish they told us?

Viktor talks about his disease and focuses on his incoming death, which is central to his character in S1 after act 1. Disability and actively dying are different things though, but in sociocultural contexts are often considered almost the same. It seems to me that the writers made such an assumption - treating Viktor’s leg and his disease interchangeably.

Viktor’s internalised ableism wasn't prominent, I'd say nonexistent, in S1, his focus was on preventing his death, not on getting rid of his disability. He experimented on his leg and tested its durability when running. Season 1 already established that it was the wrong choice (although the running scene is contradictory in its message because of the ‘victorious’ framing and music). Viktor changes his mind at the end of S1 and asks Jayce to destroy the Hexcore. Never, not once, in S1 Viktor declares that he wished to help people of the Undercity get rid of disabilities or that he wants his own to go away. He only speaks about his general health deteriorating.

But then we get Jayce saying Viktor ‘always wanted to cure what he thought were weaknesses; his leg, his disease’. Um no, not true? Viktor always wanted to invent things to make a change for the disenfranchised. He couldn't do so because of his terminal illness and Piltover’s politicians not giving a damn about Zaunites. We don't know how he feels about his disability apart from recognising it as a part of his social status as a Zaunite in Piltover. We get the scene when as a child he shows Singed his leg, meaning he can’t play with kids and is lonely. This could mean he’s either shunned or can't access places where kids play. That's an issue of accessibility and how disability is created by alienating disabled people. It’s not enough proof to argue that Viktor dislikes his disability to the point of wishing to fix it when he becomes an adult.

I argue that Viktor’s internalised ableism was forced onto him by the writers. This way they put the responsibility of dealing with ableism on the disabled individual instead of asking the real question: why is Viktor experiencing ableism in the first place? Why is it Viktor who has to bear the burden of injustice and feel bad about himself? Apart from the positive sentiment of ‘disability is a part of humanity and doesn’t mean you’re broken’, the message of the ending seems to be: 'it's sad you feel bad about yourself, you need to hear you’re valid and get over your internalised ableism or you’ll doom everybody, but we won’t be addressing systemic opression’.

Audre Lorde pointed out issues that stigmatised people face, especially having to be representatives of their marginalised position, having to use their intellectual and emotional labor to address oppression. I can’t agree that Viktor taking on the labor of realising his internalised ableism thanks to Jayce’s Speech is amazing writing. His humanity was denied by the oppressors so much he ended up rejecting it all together? The framing of Viktor’s motivation after becoming Machine Herald is extremely detached from his original character’s. I can’t- it seems like they made him self-loath and cause harm just because the final battle would look cool?

I like Arcane’s message that erasing disability is like erasing humanity and love wins in the end. At the same time it’s done at the cost of the disabled character’s entire arc and positions him as the villain to a society of able-bodied people. I don't vibe with that writing choice. If the writers had the guts and we didn't live in capitalism, maybe we’d get more seasons and something truly revolutionary.

Feminist scholars pointed out how people’s standpoints shape politics, how identity, personhood and body are cultural constructs that need to be questioned. Standpoint theory suggests that representation is always a political act and thus disability representation needs to be treated as such. I don't think Linke and others thought about it this way while writing Viktor. They created a great character though, so allow me to open my ao3 tab and look up canon divergent fics.

Because of Viktor’s arc in S2 becoming about having his autonomy revoked and his supposed internalised ableism, we unfortunately got an interpretation that Garland-Thomson notes as widely accepted - that physical disability is a part of lower social status and a personal tragedy. We could have had Viktor as a transformative example of a physically disabled person who exposes social institutions of power and questions the notion of othering as a rule that permeates the Zaun-Piltover conflict. For that to happen, it wouldn't be Jayce who affirmed Viktor as valid - it would be Viktor affirming himself.

And we know he had the capacity to do that. In S1 act 1 he’s self-confident and we know he got to Piltover thanks to his intellect and resilience. Why would he lose these parts of himself so radically in S2? I understand that he was severely depressed and that could change his perception of self when his health deteriorated. Yet, I believe in S2 the acceptance Jayce talks about could have come from Viktor seeing his own value. Garland-Thomson calls it 'speaking with one’s voice’. To be seen and accepted means having autonomy and possibility to speak about our embodiment with other people. We don't get to see/hear Viktor do that. He speaks of his mortality and deteriorating body in the context of disease, not disability. And he doesn’t really react to Jayce’s Speech.

If the creators wanted a really empowering story about a disabled character, they needed to address that. According to Garland-Thomson, the body is a text that needs interpretation by their owners. Giving meaning to his body, affirming it (maybe choosing to change it only to stop himself from dying) would mean that Viktor frees himself from symbolic and systemic violence, and rebels against fantasies and anxiety projected onto him by the normative society. That would have been based as fuck.

I ship JayVik, but it doesn't mean The Speech is all fine. Jayce might understand some of Viktor’s struggles but he’ll never understand him fully. It’s true that Jayce experienced horrors beyond comprehension, saw how his dream destroyed the world, he starved, had to reflect on his decisions sitting in a dark cave and injured his leg. Him acquiring a disability to parallel Viktor is a very important moment, yet it’s not the same as knowing Viktor’s experience of embodiment.

Jayce didn't live with a disability all his life in the society that considered it as something inferior. Jayce didn't live with despair and desperation of struggling to prevent himself from dying of an illness caused by the actions of an oppressive state. Jayce’s speech is emotional and important for his relationship with Viktor, and I did get teary eyed when he expressed how much he adored Viktor. But they lost me with ‘fix weaknesses, your leg, disease, and there’s beauty in imperfections’.

The Speech is sweet on the surface level but it rubbed me the wrong way, because not only it didn't make sense with Viktor’s arc in S1, but it also feels weird to say that disability and terminal illness are an imperfection in which there's beauty. Imperfection is a tad insensitive of a term in this context... Having Jayce - who was more privileged socially, essentially able-bodied all his life and acquired his disability only recently - say this to Viktor, is kind of an odd choice. I do see what they’re trying to say: such experiences shape us but they don't define us. That Jayce loved Viktor as a whole human being with every part as integral to who he is.

At the end Jayce frees Viktor from his loneliness. Lovely stuff and I like it on a personal level, altho the Speech was poorly worded. Narratively, it tells me that the disabled character needed another person to say he was all he needed to be from the start. But it ignores the social context of why Viktor was lonely. Jayces speech shifts focus from systemic oppression and inaccessibility to interpersonal connection he had with Viktor and the emotional side of it. It's possible to both establish a loving bond and acknowledge the discrimination Viktor experienced. But that didn’t happen in the story.

 Viktor’s actions as written in S2 seem to stem partially from an immense need for acceptance and a wish not to be lonely. Of course he has Jayce in the end. My JayVik side is kicking its feet in the air and giggling, but when I look at it from a representation perspective it's kind of bad. Jayce is after all a privileged man who has never experienced life long marginalisation, chronic pain and despair of accepting his death when there's so much work to do for a good cause. And he might have understood how lonely Viktor was, how Jayce neglected his partner but still, Jayce cannot fully get it if it's not his lived experience.

Viktor is defined by his body by the unfair society he exists in and it's impossible for him to ignore it, because that's what shapes him every day. It's understandable he’d want to be healthy but I dislike the ‘Magic Cure for disability’ trope they went with in S2 when Viktor merged with the Hexcore. The trope is widely considered regressive and even harmful when it comes to nuanced disability representation. Viktor's case isn't as obvious, so I'm not trying to pass any finite judgement here.

I wish we knew if there were people with disabilities or sensitivity readers at any stage of the creative process of making Arcane.

I’ll be referring to the topic of Viktor’s disability in other sections of my posts, so it’s not really the end of this subject.

THE RADICAL OTHER

As I wrote earlier, the concept of the Other is extremely important in anthropology. There’s a more expanded and emancipatory theory that I'd like to touch upon - the concept of Radical Otherness.

In itself, this concept is disruptive. When we’re faced with the Radical Other, we’re confused. We cannot relate to them, cannot ignore them, our predisposed opinions and structures of understanding are being postponed. It creates a cognitive dissonance, forces us to change perspective, create space for the Other and look for Otherness in ourselves. It can also cause bigger fear and cause us to alienate the Other even further than we initially did.

Experiencing Otherness touches our bodies and senses without us having prior notice of it. This experience disturbs us, it calls on us, it asks us to respond and to react. German philosopher, Bernhard Waldenfels writes in  Bodily experience between selfhood and otherness that people usually either welcome the Other as a guest or exclude the Other as an enemy. The Other is always transformed in a way that the normative society has disposal over them or they're available for the society's intentions. Radical Otherness, according to Waldenfels, is not available to anyone.

Viktor's disabled body is turned into a grotesque fusion of flesh and metal, then into an alien-like creature, not a cyborg which would be more in sync with transhumanist ideas of technological augmentation of the human body. The way Viktor looks in his god-like form is aesthetic but foreign.

What it means for disability visual representation is that Viktor either reinforces or rejects the sociopolitical relations that make the disability a kind of Otherness.

Interpreting Viktor the Machine Herald as rejecting oppressive notions, I’d say he symbolises what’s rebellious, exposing injustice and disrupting social order. He left Piltover behind and came back to cause a radical reinterpretation of the world. He looks absolutely different, strange, magical - and we know people of Piltover fear magic. But because he’s the villain and dies at the end, I'm more inclined to say the writers meant to show his transformation as a symbol of unpredictability, lack of stabilisation, anarchy - and that’s both dangerous and brave.

Viktor as Machine Herald can be read as embodiment of personal freedom by rejection of cultural uniformisation. But if it were to be true, he should have rejected conformity while still disabled or at least not transform with Singed’s alchemy. By the time we reach the last episode, his arc is a story of Piltover having to tame ,,the freak’’ as Garland-Thomson would describe it.

The freakiness of Machine Herald’s form is also an interesting choice, because it’s somewhat humanoid but unnatural. It reminds me of the practice of freak shows where people with unusual bodies and disabilities were displayed as freaks of nature, odd creatures. Able-bodied audience gawked at them and while looking in the face of the Others, they’d re-establish themselves as ‘the normal ones’. I hope you catch my drift and see how this is not a good look to have Viktor morph into an alien looking creature that all of Piltover fights in the end…

If I try to find positives in S2’s writing, I can speculate that Viktor becoming the Radical Other in an empowering sense would mean that he embodied an alternative to the status quo. Him leaving and in sense rebelling against domination of Piltover wouldn’t be an intellectual choice but a manifestation of his condition as a person. In this interpretation, his transformation is radical, it’s a positive marker of his individual story.

It’s still a story of oppression though - our Viktor doesn't save himself, Jayce does it for him. I’m not gonna be talking about Old Man Jenkins Viktor orchestrating everything to save himself by having Jayce sent on a mission to save main timeline Viktor. I’m focusing on the Viktor we got to know in S1. It’s beautiful to be seen and supported, the scene at the end was so loving, and my AroAce ass relished it. I love JayVik, yeah, though I think the message of Viktor’s arc being so centered on Jayce’s affirmation of him made the message a bit less complex. They’re soulmates, your honor, but they’re so codependent it’s really toxic yaoi.

Jokes aside, it would be amazing if Viktor chose to become the radical Other. He’d make an autonomous decision to use his status of the Other as the ultimate ‘fuck you’ to the system. The system that overlooked him and prescribed him the identity of an undercitizen, ‘an outsider looking in’.

His arc would be even more profound if he recognised his internalised ableism and chose to become the Machine Herald the way he did in the League Lore. In League, his practices aren’t entirely ethical either, but that's besides the point. His decisions were made out of dissatisfaction with Piltover’s corrupt academia and politics, and the moral duty he felt to aid his fellow Zaunites in the face of calamities and everyday hardships. 

The Arcane version of the Divorce arc could’ve made JayVik more complex if they let Viktor express disappointment with Jayce’s decision to weaponize Hextech and Council’s lack of interest in the Undercity’s issues. Then the 'our paths diverged long ago' would be more inpactful.

The character arc is a mess but I tried to reach and look for sth more interesting. I think the Radical Otherness of Machine Herald is a compelling angle. Not what writers intended, for sure not, I don’t think they taught anything through that deeply. My take on Viktor the Radical Other is a bit surface level, but it's just one of many things I wanted to share here.

ENDING PART I...

It all could have been more interesting if Viktor wasn't influenced by Hexcore as we’re led to believe, because… this is cheap writing and yet again takes away his autonomy, which he was denied far too much in S2. The magical stuff took away from Viktor’s character and lost focus of his actual motivation.

I think what we got isn’t good enough, but I appreciate bits that can be read as more meaningful, that's where my idea for this 'essay' came from. I just wish the writers had the guts to let Viktor be angry, come back to Zaun, not do the cult stuff and just help people, join the rebellion, basically tell the Pilties: ‘I hope I confuse the hell out of you’.

That’s it for the first part of this analysis. Part 2 coming soon i guess.

 literally me writing this fucking dissertation:

[bitchthefuck1]

you know what, I actually will talk about this because it's bothering me. The issue with focussing so heavily on syd and carmy's potential for a romantic relationship isn't that there's something inherently unintellectual about romance or whatever, it's that a lot of people seem incapable of doing that without immediately flattening the story and ignoring or intentionally misreading any and all nuance for the sake of that romance. Every scene suddenly becomes about how it impacts their relationship, every analysis is done through a romantic lens, every frame or line of dialogue becomes about finding some easter egg or hint that "proves" these people should start dating. Their dynamic is absolutely a fundamental part of this show, but if you can only see it as a will-they-won't-they, you miss so much of what the story is actually trying to say with these two.

There are good versions of this story where their relationship is romantic and there are good versions of this story where it isn't, but as soon as you decide them being together is "the point," you lose the ability to actually judge the story for what it is, not what you want it to be.

[nyerus]

A Masterpost for the Revised Version of TGCF

Due to the amount and frequency of misinformation about the revised version of TGCF, I wanted to make a post to serve as a resource for those who are confused about it, while also helping to debunk some of the sensationalist rumors floating around.

This post will be edited to include new things as needed.

⚠️Spoiler Warning: if you have not finished reading the original novel, or want to experience the new scenes from the revised naturally/fresh, please proceed with caution! I've intentionally kept things as vague as possible, but some spoilers are unavoidable!⚠️

✨ PART ONE: Frequently Asked Questions ✨

🔹What is the "revised" version of TGCF?

MXTX had been working on a revised version of TGCF since completing the original, as mentioned this in her postscript/afterword, and in an online interview (Q.27) done years ago just as she competed TGCF. That's all that was known for several years.

In early 2023, TGCF was finally released in print format in mainland China — and this was revealed to be the revised version! Due to regulations, this was a censored edition. However, in early 2024, the uncensored edition was uploaded to JJWXC (the site where all of MXTX's webnovels were originally published)! It's currently fully available to read in Simplified Chinese.

If you want a more in-depth explanation about the revised, please see my post about that here.

🔹What does the revised change compared to the original?

Several scenes have been added, some removed, others expanded upon. Overall, MXTX reportedly wrote 100k characters (words) of new content. While the overarching plot of each arc and the novel as a whole remains the same, it's a more cohesive and polished story. Pacing in each part of the story has been adjusted to flow better, especially in arcs notorious for feeling slow or disjointed.

Some segments have had fairly significant changes — namely the Bloody Banquet/Fang Xin Guoshi arc. (Though it still plays out much the same way.) Most others have smaller changes.

A new extra was also added, called "the Ghost King Dressed Down," which has been translated by Scarabsi on twitter.

🔹How does the revised version effect characters?

Apart from certain minor characters — such as the child Lang Ying who was removed entirely — there haven't been many drastic changes. The biggest thing was side characters like Lang Qianqiu and Ling Wen being given notably more backstory to further flesh them out. Their characterization itself hasn't changed, however.

🔹Which version is canon, then?

Whichever you want, and you can mix-and-match! MXTX has given fans her blessings and encouragement!

🔹How do I read the revised version in English?

Currently, there are no official or unofficial English translations of the whole revised version. Nor are there any plans to do so for the near future.

However, there are English fan translations of a few notable chapters, which you can read here. There's also instructions on that site on how to read the rest of the updated webnovel in English, using a browser extension.

Additionally, the audio drama is adapting the uncensored revised version, and has been doing an amazing job! Check out how to listen to that with English subs here.

✨PART TWO: Debunking Rumors & Clearing up Misinformation✨

Note that all chapter numbers given will be referencing the webnovel's. The old chapters are also available towards the bottom of the page as "serialized versions."

(Translated screenshots provided are janky because it's just basic google MTL!)

🔸"Mentions of Mu Qing's mother was removed from the revised!"

Not at all! Both his parents are still mentioned, along with how Mu Qing is the primary breadwinner due to his mom's failing eyesight. (Ch. 57)

🔸"The earring scene isn't there anymore!"

The earring scene is still very much there! Not actually sure why this is a rumor at all, when the whole earring thing spans several chapters. Here's the conclusion of it (Ch. 59):

🔸"Characters have been butchered in general, with Mu Qing especially getting scenes cut!"

No character (who didn't straight-up get deleted) has been butchered. Nor has any character been singled out for having their scenes deleted/changed, because that's happened to every character — yes, including Xie Lian and Hua Cheng! — and they also have new scenes added!

E.g. the scene where Mu Qing picks the cherries is removed, because that whole section was changed. (However, it's still mentioned that others are prejudiced against him due to his background, and so on.) Meanwhile, there's a brand-new scene that shows Mu Qing's aptitude in treating wounds, as well as he and Feng Xin having new hijinks as "junior officials" with Xie Lian, and more.

Despite the rumors, characters haven't been flattened to make them more one-dimensional compared to Hualian. Perhaps the idea of certain scenes being cut sounds scary for characterization, but a lot of the original has been retained one way or another. In many cases, MXTX just condensed things, or moved them around. The revised is meant to be looked at as a whole, after all.

🔸"Mu Qing now leaves for no reason in Book/Arc 4, instead of for his mother!"

Mu Qing clearly states in the revised that he wants to leave in order to find a way to improve their situation, since they anyways cannot agree amongst themselves. Just like in the original, he was frustrated and felt there was no point in continuing along the same path. (Ch 152)

And yes, he does not bring up his mother in the revised scene. For context: there is a three year gap between the end of Book/Arc 2 and the start of 4. Which means in the original, Mu Qing didn't mention his mother for those three years. Given the events leading to his departure, and what follows, this causes several inconsistencies.

That is a whole topic unto itself, however. But it's not surprising the revised did it a bit differently.

🔸"Feng Xin isn't as funny anymore!"

Feng Xin is actually one of the least changed characters! This rumor likely stems from the scene where Xie Lian reveals his password, to Feng Xin, who no longer rolls on the floor while laughing. Or maybe it's a miscommunication based on the printed revised, which censored some of his (and Qi Rong's) cursing. But that was only for the printed!

🔸"Ling Wen's character isn't as interesting because of the changes!"

People will really say anything on the internet. She's been given more depth and complexity, if anything. There's new scenes that expand on her background and early days in heaven, and her relationship with Bai Jing has been given a lot of extra attention. Her motivations and actions remain the same, but if the subtext was missed in the original, it could have led to some readers thinking of Ling Wen as certain way. Like a ruthless girlboss.

The revised reiterating that this isn't the case doesn't change or detract from her, as that was one of the points of her story to begin with. Plus, the revised arc gives Bai Jing much-needed characterization.

🔸"Ling Wen's ascension is now due to Jing Wen/not on her own merit/etc!"

Frankly, this rumor might be due to people not properly understanding how ascension works in TGCF, and thinking the revised is adding something that they forgot was already in the original. The revised didn't change anything about the manner in which Ling Wen ascended.

You can actually check out the revised Brocade Immortal arc here for yourself, as it's been fan translated!

🔸"The dynamic between Hualian is different in the revised!"

Their dynamic is exactly the same as before, only reinforced if anything. If the new additions are enough to destroy someone’s image of Hualian or turn it on its head, that’s definitely not a fault with either novel version!

🔸"The scene where Hua Cheng is disguised as Lang Ying and accidentally catches Xie Lian bathing is removed!"

Unfortunately, yes, the bathing scene is gone. However, Hua Cheng in disguise is still there — he's a village kid instead.

🔸"MXTX made changes to side characters/ships because she felt threatened by their popularity compared to her main couple!"

This one just doesn't really make sense, because several side characters were given *more* content — including their relationships.

Lang Qianqiu finally feels like an actual character. Quan Yizhen and Yin Yu have new stuff about them. Shi Wudu has some clever little cameos. Pei Ming’s feelings about Yushi Huang are brought up. Pei Xiu’s backstory is even more heartbreaking. Qi Rong has new scenes that make him feel genuinely menacing. Xiao Ying’s been completely revamped. These are just to name a few, and excluding things already talked about above.

It seems unlikely that MXTX would go through the trouble of adding to her side characters if she didn’t care about them, felt they weren’t important, or thought they were getting undeserved attention. Besides, popular characters like Shi Qingxuan and He Xuan had no cuts to their arc!

Looking at the actual metrics… MXTX has no need to feel threatened by her side ships vs her main ships.

[ominous-horse-noises]

im ab to be annoying ab dimension20 fhjy but im genuinely loving the character arcs for the bad kids this season?

kristen going from self-annihilatingly stupid to trying to build a genuine bridge with the man who not only wielded the religion that traumatised her (bobby dawn), but also was trying to ruin her life, just bc she thought a grieving father ought to be comforted in some way? her genuine distress at being unable to revivify buddy even though the two had only had negative interactions, or her biting her tongue in front of her parents so she could better look after her little siblings? grappling with the fact that she still, on some level, expected practising religion to be easy and convenient for her as a holdover from an entire childhood spent being a Chosen One, and finally putting her nose to the grindstone and committing to working her ass off for a deity that couldn't even benefit her for a hot minute? making an effort to be cordial with tracker's new gf and letting go of that codependency? the kristen applebees from ep20 would NOT do all the same stupid shit as ep1 and i love that.

fabian being humbled by the narrative again and again has been an absolute treat for his character. the whole ivy/mazey situation was great: freshman/sophomore year fabian would've gone for ivy no sweat, i mean her character seemed pretty similar to pre-redemption aelwyn and he had a huge crush on her then. but this time, when he realised he'd hurt a genuinely great person, and intentionally swallowed his pride to make it up to mazey, even though it required him being 'uncool' with the whole twister thing. his general arc of learning that earnestness and humility doesn't make him less of a man felt like a natural extension of fabian defining his own version of masculinity- sure, a 'maximum legend', but also someone deeply involved in the arts, and someone who is less afraid of saying sorry and being vulnerable in front of someone he likes

fig. fig fig fig. what a woman. its been absolutely fascinating watching build her sense of identity over these three seasons. at her core, fig is a character that loves so deeply. in freshman, she was terrified of the depth of her own devotion, so she tried to distance herself emotionally from everyone. in sophomore, she built herself around that love for other people. in junior year, fig's arc has been learning she can do both: that she's defined by her love for others, but not solely by it. ik emily wanted to retire the character before this season but i think fig's paladin arc was the best capstone to her journey possible.

gorgug's arc has been about establishing clear boundaries for himself and i love it. im aware there's been some Discourse ab the mango soda scene but to me that was pretty easily chalked up to teenage insecurity. a big part of gorgug's arc was trying to believe in himself when everyone around him told him he was too dumb to follow his passion- imagine struggling in an area that you have no natural aptitude for, and someone comes along and also trounces you in the one area you thought you were the best in. i'd be petty and reactive too (gorgug follows up calling her a freak with the fact that she beat the shit out of him, so its clearly him just still smarting from a bruised ego and not actual malice). in general, i've really like gorgug learning to put his foot down and say enough is enough without completely losing his gentleness.

adaine hasnt had an obvious arc, but considering she addressed most of her baggage in the first two seasons, i'm not surprised. i would've liked to see the other bad kids address her 'teenage adult' behaviour, but her self-awareness about it and relying on fabian to pull in clutch for the oracool stuff still felt like she'd learned to rely on her friends at least + her reaching out to aelwyn and the two of them healing from their parents together has been rewarding it its own right.

riz is perfect and has learned nothing. his neuroticism is part of his natural swag

[cabinetduo]

what it is is like, on a meta level there were characters in the dream smp who were played by ccs who didn't have a large enough fanbase or "lore importance" to impact the writers room. like there were characters with specific written roles and there were characters whose arcs and internal conflict weren’t even being considered right. people's inability to separate cc from c also contributed, with cgnfs lore importance correlating w the ccs large audience (and ties to the main antagonist), he never would've been relevant otherwise. cniki was lightning in a bottle bcs she had just enough involvement with the guy's involved in the "main plot" to get eyes on her and what she did with that stage and focus was so captivating her character was able to stand alone with a fanbase of her own

however because of the nature of the dsmp, being able to see every characters individual perspective, the idea of 'side characters' only exists on a kinda narrative level, like for all intents and purposes ctommy was the main character (ignoring that old ass debate), the story was being sort of written with him at the center so thats how he was treated narratively but also on a meta level, many characters arcs were weighted based on how ctommy interacted with them. there were no side characters in the dsmp bcs of the nature of streaming as a medium but in the like, overarching story, ctommy is the mc

ALL OF THIS TO SAY ctubbo exists paradoxically. like technically he's one of the 'main guys' the fandom would focus on and was close enough to garner his own dedicated fanbase but [the thoughtstream that would spur this post] in modern discussions about dsmp nostalgia and character quotes and stuff I've never once seen ctubbos name.

So but but butttttttt on a meta level, narrative level, and TEXTUALLY LIKE IN THE ACTUAL TEXT he is regarded as a side character. like cctubbo gained a large enough fanbase to stand on his own but despite his proximity to the writers room he wasn't very involved in the writing of the "script" however the importance of his character to ctommy made it so that his character was always considered in the script (well characterized or not). with ctommy as the mc and ctubbo as his best friend, in the story of the overall dsmp ctubbo is the sidekick to main main character. now that's all well and good if it was only on a meta/textual level but this dynamic is actually crucial to his arc like actually IN THE TEXT

like in season 2 cdream is the main antagonist with making ctommys life a living hell being his main goal. he meticulously separates them and incites a canyon sized rift in their relationship. then while tubbo is holding up the sky and being [new] lmanburgs youngest acting president. cdream fully befriend him at his lowest with the intention of using him against ctommy. ctubbo was never a person in cdream's eyes. he, like many other characters, goes out of his way to dehumanize ctubbo, viewing him as an extension of ctommy the same way the discs are, something to taunt him with or destroy for a reaction. we see this in the white house fight and disc saga finale. despite going out of his way to gain ctubbos trust and play chess with him everyday, cdream never even saw him as a person (how fucked is that)

Anyway where was I goibg with this..ctubbo had enough ties to the 'main characters' to be tied to the 'main narrative' of the dsmp (in quotes bcs there's nuances to those phrases) but not enough to be allowed to stand alone on a meta level, narrative level, and in the text when regarded by other characters. it isn't until later in the story [thru streamer and tubbling efforts that he kinda gets his own legs? until the story requires otherwise from him and he's dragged along to whatever role the main story needs him to play (which in retrospect led to a lott of mischaraterization huh who knew

[absolutebl]

What to watch after Pit Babe? Thai BL Actor Guide

So you loved Pit Babe and you wanna see your favorite BL boy in his old series? But should you?

Here's a guide...

Babe AKA Pavel - 2 Moons 2

Pavel is one of my favorite actors in BL (he's this blog's icon for a reason) and actually 2 Moons 2 is pretty good, primarily because of his character, Forth. Who has an actual character evolution and growth arc... in a BL!

Amazing.

Don't be fooled 2 Moons 2 is a reboot and extension of 2 Moons, not a spin off. So you don't have to have watched the first iteration, in fact I recommend against it.

Anygay, the main couple of 2M2 is naff, but Forth is great and Pavel is great as that character. He has good chemistry with his pairing, and as a BL fan it's not a bad idea to know your 2 Moon's roots. 2 Moons is one of the most popular Y-novels ever written, one of the most popular shows of it's time, and the perpetuator of many Thai BL tropes.

Pavel's second BL, Coffee Melody, is not worth watching.

If Babe was your favorite character, and Babe & Charlie a pairing you enjoy, I would suggest Big Dragon as your next BL. Same vibes, high heat, chaotic. Another possibility is the slightly lower heat but stil unhinged Laws of Attraction.

You also might like some stuff out of Taiwan. They tend to have the angst + high heat + sappy softness that characterized Charlie + Babe.

Way AKA Nut - Oxygen

Nut is way different in his previous rolls, as the lead in both Oxygen, and Something in My Room. Same gorgeous voice and soulful eyes and Nut tends to play sensitive torn characters but the similarities end there.

In Oxygen, his acting is stiff. In fact, Oxygen as a whole is pretty stiff. I like it very much and it is a big comfort watch for me because of it's smooth peaceful softness, but it's flawed, slow and awkward. I did an episode by episode thing for that show (my first watch along).

In his second BL, Something in My Room, Nut demonstrates improved acting and chemistry, but I don't recommend it. It's a touch of horror, built on the "my ghost boyfriend" trope, and it's quite sad.

So try Oxygen but if what you're after is more BL with a Way-like main character then I would recommend Moonlight Chicken or The Eclipse chewy BL with sensitive boys and some grey morality.

Jeff AKA Pon - Starhunter Talent

Pon was with Starhunter before this and so has appearances in several of their BLs. He's demonstrated great natural acting talent, charisma, and good chemistry with all his pairs but because he often appeared in chaotic ensemble pieces has been easily forgotten (including by me). Starhunter chronically underused him but also utterly miss-applied him.

Gen Y 2 is actually a master class in flawed casting. They put Pon into a triangle, where he plays a fated mate pining uke against a very stiff lead pair - but they expected us not to want him to be end game. Big mistake. Watch this mess if you just want to see how a good actor can eat up all the air of a bad pair, winning hearts and influencing fans.

Otherwise the Gen Y series is a bloated mess, and I can't recommend them. I trashed watched so you don't have too. While Pon demonstrates skills against a backdrop of ranging tallent, oddball story, and chaotic outcomes I wouldn't have bothered if not for the dumpster fire.

Pon's first BL is The Moment, and he's good in it, but it's a terrible show. Boring and plotless.

He's fantastic in Make A Wish but only a side part (despite what is said in MDL) and his arc is VERY sad. Still it's a GREAT under appreciated BL, I recommend it as the one to watch if you have to see Pon in something else. It's nothing like Pit Babe though.

Yeah our pathway for Pon ends here, so lets look, instead, at

Alan & Jeff - Bed Friend

This was Sailub's first BL role, and I speak for all of us when I say... more please.

So instead of a watching a pathway for him, I'm gonna give you a few BL suggestions based on the assumption that this side couple was your favorite from this series (as it was mine).

What we had with this pairing was

older sensitive sweetheart sunshine seme + tortured dark scared tsundere uke.

FUN dynamic! Here are some options where this style took center stage:

Bed Friend

Between Us

Love By Chance (AePete only)

Triage

Tokyo in April is

I Became the Main Role of a BL

Pete & Kenta - Word of Honor

Ah you like your boys troubled with money, questionable morals, and the slight inclination to pick at their fingernails with a knife?

Neither Garfield nor Ping have done other BLs but here are my picks for BLs that feature this kind of character and dynamic, and we are leaving Thailand for these (since it's darker territory than Thailand usually handles... well).

HIStory 3: Trapped 

Long Time No See 

Irresistible Love

Word of Honor

Where Your Eyes Linger

Other familiar faces

NORTH AKA Michael

North played by Michael was our big comedy insert for this show.

But all his roles prior to this were very serious. Till the World Ends and Call It What You Want are practically depressing, even his role in Oxygen is pretty dark. He actually has been in BL a very long time, he was one of Noh's friends in Love Sick at just 18. Frankly, that'd waht you should watch if you are gonna watch any of his back catelogue, but it's NOTHING like Pit Babe or his role in it, still it's the beginning of Thai BL and Noh is a little sunshine of chaos, and it's great so...

Where was I?

If you really want a comedic himbo lead character there are are quite a few out there, and it's a crazy playing field because Japan is in it to win it.

Leaving aside high school stuff, here are some options:

Cherry Magic (Japan)

Ossan’s Love 

Mr Unlucky Can Only Kiss

Love Tractor

Bad Buddy

Love Stage!!

My Day

History 4: Close to You

KIM AKA Benz

Benz who played Kim has also done BL before, En of Love: This Is Love Story, but it is not good and not worth watching.

While I want the queer Falling Into Your Smile or Love O2O or Appledog more than anything, that doesn't exist. We have yet to have a true gaymer BL. (I mean come on, nerdy queer is practically a stereotype at this point, where is it?)

All of which is to say if Kim was your favorite... I don't know. Our Dating Sim maybe Semantic Error?

WINNER AKA Pop

Pop has lead out a BL, it's a very slow, very queer, very unwatched piece called La Cuisine.

@heretherebedork and I loved it, but it's hard to imagine anyone else enjoying it. You have to be a hard BL stan to tolerate the pace and pulp quality of that one. He's a completely different character but if you really like the actor try him in La Cuisine, I think he was better cast for that than Pit Babe.

I just enjoyed the show in general, what's next?

In general, if you really enjoyed Pit Babe itself as a series (and it's multiple couples and chaotic noise and erratic concept) you're in the KinnPorsche camp of Thai BL. I actually made a "watch next" pathways and rating guide for that show, which might work for you.

Specifically I would say Manner of Death. It's a little more focused in character and plot but still a wild ride. And MaxTul are the Kings for a reason.

You might also try Not Me, Never Let Me Go, and 3 Will Be Free although all of these, coming from GMMTV, are lower heat levels than Pit Babe.

Finally, seriously, try The Sign. I know it was airing "in competition" but there is room in your heart for both shows. I promise. They have the same wild sexy energy, and are loads of fun.

(source)

[is-today-tomorrow-in-nz]

Uprooted vs Grishaverse

I finally finished uprooted and I wanted to share my two cents on where Naomi Novik delivers while LB fails.

Warning: spoilers

Backgrounds:

1) Both the stories were written in first POV of the protagonist.

2) Both are dealing with an immortal, youthful looking male wizard(/grisha) and a reluctant, low self-esteemed, female protagonist.

3) Both are set up in a war torn country with an expanding evil element threatening to swallow the country whole.

However the similarities end there.

1) First POV:

Although Noami uses First POV for Agnieszka, it is not restrictive like Alina's. We can see the universe clearly through her eyes and how she views the magic system. We could also read the other characters and see their strengths and flaws through her eyes. This is completely lost in the Grishaverse. We only see Alina's low self-esteem rambles, her unhealthy attachment to Mal and her judgemental censure of others characters We don't understand the universe, or the true nature of the characters. This makes the Grishaverse restricted universe, although we know how vast it is.

2) Strong female lead:

Agnieszka is a village born, free thinker and an independent girl. She is passionate and compassionate. She cares for her family, her best friend, her village and its people. Although she did not expected to be picked she does not stagnate as the story unfolds. At first she is reluctant and useless in learning magic but once she understands why she needs the magic, she pulls the magic by its horns and masters it. Unlike Alina, she practices and fails and yet she does not give up. Nieshka is by no means a girlboss but she knows what she wants and is unafraid to seek it. She knows when to standup and seize her power and when to let go. Naomi handles her beautifully that we want to know more about what's going on in her mind. Nieshka's life is lived by her rules. When Sarkan flees from his tower she does not run after him. She lets him go. She understands his nature and she also understands hers. She chooses to stay behind and heal the forests around her. This, right here, is proper feminism. Not Alina's ballerina farm.

3) Strong characters:

Sarkan, Solya, Kasia, Alosha, Marek, Vladimir and many others. We see them all through Nieshka but Naomi has portrayed each one of them beautifully. They are not one dimensional. We see how Sarkan is withdrawn from the world with the weight of immortality, choosing to surround himself with books and magic instead. We can see Kasia's pain, her love for Nieshka, her jealousy and the hurt of her mother's betrayal. We can see Marek's boarish nature, his hot headedness and love for his mother which ultimately led to his downfall. Every character has a story arc and a journey to fullfil on their own and Naomi does it wonderfully. We see them through Nieshka's eyes but we see the whole person not just her characterization. LB fails in this aspect. After book 2&3, we see many characters simply as an extension of Alina. They all profess their fealty and choose to stay with her even when she does not show them the same respect. Alina is labelled as virtuous although we see no evidence of it. In other words, the characters in Grishaverse are mere mindless, plot devices that are supposed to love Alina because she is the protagonist. They seize to exist outside of Alina which cripples the story telling in Grishaverse.

4) Vastness of the universe

One of the key nature of a fantasy story is the vastness of the universe. The reader when journeying through the story must feel the endlessness of the universe. Eg. The Lord of the Rings. This offers the readers a real submersive experience. We see it lacking in the Grishaverse. Although there are different countries and people, we can feel the boxed nature of the universe. This when combined with Alina's restricred POV, one dimentional side characters(spanning across different countries) and blatant favouritism shown to some characters we feel suffocated inside the Grishaverse. Naomi's universe feels vast, unexplored and unending making it a true fantasy experience.

5) Sarkan

We can see plenty of similarities between the Darkling and the Dargon. A lonely wizard, fighting alone against evil(/corrupt government). The people and the Royal family don't like him but keep him around as a neccessay evil. However, we can see the stark contrast in how Naomi handles Sarkan. For one, she does not think a seventeen year girl knows better than an age old wizard. Sarkan and Nieshka's magic are different but Naomi finds a way to blend them and makes them work with each other. She lets Nieshka form her own judgement of Sarkan instead of force feeding it like LB did to Alina. She gives a chance to the Dragon to tell him his story which gives us an additional understanding. Naomi shows and tells while LB just tells.

There are so many other intricate details which made Uprooted more enchanting to read. Naomi as a writer made me want more. Her universe has potential and Naomi handles it very effectively. The same, however, could not be said about the Grishaverse. The Grishaverse had immense potential compared to Uprooted but due to LB's restrictive story telling, it leaves the readers with a huge disappointment and fails to live upto it's potential.

[demaparbat-hp]

what is your Lee and Kya AU based off of ATLA

I've always been a little bit obsessed with Zuko's journey through the Earth Kingdom in Book Two, especially the time he (and the Gaang) spent in Ba Sing Se. The city, the people, the Dai Li, the conflicts... Everything is amazing. I love Jet's arc, and I never get tired of seeing Zuko (however briefly) feel happy and complete with a humble life.

There's beauty to the simplicity of life, and I'd like to explore that with ZK.

Book Two AUs will always be my go-to. From reluctant-travelling-partners to Bluetara-in-Ba Sing Se—I love all of it, so it's only natural the Lee and Kya from the Tea Shop AU came to exist.

The AU itself is only a bunch of scenes in my head so far. Of all my AUs, it's one of the most focused on the vibes and characters than the plot itself. That's not to say there's not a story involved. It's just not my main focus.

It's one of the most common Book Two AUs ever. Zuko and Katara are separated from their companions, find each other and travel together to Ba Sing Se, learning how to work together and falling in love along the way. Nothing new there, except for a few scarce scenes that are so precious to me and, by extension, to the AU itself.

They get help from Uncle Iroh and the White Lotus to get to Ba Sing Se, but they go alone (he'll eventually join them, just not for a long while). No Uncle Iroh = no Jasmine Dragon = more time in the Lower Ring.

There's also a lot more of Jet (and his antagonistic, one sided crush on both Kya and Lee), and possibly some spy/informant work for the White Lotus. Also short hair Zutara because we need more of that.

For some reason, Katara isn't searching for the rest of the Gaang (maybe she believes them dead, or perhaps they were forced to leave her behind at the Swamp and her deeply ingrained abandonment issues resurfaced).

Zuko is Tired with a capital T. Tired of the war, tired of trying, tired of everything.

Uncle Iroh is off on some obscure White Lotus business, and he trusts them both enough to draw them into the Order and ask for their help.

So, a little drama, some spy shenanigans, and lots of fluff.

[b0tsbby]

Signifying Meaning in Tristamp’s Vash and Knives S1 Designs and Visual Cues: Part 1

TLDR: How Everything but Stamp’s dialogue supports it’s characters

With the release of Trigun Stargaze looming over our heads, I wanted to look back at the Season of Trigun Stampede and really commerarate the efforts of Orange on what I think, was clever character design.

As I am not an Orange employee, I have no idea if any of this is true or even intended, but creativity lies in speculation, and analysis is really fun for me so here we go.

(If you didn’t know, I started this back in early 2024, but got hit with life and my short attention span. Better late than never.)

Tristamp spoilers and potential 98/Max spoilers.

Millions Knives

Part 1 goes to my almost favourite twin to think about, naturally. That means the elusive and infamous Stampede Millions Knives. I’ll be looking through both the character designs as they change throughout the season, with the omission of Nai and Vash on the ship as kids, as the twins hadn’t really diverged on their separate paths here.

Ep.3: A coat of one million knives

This is where it all begins. Episode 3, the alien man in a chromium coat of a million knives.

Now, Knives’ coat holds a plethora of meanings. It’s his shield, it’s his weapon, it’s what separates from him and humanity. It’s his comfort, his safety, his very own butterfly cocoon.

I feel the shield/weapon meanings are quite straightforward: This coat is impenetrable. It’s also deadly. It’s what Millions Knives shows up with to cover his ass at Jeneora rock, despite his very clear god complex.

And in that way, we’re already given simultaneously very little, and a lot to work off of, mimicking a lot of his Stampede arc in general. We can’t see past the coat, Knives has already been introduced as a mystery, but that in itself, tells us he doesn’t want to be seen. Doesn't want to be touched by both the hands and minds of the humans he deems less than him.

Furthermore, this coat is how he separates himself, physically and visually, from humanity. Beyond simply shrouding himself in mystery, Knives’s coat is aesthetically foreign and alien. It is how he ‘others’ himself on his first appearance. He’s not a part of humanity and dismisses embracing it even slightly. He is a singular, isolated entity. A herder among a flock of wild sheep. An angel among men.

But not a God.

The shape of the coat resembling a blanket is not lost on me. Please take note of the bubble formations that are littered everywhere on it, mimicking bubble wrap.

So we have a coat that looks like a blanket (warmth, safety) and is textured closely to what we could perceive as bubble wrap (again, protection but also comfort), and considering the coat is an extension of himself, (I can even go as far to say that, it is quite literally made of himself), his mental state is manifested into the physical. He is a man (or, more accurately a plant) bubbled up, kept safe and warm in his own embrace, much like his mind is coddled, isolated and protected by only his own ideas. Someone stubbornly stuck in their own world, in their own head.

While his 98/Max iterations are not any less intimidating, Stampede Knives (in S1 anyway) takes a completely different visual direction because truthfully he is a different character.

Alas, there's one more thing we can relate his coat to.

Most importantly, Knives' coat is a cocoon. I believe this was confirmed by Orange themself, but nonetheless it’s the most logical connection we can make, because I can distinctly remember the theme of butterflies in another Trigun iteration.

It’s a great callback to the symbolism in 98, and extends the butterfly metaphor across the whole season. We’re seeing what comes before the butterfly, the cocoon, where the cocoon symbolises, not vulnerability but metamorphosis.

And I think in a Stampede season 1 context, this is a huge revelation.

Hold that metamorphosis thought though. Let’s keep going.

Ep. 9: Where Knives doesn’t know who he is either.

I struggled analysing Knives design as a teenager for a while. It contradicted a lot of the ideas and cues I picked up in his older design.

Until I realised that’s the point.

While Tristamp takes a different direction in constructing Knives as a character, I’d like to assume some significant Maximum events still will occur in some way for the purpose of this. In that way, this is the first time we see Knives as a child, sometime after the fall but significantly before the July incident, the midpoint between his initial strike against humanity and the event that would lead to his resurrection as the brand new Millions Knives.

That said, Knives design choice here actually communicates his mental state and the strength of his morals and values at this point so incredibly. He is, conflicted, at best. Scared, confused and too unsure of himself to confidently embrace his planthood, instead still wearing clothes like humans and a cape to cover himself, over his plant undersuit.

Teenage Knives’ design comes across a lot like an underdog, a heroic saviour from the shadows. This is where he establishes himself as Millions Knives, but doesn’t exactly dismiss the existence of Nai, the boy raised by a human, and ‘betrayed’ by a human, completely. Millions Knives exists as a name, but still holds no real meaning yet. He’s fear driven with no real goal at this stage, despite what he says…as usual. He is also still the Knives that hasn’t constructed an identity to distract him from his underlying trauma.

Spoiler for Max and Trigger Warning for Self Harm up ahead: In Max we are shown that Knives bites his nails to the point of bleeding after discovering his sister. While it’s purely speculation, the inclusion of a bandage around Knives right arm could allude to some self harm occurring behind the scenes. Knowing he works with Conrad at this stage though, it could also suggest an undergoing of various experiments or tests.

Ep. 11 - 12 : Something to desire, someone to lose, somewhere to belong

And here comes the truly terrible pinnacle of Knives arc in S1, one I’d almost rather forget entirely. But like unraveling an onion while crying through it, at this point we get to the core of his design.

Right off the bat with the metamorphosis theme! Knives in the finale, represents a freshly emerged butterfly. His design signifies the birth of a whole new form. (He did jump out of his cocoon shaped coat so).

Many of the basic design ideas from episode three can be repeated here. Knives rejects humanity completely, going so much as to not wear anything not fashioned from his own skin. Knives takes some superior pride in his planthood. Though fitting for his character, there’s a bit of circular logic in how this is presented to us.

Orange takes a really interesting approach by making his ideal physical image the height of human desirablity, something so conventionally perfect to human standards.

Now If you’ve dabbled in art history you know, the obsession with the ideal human form in highly religious, mythical contexts and political settings is not really hard to find in classical art. However one distinct group really stands out when analysing Knives whole, thing, and that’s the Ancient Greeks (and Romans, if I may add dear Lady Justice.)

“Classical Greek sculpture aimed to depict the human form in its most beautiful and balanced state.” - Anna Gustafsson via The Collector, (2024)

Like most archaic societies, art was made as a tribute to gods, goddesses and heroes, this was naturally no different for Ancient Greece, particularly in sculpted works. My main idea turns to the aesthetic conventions of these sculptures, with idealistic realism of the athletic human form being the ultimate goal.

The Ancient Greek obsession with the human body and athletic skill was so prevalent during the Classical era, that athletes competed in the nude to essentially show off. Damn.

The artistic resemblance is something I find noteworthy, and if I’m being honest deeply appreciated as an art kid who loved theory more than the actual art-making, a lot.

And oh how well it works with this particularly narcissistic iteration of this character. While I’m not stupid, and aware that Orange could simply have made the decision to get some money out of reliable ‘ol fan service, it’s also not, completely out of character. It’s incredible funny how Knives finds a sense of safety in being different, and yet, he couldn’t fall any harder into the trap of conformity any harder if he tried. Finding his insecurities around his planthood in his childhood pretty easily, it makes sense why subconsciously he’d find pride, in not being human, but being human better than everyone else actually. I wouldn’t expect less from someone who renounces humanity while using quotes from checks notes the fucking BIBLE.

There’s a sadness to this idea as well. While I do think Knives finds some form of solace in being ‘perfect’, his objectification because of this decision almost feels like a self-fulfilling prophecy. Knives does becomes an idea, a dream, an exotic fantasy, for better or worse. In my opinion, this type of attention, is not something he’d want, but it makes me wonder, with his cult and all, how different from Vash he really is, simply masking the want to be admired, accepted, desired by humans with indifference and superiority.

P.S I also just like how this reference insinuates he’s so fucking dramatic and living life with a bizarre form of theatre kid main character syndrome ANYWHO-

It’s here we see even in his design, Knives starts to adopt the same human mentalities that triggered this existential flight or fight response of his to begin with.

What really supports this point for me, is the fact his design changes (or is ‘revealed’) after he makes the conscious choice to cut the rope of Vahs’s grappling hook, dropping him into the tank below. (Someone else please pick up on this umbilical cord symbolism, because i do not have the space to do it in this essay! Sublime level of detail.)

I’d like to first thank my bestie and much more knowledgeable beta reader @rainbowfoam for bringing this next point to my attention. There’s really a constant push and pull between this idea of rejection and subconscious embracing of humanity. The whole concept of his ‘nudity’ also could be tied back to the book of Genesis. Knives reverts to a state back before the forbidden fruit of knowledge was bitten. After all, Adam and Eve had not known shame before committing this sinful act.

So, Knives presents himself as this pure, unadulterated form, even if he has already had a bite of the apple, even if the knowledge of Tesla and humanity has injected him with shame and fear. He knows, but he wants to desperately go back to when he didn’t. When he was but a child under God’s gaze. This driving force to go back, and rewrite his story is an integral part of his character in S1.

Meaning and what can be associated with humanity in each brother’s eyes is actually incredibly important. Ya know, one of the obvious conflicts that drive Trigun!

Humanity to Vash means, change, a chance to grow. Humanity to Knives, means violence and betrayal and exploitation etc.

So when we see Knives reject human norms like human clothing to the best of his ability in Trigun Stampede Season 1, we are seeing a Knives that is still emotionally affected and steered by his childhood fears enough to consciously reject his perceived idea of humanity. We are seeing a Knives that is still consciously driven by his hatred for/fear of humanity more than his concern for his sisters.

And that fear for what he believes humanity stands for, unfortunately, is a part of him. It is a part of who he is after Tesla. Take that away…and you don’t have any semblance of Nai anymore.

So why I say having Knives in that silly ass plant marked under suit exclusively, was such an incredible design choice is because it shows that Knives is at a middle point in his arc where yes he’s crossed the line to controlling, abusive but he still closely holds the genuine childhood fears of Nai to motivate him. He still holds the hopes of Nai with him. To reiterate, he’s prepared to do anything to rewrite his childhood, to give the child within himself another chance.

But that never happens and the reality that he can’t go back and recreate the love he felt on Ship 5, is staring him in the face as he hurtles to his death. It’s why some of his last words to Vash in the finale were so significant. Not all of Nai died when he saw Tesla. Nai truly died at July.

To conclude, a lot of the themes in Tristamp revolve around the formation of identity in this post-fall landscape, and how each character changes so rapidly. Knives is no exception to the very messy and adolescent struggle of being shoved into adulthood while still desperately, irrationally clinging to the frayed ends of an unattainable childhood. I think if there’s one character really let down by his dialogue, it’s this guy. I’ve come to hope that that too, was furthering this idea of him holding an invisible wall between the audience and his true character. (Quite a lot implies that the Knives of this season is a big fucking fraud but idk.) In that regard I love dissecting Knives specifically, because I find this iteration particularly enigmatic.

Part 2- Vash the Stampede

[joannerowling]

I love Percy too! He is one of my favorite of the minor characters. Please use this ask as an excuse to talk about him <3

Ok, i LOVE Percy - not so much as a person, i like him as a person post DH only - but i love him as a character because he exposes how dysfunctional the Weasleys can be, despite Molly and Arthur's best efforts (and i think they are VERY GOOD parents, but even very good parents will struggle with raising seven kids; it's just mathematics! there are 36 dyads in that family, imagine the complexity). In Harry's eye the Weasleys are this perfect family, a model of good-natured chaos and assured mutual support, but of course things aren't as simple as he perceives them to be. Families with many kids are defined by the tensions that arise when siblings fight for their parents's attention, which is natural instinct really. If you pay attention you can see the subtle ways in which each Weasley kid has developped strategies to obtain that attention, and these strategies define their identities until they learn to outgrow them.

Percy picked the "Responsible and Reliable Son" strategy, likely in reaction to Bill and Charlie being both a bit rebellious. Molly praises Bill a lot (moreso than Charlie), and Bill was headboy and had impeccable marks, so Percy knows he has to be at least as academically impressive; but Molly also criticises Bill's more "adventurous" side (his leather pants, his long hair and snake tooth earring, his dangerous profession). Both Charlie and Bill left the nest quite young, straight after their studies, something Percy doesn't do; he still lives at the Burrow in GoF and only leaves in OotP because he got in a serious fight with his father. From there it's not hard to connect the dots: Percy built himself as the son who would help out Molly, who would be her little assistant, and that's how he gets her love and attention. I don't think any of that is conscious obviously, but she so clearly rewards him for the behaviour it's impossible to ignore.

Also, Percy has some kind of abandonment issues with Arthur. It's not surprising because compared to Bill and Charlie, he probably saw little of him. He's the third kid, and Arthur is the sole breadwinner, so he likely worked more and more as more kids came along. Hence why he tries to play "father substitute" to his younger siblings. In OotP, after playing the good reliable son, he basically explodes (which, notably, even the twins are surprised by, despite the fact that they never seem to hold Percy in particularly high regard), and the one thing that comes out of it is that he ressents Arthur for not ever trying to get a better paying job. The twins sumrise it's because the job made people disrespect Arthur and by extension the whole family, and Percy's just being an arrogant arse; but personally i think Percy's resentment is completely logical. In his eye, Arthur picked the fun, enjoyable, low paying job catering to his interest, over a more respectable and serious career; he wasn't "responsible" enough… which is exactly the value Molly accidentally taught Percy to hold above all others. It's no wonder he doesn't respect Arthur at this stage. And it's probably all tangled with anger at Athur for not being home often, leaving Molly, and the older kids (so, mostly him once Charlie and Bill had gone) to basically raise the younger ones, all because he was busy doing his "fun" job.

Anyways, i love how JKR writes family dynamics in general, she always does it with such care and precision. With Percy it would have been so easy to make him either too sympathetic or too much of a prick but she walks that tight line between the two and the payoff of his arc in DH is wonderful, especially because it comes with Fred's necessary sacrifice.

[seawing-vibes]

HI THAT WAS ME IM SORRY TUMBLR ATE UR ASK. PERIL IS TRANS I KNOW HER ALSO INTEGRAL TO HER CHARACTER AND IM THE ONLY ONE WHO SEES IT(THATS BASICALLY THE ASK)

HII NO NEED TO BE SORRY TUMBLRS SYSTEM IS ASS!! THANK YOU SM FOR RESENDING THE ASK A <33 OKAY PERIL POST DO-OVER!!

SPECTRUM USED FROM THIS POST!!!!!!!!!

OKAY SO I JUST DECIDED TO FILL THE WHOLE THING OUT! I headcanon Peril as Intersex and nonbinary!! AND SAME FOR ME, they fall fight between “I know them” and “their lore is literally impacted by their transsexualism”!! Peril is a very Nonbinary character to me, the way she was raised to view things as very “black & white” and hosting a sense of little self autonomy— makes them finding a comfortable identity in a very “”in the middle”” gender compelling! Especially within the understanding of how Peril was raised and brought up in someone else’s vision, being able to find self-identity in that nature of breaking down the “black & white” structure that was forced on them through the act of finding identity in neutrality. I find the development of self-love extended through gender expression in that nature something that works well in-unison with Peril’s pre-existing themes! Especially in regards to the layered metaphors of the Necklace. As a nonbinary person myself - I found that to be a pinnacle moment of forced suppression of identity into something more “palatable” to the public perception - in this analysis that being the forcing of femininity onto a gnc aligning identity - speaking to the way many nonbinary identity’s are expected to lean “one direction or the other”. So that moment being involved in Perils story - and her breaking free of it and having a self-realization/control moment - very reflective of nonbinary/gender non conforming experiences !!

With that though - thats just my own interpretation and connection to those aspects of Peril’s characterization! I find her lore and themes within her character to speak to many universal experiences of identity that can be interpreted in a fluid way. Like I personally read it as a very compelling arc about non-conformity and applied my own experiences with gender expression onto it, but other interpretations/analyses are just as strong! Thats why I put this headcanon in the middle, because I find it connects heavily to their lore, but is similarly just an extension of it and not necessarily interwoven in-full. Its a lot of personal interpretation which is why the personable “I know them” also 100% fits my perception of transgenderism onto Peril <33

Also the Intersex headcanon is purely a me thing, I always thought Peril was intersex just like. Factually lmao (one of those “I somehow convinced myself this was canon and was surprised to learn it was not” moments lmao). The reason I included it as well is because within my headcanon I think Peril would similarly absorb her being intersex to a further extension of gender identity! Again, breaking down those “black & white” views that were forced on them through themself - literally! Notably being intersex does not inherently mean gender identity is going to be impacted as well, just for this headcanon I feel Peril’s relationship to their gender identity would be strongly impacted by them being intersex <3 !!

OKAY SORRY THIS GOT LONG BUT THIS WAS FUN TO WRITE! TWICE ! LMAO! I have lots of thoughts on these guys so feel free to ask any questions about the other characters if ya want!!! I have many thoughts lmao…

Also I love analyzing these dragons so if anyone has a different interpretation of the characters & wanna share PLEASE DO!!!! I love hearing other perspectives, especially if they contrast my own interpretations, it’s all so cool!!!! <333

[illusianation]

Well. Helloooo! It’s been approximately 184 years since I posted any kind of meta on this site, let alone a TWD-related meta. But here we are, in the year 2024, no less. Nothing like The Book of Carol and Melissa’s return to bring some of us back. Unfortunately, it’s been a mixed bag, and current spoilers point to some really disturbing info about our beloved characters, specifically Daryl. The following is from a recent Twitter post made regarding Daryl’s character and thought it would be cool to post here, too.

CW: Daryl - relationships + trauma

There are so many feelings about the spoilers re: Daryl/Isabelle, and this post isn’t meant to invalidate any of them or defend the storytelling choices or retcon. Umm, no. Not at all. That’s a whole other post and many others have written extensively on the issues of show-running, creative consistency, and marketing of The Book of Carol. It’s not even about shipping, really. On the contrary, this post is to share some thoughts about Daryl as he is now, viewed a bit thru a trauma lens.

Before I start, I feel it’s important to note that I am an LCSW, or Licensed Clinial Social Worker, in the US.

A big part of viewing what’s going on with Daryl’s character is to start by posing some important questions: Where is Daryl emotionally? What’s going on in is his headspace? Is he clinging to what’s there in France because he feels utterly alone and resigned to his fate? What if Daryl is actually able to open himself up to Laurent and Isabelle in part because of his relationship with Carol and not in spite of it? What if he’s capable of connection & love with others precisely because his OG found-family showed him what it can look like in so many ways? Hear me out. It is a powerful thing to consider, especially given that Carol, Judith, and his family undeniably shaped Daryl, offering him his first real sense of belonging and trust. Now it appears totally lost to him - a devastating, compounded, and total loss. And he is NOT OKAY.

That doesn’t mean it isn’t OOC for him to connect with others the way he has and/or regress. As we know, trauma survivors like Daryl, especially those with histories of domestic violence, complex trauma, childhood abuse, and neglect, often find themselves in cyclical patterns of vulnerability. It does make sense that Daryl, even after growing in his relationships with Carol and the fam, might still be susceptible to getting involved in dysfunctional relationship dynamics (cough *Leah* cough) His need to care for others, while being a strength, also exposes him to people who might exploit that—whether intentionally or not. He is, in a sense, truly acting out of character.

In Daryl's current emotional state he’s completely unmoored (by a literal ocean of impossible distance no less) from his foundation of emotional safety, and has appeared to regress to the point of being unrecognizable to some. The idea that Daryl's protective nature and discomfort with intimacy coexists with an ability to be exploited by others, speaks volumes to the complexity of trauma responses and his arrested development. Daryl can embody fierce loyalty and affection, yet be caught in cycles of seeking out or gravitating toward what’s familiar, even if that familiarity is rooted in pain or dysfunction. There are not a lot of options for relational safety in the ZA. Isabelle, Leah, and even Rick, all in their own ways, represent that tug of codependency and trauma-bonding for Daryl. Not to mention, when there are children connected, his protective instinct becomes exponential.

Daryl’s current isolation, insecurity, and uncertainty about the depth of Carol’s love and his OG found-family provides a pretty valid underpinning for why he might be more open to a connection with Isabelle and Laurent, and even actively choose it when given the opportunity to go home. It’s not the arc that makes the truest sense for Daryl, but it is still very true to life in the way trauma can regress personal growth, even temporarily.

At the same time, it’s 100% understandable that this shift feels like a betrayal to Daryl’s character, as it undermines the progress he’s made and relationship choices he’s made in the past. The narrative may fall really short of pushing Daryl forward, instead choosing to revert to old tropes that fail to capture the nuance of his journey. By ignoring the potential for deeper, more layered storytelling, the show risks alienating viewers who’ve been invested in Daryl’s growth over the years. It already has, and I see y’all out there. 🫶🏼

Ultimately, it’s the tension between authenticity in trauma responses and narrative sense and progression that leaves the audience, Daryl, and most likely Carol, completely unsatisfied. IRL, growth is non-linear but in fiction, especially after so much buildup (and let’s face it MISDIRECTION) it’s not unfair to expect a clearer arc forward, versus regression into old patterns.

Hopefully, the progression will materialize in resolution which will in turn, lead inevitably to - truly actualized, authentic, and absolute love in all ways for Daryl with the safest, most accepting person person in his life, Carol. After all, Spain is still out there.

Part 2 Coming Soon: Carol and Survivors’ Guilt

[ominous-horse-noises]

final finale thoughts!!

things i loved about the finale

QUEER GODDESS PATHEON YEAAAAAAH!!! i thought it was such a good way to find a happy medium between kristen committing to a worldview that felt authentic and nuanced without being catholic™ about it

everything to do with the scene of Ankarna trying to offer retribution to each of the bad kids, and each of them making peace with past wrongs instead of continuing to stew in it. i love growth!!!

FIG AND KRISTEN MIRRORING ANKARNA AND CASSANDRA

everything to do with mazey and fabian. of all the fantasy high couples aside from fidayda, these two feel the most like they make sense together- they have similar interests, they have similar values, fabian had a crush on her even when she was being 'uncool' (eg. twister) and how mazey actually picked up on that and appreciated the way he used his perceived coolness to extend it to others who might be picked on otherwise. this is the couple i most hope go the distance even post aguefort adventuring academy (again, aside from figayda ofc but i literally cannot imagine those girls breaking up over anything)

fabian's fetus sibling outnemesising him despite fabian building an animosity towards them the whole season before they were even conceived. peak fantasy high insanity

controversial but i thought the maryann/gorgug being introduced and canonised in all of 15 minutes was hilarious. it was very teen of them in a way that felt authentic. my ideal scenario for them is an end of year fling that becomes amicable exes bc they truly have nothing in common beyond thinking the other is hot (real of them) but i dont have a strong opinion on whether they should break up or not

also maybe controversial but i like that kalina is straight up bloodthirsty. she felt like an equal opposite to bakur- rather than being a devoted servant who became corrupted by proxy, she was trying to corrupt her deity into a form she preferred. thematically it extends to the complementary opposites thing ankarna and cassandra have going on (though i get it might be a reach).

"... thats a four. you know what it's for we don't have to talk about it"

squeem

riz coming in clutch with the character arc right at the last moment. i joked ab his neuroticism being part of his natural swag, but im glad murph not only made sure riz FINALLY addressed the way he was burning himself out, but also that by extension, he was burning out both fig and kristen bc riz has a very calculated idea of 'success' and while he had the best intentions, those two dont fit neatly into it

THE HOLD PERSON OVER THE LAVA??? RIZ'S 'very good on paper, but no practical application."??? i screamed

a second blimey-related divine intervention roll by K2 leading her to getting pinnochioed into a real straight british girl, in real non-dnd britain, is the best thing thats ever happened in fantasy high. a simulacrum was so powerful brennan had to do the dnd equivalent of sending her to a barn upstate.

adaine and aelwyn talking about killing their mother over icecream can be something that is so personal...

siobhan's incredible play with the earworm??? phenomenal, i gasped out loud

fig maybe moving into fabian's house even after she drops out so fabian won't be alone again... what if i threw up blood actually

i liked kipperlilly copperkettle being confirmed to be rotten to the core. 'the ritual looks very different when one accepts rage willingly' GOOD!!! i like evil ambitious teenage girls who try to burn the world down to get what they want. i get why they didnt bring her back, that detail definitely cemented her as in the zayne/penelope category of 'past villains who could possibly be redeemed'

FIG AND AYDA MY LOVES!!! sorry but not even the lesbian goddesses are doing it like these two. brennan put his whole pussy into creating ayda aguefort and my life has been changed forever

zac once again dming K2's alternate universe campaign

things i hated

ik it was payoff to the running bit and it made me cackle when it was revealed, but the implications of hallariel and gilear having a baby are so bad to me. fig talks up gilear a lot, and sure, he came around to being a good dad to her, but gilear has objectively been a shit stepdad to fabian and hallariel... is hallariel. its got to sting was watch your mom be basically catatonic for your entire life, and then suddenly prove that she was capable of being an present mother the whole time- just not for you. im hopeful that senior year will address this though!! lou has always been so good giving his characters' weighty emotional arcs that feel satisfying

i dont like the implication of trackerbees getting back together. i never thought bladebees was good beyond a realistic rebound, but trackerbees was SO codependent together, i dont think its a coincidence that kristen had her best emotional intelligence moments when forced to think things through on her own. tracker always struck me as kind of a 'fixer' type, like she feels most comfortable with someone she can act caretaker-y to (hence bouncing off kristen to another girl who had similar issues). i really reaaaally hope they dont regress back into their s2 dynamic

ruben's memory wipe. i thiiink the implication is that those who were the most willing to follow through on porter's orders maintained more of their memories bc they were in control of themselves and those who didn't were compelled into obedience (which might be why ivy and oisin remember more), but it wouldve been nice to actually see the lucy/ruben close friendship brennan said they had with him sobbing and apologising to her

it felt very weird that kristen didnt get some kind of resolution to her yearlong gentle prodding at bucky?? i think ally got sidetracked with the possibility of kristen getting back together with her ex that it kind of slipped from their mind (maybe bc to them the ankarna vision of her upbringing was kristen resolving her feelings towards her family but still), but considering all of elmville was coming apart, i feel like bucky's faith could've been swaying into doubt pretty easily. idk maybe bc ive become a trackerbees hater over the season but it felt annoying that that was what ally focused in on and not their character's more meaningful relationship with her little brother

[borgialucrezia]

Lowkey if Juan had an arc about his time in Spain, how would you write it?? I hadn’t thought about the resemblance between Lucrezia and his wife before this blog and now my eyes are OPEN. Do you think she would catch on?? I also find it interesting considering the contrast between Lucrezia and Sancia, who Juan maybe didn’t love but was at least physically attracted to. Like how much it manifests in his subconscious as the family becomes more entrenched in the papacy (and by extension the more he is torn from the siblings he wants to cling to) is insane

"Neil [Jordan] was always keen on Juan coming back different and secure and grounded. That’s how I wanted to play it when he came back. I think the shock of Lucrezia actually manning up and trying to kill him had a huge effect as well. He’s growing and maturing. He definitely was becoming an adult. Certainly there are moments in the second season where he manipulates other people in a similar the way they’ve been manipulating him. The scene between Jeremy and myself with the dagger is a last ditch frantic attempt at trying to win him over. It’s kinda successful in a weird way. He’s just a bit useless at that point" — DAVID OAKES

knowing the intent behind his development while he was in spain, i would have definitely focused on his experiences, challenges, and growth. i feel that if the show had given more screen time to juan during his time in spain, his downward spiral would have been even more sorrowful than it already is. it would've allowed more people to understand and empathize with his character, making his untimely fate more poignant. considering he has always been one of the most intriguing morally ambiguous characters and such a tragic figure throughout the show, exploring his time in spain could have added depth.

i imagine him spending a lot of his time there thinking and self-reflecting on what went wrong between him and lucrezia, his baby sister whom he's fond of and with whom he is his best self. she loved him until yesterday. and in losing her love for him, he loses a chunk of his capacity for kindness. after she tried to kill him, everything slowly hits him:

the peasant he murdered wasn't some random guy who wanted to take advantage of his 'angelic sister'; he was his sister's lover. his sister tried to murder him back. and that manic episode juan had after the realization that his face is just like, 'my beloved lucrezia tried to kill me…'—a kind of shock of knowing she hated him and facing up to it.

then his father threatens him with peasanthood if he doesn't shape up and get married, and subsequently exiles him to spain, leaving him to cry shamefully and out of frustration because he doesn't quite comprehend why everyone is angry at him, since he believes what he has done is to protect his sister and family in general lol.

what takes the cake for him is cesare and lucrezia solidifying their relationship by banding against him. the fact that seeing her aligning herself with their brother (who already hated him for not measuring up to the family's expectations and sees him only as a hindrance) against him is really what has provoked juan to act like an arrogant narcissist towards lucrezia. he spitefully refuses to admit he has wronged her (even though we saw him earlier feeling remorse and trying to make amends), instead, he bickers with her.

at juan's departure to spain family dinner, he makes a speech of gratitude to their mother, who, he says, held the family together through all their early hardships in rome, despite the romans' harsh treatment of her. it's basically a speech about how their blood binds them and they should all stick together instead of fighting. this is one of the main reasons i'm fond of his character because, despite his troublesome nature, he has self-awareness about their hurt and his self-destructive nature driven by pettiness. during the speech, he appears genuinely serious, devoid of snarkiness, conveying hurt caused by their internal conflicts. he's too complex yet heartfelt about his feelings for his family and always has their best interest at heart, even when having misguided notions to protect them.

*a moment of silence for the most fucked up dysfunctional incestuous siblings ever*

"I felt in the second season I got to play every aspect of Juan’s character. Some of which I would have liked to explore further, but he kind of had a finite life expectancy (laughs). Opposite François, it was nice to watch Cesare do something, which he probably shouldn’t have done. You can kind of justify most of what he does but as soon as you get that final sequence you realize that Cesare is doing something purely for his personal jealousy. I always wanted to play that. You’ve got this boy. And he is a boy at that stage still. He’s confessing that he’s always been quite miserable and been quite harsh on himself. He’s given them every opportunity to change their mind and see him for what he is. The ability (for Juan) to come back from Spain and be everything that everyone didn’t expect me to be. You get this noble character, who comes back and you think he’s been made into a better character. There’s a strength of character to Juan that everyone doesn’t give (him) quite enough credit for. I think he would have actually won Forlì if it weren’t for his brother. He finally gets things in order. He finally starts to work well. He gets a whole siege together and it’s working. Then it all turns around because of Cesare. And he gets shot in the leg (laughs). How many times must he try to get something right before someone ruins it for him (laughs). He has the worst luck. He never gets a good break. A lot of the times it's his own fault – he’s a bit of a douchebag. But every now and then when he gets it right, he still gets it in the end. He does a successful siege. He loses. He apologizes to his brother and gives his heart to him. And he still gets stabbed and thrown off a bridge (laughs)." — DAVID OAKES

*self-indulgently posting juan/lucrezia for shipping biases purposes*

in his triumphant return to the vatican from spain, he bears gifts to the family members whom he hurt and felt betrayed by, as a way to win back their respect. his father was so happy to see his younger son back that he even forgot about their last confrontation, which had also affected juan, besides his sister telling him he should ask for her forgiveness for 'being himself' and toying with his fear by threatening to visit him in spain to try to kill him there. keeping her cunning wrath in mind, he presents her with a beautiful, rare panther in a gilded, heart-shaped cage. the gift not only symbolizes his love for her but also reflects his perception of her. the panther represents her feistiness and beauty, while the gilded cage signifies her entrapment within their father's ambitions. the image of the panther biting her also symbolizes their eternal disconnection, despite his efforts to earn her respect and reconcile with her. he attempts to bridge the gap, but he never quite succeeds.

and this sequence is so special to me because of his maturity, as he stopped drinking and sleeping around in brothels. like he genuinely wants to impress his family since he had enough of being the screw-up who tries not to mess up, etc. i think cesare's betrayal of him at forlì has shaken him to his core and made him return to his old habits, and it doesn't help knowing that he has a disease rotting him while alive. considering how juan was aware that cesare tried to seize him from his position at first, but didn't expect that he'd even attempt to indirectly kill him to get the position that juan has, since he never even took his quarrel with cesare seriously and would never betray him despite everything. when juan tried to make rodrigo believe him about cesare's scheming, yet rodrigo refused to believe juan and implied giving his position to cesare, that's when he grabbed the knife and truly threatened to kill himself and guilt-trip rodrigo into keeping it...

wait i just realized this is getting too long (and a bit off-topic) oops! to answer your question, i don't think lucrezia would ever realize that juan has chosen a wife who bears a striking resemblance to her. for those who don't know or haven't noticed, it wasn't the real maria's portrait used in the show, but rather a picture of someone who resembles holliday grainger's features (curly blond hair, full lips, and chubby cheeks) as some sort of subtext of juan's feelings for lucrezia. i don't think juan even realizes that he has incestuous feelings for lucrezia, unlike cesare who already knows but is repressed about them. lucrezia didn't even suspect juan's drunken, stalkerish behavior, his anger-driven jealousy, and his obsession over her purity, all of which could stem from incestuous feelings lol.

like any privileged, womanizing youth in a patriarchal system, he enjoyed his carnal relationship with sancia, struck by her beauty. she asserts her dominance in the relationship with her fearless personality and seductive charm. it was exciting for her too as marrying into the family didn't stop her from living her life and having an affair. that being said, there was no romance between them, and it was rather obvious that none of the three siblings had managed to find a romantic relationship that would actually work...

it's sad that cesare, lucrezia, and juan are unaware that they're cursed with being incestuously involved with each other, either emotionally or physically. these taboo feelings stem from the dysfunctional and unhealthy dynamics that have driven them to extremes with each other, leaving them feeling trapped in their father's vicious cycle of ambitions. while lucrezia and cesare realize this and act on it, leading to the collapse of everything around them, juan only realizes it when it's too late, through an opium-induced moment of clarity. however, his siblings will always see him as someone who antagonizes them, when in reality it's quite the opposite. there are so many misunderstandings, misconceptions, etc. peak doomed siblings kind of tragedy tbh

[weareallgonnaliveforawhile]

I NEED! THIS AU!!! (Sk and mob one)

No, seriously, your work is amazing, i am waiting happily for it!

Quick questions!

1. Will Saiki or any other Psychics from SK be integrated on the AU?

2. Does Kokomi meet Ritsu at some point?

3. Will Saiki meet our favorite conman? What would their interactions be like??

Thanks for the attention! I really like your writing btw!!

1. Will Saiki or any other Psychics from SK be integrated on the AU?

Absolutely. They have a much smaller role since the focus is more on Teruhashi being put into the Mob Psycho Universe, but they certainly exist and have met some of the Mob Psycho cast by pure coincidence. (Kokomi is very secretive of what she does for work).

They attempt to be like mentors to the psychics in mp100 but quickly find out that a majority of their advice is bad and also that they're so much weaker than literally all of them.

Also, it's really hard for any of their advice to beat Reigen's. Aiura tries to teach Teruki about the wonders of tax evasion, but he has to break it to her that not only has Reigen given a much better lecture but also gave him a detailed pamphlet on the pros and cons of dodging your taxes.

As for Saiki himself? He plays much less of a physical role, but he's still very much there. After all, who do you think makes sure that none of Teruhashi's stalkers even know that she's ever been to Condiment City? Or purposefully makes Makoto get lost while trying to go to Kokomi's job after hearing about the incident?

Plus, Mob is a very big part of Saiki's character development, though Saiki is a very minor part of Mob's life.

2. Does Kokomi meet Ritsu at some point?

She does! He goes to Spirits and Stuff to pick up Mob for some reason and is immediately dazed by Teruhashi's beauty. Once the initial reaction wears off, his first thought is that Reigen kidnapped a woman to work for him.

She introduces herself and insults Reigen in the same sentence. The two immediately begin bickering leaving Ritsu to weigh the possible theory that this is Reigen secret love child who he had with a woman that was much better than him in every way possible.

He leaves and attempts to gather evidence to prove one of the two theories. He only finds out what her actual relation to him is after the 7th division infiltration arc.

3. Will Saiki meet our favorite conman? What would their interactions be like??

Alright so imagine Ritsu and Reigen's relationship. Except Saiki can't be openly hostile to Reigen because he's too naturally polite and he can't use his powers to fuck with him because it'd fuck with Kokomi by extension and that'd be too bothersome (he really doesn't wanna upset her).

But Saiki doesn't trust this man a fucking bit. Even if he mentally gives our favorite con-man points for punching Makoto, literally anyone with a brain would do that if the opportunity arose.

It isn't until he hears Reigen's famous speech on how psychic powers don't make someone special, that he begins to let himself see parts of Reigen that aren't skewed with distrust.

He still won't let himself fully trust Reigen, but he respects Kokomi's decision to do so. He owes Teruhashi that at least.

-

EEEEE! THANK YOU FOR THE COMPLIMENTS!! Also thank you for the attention as well, I thrive off people acknowledging me.

[commsroom]

first of all thank you so much for having this blog and sharing your thoughts!! your eiffelposting (and heraposting) has literally got me through the post w359 Grieving Process after running though the whole thing in about 2 weeks and your character insight is. well. chefs kiss. Eiffel Understander Of All Time. 2 things: 1, if it’s ok, you’ve mentioned before about an eiffel version of change of mind, and the idea has (1/2)

(2/2) literally stuck with me since and i’d love to hear your thoughts on that if you have any! 2, are there active w359 discords about bc i got a deep need to yap about all this (apologies if the first msg came through twice, tumblr's being weird)

oh, it makes me very happy to hear that!! your art is a gift, and i'm glad i can offer you something in return.

as for your question... yes! okay. the basic premise is to frame eiffel losing (and regaining) his memory as a catalyst for character growth, as a narrative parallel to lovelace's death and resurrection, rather than a resolution. i think it's noteworthy that the finale has eiffel faced with himself from first a very internal (the final confrontation literally taking place inside his head) and then a very external (hearing his logs as an outsider after losing his memory) perspective and i think the natural extension of this is, well. to confront him with himself.

one of the most key things about eiffel's character arc is that he wants to escape himself. "it's taken me this long to realize that running from everyone else means that you're alone with yourself" but, as addressed in constructive criticism, he's also running from himself. he doesn't like what he hears on those tapes, but the eiffel of succulent rat-killing tar both is and isn't the eiffel of brave new world, and i think that's what's being set up/suggested at the end.

i think viewing eiffel's memory loss as a death is incomplete, while viewing it as a "fresh start" or anything of the sort is incompatible with his existing character arc. but if you think of it as part of this pattern of eiffel trying to escape himself, and ending up still stuck with himself...? if he makes the big sacrifice, "escapes" the person he is as much as anyone can, and then finds he's still stuck with himself, still has to live as the person he is...? then, what next?

(i think this also ties in well with maintaining sobriety; addiction, self-destructive impulses and the desire to not be present in his life, etc. are all rooted in the same things.)

my concept of eiffel regaining his memory would be this sort of... fever dream "life flashing before his eyes" sequence of stepping into significant moments in his life (as a stranger) and interacting with himself, and needing to accept / reintegrating all of these versions of who doug eiffel is and has been. that the question of "am i still doug eiffel?" is one of accountability for his past but that he's always been changing and will continue to grow. i think a key part of this would be him seeing these moments through a pop culture lens / as if it's a movie and then more gradually seeing what they really are. ideally, these would be moments tied to specific songs for him; eiffel's internal soundtrack is well beyond wolf 359's budget, i'm sure, but it's a hypothetical anyway. these would be real memories, in some form, but obviously none of this would be happening for real; it's just how i think his brain would make sense of it (while he's presumably unconscious.) it's like sarah shachat said about eiffel's story in limbo: to tell that story, he would first have to make it a story.

i like this because i think it works well with eiffel's existing arc. i like it because it provides a different angle on self-exploration via memory in the same vein as memoria and change of mind. i like it because it makes a good potential parallel to shut up and listen/constructive criticism, and to mayday (eiffel alone with the voices of others vs. eiffel literally alone with himself.) it feels like a natural extension + heightened conclusion to things that i feel are already implied + set up. and, while i like where wolf 359 ended and would never want to add to it, i like imagining what zach valenti would do with a bunch of different versions of eiffel at different stages of his life interacting; i think he would knock it out of the park with material like that.

i think the real core of identity in wolf 359 is in these moments where people assert who they are, or decide to be who they are. again, in parallel to lovelace... the same way that lovelace decides to be isabel lovelace, "even if [she] never has been before", eiffel would decide to be doug eiffel, all the people he's been, the person he is now, and all the people he's going to be.

(as for discord... i think there are some, but unfortunately i don't know of any that i would personally recommend. you are always welcome to ramble at Me on discord, but i know that's probably not the same.)