#and by characters naturally i mean yang

[goodlucktai]

gently in the cold dark earth

scum villain's self saving system word count: 2k canon divergent / no system au; sy transmigrates into an empty npc role; gray lotus binghe loves his shixiong more than life and he's ready to make it everyone's problem

title borrowed from work song by hozier

read on ao3

x

The first thing Luo Binghe does when he escapes the Abyss is return to Cang Qiong Mountain. 

With Xin Mo secured to his back, the way could be instant if he so chose—the journey of a thousand miles reduced to a single step—but he unsheathes the elegant jian at his hip instead.

Yong Liang sings sweetly for him, the snow white blade still shining and untainted even after years of helping Luo Binghe carve his way through hell. It has never once failed him, soulbound to the one person still on this earth who has never failed him. 

“Take it,” his shixiong insisted, low and urgent. The Abyss was behind them, an even deadlier threat was ahead, and Without A Cure clogging his meridians made Luo Binghe the best choice to wield the only unshattered spirit sword they had between them. “Binghe, take it.”

He pressed until Luo Binghe’s grip curled tight around the hilt, not hesitating to put his soul in Luo Binghe’s hands even with the rosy glow of an unsealed demon mark shining on his face. 

Luo Binghe flies at a pace best described as dangerously reckless, hardly smelling the fragrant spring air or feeling the sun on his face. His robes are a disgrace, his hair a tangled, matted mess, and it occurs to him that he could stop somewhere and clean himself up, make himself presentable, but it’s a brief, fleeting thought. 

Shen Yuan would be furious to find out that Luo Binghe wasted even a single second returning to his side. 

——

He passes through the ancient wards effortlessly, feeling them fall away from him like water. It’s a simple thing to tamp down on his demonic qi, to disguise the parts of him that those so-called righteous cultivators would scorn. He ghosts through the familiar grounds as eagerly as a starving animal bolting down a fresh game trail, but one by one, all of their familiar haunts come up empty, without even a lingering trace of Shen Yuan’s spiritual energy left behind.   

The head disciple’s room is dusted and undisturbed, as if its occupant might walk through the door at any moment, but the lack of clutter and the empty book shelf makes it very clear to Luo Binghe what the truth must be.

If Shen Yuan returned to the peak after the Conference, he didn’t stay. 

All at once, images crowd the front of his mind—his shixiong grieving, pulling away, turning his back on those responsible for his heartache. 

Yue Qingyuan, always only a step behind wherever his precious Xiu Ya sword went, promised that no one wanted to hurt them. They only wanted to help.

He looked so solemn and righteous that Shen Yuan reluctantly allowed himself to be convinced. Luo Binghe, who had gone to the man for help after a bloody whipping when he was a child, only to be given a walnut cake and turned away at the door, knew better. 

He wasn’t surprised when Shen Yuan was wrenched away from him, and shizun sent him staggering off the cliff with a spiritual dagger buried to the hilt in his chest, all of it happening within a matter of seconds—but it still hurt. 

Shen Yuan’s scream followed him all the way down. 

I’m alive, Luo Binghe thinks, with no one there to tell it to. I came back to you. Let me come back to you. 

——

Including time spent in the abyss, it’s three years before they meet again. 

Luo Binghe’s revenge is his second priority at best, but he is nothing if not efficient and knows how to kill two birds with the same stone. Huan Hua affords him ample resources and opportunities to scour the world for his missing shixiong while playing the role of earnest and diligent new disciple. He snatches up each mission that comes along as though  eager to prove his worth to the sect that so graciously took him in, but he takes every excuse to wander, to search, to make conversation with vendors and innkeepers and passing strangers. 

Have you seen my heart? It lives outside of me in the form of a beautiful young man and tends to wander. Very contrary, likes to fuss over people, could argue the stripes off a lushu just for fun. You’d know it if you met it. You’d never forget. 

The days blur together, meaningless and gray, but he doesn’t stop looking. Shen Yuan still exists somewhere in this world, because otherwise Luo Binghe wouldn’t. It’s the only thing that makes sense. The alternative doesn’t bear thinking about. 

And then, finally—an afternoon in Jinlan City, when Luo Binghe arrives in a throng of incompetent gold-clad Huan Hua disciples, to investigate a plague of all things—

He’s there. 

In dark, neutral colors and plain clothes, a traveling cloak with its hood resting down around his shoulders, as if his beauty could possibly be lessened by cheap, shapeless fabrics rather than effortlessly enhanced. His hair falls from its half-tail in glorious waves—he never did have the patience for anything elaborate, only wearing braids when one of his sticky shidimei cajoled and convinced him. Traveling alone, who could he possibly have to roll his eyes at and complain about and sit patiently still for?

A pale green ribbon is all that decorates his hair. Luo Binghe recognizes it instantly. 

“You should spend your allowance on yourself, Binghe,” Shen Yuan scolded him, not for the first time and certainly not for the last. 

“But I did,” Luo Binghe protested, widening his eyes and clasping his hands earnestly, the way he knew worked best. “I wanted it! And now that I have it, I want to give it to you.”

Shen Yuan was too clever by half to be truly fooled by the innocent act, but he always folded like paper anyway. He spoiled all of his shidimei but Luo Binghe most of all. Anyone on Qing Jing Peak would be hard-pressed to think of a single example of Shen Yuan telling Luo Binghe ‘no.’ 

Sure enough, after a second spent visibly wrestling with himself, he blurted, “Oh, fine! Hand it over.” 

He wore it every day since. He’s wearing it now. The wind catches the ends of it, sending it streaming behind him like the tails of a paradise flycatcher. Lovely. 

For a brief moment, Luo Binghe is frozen where he stands, finally faced with the very thing that he’s been missing for years, that he’s been living a miserable half-life without. 

And then he remembers himself and lurches forward. His voice is a tangle in his throat but he manages to choke out, “Shixiong!”

A strike of lightning couldn’t have jolted Shen Yuan into more perfect stillness. He stops mid-step, every inch of him as good as carved from precious jade. He doesn’t turn his head, and the sliver of his face visible from where Luo Binghe stands is very pale. 

Luo Binghe wonders suddenly if this has happened to him before—if Shen Yuan has heard a voice on the road or in the market that was almost familiar, that was almost the one he was hoping for, only to be disappointed when he turned to follow it and found a stranger. 

Luo Binghe shortens the distance between them with a few anxious steps and tries again. 

“Shixiong.”

The older boy whirls around abruptly, as if to get it over with. He’s bracing himself, but Luo Binghe barely has a second to absorb Shen Yuan’s painful-looking anticipation before it bleeds out of his face in favor of something else entirely. 

He looks like the earth has fallen out from beneath his feet, like he hardly dares to believe his eyes. Zheng Yang gleams golden at Shen Yuan’s hip, reforged and whole again.

“Binghe?”  

“It’s me,” Luo Binghe says softly. 

There’s a tableau he’s afraid to break, as if they’re in a delicate dreamscape and a move too sudden or loud might dissolve it. He wants to say I’ve missed you the way lungs miss air, immediately and needfully, I haven’t breathed at all since we’ve been apart. He wants to say you’re my light in the dark, I can only stand in front of you now because I love you too much to ever truly leave you. 

Instead, he tells his dearest friend, “This one made you wait. But your Binghe is here.”

Shen Yuan sprints the rest of the way to meet him, almost before he’s even finished talking, and they collide in a solid embrace that knocks the air from them both. 

His arms wind around Luo Binghe’s waist like steel bands, fingers digging into the back of his robes, precious face pressed into the crook of his neck and shoulder. Luo Binghe doesn’t hesitate to gather him up close, holding him as tightly and securely as he knows how, burying his nose in his shixiong’s hair and breathing in the familiar, beloved smell of him.  

Shen Yuan is a few inches shorter than he remembers. All the better to tuck him beneath Luo Binghe’s chin, to cover and surround him so completely that not even the heavens above can get a decent eyeful. 

He wants to grab and bite and pin Shen Yuan beneath him and never let go. His jaw aches with wanting it. 

“I’ve been looking for you,” Luo Binghe says, eyes wet. “I went home first.” Unsaid goes the obvious but you weren’t there. 

“How could I stay?” Shen Yuan bites out, managing to sound all at once strangled and bewildered and—charmingly—offended. He shakes his head without lifting it, an aggressive nuzzle against Binghe’s shoulder. “After what they did to you, I’d rather die than represent their stupid sect another minute.”

“Step away from it, Shen Yuan,” shizun said coldly. “I’ll put that beast back where it belongs.”

“No,” shixiong said in a voice that was smaller than usual, one that shook. He was frightened, clearly overwhelmed, but he didn’t budge from where he was plastered in front of Luo Binghe like a breathing shield. 

“Now.” 

“No, shizun.”

“Shizhi,” Yue Qingyuan said gently, offering his hand. “Come here. It will be alright.”

Shen Yuan said, “No. You can’t hurt Binghe. He’s not bad just because of who his parents are. He’s as good as he was yesterday, and the day before that, and the day before that. He’s hardworking and loyal and a sweetheart to anybody who gives him half a chance. He’s so good.”

Liu Qingge was behind the sect leader, sword drawn. Shen Qingqiu was quickly losing what little patience he had, face twisted into a sneer, dark eyes stabbing hatefully at Luo Binghe from over his head disciple’s shoulder. There were more figures rapidly drawing closer, the other peak lords following the flare of Yue Qingyuan’s qi. The standoff was becoming more and more untenable, and Shen Yuan was too smart not to see that, shrinking back against Luo Binghe as much as he could without crowding him closer to the edge. 

“You can’t hurt him,” he said again, the closest Luo Binghe had ever heard him come to tears, “he’s my shidi.”

Luo Binghe is unsurprised by his shixiong’s loyalty, because it’s already been proven to him over and over. It’s unremarkable at this point, which is an absolutely remarkable thing in itself. It makes him feel warm with gratitude and affection and ownership. 

Shen Yuan is clever and quick on his feet and always three steps ahead, more knowledgeable about flora and fauna than anyone else Binghe has ever known combined, and probably a force to be reckoned with as a rogue cultivator, where the only rules of conduct he has to adhere to are his own. 

But Luo Binghe hates to think of him on the road alone, without the little martial siblings who follow him like ducklings, without his Binghe there to make sure he remembers to eat all his meals and comb out his hair before bed. He’s a creature of comfort, made for airy rooms with too many cushions and an abundance of sweets and books to read. 

Luo Binghe has fantasized more than once about building a home for Shen Yuan to lounge prettily in. It was, in fact, his favorite flavor of daydream since he was about thirteen. 

If Shen Yuan wants to rogue cultivate, then that’s what they’ll do. But Luo Binghe thinks, if he constructs a palace that’s as comfortable as it is grand, and fills it with trashy romance novels and obscure beasts and his own hand-made meals, he can convince his friend to live in it with him.

Shen Yuan needs to be taken care of. Luo Binghe needs to be the one taking care of him. They’re together now and they’ll never be apart again and those needs can both be met. 

That possessive, proprietary feeling coils dark and deep inside him, undulating lazily like a serpent who’s fed enough for days, reminding him over and over what he already knows:

Mine. 

[poorly-drawn-mdzs]

Leave wildlife alone. He probably bites.

 [First] Prev <–-> Next

[yana125]

Help! I'm writing a fic for a fandom I like but only know about the certain series and game I'm writing about as a casual 'I know this and that because I watched scenes and read the wiki but have never seen all of the episodes/never played with the game' and I've written nine pages of very thought provoking dialogue in the past two days so far that probably wouldn't slide well with the fandom because it contradicts many things in the established canon but I don't care because the cycle of nature doesn't have a good and evil side, Carl, the cycle of nature just cycles, don't blame nature when the people are the ones who use it for good or bad because they were never taught HOW to properly use it and how to deal with emotions in a HEALTHY way, and I abso-fucking-lutely LOVE writing this!!!!!! (╯°□°）╯︵ ┻━┻

[secret-sweetheart]

How easily can you top him?

The fandoms for this: Bungo stray dogs, Saint spells love guide, Honkai star rail

Notes: I’m a minor writing smut, if you aren’t comfy with that then just scroll, I don’t care what you have to say just scroll or block because I’ll keep writing even if you don’t want me to.

I didn’t put every single Saint spells character cuz I didn’t do every route (and for HSR I just don’t care for some of the guys and I hate that gay looking bitch Luocha he’s always showing up in my month for slideshows LIKE GET OUT OF HERE YOU FUCKING ZEST FEST YOU MAKE ME HOMOPHOBIC YOU ANNOYING ASS PIECE OF SHIT)

Edit: thx ppl in the comments for reminding me who Ango is, it’s been edited :3

This took me forever BUT NOW I CAN FINALLY DIE

Go ahead, he likes being topped (or he’s usually the bottom anyways)

Okay these guys looove when you’re on top, they get so excited at the site of you on top of them that they can barely hold back their noise when you’re moving, they’ll even start whimpering if it starts feeling too good. They’re so fun to too because you know they’ll let you fuck them stupid if you want <33

Ango Sakaguchi, Atsushi Nakajima, Ranpo Edogawa, Dazai, Gepard Landau, Caelus, ERiS

Yes, but please be gentle and treat him with love <3

They’d be perfectly fine with you on top but please don’t be rough and mean :( they need lots of love if they’re going to let you be in control, please make sure they know you still love them! Praise them please!!

Ashton Harlow, Titus Brome, Atsushi (again), Akutagawa, Argenti, Aventurine, Sunday, Luca Michaelides, Hui Shi, Barnaby Lei, Spinel Spiralis

Yes, and they’ll be praising you the whole time

The praises slip out of their mouths so naturally, seeing you on top of them does things to their body and mind. Talkative or not- prepare yourself for their endless praises while you fuck them/ride them

Chuuya <3, Kunikida, Tecchou, Sigma, Luca Michaelides, Spinel Spiralis, Hui Shi, Sunday, Argenti, Dan Heng, Welt Yang (idk what ppl see in him but he gets a spot)

Nah you aren’t topping, say bye bye to your ability to walk straight

Really? You think it’s possible to top them? They could’ve been gentle but now they probably won’t be! They’re pretty much impossible to top or have any kind of control over, so they’ll make sure you get that in your head

Jing Yuan (pls hear me out), Veritas Ratio, Blade, Bugbear, Siri, maybe Salinger? (I’ll probs play his route again to make up my mind), Fyodor, Nikolai, Jouno

[huiyi07]

hey so do you guys ever think about how often Diluc is referred to as the ‘uncrowned king of Mondstadt’ since he’s like the only male heir to the noble families and like it or not, where Jean is the authority of the nation, he’s pretty much the symbolic face of Mondstadt and the values the nation projects— and despite his temperament, Diluc has learned to embrace it wholeheartedly. He’s charismatic, extremely righteous, and he blazes bright and gives the people of Mondstadt a fire that guides them in the dark, quite literally. Like he’s literally Bruce Wayne lmao

But he doesn’t want this, no, and here’s the proof- maybe he did, once upon a time, before everything happened— but he doesn’t really care about wine, he only cares about the winery because of the people in it and his father. He’s righteous but doesn’t give a damn about the rules and the knights of favonius. After what happened to him, he’s clearly a rebel at heart now, not some charming superhero who does everything expected of him, unlike before. In summary, Diluc was someone who was quite literally ready to become an (uncrowned) prince, pretty much royalty in every way except title- and on surface level, he still is, but he throws that mantle away in secret whenever he can.

And then look at Kaeya, his brother who’s always lived in his shadow. It’s easy to see that now, people don’t really project Mondstadt’s values onto Kaeya the same way they do onto Diluc, since lots of people hardly even remember that they’re brothers. And yeah people still think kaeya is reliable and nice, but also because of how Kaeya built his image after Diluc left— an excessively over the top personality that pretends to be sadistic, mean, and at the same time dripping with false charm. So despite that people still find him approachable and nice as expected of a knight, hardly anyone would call him befitting of a prince.

But Kaeya is actually so painfully and authentically ‘princely’ and kind, deep down— the way he deals with children, his fierce loyalty and willingness to protect people at all costs, his self sacrificial tendencies that most often appear for Diluc’s sake. Even the tidbits of lore we get about him scream aristocracy- his ‘ceremonial’ bladework, Alberich family secrets that reveal just how central they are to the kingdom of khaenriah. This is kinda obvious to any player who’s bothered to learn anything about kaeya, but to the characters in game, there are very few that know that side of him.

And whereas Diluc is forcibly projected the title of royalty and secretly rejects it, Kaeya was actually born into it- his family is very important to Khaenriah, and much like how he does with anything related to his past and heritage, he loudly and outwardly rejects anything to do with ‘royalty’. Diluc outwardly rejects what Kaeya shows (a darker, more ‘means justify the end’ nature), and Kaeya tries to hide what Diluc projects (a sophisticated and aristocratic upbringing).

Honestly? It’s as if they were swapped at birth. Kaeya’s real hidden nature, even after everything that happened to him, remains to be so unwavering and people-oriented, while Diluc’s true personality changed drastically over time. Not that Diluc isn’t unwavering or whatever, but Diluc mostly actively rejects relationships and prefers to do everything alone, obsessed with the idea that he doesn’t want anyone to get hurt, whereas Kaeya always, always yearns for companionship and for people to be by his side- solidarity.

Diluc is the poster image of royalty, but his brother who hides in the shadows is a real king. They complete each other, balance each other out, represent the parts that the other hides. I don’t know if hoyoverse always meant them to be that way, but damn they basically represent each other’s parts of themselves that they lost. Yin and Yang, two halves of the same whole.

[doufudanshi]

ON GHOSTS AND DEMONS: Wei Wuxian's "demonic" cultivation?

There are a few big misconceptions I have repeatedly seen in English-speaking fandom about things that are fundamental to the story of MDZS. One of them is this—

Wei Wuxian is not a demonic cultivator.

To prove this, let's take a deep dive into the original Chinese text of MDZS.

(Adapted from my original gdoc posted on Twitter on May 27, 2022. All translations my own unless otherwise stated.)

Demon vs. ghost

Let's start from the very basics. In addition to orthodox cultivation using spiritual energy and a golden core, there are two other forms of cultivation that are mentioned in the novel:

魔道 (mó dào), or “demon cultivation/path.”

鬼道 (guǐ dào), or “ghost cultivation/path.”

To be clear, 魔 mo "demons" and 鬼 gui "ghosts" (and thus their respective cultivation/paths) are not interchangeable because of the in-universe worldbuilding within MDZS. Using the characters in the term 妖魔鬼怪 "monsters," MXTX created four distinct categories of beings, each of which has a strict definition in the novel. From chapter 4 (jjwxc ch 13):

妖者非人之活物所化; 魔者生人所化; 鬼者死者所化; 怪者非人之死物所化。 Yāo (妖) are transformed from non-human living beings; mó (魔) are transformed from living people; guǐ (鬼) are transformed from the deceased; guài (怪) are transformed from non-human dead beings.

And of course, WWX hoards all the ghost-type pokemon monsters at the Phoenix Mountain tournament, and he only exerts control over corpses, spirits, and the like (aka people who have already died). (As opposed to Xue Yang, who appears to have been actively trying to make 魔 "demons" out of living people with those "living corpses" of his, perhaps.) (And, ironically, in order to avoid showing necromancy / zombies on screen, CQL technically does show WWX practicing demon cultivation because everyone is "supposedly alive" even when they're corpses? Which is, funnily enough, far worse morally in the MDZS universe, lol.)

So, intuitively at least, we know that WWX must be practicing ghost cultivation—now let's look at some concrete examples from the book.

Running the numbers

1) 魔道 (mó dào) means “demon cultivation.” As such, it must use living humans.

魔道 appears one (1) time in the novel.

Yes, once. The only time it appears is in the term 魔道祖师 modao zushi, or the namesake of the novel, in chapter 2. This is a title the general public has given him through rumors:

魏无羡好歹也被人叫了这么多年无上邪尊啦、魔道祖师啦之类的称号，这种一看就知道不是什么好东西的阵法，他自然了如指掌。 Wei Wuxian wasn’t called titles like “The Evil Overlord,” “The Founder of Demon Cultivation,” and so on over the years by others for nothing—he knew these sorts of obviously shady formations like the back of his hand.

2) 鬼道 (guǐ dào) means “ghost cultivation.” As such, it must use dead humans. 

鬼道 appears 12 times in the novel.

Here is the first instance that 鬼道 appears, which I believe is the first time Wei Wuxian's method of cultivation is properly introduced. From chapter 3 (jjwxc ch 8):

蓝忘机 […] 对魏无羡修鬼道一事极不���可。 Lan Wangji […] had never approved of the fact that Wei Wuxian practiced ghost cultivation.

Here's another quote from chapter 15 (jjwxc ch 71) for funsies:

蓝忘机看着他，似乎一眼就看出他只是随口敷衍，吸了一口气，道：“魏婴。” Lan Wangji looked at him as if he saw through his half-hearted bluff. He took in a breath, then said, “Wei Ying.” 他执拗地道：“鬼道损身，损心性。” He stubbornly continued, “Ghost cultivation harms one’s body, and harms one’s nature.”

3) 邪魔歪道 (xiemowaidao) means heretical path/immoral methods/evil practices/underhanded means/etc—e.g., lying, cheating, stealing, bribery, and so on.

It appears ~24 times in the novel.

I mention this last term because it is often used to refer to Wei Wuxian's cultivation, but as a pejorative. Every instance of 邪魔歪道 is said by or to quote someone looking down upon Wei Wuxian’s cultivation (Jin Zixun, Jin Ling, etc.) and referring to it derogatorily, whereas every instance of 鬼道 guidao/ghost dao is said by someone discussing it neutrally and/or factually (Lan Jingyi, Lan Wangji, Wei Wuxian himself, random cultivators at discussion conferences, the narration, etc.). Here is a pertinent example with Jin Ling (derogatory) and Lan Jingyi (neutral) in chapter 9 (jjwxc ch 43):

金凌怒道：“是在谈论薛洋，我说的不对吗？薛洋干了什么？他是个禽兽不如的人渣，魏婴比他更让人恶心！什么叫‘不能一概而论’？这种邪魔歪道留在世上就是祸害，就是该统统都杀光，死光，灭绝！” “We are discussing Xue Yang,” Jin Ling said angrily. “Am I wrong? What did Xue Yang do? He’s scum that’s lower than a beast, and Wei Ying is even more disgusting than him! What do you mean ‘don’t make sweeping generalizations?’ As long as those practicing this kind of demoniac, heretical path are alive, they’ll continue to bring disaster. We should slaughter all of them, kill all of them, annihilate them once and for all!” 温宁动了动，魏无羡摆手示意他静止。只听蓝景仪也加入了，嚷道：“你发这么大火干什么？思追又没说魏无羡不该杀，他只是说修鬼道的也不一定全都是薛洋这种人，你有必要乱摔东西吗？那个我还没吃呢……” Wen Ning shuffled around. Wei Wuxian gestured at him to stay still, only to hear Lan Jingyi also cut in loudly, “Why are you getting so riled up? It’s not like Sizhui said Wei Wuxian shouldn’t have been killed. All he said was that people who practice ghost cultivation aren’t necessarily all like Xue Yang. Do you have to go around breaking things? I didn’t even get to eat any of that yet…”

Tl;dr—Wei Wuxian does not 修魔道 practice demon cultivation. When Wei Wuxian’s craft is discussed in a neutral and factual manner, it is referred to as 鬼道 ghost dao. 

In fact, Wei Wuxian’s imitators are also referred to explicitly as 鬼道修士 ghost cultivators.

魏无羡早就听说过，这些年来江澄到处抓疑似夺舍重生的鬼道修士，把这些人通通押回莲花坞严刑拷打。 Wei Wuxian had heard a while back that over the past few years, Jiang Cheng had gone around snatching any ghost cultivator suspected of being possessed or reborn, detaining them in Lotus Pier to interrogate them using torture.

So why the confusion?

Of course, there is the matter of the novel's title, which I will get into in a second. But the real issue is a matter of translation.

The idea that WWX uses "demonic cultivation" is a misconception in English-speaking fandom due to issues with the translation of terminology. Of note, EXR actually did translate 鬼道 guidao as "ghostly path" most of the time, though there were at least 3 instances of "demonic" and 1 instance of "dark," especially regarding the first few.

However, this misconception was perpetuated (and arguably worsened) by 7S's official translation, which not only mistranslated additional terms as "demonic cultivation/path" (at least in book 1), but also consistently mistranslated every instance of 鬼道 as "demonic cultivation/path."

So why is this book called 魔道祖师, commonly translated as "Grandmaster of Demonic Cultivation?"

One possibility is one posed in Chinese-language meta online, which often cites that WWX himself is a sort of 魔 demon. While this may be true—after all, he can hear the voices of the dead—it doesn't quite explain the fact that the title sets him up to be the 祖师 or "founder."

My take is that this novel is very much concerned with hearsay vs. truth. This is one of the many monikers WWX is given by the public, who collectively view him as evil. (Also of note is that the non-cultivator public is not aware of all the nuances that cultivators learn re: distinctions between the 妖魔鬼怪 monsters.) In the quote from earlier, note that the first title we're given is actually 无上邪尊 “The Evil Overlord,” then 魔道祖师 "The Founder of Demon Cultivation." Like, what can that be other than MXTX telling us, "please take both of these with a HUGE grain of salt, lol."

(And not only the title, but the very first line—"魏无羡死了。" / "Wei Wuxian is dead."—is a lie.)

I think the title is genius, honestly. It intentionally makes readers come into the novel with preconceived notions that Wei Wuxian practices 魔道 demon cultivation and evil techniques—just like the public in the novel. What better way to tell a story warning about the dangers of how easy it is to fall for misinformation and jump to incorrect conclusions?

(Though, in our case, perhaps it worked a little too well.)

[withthewindinherfootsteps]

I sometimes see the opinion that MXTX took the clichéd tropes she'd critiqued in Scum Villain, and played them straight in MDZS. But though a lot of them appear in MDZS, I'd argue that none are actually played straight at all!

The main point of MDZS's tropes is subversion. Yes, WWX has a 'tragic backstory', even an arguably overused one (orphaned by his parents at a young age, forced to live on the streets with nobody to rely on, etc) – but how things differ in how it's used. Tragic backstories are normally used to build sympathy for a character, to make us care and get invested in them. But... we're never actually shown any of those street days, we're never shown and never dwell upon how much he suffered during them. They're only really mentioned in passing and whenever dogs come up! If the goal was to make us feel bad for WWX, this would be very ineffective writing. But what's actually important here isn't that WWX went through tragedies – it's how he doesn't let the tragedies he went through define him. He doesn't dwell on them, the narrative doesn't dwell on them, it's never used to earn sympathy points... because what defines WWX is his choices and how he chooses to act, not a backstory completely out of his control. What gets us invested in him is his personality and the character writing of MXTX, not tragic events used as a substitute for identity.

And this trope treatment fits extremely well with WWX's personality itself – he's someone who 'forgets the pain as soon as the wound has healed'*, but also who actively chooses to focus on the present because you can't change the past; someone who holds the belief that 'gains and losses [should] remain uncommented on' when choosing what to do.

The use of the tragic backstory isn't the only thing that's subverted, either – the other main thing is the 'blackening' of the protagonist, and its impact on the protagonist's fall. After being thrown into the Burial Mounds, on a surface level it does seem like this blackening has occurred: the first thing we see when he returns is his gruesome torture of the Wen cultivators; he's 'forsaken' traditional cultivation in favour of an 'evil but more powerful' path; and frankly, Sunshot-era WWX is terrifying. But MDZS is not a blackening story, and so the events of the Burial Mounds aren't used as a catalyst for that purpose. Though it's true that WWX's not entirely the same person he was before (because how could be be?), underneath it all, his morals, worldview and core** stay the same. Though gruesome, his revenge is directed towards the ones who wronged him, not those past that and certainly not the entire world. His experience in the Burial Mounds doesn't lead to him being some evil, blackened overlord... like everyone says he is at the start! That's subverted, because again, WWX's values and choices are more important to the story than genre conventions.

But the most crucial thing? What leads to WWX's downfall isn't any blackening! It isn't any vengeance or morally dubious actions***– he was praised for those things during the Sunshot Campaign! No, what leads to his downfall is something completely unrelated to that, something which would've disappeared had the trope been played straight. It's him doing what's right by defending the Wens, it's him following his moral code when it opposes the world's, it's him standing up to the injustice of others – not others standing up to the injustice of him. That's the subversion here.

(Also, once again, the fall of Lotus Pier, the Burial Mound, etc, aren't used for sympathy points – and if it was relevant, they wouldn't have been used to excuse any actions, either. Using tragic events as an excuse for doing bad things is critiqued many times in MDZS, through characters like Xue Yang and Jin Guangyao. And that's not exactly a trope subversion, but it is a critique of badly handled 'excuses'.)

These are by no means all the tropes MDZS subverts – the nature of guidao vs the usual nature of modao being another very major one – but they're the main ones that feature in Scum Villain.

So, though at first glance MDZS seems to play the tropes MXTX critiqued there straighter, it's not a simple case of using them as cliches, and we see that by how they're used to impact the narrative, and how that differs from what they're traditionally used for. MDZS doesn't fall back into clichés Scum Villain satirised – it's the subversion to Scum Villain's exploration and critique.

--

*Which I know is generally used negatively, to describe someone not learning a lesson from a punishment, but it really describes WWX in general, too. He doesn't dwell on that pain, he does his best to move on from it.

**...heh

***And, because it's often debated – whatever the morality/culpability of Nightless City is doesn't even matter! The events happened at a pledge conference against him that was already taking place. WWX's actions there didn't make people want to kill him because that was explicitly happening beforehand.

[hyog-blog]

Fangs of Fortune: The Game of Yin and Yang

I love how Zhao Yuanzhou is basically embodying the philosophy of Yin and Yang, which is much more flexible and practical than the old-fashioned Christianity-inspired good vs. evil dichotomy.

And because it is Chinese philosophy, we don't get too much of that black-and-white nonsense in the show, but instead, we get to explore 50,000 shades of black, white, and gray playing with each other beautifully. And what better way to convey the ambiguous nature of this world, which seems so bent on the Duality of literally everything, than to take the Evilest Force in the world and attach the most gentle, caring, and loving soul to it (to torment both that soul and everyone who gets to witness this torment).

I mean, the recipe is nearly perfect, it really is. And not only do we get to see this evil mixed with a hefty portion of good (like that drop of white inside the Yin-Yang symbol), but we also get to see the perfectly good and innocent characters mixed with a hefty drop of black (like Bai Jiu who got possessed by Li Lun).

Children are considered by society as the most innocent creatures (okay, Bai Jiu is a teenager, but he could still pass), that's why getting him taken over by someone so dark and broody and ill-intended like Li Lun hits even harder. Like all that innocence becomes tainted by something so bad. And at the same time, being a supposedly innocent child, we also see that Bai Jiu really isn't stainless himself (and he got to explore a bit of his darker side when he betrayed his friends).

And yet, it is also Li Lun, who is not someone abysmally bad (he's just lost, and wounded, and a bit more on the demonic spectrum when it comes to ethics and morality), who gets attracted to that light and purity to get a chance at redemption (which he does get in the end!). It's as if being in that body, chatting with those people, experiencing some friendliness before he got exposed actually mattered to the point that it changed him as well (and thus, that droplet of light in the blackness of Yin started doing its magic, slowly transforming the darkness, giving hope to someone who has seemingly lost it).

There's also Zhuo Yichen and his ability to see the good for what it is and his inability to see evil where there is none. Like, if it was someone else (even in real life probably) they would righteously hate Zhao Yuanzhou no matter what (maybe even knowing that he had no choice but to kill all those people). But this young man not only sees the good in Zhao Yuanzhou, that droplet of light that shines brighter than all that malicious energy, but he actually has enough goodness in him to forgive ZYZ.

Because Zhuo Yichen's beautiful soul, no matter how innocent and pure, has seen despair and lived through so much grief that it also changed him, making him more empathetic than most people (and that's yet another thing that Zhuo Yichen and Zhao Yuanazhou have in common - they both got transformed by the heaviness of their grief, two perfectly gentle creatures who just had to explore the depth of human and demon suffering, and that's why they meet on level ground).

And what makes their relationship especially beautiful, is that they both came to the same point, but moving from different directions of the spectrum - Zhao Yuanzhou was clinging onto his own light in the Ocean of Darkness, but that light was piercing enough for him to survive and remain himself. Zhuo Yichen was light that had lived through pain and grief of unimaginable proportions, and it changed him, but it didn't drag him down into that Ocean of Darkness.

It's a type of equilibrium, and they both, each in their own right, continue looking for ways to find balance in their lives (and then they meet each other and it changes them again). Zhuo Yichen sees that there's always light in the darkness (and Zhao Yuanzhou is a stark example of it), for Zhao Yuanzhou - Zhuo Yichen is that light shining brightly, reminding him that it actually exists, and it grants him absolution. And it also makes things especially painful for him because his darkness (that malicious force) tainted that light (but it didn't, really, it transformed ZYC into something more).

And when Li Lun gives his energy/life force to Zhuo Yichen, and then when ZYC gives all those powers, adding his own, to Zhao Yuanzhou for him to break the barrier and kill Wen Zongyu - this is the reflection of the same Yin and Yang principle, the all-pervasive energies penetrating into each other, becoming one another, ever-changing. Basically what they're saying with this is "I am you and you are me and there's no difference." And not even some magic barrier can stop those energies from becoming one.

Zhuo Yichen actually understood Zhao Yuanzhou even before he got turned into a demon himself (and once again we're shown that it's not that the demons are all bad, you can still choose what to be even if you turn into one, and if you have that droplet of light inside of you, like the Yin and Yang, there's always a chance it will overpower even the borderless Darkness, be it inside a human or a demon heart).

We also get to see how that droplet of light comes in the form of love into Zhao Yuanzhou's life (from Wen Xiao, Zhuo Yichen, and the rest of their little gang), and it slowly transforms him, a very depressed being, who's already suicidal, and in the end, he actually feels alive enough to not want to die. That transformative power of light is actually limitless.

In the show, we see people come out of the darkness of their souls and bad states and depressions to see the light of something more, but then there's also the main bad guy who turned full-on evil because his wife was killed, and we see how that droplet of darkness pushed that person to the brink of becoming a murderer and torturer of both humans and demons.

And there's also the notion of Li Lun with that one thing, one betrayal, one drop of darkness changing him and bringing him close to the brink of turning full-on evil himself (he pretty much is at some point, but he never loses the ability to feel, it's just that he can't process his own grief, pain, and all those emotions that are eating him up). And even for him, who has gone so far, there was still a chance to get back (which he does, having experienced the transformative power of Zhao Yuanzhou's love that has never disappeared). So Li Lun's life is spared and he transfers himself into that piece of root that Zhu Yan saved, for he never stopped caring about Li Lun, and the latter could finally see that in the end.

Even with Wen Xiao, we see how something 'bad' (the death of her father) leads to something 'good' - she is found by the Goddess and later becomes a Goddess herself and gets to meet Zhao Yuanzhou. It's all so relative and nuanced that we can't really say that something is actually good or bad, just like with the show's characters and their personal journeys.

And don't get me started on Ying Lei, the ultimate sunshine boy, who gets dragged into the dark world of human-demon relationships, vengeance, and doomed narrative to pave a path of his own. Sometimes a droplet of light does drown in the Ocean of Darkness, but it still makes a huge difference and transforms everyone's lives before it finally fades away (that, and other people's doomed narratives may also be contagious if you go deep into those relationships). Well, we can argue that his narrative was also doomed from the start but that's a topic for a different essay XD

I just love how the show is not only about good fighting evil, the whole fight is like a veil, a premise, a stage to tell a story about characters that are much more complex than that very familiar dichotomy. And just like in life, good things sometimes lead to bad consequences, and bad deeds can bloom into something wonderful against all odds.

[rabiosantologia]

⸻ 𖤓 | VEDIC ASTROLOGY MASTERLIST (Vol. 1)

→ Volume 2 | Volume 3 |

NAKSHATRA ASSOCIATIONS

NAKSHATRAS AND ANIMAL SYMBOLISM

NAKSHATRAS AND THEIR PLANETARY RULERS

RULING PLANETS OF THE NAKSHATRAS AND DEITIES

A MINI EXPLORATION OF YANG ABUNDANCE

YOUR PUBLIC LIFE VS YOUR PRIVATE LIFE: THE 10H–4H AXIS

10H LORD IN KETU NAKSHATRAS (ASHWINI, MAGHA, MULA)

10H LORD IN SUN NAKSHATRAS (KRITTIKA, UTTARA PHALGUNI, UTTARA ASHADHA)

10H LORD IN RAHU NAKSHATRAS (ARDRA, SWATI, SHATABHISHA)

10H LORD IN VENUS NAKSHATRAS (BHARANI, PURVA PHALGUNI, PURVA ASHADHA)

10H LORD IN MARS NAKSHATRAS (MRIGASHIRA, CHITRA, DHANISHTA)

10H: THE HOUSE OF PROJECTIONS, JEALOUSY, AND SOCIAL MEDIA

INDICATORS OF SUCCESS IN HIGHER EDUCATION

☾ | ALL ABOUT THE MOON/CANCER | ♋︎

MOON DOMINANT MEN: “DEEP AND MYSTERIOUS”

| MOON NAKSHATRA MEN

SUN NAKSHATRA MEN vs. MOON NAKSHATRA: MEN EDITION

JUPITER X MOON DOMINANT PEOPLE AND IMAGE AWARENESS • Initial intro notes: PT 1 | PT 2

THE 1H AND INSECURITY

WHY DOES MOON IN THE 6H GIVE THE NATIVE A LOT OF ENEMIES?

12H PLACEMENTS: THE HIDDEN, FEARS, AND ETC

CONNECTING WITH YOUR ANCESTORS USING ASTROLOGY

ANCESTRAL HEALING AND THE 4H

— BODY ASTROLOGY: PT 1 • PT 2 •

ALL ABOUT THE 8H

MOM (4H) & DAD (9H)

THE MYTHOLOGY OF RAHU AND KETU

RAHU & KETU

FINE LINE BETWEEN COMFORT AND CHALLENGE: A SUBCONSCIOUS APPROACH TO RAHU-KETU

THE MANIFESTATION OF RAHU (THE NORTH NODE) AND SATURN

THE ASTROLOGICAL IMPLICATIONS OF "LOOKALIKES" AND NAKSHATRA CHARACTERISTICS - THE DUALISTIC NATURE OF RAHU AND SHANI

SATURN IN THE HOUSES: 1H - 3H | 4H - 6H | 7H - 9H | 10H - 12H

THE FEMININITY OF SHANI (WHAT WE CAN LEARN FROM PUSHYA)

THE ESOTERIC MEANING OF “DARK FEMININITY”

DARK FEMININE ENERGY (JYESTHA NAKSHATRA) + MERCURY RULED NAKSHATRAS

☸ THE BEAUTY OF: PUSHYA | UTTARA ASHADHA | UTTARA PHALGUNI | REVATI | ARDRA | MAGHA | UTTARA BHADRAPADA | HASTA | PUNARVASU | VISHAKHA / VISHAKHA: PART 2 | JYESHTA | SHATABHISHA

BEAUTY AND VEDIC ASTROLOGY

BEAUTY OF THE PLANETS

MOON NAKSHATRA WOMEN & STYLE

THE ASTROLOGICAL AND SPIRITUAL MEANING OF OUR HAIR

BEAUTY THROUGH ASTROLOGY: HAIR

⏳ | HOURGLASSES: VEDIC ASTROLOGY ANALYSIS

THE NAKSHATRAS OF THE MOST FAMOUS “DUMB” BLONDES/“BIMBOS”

MARS, EGO DEATH, AND “B*MBOFICATION”

» · BOMBSHELL: DHANISHTA NAKSHATRA

A BRIEF EXPLANATION OF A VANUS AND MARS CONJUNCTION IN THE NATAL (D1) CHART

YOUR LOVE STYLE: ANALYSIS OF YOUR VENUS NAKSHATRA

DOES THE NAVAMSA CHART AFFECT YOUR APPEARANCE? | THE SIGNIFICANCE OF YOUR D9 PLACEMENTS

MERCURY-DOMINANT WOMEN (ASHLESHA, JYESTHA, REVATI)

THE DIFFERENCE BETWEEN YOUR SURYA, CHANDRA, AND LAGNA - WHAT DETERMINES PLANETARY DOMINANCE THE MOST (A REVATI CASE STUDY)

SATURN NAKSHATRA WOMEN PLAYING CHARACTERS IN MASCULINE/MALE DOMINATED

SATURN NAKSHATRA WOMEN WITH RAHU/MOON NAKSHATRA MEN

KETU-DOMINANT WOMEN (ASHWINI, MAGHA, MULA) | PART 2

RAHU-DOMINANT WOMEN (ARDRA, SWATI, SHATABHISHA)

SUN-DOMINANT WOMEN (KRITTIKA, UTTARA PHALGUNI, UTTARA ASHADHA)

ASHWINI (0°00' - 13°20' ARIES) — SWATI (6°40' - 20°00' LIBRA) | ASHWINI NAKSHATRA

MERCURY NAKSHATRAS & MANIPULATION

PHYSICAL APPEARANCE ALTERATIONS DURING ASTROLOGY TRANSITS

— VEDIC ASTROLOGY OBSERVATION (BASED ON SHOWS/FILMS): PART · 1 || 2 || 3 || 4 || 5 ||

PREDICTING YOUR SPOUSE USING VEDIC ASTROLOGY

YOUR DK PLANET & YOUR FUTURE SPOUSE: KIMYE CASE STUDY

DARAKARAKA PLANETS + HOUSES

WHERE WILL YOU MEET YOUR FUTURE PARTNER/SPOUSE

PLACEMENTS THAT MAY INDICATE WEIGHT FLUCTUATIONS OR EMOTIONAL EATER

ⓘ ASTRO OBSERVATIONS: RANDOM THINGS I LEARNED WHILE STUDYING VEDIC ASTROLOGY

JUPITER & NOTORIETY: VEDIC ASTROLOGY ANALYSIS

JUPITER INFLUENCE AMONG KOREAN ACTORS

PISCES INFLUENCE ON K-POP

⚈ THE DARK SIDE OF JUPITER

THE CURSE OF LIMITLESS EXPANSION: JUPITER'S SHADOW

JUPITER'S BOUNDLESSNESS: THE UNION OF GOOD & EVIL

JUPITER DOMINANT WOMEN & DADDY ISSUES

THE ASTROLOGY OF DOPPELGANGERS

[millidew]

its been almost 6 years since kaito and ouma have infested me. here's me talking out of my ass for over 2k words

to love the ouma-kaito dynamic is to love the themes of v3. to see one of them as 100% correct and the other as 100% wrong is to hate the themes of v3.

there must be balance. which is one of the themes!

at first, they each represent one end of their spectrums: lies, distrust, and logic VS truth, trust, and emotion. but it's not all black and white— they're far more similar than they think

to get the obvious visual foiling out of the way: short vs tall, scrawny vs muscular, pale vs tan (relatively...), round eyes vs sharp eyes, cool purple vs warm purple, black and white vs a colorful galaxy, and a tight "straitjacket" vs what's basically loose pjs

they're visual opposites, but they're also both purple, charismatic leaders, would rather die than their let go of their respective roles of hero and villain, and both want to end the killing game. they're also both SO dramatic. they cannot be separated.

all this is to say that they're the same, just taking different approaches (i mean, just compare their early FTEs. what are you two FUCKING talking about. your ass is NOT a pirate kaito shut up). ouma hides drops of truth within his lies and lives to poke holes in others' poorly concealed lies. kaito talks about being honest, but is also constantly lying to himself and others. and it's so fitting for them to essentially die with each other.

lying your way to the truth, and 10 other tricks to surviving a killing game:

v3 is a game that asks: who are you? why are you even alive? what parts of you are really "you"?

in other words: what is true and what is a lie? does it matter?

the flashback lights are all lies. tsumugi can literally rewrite their "truth" as she wishes. and of course, there's the fact that they're all fictional characters come to life.

and there's the big lie of ch1, brought back in ch6. although this is less relevant to me, personally, because kaede fully intended and did try her damnedest to kill so either way she's still at fault soo

the theme of the survivors is that they all have a reason to fight to live even if the world is hell, because they're pushed forward by the connections they made— kaede's encouragements, the training with kaito that led to shuichi and maki's happiness, and himiko's memories of tenko and angie. even though maki loses kaito, because she had those good times with him that led to her change in self-worth, she'll be okay in the end. she's not enforcing her own loneliness anymore.

basically, "maybe the real reason to live is the friends we made along the way"

shuichi explicitly says that his feelings are true, even if they're born of lies. to lie, there has to be a truth. to be truthful, you can't lie. yin yang and all that

it's even shown with the game mechanic of perjury. kaede and shuichi can literally lie for the sake of finding the truth

he rejects being forced to choose between "hope" and "despair," breaking the cycle. it's pretty easy to apply this to the other dichotomies in v3: truth vs lies, trust vs distrust, logic vs emotion. even heroes vs villains.

ultimately, i think v3 aligns more closely with kaito's ideology, because of course truth and trust is a good thing....!, but not without poking massive holes in it too. because kaito's a prideful hypocrite and the game does NOT let you forget it <3 more on that later

little white lies AKA ouma is sick of your shit part 1:

"is the truth worth it? aren't feel-good white lies ok? what even is a lie?" ouma asks with his little hater heart. (ch1 and ch4)

here, we see ouma questioning the individual nature of common sense ("gut instinct", if you will)— how can kaede decide if his talent is a lie? what is a lie? if ouma is 99% lies by weight, what is ouma??? an annoying grape??

we all want the truth, right? but the truth can be ugly. that's what ouma's always showing.

this is something shuichi also tackles with his feelings on his own talent. by exposing the truth, he causes pain to others. but this isn't about him, so you'll just have to keep that in mind

in the death road to despair in ch1, it's kaede's optimism that causes misery to the rest of her classmates. they're lying to themselves when they try to do it over and over. again, ouma calls her out on it, pissing off kaito who supports kaede 100%. the idea they can all get out and become friends is…also really unlikely. and even with kaede's murder "for the greater good", ouma disparages her for doing it in the first place: she lost the moment she seriously considered the thought, and played right into monokuma's bloodthirsty lil' paws.

right after the ch3 execution, himiko still refuses to let herself feel… until ouma calls her out on it. stop lying to yourself. and they all let it out, crying together. it's a good thing, and spurs on himiko's arc to be more true to herself. you did a good thing, ouma. now onto ch4! yay!

the "truth of the outside world", and ch4 as a whole, is probably the most in your face way of showing this. but more on that later.

the boys are back:

if you want a good relationship with someone, vulnerability is key, one that ouma unfortunately can't replace with a lockpick. you have to be honest. maki and shuichi were honest to kaito, which let him help them out.

ouma is definitely not vulnerable, up until the very end. ouma's distrust of everyone pushes them away, leaving him alone— without the "reason to fight to live" the others have— living out of spite and determination, until he dies for that too. like maki, he reinforces his own loneliness, but unlike her, he never makes those connections that make him change into a more well-rounded person.

kaito's better than him, which is a really low bar, but the game goes out of its way to tell you that he's still hiding secrets and adamantly refuses to let down his hero persona, harming both himself and those around him. you are COUGHING UP BLOOD, you are NOT okay. while his sidekicks still know something is wrong, he refuses to truly let them in, instead just brushing them off.

and that pisses ouma off. at the very least, ouma's honest about being a liar. kaito, in his eyes, is a coward. (not only that, people still like him despite being a liar..... but that's probably more to do with kaito being way less of a dick).

ouma, in kaito's eyes, is also a coward. he can call ouma a two-faced coward as much as he wants, but pot, meet kettle

chapter 4 AKA ouma is sick of your shit part 2:

ok. seriously onto ch4 this time. it's the perfect set up to the insanity of ch5. the tension is insane. also, ouma does not shut up about kaito having a crush on him. ok man.

from now on, it's the kaito & ouma show, the truth & trust & hope & emotion & hero VS lies & distrust & despair & logic & villain show.

and the game puts kaito, and all his themes, in the wrong. poor gonta and shuichi are just along for the ride

the stubborn belief that worked so well for maki in ch2 makes kaito refuse to believe, despite the evidence pointing to it, that gonta is the blackened, endangering everyone. and this is the cause of kaito and shuichi's rift which ouma takes great pleasure in. i'm sure this greatly validates his own distrust and loneliness, seeing it as the superior option

kaito's a liar, shuichi's a liar, and gonta is...not a liar but still technically wrong. YOU'RE ALL LIARS AND KAITO/SHUICHI STANS. YOUR FAVE IS PROBLEMATIC. OUMA'S FUCKING PISSED

it's the hypocrisy that gets to him the most imo

does he know?

anyways, it's a great showdown between their two ideologies. up until now, i'd say the score was roughly 3:1 in kaito's favor, but now it's definitely more even. it even features ouma punching kaito instead of the other way around like last time: something made possible imo because of kaito's sickness, which ouma forces him and everyone to acknowledge by doing this

this is a massive L for the hero side.... can the sidekicks clutch this victory and save the princess?

(interestingly enough, note that kaito doesn't even seem to hate ouma after all that. at the start of ch5, he puts ouma and gonta in the same category as having snapped under the pressure due to monokuma. his feelings, of course, change later on.)

...

are you sure about that

yeah, the truth sucks sometimes, huh?

what now?

chapter 5 AKA the boys are back 2 AKA voyage without passion or purpose AKA the sickest chapter name ever

ch5 combines ouma and kaito's ideologies through their swansong, their magnum opus, their collective theatre kid dream

the hangar man. THE HANGAR. no more cameras. no more prying eyes. no more heroes. no more villains. NO PASSION (KAITO). NO PURPOSE (OUMA). WHAT'S THE POINT. IT ALL BLURS (probably because of the blood loss)

think about it this way: kaito is literally dying, hypocritically refusing to let his friends in. ouma is metaphorically dying, because he lacks the "reason to fight to survive" everyone else has, because he has no trust, no friends, no bitches... anyways

(also the poison, which is. you know. is also literally killing him but shush)

the closest he had was, imo, miu for a little, then kaito in ch5. but in the end, it's all spite, not connection, that drives him. ouma kills himself to prove a point, and they both die as a middle finger to the mastermind— a hollow victory, in many ways.

think about kaito sitting alone in the exisal, hacking his lungs out in the metallic silence of the belly of the beast, having just learned one of the truths behind ouma's act, then killing him, then having to lie to all your friends for the hope that ouma's final, crazy plan works out. he's finally stooped to ouma's level. he's so used to the smell of blood by now. does ouma's blood on his hands look any different from his own?

even kaito's motto: "the impossible is possible! all you gotta do it make it so!" is pretty much an admittance. you can make a lie (impossible) the truth (possible).

also ouma bleeding out looking like shit laying in kaito's galactic coat like a cape. kaito squeezing his eyes shut before before pressing the buttons. these images changed lives.

the lying truthersssss...working together!!! to literally pretend to be each other!!! to blur into one being!! trusting each other to see it through for their shared goal!! at first glance, maki thinks it's her fault— that ouma manipulated kaito using her, but kaito disagrees, saying it was for the sake of ending the killing game.

this is all to hammer home the idea that we shouldn't see them as "hero" or "villain." the cast sees them as it first, but of course, we know that's not so simple by the time kaito steps out of the exisal.

in the end, they fail, but kaito puts his and ouma's dreams in their hands. they can do it better this time.

plus, kaito finally stops lying to himself and others about being a liar, the thing ouma gave him endless shit for. it only took him 5 chapters

is it wrong to call "that was a lie" ouma's catchphrase?

i still can't believe maki believed him. love makes you stupid i guess

extra thoughts:

you might be wondering why i call him "ouma" and not "kokichi." i do the same with some other characters: kirigiri, togami (though i switch between that and byakuya nowadays), and komaeda. it's because i don't know them like that. we are NOT friends. "kirigiri" is out of respect however

don't you think ouma has his own "sidekicks," his "villain lackeys," if you will, in DICE?

kaito's execution music should've had the "reach for the stars" line from sdr2 and i'm still mad about it

and they should've both in that exisal idc

kaito somehow exited that exisal with a new jacket. it's my headcanon that, in respect of a fellow theatre kid, ouma stole a second jacket from kaito's room and put it in the exisal

VR au post game low(high)key codependent oumota is everything and i'll happily read 1000 fics about it

also just outside of the Themes of it all, and tbh my main draw to this duo... they're so funny. they are SO. FUNNY. THEY'RE SO GOOFY TOGETHER. STOP TRYING TO ONE UP EACH OTHER

they should run around and beat each other with toy hammers. it's enrichment.

this isn't like thematically relevant but their love hotel events really show how well they could work together. they want a rival to pump them up and fight back so bad!! they'd have the craziest vigilante beef

WHY IS THIS 2.1K WORDS/???!> i am so weak to rivals man

tldr: look at this meme.

tldr 2.0: a true kaito fan is also a true ouma fan and vice versa. you may not like it, but they're two peas in a pod. don't worry though, they're not happy about it either.

[tumblingxelian]

OK I am just gonna say it.

In regards to the whole "The writers said Ironwood sacraficing his arm means he is giving up his humanity" thing?

I think that they are 100% talking from Ironwood's perspective there.

Now hear me out.

Ironwood is one of the people who most dehumanizes Penny. Yeah sure he's superficially 'nice' when everything is going his way. Be he explicitly had her made as a weapon and the moment its more convenient to treat her as a tool than a person he does so.

Ironwood is fucking weird about his prosthetics. He is always trying to hide them until they are too bulky to cover up with clothing. He's clearly deeply uncomfortable with them and defaults to blaming them for his own behavior.

Compare & contrast to other characters. All of the heroic characters constantly emphasize Penny's personhood and even when disagreeing with her never start couching their language in commands but convincing arguments as they would anyone else.

What's more, Yang, Maria, Fox, Pietro & hell even Tyrian all wear their prosthetics or disabilities very openly and without shame. The shows framing, theme & narrative do not present these things as some kind of loss of humanity or otherwise as a negative. If "Prosthetics eat your soul" was a thing the writers actually felt, it would be more obvious.

Note: I am unsure whether the writers regard Penny as disabled, so I didn't put her with the others.

Penny's new body. Much for much-ness is made about Penny "Becoming a real girl" as though the show hadn't consistently treated her as one from her first moment on screen. & while ignoring the fact that her new body was clearly a magical/Aura construct given it was made up of wobbly green energies under a scan not flesh and bone like other characters.

Even if we ignore all that, when it comes to her new body and that whole angle, while she did show an appreciation for her new tactile senses, she was also shown to be far more vulnerable & generally to be struggling with the new body & it ultimately led to her fall.

This is very much not on brand if we were meant to regard her mechanical form as some kind of problem outside of how others used it to mistreat her.

One of Atlas's core themes' is dehumanization. The people pf Mantle are dehumanized into a faceless mob, a few city blocks that can easily be crushed beneath Ironwood's heel.

Cinder Fall was "adopted" into child slavery where the rights of her abusers to own and harm her always took precedence over her humanity.

The Ace-Ops are trained to regard themselves, their fellows & everyone else as inherently expendable. Cogs in a machine that can be replaced and should not be cared for or mourned.

& most integrally, when Ironwood sacrificed his arm so he could beat Watts. When he had Watts dangling over a lava pit & said he would sacrifice anything to beat Salem. Watts smirked. Because Watt's knew Ironwood's penchant to view harming himself or others as "Ruthlessness" and thus pragmatism was alive & well & would destroy him. Which it did.

The 'other' statement. There is one other line people point to, namely Yang's V8 line, regarding "The mechanical bits are just extra" as somehow ableist. Even ignoring as I said before that I am unsure CRWBY even regard Penny as disabled, or as equivalent to a person using prosthetics. The fact is, I can only view taking that statement as dehumanizing Penny by virtue of her mechanical nature as at best, misinterpreting Yang's statement.

Seriously, they are talking about the fact Penny will still have a soul. IE the very metric of personhood that's used to define every person in universe! It'd be no different if she was made of clay or cloned flesh.

Conclusion. As I said above, if the writers really felt that way about prosthetics, it would be much more overt than one off hand statement that very much seems to reflect Ironwood's thinking not the writers. Ironwood thinks giving up his arm and replacing them with prosthetics is something that makes him less human, a trait he explicitly admired in/projected onto Salem. It makes so much more sense for the writers to be commenting on Ironwood';'s thought process here given it thematically does not align with the rest of the show at all otherwise.

[asarigg]

Character Design: Part 5

FEATHERS

Another detail I’d like to mention about his tattoo before moving on is that the peony tattoo was originally meant to be accompanied by leaves, but they changed this for the final design. Leaves make sense, they’re natural, but feathers?

Feathers alone seem to have no relevance in Japanese culture, but there are two relevant birds that have black plumage: cormorants and crows.

Cormorants are valued birds for their fish-hunting skills and were often trained to help fishermen. Therefore, they are a symbol of devotion and unceasing commitment to their master.

Crows are probably the first thing that comes to mind when we think of black feathers, and just like in other countries they can be associated with evil, but also with supernatural powers, and are considered messengers of the gods. It is commonly associated with fire and the sun, it is said that it was the only bird that can fly to the sun, and its feathers are black because they were marked by its rays.

They are often represented together with a white heron, like yin and yang, day and night, good and bad.

Within mythology we find Yatagarasu, a sacred crow that had three legs. Heaven, Earth and humanity. Yatagarasu is sent by a god (I think Amaterasu, but I’ve also read about Takami-musubi) to help humans, a symbol of guidance, of connection between the spiritual and physical world.

They were once associated with rebirth and rejuvenation, as they cleansed the land after a battle. Rebirth after a tragedy. It was believed they carried the souls of the deceased, similar to butterflies, to the next plane of existence. In art they often represent death, the passing of time. Apparently they’re also sparrows’ natural enemies.

In short, each element of this poisoned tattoo only seems to be mockery after mockery on Ryuuhou’s part, a representation of what he knows will happen. The similarity of the tribal to birds, the meaning of peonies, the seed syllable inside the bird on his arm, and now the feathers as an addition to Koujaku’s virtues or as a premonition of death and tragedy. Death and destruction are carved all over his body. (He’s terrified of it, and avoids it, but Sly seeks it)

HAIR

Now let’s move on to hair. Hair is a symbol of spiritual power in many cultures around the world. As we’ve seen before in the sutra it is associated with Buddha, and by extension it is also associated with Koujaku, who’s a hairstylist and dedicates his life to cutting and controlling hair.

In ancient Japan, hair was a gift from god, it has been identified as a special focus of spiritual power and personality. The longer the better, it’s like it remembers thoughts and emotions, our identity. For this reason there are various ways in which social status is tied to hair too. It’s also used to curse people. There is a hair kami at the Arashiyama Kamigami shrine if I’m not mistaken, and you can make an offering by cutting a lock of your hair. In Sumo, when a fighter retired, they would ceremonially cut it.

Hair has been used and incorporated into Buddha embroidery as a way of forging a link between the worshipper and the Buddha depicted. Locks of hair can be seen at the doors of the Izumo shrine, which specializes in marriage. There are also stories of women who let their hair down when they go to sleep and the hair turns into snakes, poisonous desire, repressed during the day. There are other folkloric practices and beliefs about women’s hair, for example ship captains carrying part of their wives’ or daughters’ hair on board as a protective talisman.

In some communities, it is believed that a shaman’s powers, which allow her to negotiate between the worlds of the living and the dead, were located in her long, loose hair, a sacred connection with the gods, the darker and the longer the better.

For Koujaku, Aoba’s hair is sacred, extremely valuable. He had wanted to cut it for years, we see how excited he is when he touches and kisses it, and when he is finally able to fulfill his dream he carefully keeps one of his locks wrapped in a piece of paper inside a paulownia wood box. For him, his hair is an amulet, it is good luck, it is extremely symbolic of who Aoba is (and who wouldn’t remember him as the dude with blue hair, one of the key features of his design, as well as the very peculiar characteristics that the developers gave it) and what he means to Koujaku.

The lock of Aoba’s hair is a direct connection to him, no matter how far away he is or how long it takes them to see each other again, he will always have this amulet with him. He is a devotee of Aoba, Koujaku adores him and loves him intensely, and it is not unusual to think that this devotion takes on an even religious aspect, as if Aoba was divine, a god.

In Tibetan Buddhism they paint Buddha’s hair blue.

Koujaku's hair is tied up like a miko's, with a cylinder or strap of white paper and red knot. They also use a miko styled paper for Aoba's hairstyle in an illustration and the figure.

Paulownia wood is associated with nobility, fertility, good fortune and happiness. Paulownia is a tree that was often planted when a girl was born. Wealthy families would plant up to three trees, and when the girl grew up and was time to get married, the family would cut down the tree and make a chest and other items out of the wood to give to her on her wedding day. The kimono was meant to be stored in good quality wood to preserve it, and this wood naturally repels insects. It’s also used for instruments.

Another detail about Koujaku’s hairstyle is that his hairpin looks like a shamisen.

Trying to protect his mother from his father and legal wife only caused her more pain, so instead he tried to do something else. She’s so happy about the gift, and the wishes of her son to help her fill her with joy, but she knows that’s impossible. He’s only a kid, so she just smiles, without being able to reply. Honestly, given that this was a gift he made to his mother to brighten her day, I wonder if it could be related to her tastes, especially considering that the most common are simple or with floral decoration. We don’t know almost anything about her, her name, appearance, what she liked to do or to dress like, what she taught Koujaku to raise him, etc…

So seeing this I wouldn’t be surprised if his mother actually played this instrument and maybe taught her son. The point is that this illustration exists.

A Tumblr user recently mentioned it on her post.

GOOD LUCK

Another piece of his design are these bracelets he wears on both hands. These bracelets are prayer beads, called Nenju or Juzu. Originally used in Buddhism to help with meditation by counting prayers, 108 beads are used representing the 108 earthly desires that one seeks to overcome in order to reach enlightenment, used to purify body and mind and express devotion to Buddha. They are used as protection as well. There are versions with fewer beads, 18, 27, 36 or 54, although there’s no fixed amount as many times it depends on the length and size of the beads, sometimes they carry a magatama. Women’s version usually has smaller beads and have more decorative colors, there are versions for children too. Beni’s necklace to me is just a kids version Koujaku bought for him to be honest…

Formal prayer beads also vary their appearance depending on the sect and it would be preferred that the person you marry belongs to the same sect. The tassels can also vary their shape. When these beads are damaged or can no longer serve their purpose, they are ritually burned on an altar where they are thanked for their service along with other amulets and get destroyed. Many people use them in funerals since most are held by Buddhists.

The ones that Koujaku wears in the shape of a bracelet are short, with two hanging tassels, the ones he’s using are 頭付房, I’m not sure how this translates but seems something like tassel with head/head tassel. Made to be more comfortable to carry anywhere, taking up less space or in a casual fashion. I like thinking he has formal Buddhist prayer beads kept somewhere for when he wants to pray for the people he knows.

The knot on his neck and the one in the decoration of his hair is a kiku knot, chrysanthemum knot, with two tassels hanging too. It’s also the type Shiroba/Sly uses in the bad ending. We’ve already seen what the chrysanthemum means. This knot is theorized to be a variation of a Buddhist knot, the endless knot, as a representation of Buddha’s infinite wisdom. In Tibetan Buddhism it symbolises Samsara, a never ending cycle. There are a few other interpretations.

Knots with tassels like this (総角房) would also be used in samurai helmets as a good luck charm, and it’s the type he has on his sword, not the chrysanthemum one.

We don’t really see or hear about Koujaku performing any religious practices during the story, except attending the festivals that everyone else goes to out of custom rather than a religious devotion. But I wouldn’t find it strange if he did it in the privacy of his home to try to attract luck in his life and try to separate himself from the beast, to be a good person and pray for his mother. After all, cultural and religious references are everywhere, and he himself wonders about the existence of souls, implying a much more spiritual understanding of life on his part.

Red is the first thing that catches your eye when you look at his design, and it’s a very important color in shintoism and is used in shrines everywhere, in clothes, buildings, torii gates, amulets, etc. It’s a color related to luck, the sacred, that coexists in balance with white. It’s love and passion, and it’s evil and blood. These dualities are present everywhere, both in his design and in his story.

[burst-of-iridescent]

Writing a Final Battle: Kung Fu Panda vs ATLA

every day i think about how the po & shen battle at the end of kung fu panda 2 is everything the aang & ozai battle at the end of atla should have been and get frustrated at the wasted potential all over again.

i’ll cut the show some slack in that the personal nature of po & shen’s relationship was never going to be possible in atla given the 100 year time jump, and that ozai himself wasn’t personally responsible for the air nomad genocide, which naturally undercuts their individual connection. but given that the final agni kai fulfilled the character-based conflict of the finale anyway, it fell to the aang-ozai battle to represent the thematic one, and it fell incredibly short where kfp 2 absolutely delivered.

it’s threaded throughout the narrative of the movie that po and shen are two sides of the same coin: black and white, yin and yang, goodness and madness. they both see themselves (po in kfp 2, at least) as orphans, plagued by fears that they were abandoned and unloved. both flee from a past they’re too afraid to face, tormented by wounds they believe won’t heal, shackled to a destiny they refuse to give up. the existence of one threatens the survival of the other; shen is foretold to be defeated by a warrior of black & white, while po cannot be the dragon warrior, the title that gave him a home and identity and belonging, in a world without kung fu — the world that shen is trying to create.

even without po’s personal connection to shen as the one responsible for his mother’s death and the loss of his community, thematically the two mirror each other perfectly. and it is this mirroring that makes the moment of their divergence so impactful and essential to the narrative: that while po stops running from his past, shen is never able to do so. it’s in making the choice to accept what happened to him & find peace in who he is that po triumphs over shen, and so illustrates the themes of the movie perfectly: that your past need not determine your future. that you cannot avoid your destiny, but you can shape the road you take to meet it, and that choice is yours and yours alone.

where po exemplifies the choice for peace, for healing, for acceptance, shen represents the choice to perpetuate violence, pain, self-loathing — and the brutal, inevitable self-destruction waiting at the end of that path. a classic writing technique for a thematic conflict, executed brilliantly: to have the hero and villain rise or fall by the virtues they stand for.

now compare this to aang and ozai.

i’ve talked before about how this battle fails from a character perspective for aang, but it also fails thematically as a result. following the constructed narrative up to the southern raiders, what should have happened in this battle was aang winning because he drew wisdom from different places, using bending techniques and knowledge from all four nations, and ozai losing as a consequence of his own destructive pride and reliance on firebending alone. instead, the unity vs individualism, balance vs domination theme set up from the start with the idea of the avatar falls completely by the wayside as the battle focuses on air nomad pacifism vs fire nation violence instead — an unsubstantiated, last minute ass pull of a conflict chucked in for no good reason.

but fine, we’ll bite. it’s not a bad conflict, in theory, just poorly set up. the execution might still have worked, if not for the fact that a) the means of this pacifism is entirely unearned and b) the choice to save ozai’s life is not about ozai at all, but about aang.

po’s victory feels earned because not only did the movie set the means of this victory up well in advance — introducing the chekhov’s gun of the dew drop and inner peace in the first ten minutes — it also perfectly aligned his external conflict (defeating shen) with his internal conflict (coming to terms with the pain of his past). in other terms, it’s the classic Want vs Need: po’s want (saving kung fu) is only achieved through first meeting his need (accepting who he is and where he came from, in its entirety).

aang, on the other hand, is given the solution to his external conflict through lion turtle ex machina, and Rock of Mega Convenience, neither of which was found as a result of his own choices or autonomy. it’s like if po showed up at the final battle with shen having skipped the entirety of the scene at the soothsayer’s, and yet is able to redirect the metal balls anyway because… well who the fuck knows, just go with it.

and that’s bad enough, except then it’s compounded by the fact that aang gets his Want (maintaining his people’s values & his moral purity) by doing… uh… *checks notes* Fucking Nothing. there is no Want vs Need here at all; aang didn’t have to sacrifice anything, or undergo any internal struggle, to receive the power of energybending. (and no, being “pure of heart” in order to energybend doesn’t count — a potential moral decline or losing air nomad values through assimilation to a changed world was never an arc set up for aang, and so cannot be counted as a feasible Need.)

and as the cherry on top of this clusterfuck of terrible writing comes the moment where aang chooses to spare ozai, a scene intended to convey the triumph of the air nomads’ compassion and pacifism over the fire nation’s brutality, a scene meant to have incredible pathos and meaning… and which accomplishes neither of the above.

po trying to spare shen is genuinely moving because the scene is framed around shen. it’s about the fact that despite every terrible thing shen has done — in that moment po sees in him only someone as lost and confused and pained as he was, someone clinging to a grand destiny to cure, in vain, the wounds of the past. someone po himself might have been in another life, another time. po’s compassion is for shen and shen alone, with no ulterior benefit to himself, and you get the sense that deep down — at least for a moment — shen wants to believe in the kindness and hope po is offering. that’s what makes it genuine and gives the scene such gravitas.

by contrast, the scene between aang and ozai is framed around aang, not ozai. aang is the one who wants to spare ozai. aang is the one who benefits from leaving ozai alive, because he doesn’t need to sacrifice his morals or beliefs. aang is the one getting his wish, not ozai — who would likely choose death over defeat and losing his bending anyway. this isn’t helped by the fact that the fire lord is inherently a far less tragic & compelling figure than shen because a) he exists largely as an antagonistic force than a character in his own right for most of the series, and b) aang and ozai don’t have an existing relationship to add depth to this moment, the way zuko and azula do.

as such, the one-sided nature of the conflict only strengthens the impression that saving ozai’s life is all about what aang wants, not ozai — which makes the message of the scene seem a lot more “if you’re the hero, you’ll get everything you want with absolutely no cost or consequences” and a lot less “compassion always triumphs over cruelty” (which was probably the intention).

ultimately, the po vs shen battle works where aang vs ozai fails because:

1. the themes embodied by the characters manifest beautifully in their individual arcs, and in their eventual victory and defeat, respectively

2. they contrast each other thematically and narratively, and their individual endings are earned through their own agency from start to finish, with their external conflicts being linked to and resolved through their internal character struggles

3. the set up of the conflict is carefully planned and thoughtfully executed, and the payoff follows through perfectly every step of the way

tldr: kung fu panda will always be the superior asian-inspired fantasy about a chosen one confronting his destiny as the saviour of the world & the day we can acknowledge as a society that po’s character arc is a thousand times better and more well-written than aang’s is the day i will finally know peace.

[anthurak]

You know that "Mundane super power" aspect you mentioned?

Another thing I like about crossing over RWBY characters with other settings is how easily their nature as basically coming from an apocalyptic hell-world can bleed through.

This is hard to articulate, but like.

The casual way in which towns disappear, that ruins dot the landscape, that people like Ruby & Yang grew up immersed in a culture that trended towards violence and early graves.

There's a nifty Naruto/Stargate crossover, (Its complicated) where Himawari kind of subtly disturbs the Stargate crew cos she knows exactly how best to behave in a dangerous situation, doesn't really seem bothered when enemies die and has been taught stuff like "Reading the battlefield."

I think RWBY characters would be similarly off-putting in their own way unless they were incredibly sheltered like Jaune or rich enough to have not ever encountered a Grimm until the the Beacon Test like Weiss. & even then, the lived experience, training and cultural awareness means they'd likely still come off as a little off-putting.

This also plays into how Ruby and Yang are seemingly quite... Not comfortable, but functional about the prospect of causing death or grievous bodily harm in a way most Shounen/action protags aren't.

Ruby, as far as she knew, sent Neo hurtling to her death in V3 and was at most momentarily shocked when Roman died & forgot all about it. Yang processed killing Adam in a very straightforward manner, she's not cavalier about it, but she'd made peace with it being a them or us situation right quick.

There's plenty of other examples but I think we've discussed it before.

But yeah, I just think its fun, even in series that can have similar degrees of destruction or death, their relative youth and manner with it would likely still make many locals be like (oO) & I think that's fun.

Oh yeah, this has always been a great idea for RWBY crossovers.

And one of my favorite/most interesting parts about is, as you touched on, how subtle Team RWBY’s whole vibe is and how it can potentially sneak up on others.

Like Team RWBY and really most of the show’s characters generally DON’T give off any real obvious ‘I come from a fucked-up deathworld’ vibes like being real dark, broody or even just looking anything the part. For anyone from a much more mundane setting/background, Ruby, Weiss, Blake and Yang generally come off as a friendly, likeable, good natured bunch without really anything all that offputting.

For about… eighty to ninety percent of the time.

But then you’ve got those 10-20% moments where the dark, serious ‘fantasy war-veteran’ sides of Team RWBY slip out. Like they might not even have been trying to hide it, it just comes out when things get serious.

Like maybe there is some big disaster or some other terrible event perhaps caused by the villains that leaves the more ‘normal’ characters/heroes frozen in shock and horror, meanwhile RWBY are just immediately jumping into the fray to fight or help however they can. With perhaps one or more doing the whole ‘slap the shock’ out of the other characters with a ‘We got work to do!’. And it’s just kind of… unsettling how Team RWBY takes these events in stride.

Or to build off your point on Ruby and Yang, as well as Blake and Weiss, being ‘functionally alright’ with hurting/killing people*, there’s a LOT of juicy potential there for when Team RWBY goes up against more mundane villains.

Like just picture a situation where a villain is threatening innocents in a classic ‘you’ll have to KILL ME to stop me!’ standoff that has the heroes freezing up… only for Ruby to almost immediately just shoot said villain.

She certainly looks like she didn’t enjoy or even want to do it, but both how quickly she did it and how easily she seems to role with it afterwards are just REALLY unsettling.

And then there’s what I’d call the FLIPSIDE to all this in how Team RWBY deals with being in a world that might NOT actually be filled with monsters who are an ever-present existential threat to humanity.

Like even for someone who grew up more sheltered like Weiss that is almost certainly going to be a MASSIVE culture-shock. Not to mention that the only people with a frame of reference that Team RWBY would be able to talk to about this would likely be each other.

Even in settings that might have some kind of monsters threatening humanity such as most magical girl shows, the appearance and threat that these monsters pose are almost always a very RECENT occurrence that most people might not even know about. Generally in these settings, the ‘normal, mundane world’ IS the norm, with the dangerous and supernatural merely popping up on and off in isolated places.

It could really create this interesting contrast where Team RWBY finds the mundane world that their new friends consider ‘normal’ to be just a bit uncanny and unsettling. And even finding it a bit comforting when monsters or some other supernatural threat to fight shows up because that feels more NORMAL to them.

This is actually something I tried/am still trying to explore in my Kingdom Hearts crossover fic. Like Ruby musing on how to explain her whole huntress background to Sora, Kairi and Riku when to them, monsters are things that have existed in storybooks, while for Ruby monsters have always been REAL. Or Ruby even noting a comforting ‘return to normal’ when she starts fighting the Heartless.

I’ve even got ideas for Ruby, as well as Weiss, Blake and Yang further on, idly musing on whether the Grimm or Heartless are the worse to fight, with some of their new friends being just a BIT weirded out.

And that’s not even getting into the potential of Team RWBY interacting with various Disney movie settings. Like I’ll admit that I kinda REALLY want to have Ruby boom-headshot at least one Disney villain XD

*I will say, I’ve had a theory for a while that Ruby, even more so than her teammates, has particular ideological reasons to generally avoid killing people, specifically when we consider how Ruby specifically DOESN’T use her ‘walking grimm-blender’ style of fighting against human opponents. Personally I imagine Ruby seeing it as ‘I hunt MONSTERS, not people.’ That being said, I don’t see Ruby as having some strict ‘no-killing’ ‘one rule’, but rather that she views taking a life as a last resort.

[sugar-petals]

Hi again caro 🌟 you know how cillian murphy is being compared to yoongi and vice versa (they share aries/ashwini placement in their big 3 in vedic ), the ketuvian eye / deadpan look but actually being softies on the inside . Plus cillian's face is 100%female and 100% male got me wondering if he's a classic type (same amount of yin /yang) or maybe a gamine like yoongi cause that man always looks young ! Thanks !

cillian's kibbe type | analysis

i endlessly deliberated on his image ID way before, too, he's such a tough case — but hear me out: i'm nominating soft classic.

TR and FG being his only other options of highly androgynous types imo. i'll narrow it down ("crossing out" method, below) maybe we can find some consensus. so:

he consistently dresses pure classic off the screen, at least that i am sure of. symmetrical, standard tailoring, mid-contrast colors. goes in the right direction. well-fitted, puts emphasis on his face. not THE spectacular outfit, sometimes too stark, but pure classic works for his body shape. reversely, C does not fit pure romantics and all naturals because of their rounded/blunt shoulders bulking out the sharp edge. but for cillian, the standard tux, easy. the more dapper, the better for him.

CROSSING OUT: R, FN, SN, N. (9 possible types left!)

2. now, he got famous for characters that dress dramatic classic (peaky blinders, scarecrow, oppenheimer...), but i think those lines are too long/drowning from a distance and without movie magic. yes, the warm tone of the right coat contributes as clashing since he's cool-toned. but proportion-wise, and at 5'7, all yang-dominant types disqualify for him anyway. too large, wide, boxy.

CROSSING OUT: D, SD, DC. (6 possible types left!)

3. then again, cillian being such a renowned classic dresser and directors agreeing says something. nolan always shows him as a C! it is his thing. but: we have to accommodate that cillian's not in a yang height range, and an androgynous face calls for androgynous fashion. put him in a masculine-coded Natural styling (scruffy beard, loose outfit & hair, bulky fabric), it's a disaster. proves how we crosses out N for him early. it needs more yin.

4. puzzlingly... he can do some dramatic lines, even as a smaller guy. that means he's either TR, or an FG, or some classic that can handle a tailored silhouette. Cs are notoriously style chameleons as long as a frame is kept. see my dilemma? 😭 it can go either way.

he looks awesome in that matrix-type dramatic ID fashion, hair sleek, colors dark, sharp edges. maybe he's a true winter or true summer, that's why D colors are fine with him. at least we can exclude pure gamine and soft gamine because they crave the line break and more pizzazz. pure C is also overwhelmed by anything that goes off balance. subtypes are more flexible.

CROSSING OUT: C, SG, G (3 possible types left!!)

finally, why are TR, FG, SC my top 3 picks? because they all combine shorter height with a mix of "feminine and masculine" essence/lines. he has to be among these 3.

5. i see why any gamine is a viable option generally, cillian being short. but i think it's too much for him to pull off, and people hardly perceive him as petite and cute and moon-faced. for yoongi, that's immediately obvious. most SGs have a face like a young romantic type. worlds apart from cillian's insane jaw/cheekbones.

cillian looks too sophisticated, mature, structured, sexual, otherworldly for SG. not sweet, baby-like, cute. classics age gracefully and especially "like fine wine" as well, it's not limited to G types. much like D becomes more dignified with age and truly grows into their severe, tall look, or N types gain even more rugged charm, etc.

style-wise... G color blocks, stripes, details, all seemingly turn him into someone else. the gamine hair chop is unflattering, too. patterns transform him into another person. gamine fashion is a mixed bag on cillian, while soft classic never misses.

CROSSING OUT: FG

6. cillian's height does say G or R, and yes i know, many type him TR. i could agree with it; but still, his figure isn't full/soft/fully rounded (R) or compact (G) enough in my opinion. TR does have some chiseled D characteristics like him, but you have to see softness and curve first, as with all romantics.

compare jimin or billy dee williams (R), such a different vibe! R and TR are sexiness machines. more rounded thighs, nothing works without waist emphasis, rounded chest area, figure 8 body, more rounded nose and romantic curls, the list goes on! cillian's body type is also short like that, but not as curve-dominant, but balanced (shoulders, legs, waist all line up and are straighter = balanced = classic).

question is, does cillian's extreme dieting interfere here so he's harder to type? styling-wise, i do think TR clothing is something else on him, but it steals the limelight or overdefines his face. i also feel like waist definition isn't 1000% paramount for him. plus, kibbe writes for TR: "Stiff fabrics, straight lines, and geometry are to be avoided at all costs!" — While Cillian easily dresses best in exactly that 😂 (WOW!)

imo TR also ages him unfairly, and all you look at is the ornaments, not him. soft classic is still a romantic-influenced subtype, yes, so it does flatter him, below is a memorable look, don't get me wrong. but it takes the focus. i only see how fantastic the garment is, while cillian is secondary, and his face is suddenly too stark, devoid of definition. it's too high glam. i wish we'd have more pictures of him dressing TR to compare, that might be another problem.

7. SC is the only type left to explain his mysterious looks. recap: he's successfully classic-dressed, has a yin height plus a face that combines yin and yang, his silhouette is balanced not curved, all his huge movie roles are C image typecastings, that's SC.

i do think the polished, soft, but shapely elegant character of this type is expressed in him. SC is a highly androgynous type for men, think ATEEZ yeosang. but SC men are so well-dressed in controlled hairstyles and very masculine period or past fashion, ironically, because the fabrics are soft, plush, symmetrical, and tailored. that definitely applies to cillian 10/10. his face simply pops.

cillian looks best dressed minimally, always symmetrical, slight wave in the hair, head to toe theme > mixing styles, understating, no color experiments, basics > overdressing, his signature for a reason. symmetrical coat plus soft woven fabric underneath sounds like it. puts the focus on him while at the same time being well-styled. he was born for timeless, subtle fashion.

and in general... who could dress classic so impactfully, anyways?

give this beautiful, stylish man every available award for what he does so well!

[maxiemumdamage]

I really wish we knew more about Patch, specifically how everyone who’s NOT the Rose-Xiao Long-Branwen family lives there.

Because while we’ve seen roughly how they live, I suspect it’s not fully the norm. They’re mostly isolated, in a pretty quiet area, and with notably no defense against Grimm — which is fine for them since they’re a family of Huntsmen.

But even if Patch is home to Signal Academy, I doubt that everyone there has combat training. That’s just not a sustainable way for a town to be. More likely, there’s natural defense as there is in every kingdom plus some construction, and that buys time and advantages for the Huntsmen they do have — which might be more abundant than in some places, but still won’t be universal. We see plenty of towns like that in Mistral.

But I also wonder about whatever town Patch has, given that one girl on a video call on the CCT in Volume 2 was heard saying:

“Hey mom, how are things back in Signal?”

Now, “at Signal” would make me assume the mom of this random background character is a teacher. “In Signal” implies a town — and that it’s where most people live. I think the Rose-Xiao Longs claiming to be from Patch means they’re pretty isolated from whatever the actual town is.

Signal is both the combat school and the main settlement, kind of like some college towns, while Patch is the island itself. And Ruby and Yang claim they’re from Patch and not Signal because their area is comparatively pretty isolated.