#and here in my answer to the second question you can see a character analysis AND an expectation based on spoilers

[pyrrhiccomedy]

I feel like we need a refresher on Watsonian vs Doylist perspectives in media analysis. When you have a question about a piece of media - about a potential plot hole or error, about a dubious costuming decision, about a character suddenly acting out of character -

A Watsonian answer is one that positions itself within the fictional world.

A Doylist answer is one that positions itself within the real world.

Meaning: if Watson says something that isn't true, one explanation is that Watson made a mistake. Another explanation is that Sir Arthur Conan Doyle made a mistake.

Watsonian explanations are implicitly charitable. You are implicitly buying into the notion that there is a good in-world reason for what you're seeing on screen or on the page. ("The bunny girls in Final Fantasy wear lingerie all the time because they're from a desert culture!")

Doylist explanations are pragmatic. You are acknowledging that the fiction is shaped by real-world forces, like the creators' personal taste, their biases, the pressures they might be under from managers or editors, or the limits of their expertise. ("The bunny girls in Final Fantasy wear lingerie because somebody thought they'd sell more units that way.")

Watsonian explanations tend to be imaginative but naive. Seeking a Watsonian explanation for a problem within a narrative is inherently pleasure-seeking: you don't want your suspension of disbelief to be broken, and you're willing to put in the leg work to prevent it. Looking for a Watsonian answer can make for a fun game! But it can quickly stray into making excuses for lazy or biased storytelling, or cynical and greedy executives.

Doylist explanations are very often accurate, but they're not much fun. They should supersede efforts to provide a Watsonian explanation where actual harm is being done: "This character is being depicted in a racist way because the creators have a racist bias.'" Or: "The lore changed because management fired all of the writers from last season because they didn't want to pay then residuals."

Doylism also runs the risk of becoming trite, when applied to lower stakes discrepancies. Yes, it's possible that this character acted strangely in this episode because this episode had a different writer, but that isn't interesting, and it terminates conversation.

I think a lot of conversations about media would go a lot more smoothly, and everyone would have a lot more fun, if people were just clearer about whether they are looking to engage in Watsonian or Doylist analysis. How many arguments could be prevented by just saying, "No, Doylist you're probably right, but it's more fun to imagine there's a Watsonian reason for this, so that's what I'm doing." Or, "From a Watsonian POV that explanation makes sense, but I'm going with the Doylist view here because the creator's intentions leave a bad taste in my mouth that I can't ignore."

Idk, just keep those terms in your pocket? And if you start to get mad at somebody for their analysis, take a second to see if what they're saying makes more sense from the other side of the Watsonian/Doylist divide.

[soodoonimin]

Logan Howlett and animal instincts (or in other words my long winded analysis of a comic book character)

So before I start, just know that I have read a lot of comics but I don't know everything. I can take notes all day long but I have a bad memory and comics are confusing so please be nice and enjoy, this took a lot of effort to put together, it’s mostly my thoughts on the character as I read the the comic books. The movie character is a lot different and I will also probably do something like this for movie Logan as well (though it will be significantly shorter).

Also there are some pictures that have blood and body horror so beware.

What does it mean to be human? Well that's a question we as humans have been trying to answer since we could think to ask it and ever since then we've never been able to give a fully conclusive answer. Why? you may ask, well because think about it like this, the traits we most often associate with humanity (higher thinking, creativity, empathy, and love) may not and some times do not always exists solely within us when applied to fiction, we write whole stories about how robots can be human too, how aliens can be human etc etc as long as they have these traits (more or less) AND LOOK I'm not going to get into a whole philosophical discussion about the nature of humanity on Tumblr.com but I do want to take a second to talk about how those traits are applied to Logan and how he has to fight to prove his humanity.

So mutants are an oppressed people but being a mutant isn't always the same for everyone. You can be a mutant like Rouge who can kill people with a single touch or mutant like Storm who can bend the weather to your will (the most obvious example). You can be a mutant like Jean with no obvious physical signs of your mutation or you can be a mutant like Kurt, where 9/10 people think you’re a demon of some kind.

But what happens when you're a mutant like Logan Howlett? I mean you look human enough, sure you're a little more hairy than most people, you have fangs, you smell, and oh yeah the claws but those are retractable so overall....you're just a normal person right? Nothing you can’t hide, right? Yeah, for the most part, yeah. But there are a couple of other things about you that someone might not know from looking at you, you have an extraordinary healing factor, you have almost animal like senses and when you are pushed to your absolute brink you go into a monstrous like a rage and kill everything in sight.

For every gift Logan was born with theres a very real curse attached to each one.

Healing Factor: Logan still feels pain, the healing factor isn’t just limited to his body but it also messes with his memories, and more importantly he’s lived a very long life. In The End comic and Old Man Logan comic etc, when he’s out lived most of the world, he’s miserable.

Keen senses: Seems great, until they’re exploited, imagine what being able to smell and see and hear that well all the time without relief must be like. Imagine not being able to tell when someone is going to die? Or when they’re lying or when they haven’t showered etc. sure you might get used to it like you might get used to pain but that doesn’t make it pleasant.

Claws: Need to really touch on this one? Aside from the obvious please remember that Logan’s claws aren’t in his knuckles but in his fucking forearms so when using them he needs to make an effort to direct them or….

Berserker rage: great to get you out of a pinch but you can’t control it. (We’ll talk more about this later)

Most people don’t see these very real downsides of Logan’s mutation, they just see a small, angry guy, who’s good at fighting and can take a hit better than almost anyone.

Here’s what worse, a lot of people (X-men included) don't see, they don't all the ways Logan hates himself (and those who do don’t see the depths of that hate he has for himself). They don't see the scared little boy whose father was killed in front of him. They don't see that little boy who killed his father's murderer and was abandoned by all but one person for one person (Rose). They don't see the young man who accidentally killed his first love while trying to protect her from his brother. They don't see the man who lived a relatively miserable life being plucked up by a group of people who only saw him as something to be experimented on. They don’t see the man who believes that if he loves someone he's destine to hurt them in one way or another because he has multiple times over (even if it wasn’t always his fault). They don’t see that for all the times that they call Logan an animal, he already believes them and he’s called himself worse many times over.

(Deep down he truly believes he deserves be to alone, especially in death. That would be his “deserved” hell. Eternal loneliness.)

Which is funny because I think Logan goes back and forth in deciding on whether or not he has any humanity in him in the first place. See in the Black, White and Blood comic, the FIRST story told in this series, is an account of Logan’s time at Weapon X and we get this…interaction:

Pourquoi tu me fais ça?///Why are you doing this to me? This "monster" asks him this on the cusp of death....

(Moments during the Weapon X program, be they real memories or not, when Logan’s humanity shone through)

And THIS almost immediately snaps him out of mind control he's under going. I don't know if he understood the words per say but I think even if he didn't, he still understood the plea on a human level. Because it wasn’t Weapon X who responded, it wasn’t the berserker, or Wolverine. It was Logan Howlett. It was a moment of humanity that broke the conditioning he’d been put through that answered that plea and stopped him. Because if you think about it, if these two memories actually are real, that means that Logan recognized this plea as the same one gave to the scientists. Now determining what did or didn't happen during the Weapon X program is difficult to parse out because they implanted false memories. BUT regardless of that there was always a part of him that held onto his humanity. But I think that just adds to the horror of it all. Imagine not being able to know what memories are yours and which ones are not? So let me ask, even if those memories are “false” does that make them any less real? Does that mean that Logan suffered any less under their stewardship? He was still kidnapped, he was still experimented on, still tortured. He still had the adimantium grafted onto his bones, he was still made into a living puppet and was still seen as nothing more than a weapon, an animal, a monster by the very people who were doing all of this to him and in some respects they are the reason he is seen as a monster by others.

At the end of that comic (where he was momentarily snapped out of his conditioning) he states that no his humanity wasn’t stolen from him but he still lives with that guilt of everything he can’t remember and the things he can remember are unreliable.

I know a lot of people haven’t read the comics so I’m not trying to do annoying about it BUT if you get the opportunity to PLEASE go read The Weapon X comic (by Berry Windsor-Smith) & Wolverine’s first limited series run (by Chris Claremont).

I specifically say that second one because I think the story that’s told is probably one of the more interesting told for Logan because of the relationship he has with Yukio and Mariko. I’m not going to get too deep into it because I really think you should read it for yourself but the basic outline of it is that where Mariko loves the man, Yukio loves the “monster”. And when he’s initially trying to court Mariko it’s his attempts to in a sense to court humanity but he fails and when he turns to Yukio. And for her part it’s not just as simple as her loving the “monster” but more than she goads it out of him, for thematic reasons and plot reasons. But needless to say, they both love Logan but they both love an incomplete version of him. (It’s a really good story and it’s literally what sold me on the idea of reading through any of the older comics.)

Anyway, (in the comics and movies especially) some people solely see him as a man with an uncontrollable side that they’d run from at the first sign of aggression and others only want that animalistic side and don’t love the man that Logan is. The thing is, he is both of those things. Think about it like this. As humans we like to think ourselves above the food chain, we like to think of ourselves as *more* than animals. And sure we’re definitely one of the most successful species of animals on Earth and we definitely don’t act on instincts in the same way most animals do, we’ve created society and rules and we do things a lot different than other animals but we are still animals.

So Logan isn’t both a man and an animal anymore than you or me. But he is a man that is more in touch with those animal instincts than the rest of us (bc of his mutation). Which I think is why when he does act on those instincts, people see him as less, because we (yes even comic book characters for this argument) only seem associate those traits with animals, with something lesser than ourselves.

The thing is, being “an animal” doesn’t need to be an insult or a condemnation of any kind. Humans are still animals but humans are still kind, and caring, humans have still created beautiful art and music and food and architecture and have got to the stars will probably go beyond the stars all while still being an “animal”.

So I think where most people get hung up on word “animal” is because it has such a negative connotation when applied to humans. And thus that negative connotation basically perpetuates itself so the only time we call other humans animals is when we mean to attack their humanity.

So back to Logan. Imo, there is no better example of this than the way people, Logan included, treat his (and subsequently him) berserker rage. Logan describes it as a monster that shares his soul, something else inside him, the real thing that makes him a monster, something that he doesn’t like, something he’s scared of, something he can’t always control but that he does everything in his power to keep away from the people he loves. Because Logan doesn’t like to kill, he doesn’t like hurting people. He might be good at it, he might be known for it but that doesn’t mean he likes it. Even when he thinks death is a deserved punishment, he isn't ever happy about having to kill. And he even says as much at one point in the comics.

And as a real quick aside, but this is almost exactly what sets him apart from Victor Creed. They're both men whose mutation gives them heightened animal like traits. The only difference is that Logan is ashamed of those parts of himself especially when they pertain to violence where Victor likes it, enjoys it; he goes out of his way for violence.

(If there is more to Victor Creed than meets the eye please tell me bc I gotta say I don’t actually know too much about him except that any time I see him in any Wolverine media I immediately laugh bc I know the two around to brawl. And I’m almost never wrong lmao)

And mind you there are times when Logan is also a hammer in the sense that he tends to punch his way through most of his problems. But he doesn't go out of his way for it in the same way Victor does despite having every reason to.

Logan has killed people but unlike Victor he isn't a killer. Even if that's what he's "the best at".

So when he goes into this specific rage that labels him a monster (an animal) it’s almost always in front of someone he loves and it’s almost always in a moment when he’s trying to prove his humanity (when it’s being used thematically and not for plot convenience). Like if you go read the comics 9 times out 10 when Logan is being called a monster or animal by some scientist or an enemy looking to humiliate him. But it’s almost always in the mitts of a life or death situation. A situation that anyone would fight light hell to get out of even with an amazing healing factor like Logan’s.

Because he still feels pain.

He still wants to survive.

He still feels.

And at the end of it all, he feels ashamed and horrified with himself and he'll always have to live with that guilt and shame. There's a point in one of the comics when he describes his heart as being slower to heal than the rest of his body and I think its interesting because although that story he's talking more from a "heart broken" sense. I also think that can apply just as equally to idea that it also harder for him to heal from not just heart break but also from shame and guilt. In certain situations, it takes longer for him to forgive himself emotionally because he suffers physically in the short term. He’ll never have a physical scar of his wrong doing and so he carries the emotional weight of it with him.

But also because he isn't just dealing with himself. In those moments when he comes out of that rage, the people he loves are in shock and are scared because they saw the “monster” and some people do reject it and in so they reject him and although rejection is something Logan thinks he deserves, it doesn’t make that pain hurt any less. it doesn't make it any easier to heal just because you agree with them, and in a way I think that's what slows down that healing process. Logan's inability to forgive himself.

Because that's the thing, Logan, would rather be scared of himself than forgive himself, be it because of his past trauma or because of the Weapon X program (which in the Weapon X comic it’s implied if not outright stated that the scientist at Weapon X are the reason he feels the fear he does about himself). Logan is scared of no one on Earth more than the man he sees in the mirror. And that’s because in his lowest moments when he looks in the mirror he doesn't see a man, instead he sees an animal, a monster. He doesn’t need the rest of the world to tell him what he already thinks of himself, it just doesn’t help that he has a choir of voices that are sometimes louder than his own telling him his worst fear is real. He is the monster that hides under his own bed but the problem is, while the monster is 'real' is a physical sense, it does not share a soul with him anymore than the boogeyman does. He wrestles with himself. Somedays he believes he's a man like anyone else and other days he can't drown out the voices telling him he's nothing more than a monster.

And as my last touch on the beserker rage, I want to posit my own theory about it. Personally believe to some extent that it isn’t part of his natural mutation and that instead it’s something that was “given” to him by the Weapon X program. The reason I say this is because I think it would make a lot of sense that like the adimantium claws and false memories it would make sense to give you “weapon” this uncontrollable rage (that mostly comes out in times of great duress). Not just because it would be one more thing Weapon X has taken from him (control over his own emotions/body) but also because wouldn’t that just make sense on the side of the people who ran the project? That your living puppet have a fail safe of sorts in case it ran into something bigger than itself? During the Weapon X comic, the scientist are constantly surprised by how resilient he is and even though some of this surprise happens in a false memory, they really do believe they can kill him at one points so if they thought they could kill him, why not something else? Why not give their investment insurance? And what better insurance for an animal than monstrous rage. 

But of course none of this is even to talk about the kind of person Logan really is. The thing that I think most people (in the comics) tend to ignore about Logan, in favor of focusing on his rough exterior (and some of his more questionable characteristics) is that he really does have a heart of gold. Now do not get me wrong, he can do some pretty fucked up shit (I will not talk about the Jean and Scott love triangle bc it gives me a migraine) but he does regularly do things that show how much empathy he has. That show that despite what he (or the rest of the world) might think, he isn’t a monster. The best examples of this are his relationships and more specifically the relationships where he’s a father/mentor. Like his relationship with Kitty Pryde and Jubilee, two kids that he basically adopts/takes under his wing and constantly goes out of his way for. Some of you might remember this post and the reason Logan does eventually fuck Wade’s shit up is because Wade literally punches the ever living shit out of Kitty in front of Logan. In another comic issue (after this), Logan beats the shit out of Wade again for punching Kitty, it’s funny but it also just goes to show that he does take protection of his family seriously. And mind you he doesn’t hunt Deadpool down, he find him by sheer plot coincidence when he’s getting a book signed for Kitty and the author just so happened to be Deadpool’s mark.

And mind you, Logan does have love for his own kids (Laura and Daken) despite the troubled nature of both this relationships but again those are a little more complicated. That’s partially for plot reasons but also because they play into just how much Logan hates himself that he struggles active show the same love for his adopted family to his “blood” family (again with Daken it’s a lot more complicated) but I also think that not only are his relationships with them fraught because of how much he hates himself but because both Laura and Daken were experimented on just and manipulated like he was (and in Daken’s case by a major player of Weapon X) so while he does love them past his own self hatred, they are also a reminder of his deepest traumas. It’s not their fault and it’s not necessarily Logan’s fault either, it’s just the cards their characters were dealt. (I haven’t read any comics with them yet so once I do I will most likely write my thoughts on his relationship with them each individually)

Regardless, Logan, depsite what he’d like you to think, is a deeply loving, empathetic and loyal person and this doesn’t just extend to people who considers family:

(Logan says this a man who not only a few issues ago was trying to kill him and his partner/friends. He saved Roughouse (the character he went berserk on a few pictures ago) because he was being experimented on in a way not too dissimilar to the way he had been by Weapon X. And if I remember correctly this is before he even knows how he got the adimantium in his bones)

He is James 'Logan' Howlett. He is a man whose life was stolen from him so many times over. He is a man who believes that the worse parts of him are all that matter and fails (or refuses) to see the good he has done in the lives of the people he cares about and believes that only death will truly bring him peace. He is someone who despite his flaws can’t help but to be kind. He is someone who fights like hell for what he believes is right. And even if he believes he’s a monster, even if the world believes he’s a monster, he will try to do the right thing because although he knows his soul is damned that doesn’t mean that exempts him from doing what good he can. He is someone who gives and good as he gets and then some. He’s the best at what he does but for him, that isn’t alway what he thinks it is.

And I think that’s the beauty of Logan as a character. Someone whose life is so wrought with tragedy and yet he is someone who can’t help but to be kind, someone who can’t help but love and care and find the humanity in the world despite the world seeming to be hellbent on taking his humanity away. Even though he (and many people in universe) might disagree with me, he is not only a one of the best humanity has to offer but he is also a shining example of the tenacity of the human spirit.

[avalypuff]

Answers to the common questions of “Why didn’t Zelda retain dragon features?” and “Why did Link’s arm revert to normal?”

I’ve been dying to do some analysis posts since TotK came out, and after seeing a lot of people complain about the above, I decided my first should be related to the endgame.

So, I’ve seen a lot of posts where people seem to misunderstand what was going on when Zelda changed back into a Hylian, and why Link’s arm returned to normal. Many write this off as simply plot convenience, and while it��s true that Nintendo wouldn’t want to leave the main characters of one of their most popular titles with permanent changes, I’m here to try my best to explain the actual reason these things happened the way they did, because whether you noticed it or not, there is plot relevance to this reversion.

Draconification is permanent.

This is an indisputable fact.

And while I have seen people criticizing the way Zelda changed back, the fact is she swallowed the stone knowing that she never would.

“I’ll be forever changed…”

Her cry for Link to find her was not for her sake. She wasn’t depending on him to find the key to changing her back. Nay, the only reason she desperately prayed for him to find her was so that he could get the Master Sword, which—ignoring game mechanics that would allow you to beat Ganondorf with literally any weapon with the right damage/durability ratio—canonically is the only thing that can hurt him.

When Zelda changed back, it was almost entirely thanks to Sonia. That’s right!

…Let’s take a second to recall this scene in which Rauru decimated the horde of Molduga.

We see Sonia extend her hand and then gesture for Zelda to do the same.

Here they’re extending their own power to amplify Rauru’s counterattack, even beyond the already-massive boost the Secret Stone provides.

In the final scene when Link finds himself hovering over the sleeping Light Dragon amongst a dream-like atmosphere, it’s really quite telling that Sonia is the first to rest her hand over Link’s, then followed by Rauru.

This time Rauru is fulfilling the role of amplifying Sonia’s power over time. Not just that, but adding it on top of the time manipulation that Zelda gave to Link at the beginning of the game.

That’s what’s happening here. This is immensely powerful, triple amplified time magic!

The change from dragon to Hylian wasn’t a transformation in the same sense that it was when Zelda changed from Hylian to dragon. I know that’s a confusing sentence, but consider the basis of Sonia’s time magic is recalling things as they once were.

Zelda didn’t retain dragon features because, through the power of time reversal, she was never a dragon to begin with.

This is the also the reason the Secret Stone reappeared on her necklace.

This is ALSO the reason Link’s arm reverted to its natural state before he was affected by the gloom.

And before y’all come at me with “well, why didn’t Rauru do that in the first place instead of giving his arm to Link?” Simple; Sonia wasn’t there. Even spirits aren’t omnipotent… in Hyrule. (Probably.)

The point is, this was essentially a lucky break for Zelda and Link, because if Sonia (and therefore Zelda, by inheritance) didn’t have time magic, there would have been no way to undo the Draconification. It would have been every bit as permanent as Hyrule legends and history says it is, and Zelda would be gone forever.

In fact, it’s likely it was a shot in the dark even on Sonia and Rauru’s part, considering there was no prior knowledge of reversing time on a dragon, let alone a person. It was a glorious blend of the convenience of Sonia’s time magic, and luck that it worked out the way they (“they” being all characters involved) wanted.

Anyways, to wrap this up, Draconification is indeed permanent, unless you have the number one badass-master-of-time-manipulation Queen Sonia on your side. Then you can probably undo anything. :)

[darth-jess]

My Unpopular Opinion: Was Mace Windu About to Defeat Sidious?

Alright, somebody asked me this question a while back, and personally, I thought the answer was pretty obvious: no, Mace Windu was not about to defeat Sidious in the battle in the Chancellor's Office.

And then I conducted this poll:

Since then, I have come to realize, the answer is (apparently) NOT obvious.

So in this post, I will attempt to prove that Mace Windu, as incredibly powerful as he was, was NOT winning against Palpatine in the battle in the Chancellor's office in Revenge of the Sith even when it looked like he was.

Furthermore, I will argue that Palpatine's deception does not change the importance and power of Anakin's choice.

Let me preface this with: I love Mace Windu! He is literally one of my favorite Jedi, I love his character and I also love Samuel L. Jackson, so you have to understand this is not coming from a place of "Mace Windu hate."

Anyway, this is about to be a long post, so bear with me or tap out now. I'm an English major, so I go about this argument in a very "literary analysis" kind of way.

THE EVIDENCE:

Okay so as you can see, even in the movie, Palpatine quickly kills the other Jedi Council Masters. And these are not weak Jedi. They are Kit Fisto, Saesee Tiin, and Agen Kolar, all highly respected for their wisdom, their use of the Force, and their skill as warriors.

No one else in the entire galaxy could take out these three Masters as quickly as Sidious did, which goes to show how incredibly powerful Darth Sidious is as a warrior.

Mace Windu is clearly the greatest warrior of all the Masters who came with him. He is one of the most powerful Jedi of the Order, second only to Master Yoda (and possibly Anakin, depending on how you interpret Anakin's potential in the Force vs actual ability, but we won't get into that here).

Even if we're just looking at what strictly happens in the movie, Sidious is holding his own just fine against Mace Windu– sure, it's an intense battle, but neither of them seem to be winning or losing.

Suddenly, and only after Anakin is on his way to the Chancellor's office, Sidious begins to falter. Does that NOT seem a bit like a coincidence? Mace Windu kicks Sidious in the face, Sidious loses his lightsaber, and immediately turns into a sniveling little grub begging for his life.

Here's the thing.

Are we really meant to believe all of this was just a coincidence that occurred right as Anakin was walking in?

PERSONALLY, I don't buy it.

You have to remember:

Sidious is the master of manipulation. That is his greatest strength.

Alright, let's look at the book.

In the Revenge of the Sith novelization by Matthew Stover, it starts when Sidious reveals to Anakin that he is the Sith Lord, but that he is also Anakin's friend. Anakin says he will turn Sidious over to the Jedi Council, because Anakin has no idea what to do… he can't kill this man who was his friend, who says he can help him save Padmé.

Sidious makes it very clear to Anakin that the Jedi are going to come to execute him, and Anakin insists that they wouldn't, because (as Anakin says in the movie) "It's not the Jedi way." It shows that Anakin still has faith in the Jedi, in the ways of the Jedi, and it is Sidious's job to tear that away.

All of this is a way for Sidious to prove his point to Anakin– that the Jedi are not as noble as Anakin has been lead to believe. And what's the best way for him to show that to Anakin? What's the best way for him to PROVE that point? If Sidious can show Anakin that the Jedi (the BEST of the Jedi) will kill an unarmed man… will murder someone who has SURRENDERED… Anakin will see the truth: that the Jedi only follow their own rules until it is inconvenient. That the Jedi are not noble, they are hypocrites.

Leading up to the battle in the Chancellor's office, Sidious waits for the Jedi Masters to arrive.

The shadow, Darth Sidious, is not worried by their approach and honestly this is not overconfidence. This is all part of the plan.

As the Jedi storm into his office, he begins a recording which he will later show to the Senate as PROOF that the Jedi tried to assassinate him– a powerless man who has only tried to do his best for the Republic. This is the recording, transcribed in the ROTS novelization:

Yet during the entire recording, Palpatine is killing the Jedi even when it sounds like he's begging for help. This is a small portion of what really happened, between Palpatine's cries for help:

Palpatine has put on this nice little show for the sake of the recording which he can later show the Senate, as proof that the Jedi were trying to overthrow the Republic. Palpatine even LOCKS THE DOOR WITH THE FORCE, locking himself in there with the other Jedi Masters.

Then, we switch to Mace Windu's perspective who is quoted to be "fighting for his life."

So here, Mace Windu feels Palpatine's fear… or at least, he thinks the fear is from Palpatine. And then, Mace Windu cuts Palpatine's lightsaber in half, the blade falling away so that Palpatine had no weapon.

Palpatine falls to the ground and backs away from Mace, just like in the movie, until he's trapped against the window sill.

And Mace Windu doesn't have time to actually consider Palpatine's words, but we (the readers/audience) know the implication: that the fear Mace Windu is feeling belongs to Anakin not Palpatine.

Then, Palpatine begins his Force-lightning attack, and Mace Windu– facing an UNARMED Palpatine– calls out for Anakin's help. Let's remember, Palpatine has no lightsaber, he is lying on his back, on the window sill.

Let me say that again: Mace Windu, NEEDS ANAKIN'S HELP, FACING AN UNARMED MAN, WHO IS LAYING ON HIS BACK.

Palpatine is still in COMPLETE CONTROL of the entire situation.

Even as Mace Windu catches the Force lighting and redirects it back at Palpatine, Palpatine does not stop until he's super deformed and looking totally awful– this isn't out of self defense, this is (once again) for the sole purpose of putting on a show.

Palpatine says, "He's killing me, Anakin" and yet Palpatine CONTINUES to use Force lightning. It's not Mace Windu who is killing Palpatine, Mace Windu is DEFENDING HIMSELF against the powerful Force lightning attack, that PALPATINE continues, even as it deforms him.

Mace Windu is not lying when he says, "Anakin, he's too strong for me–" because Palpatine, even unarmed, is so much more powerful than Mace Windu.

Palpatine is lying when he says, "I…can't. I give up. I…I am too weak, in the end. […] I surrender."

And he says it because he knows what those words– "I surrender"– will do. He knows that it is against the belief of the Jedi to kill an unarmed man, to kill someone who HAS ACTUALLY SURRENDERED. Even Count Dooku had not surrendered to Anakin. He was unarmed, but he did not surrender.

Anakin knows this. This is why Anakin was so upset about the way he killed Count Dooku, because it was not the Jedi way, because it was wrong. And now, here's Mace Windu, one of the best of the Jedi, about to kill a man who has actually surrendered.

When Mace Windu says, "He controls the Senate" he is accidentally playing into Palpatine's hand. Palpatine has told Anakin that the Jedi will try to take over the Republic (which until now, Anakin thought was ridiculous) and if the Jedi take over the Senate, will they kill all the Senators, too? Padmé?

Obviously the Jedi would not have done this, but Anakin's lack of sleep, mixed with his fear and Palpatine's manipulations suddenly make it all too real for him.

There is only one split second where Mace Windu actually could have killed Palpatine, and that's right before Anakin steps in as Mace raises his lightsaber for the killing blow. But the only reason Mace has this opportunity at all is because Sidious allows it. And Sidious allows it because he needs Anakin to see how far the Jedi have fallen. Mace steps into the trap, raising his lightsaber, and seals his fate.

CONCLUSION

Mace Windu was an incredible warrior. He was one of the most powerful Jedi who ever lived, and he is one of my personal favorite Jedi. However, the outcome of this battle was decided before it began.

I have seen some people say: if Mace was not winning, it takes away the power and meaningfulness of Anakin’s choice.

And I understand the argument– because how is Anakin's choice important at all if Mace had already lost? If Mace Windu was never going to win, then Anakin's choice truly had no effect on whether or not the Republic fell, whether or not the Jedi were destroyed.

But the Jedi had destroyed themselves already by fighting in the Clone Wars. The Republic was rotten from the inside out, and it was not just because of Palpatine. So by the time Anakin is forced to make his choice, the fall of the Republic and the Jedi is already inevitable– it's just a matter of when.

Even Padmé recognizes this much earlier in the movie:

"What if the democracy we thought we were serving no longer exists, and the Republic has become the very evil we have been fighting to destroy?"

By this point, the Republic has already been gutted. The Sith have already won.

Had Anakin chosen to help Mace Windu kill Palpatine– and Palpatine already knew Anakin never would have, otherwise Palpatine never would have let Anakin leave his office and tell the Jedi Council he was a Sith– the Sith may have been destroyed. But it would not have stopped the slow degradation of the Republic, and it would not have ended the hypocrisy of the Jedi as peacekeeper-warriors.

And yet, in so many ways, Star Wars is about inevitability and the choices people make in the face of destiny.

Anakin's choice still matters, but his choice was never between light or dark, it was never between Jedi or Sith, it wasn’t even between killing Mace Windu or killing Palpatine.

His choice, in that split second before he makes it, is: stop Mace Windu and save Padmé or watch her die.

Anakin's choice matters because of what it means for Padmé's future, and his own. It matters, because he chooses to be an active participant in the destruction of everything he has ever fought for in an attempt to save her, and it fails, and it ruins him.

All of this is Palpatine forcing Anakin into a corner, and forcing him to make an impossible choice.

But he’s immediately filled with horror after he’s made his choice, because he didn't want Mace Windu to die. He doesn’t regret it, because he has already decided he will do whatever it takes to save Padmé, but he hates that his choice has come down to this.

Alright, did my argument convince you? If not, why? Do you think Mace Windu was truly more powerful than Sidious and was about to defeat him on his own, and if so, why?

I will not respond to rude, or mean remarks. I'm genuinely interested in a discussion if I've not convinced you, and I am open to changing my mind if you have evidence to the contrary!

[bluginkgo]

Ep 8 Thoughts and Details Part 1

Some thoughts and details I had while watching ep8, and some parallels I found. And yes, I had to split this into 2 parts because Tumblr said "fack you, you can only upload 30 images :P"

Spoilers, duh

Already starting strong, the song that plays through the radio is "Cyn's theme" if you will, that is heard all the way back in ep5 (time stamp about 2:34)

Ep8 showcasing the first teaser image that was released on Liam's channel. Quite bittersweet, in a good way.

Well, uh, Uzi is a true god now XD She's got the AS that was originally in Cyn as well, double powerful and double traumatized/damaged OC!

"A How-to guide of overcoming the existential dread evoked by murdering innocent sentient robots capable of emotion and independent thought. Real life JCJ engineer testimonies. Thought provoking analysis of life and the benefit of being the apex predator. Insanely philosophical advice such as, 'Get over it,' 'Shut up and keep working,' 'Do you want a job or not.'"

Bleh >:P The fact that the AS is still playful is something a bit silly to me, in a funny way. Despite it being the god of the universe- almost- it has a silly side to it.

The amount of times there were cuss words either almost said/implicated made me so happy and burst out laughing one too many times XD

I've seen some people mention how the reunion between Uzi and Nori was unsatisfactory. In my opinion? It was perfect. The awkward feeling of meeting someone you should have known your entire life, all the while trying to the world was perfectly translated here. The silliness that Uzi inherited from Nori shines here. But most of all, N's kindness shines through Uzi. I think if Uzi was still her angsty rebellious teen like she was back at the beginning of the series, she would have not had as nice of a reunion with Nori as she did now.

Omg, you have no idea how happy I was in this scene. The animation, VAs, the DETAIL- ALL OF IT was so amazing! N looks so silly and goober-y <:3 Another thing I took notice later on was the timing. It's not really stated how much time it took for Uzi to go from falling down the AS hole to being punted into space. But assuming about minutes, that implies N facking booked it. The moment he got tossed out of the cathedral with the keys, he absolutely booked it to the ship without evening thinking whether Uzi was alive or not. He needed to see the evidence for himself. He didn't give up on and assume that Uzi was gone.

Recently one of the animators posted the scenes they worked on, giving us a clearer view of expressions. The work done by Xoriak was amazing and really pushed the expressions on these characters to the limit. What used to be Uzi's anger, quickly melts into relief an sadness as she realizes that N didn't give up on her in this scene. While she sacrificed herself, N did not accept her possible death as the only answer. No, he chose to look for her, and he would have done the same with V had the elevator not been blocked off.

This made me happy too. N has grown so much from who he was in the pilot. He used to be the push over that made friends with rocks, that accepted any order from the higher ups and didn't dare question any rebuttals. Now? Now he's confident enough to even voice the fact that he was mad about what Uzi did.

Give me like- giv- give me a second- LKJD;OIADKNVKVNAKDJF;OIWAEJFANVKJASDJFAOIWEFNAKJSDBV For the longest time my hyperfixation has been BONKS. Evident enough with what I've drawn (looks back at the 4-5 bonk drawings I've made). The fact that I got to see them bonk in canon made my sad sorry soul ascend into the upper plane of existence XD Oh and "die man bit-"

I grew up watching Studio Ghibli, so to see this moment- of NUzi falling and holding hands, of course my brain said- YOYOYOYO LOOK LOOK THEY'RE SO CUTE-

The moment of respite, the hug, the tail wrap around and the quick release from Uzi's part after having a heart to heart- it was all so perfectly beautiful ;w; NOT TO MENTION THE MUSIC, as usual AJ DiSpirito absolutely delivered. I REQUIRE THAT MUSIC TO BE PLAYING LOUDLY IN MY EARS 24/7 PLEASE AND THANK YOU AJ.

"I owe you 1 spaceship" -N

Couple things:

It's funny how J just either gave the ship up without a fight, or N was so stupidly fast that J couldn't even do anything about him taking it XD

N is an absolute machine at speed drawing XD

"I'm FINE, and calm, and GO AWAY." J is the embodiment of the entire work force TwT Couldn't help but say "same, honey, same ;w;"

Excuse me while I just- ITS VVVVVVVVV SHE CAME BACK OH MY GOSH- passes out On a more serious note, I've seen plenty of people mention that if V came back, her sacrifice would be for nothing. I don't think so. V came such a long way and grew to be more kind and honest thanks to her interactions with N, Uzi, Lizzy, and even her "death." It shows, because she chose to side with Uzi and N, and they all fought together in an amazing dance.

There were many moments in the episode that were a bit "slower" pace as many have put. That these moments took away from the intensity that was supposed to be in the episode. I don't think so. These moments are needed not just for the comedy part of it, but to give our brains to rest. To take a second, process the fighting we just saw, and be ready for more action. This is often used in Studio Ghibli movies, where after heavy action, it is followed by moments of quiet serenity to give you time to let the events sink in.

This, this right here TwT CRIES. These three have been together, hanging out, figuring out the eldritch mysteries- of course they'd pick up habits from each other. From N becoming more confident with himself and allowing himself to be mad at someone. To Uzi picking up on V's crawling on the ceiling habit. To V picking up Uzi's "bite me."

The amount of hand holding that was in this episode gave me enough serotonin for a life time. And the way that N always ended up wrapping his tail around Uzi, be it a hug or a cool pose. All of my NUzi hyperfixations are becoming canon and making me go FERAL.

Something that is interesting and always comes back to us, is the AS's interest and fixation on N. The way I have always seen it was Cyn was the reason for it. The AS tends to take something from the host and amplify it ten fold. For Uzi's case the perfect example was when she felt anxious or upset. Ep4 and ep7 are great examples of that. For Cyn's case it would seem that she got attached to N after she entered the mansion as a Solver host. The AS probably took that thought and amplified it to unhealthy amounts.

Oh.MY.GOD. THESE GOOBERS SEND HELP THEY'RE TRYING TO KILL ME WITH HOW CUTE THEY ARE. N first attempts to protect Uzi, and she says "nuh uh" and covers his hand instead. This. This right here. It's far too beautiful TwT

Great frame, but uh, how the fack are we able to see the AS symbol? XD Cause uh like, her face has a split for the nose section still and all of a sudden it just... went away? XD Don't get me wrong, the animation is TOP NOTCH in these last episodes, but silly little moments like this- where it's super tense and scary, but after a rewatch it just seems silly.

When I first saw this I figured "oh shit, it's ep7 all over again, they're gonna be obliterated." The demonic screams I let out were a bit embarrassing to say the least XD

This little shit. She's just playing with them, and she knows it. This entire fight was nothing more than a little game for her. Like a cat playing with a mouse before killing it.

In this scene you can actually hear the first notes of Eternal Dream, but in a super distorted way, much like it sounded in ep6 (timestamp about 15:30)

Alright, Ginkgo what now, why include this blurry frame of nothing? I really admire Cyn's VA. Fitzy has always done an amazing job at making my favorite character- Cyn- the creepy silly goober that she is. So of course I would have watched and unwillingly memorized laugh takes that Fitzy also shared. One of which was here (time stamp of about 0:47. The laughs are similar, and most likely reused from ep7 takes that never made it into ep7 but carried over to ep8. Just a fun little detail I noticed.

OMFG LMAO AAHAHAHHAHAHAHAHAHAHHAHAHHAHAHAHHA THE WAY I BAWLED THE FIRST TIME I HEARD IT XD

Split second frame but I see it. I SEE IT V. SHE COVERED UP N'S CORE TwT Despite all of the comments she made, despite all of the things she did, she still cared for him. And the entire show, her entire character growth shows that. She didn't run in that moment- she could have much like she did from Cynessa mere seconds ago, but she stayed, and tried to protect N too.

OMG BAHAHAHAHAHAHHAHAHHAHAHAHA YESSS UZI XD

The entire fighting scene between Uzi, Cynessa and J was so amazing. As usual, AJ DiSpirito did an AMAZING job with the songs, but more so the fact that Uzi is able to hold her own against J and Cynessa, that just amazes me. She has always been strong, but seeing it in battle made me appreciate it all that much more. Another thing about this episode, it seemed like the animators didn't particularly try to hide anything sneaky. All of the glitched sections (ex: Uzi's visor after she at the AS) were code that general population is unable to read/decipher- unless someone with an actual expertise tells me otherwise, I can only assume its code of her CPU functions- once again, remember, I know next to nothing about computers and that language TwT But the moments that were evident were these- they were even changed to BLUE. From the pilot time, everything was sneaky. I mean from the way the Murder Drones logo switched briefly into the AS symbol, to N's waking up having administration "CYN" written on his visor upon reboot. All of that was sneaky details put in for us to hunt down. This time around, it didn't feel much of like a hunt and more like silly easter eggs.

Wanna see the rest of it? Yeah, here's part 2 because Tumblr doesn't like more than 30 images per post TwT

[linkspooky]

Does it ever frustrate you (like it bothers me), that the heroes and civilians (and many of the fans) have no concept of "the big picture"?

I mean being optimistic is one thing, but the hero kids are going back to class, hero society is being rebuilt and the same structures are getting back in place with barely a question of what might change, if anything will...

Like shouldn't they know by now??!!

Hawks looked into the league of villain's pasts.

Deku was told directly by shigaraki what was wrong with their society in the last war.

There was a whole (plausibly canon) movie revolving around the threat of the quirk singularity, and still nobody cares.

Judging by the recent chapter, the civilians are the same as they always were, or have become even worse in their mindset.

And at least so far, the heroes haven't shown anything concrete in how they plan on doing things from now on, if their actions or beliefs made any real impact.

At this point it really feels like either:

A. The Lov (Toga, shigaraki and some others) make a miracle resurrection/recovery.

or

B.it's the cycle of violence until inevitable extinction...

Do you feel differently or the same?

Hello, friend.

I definitely share your frustrations.

I think this post by Tumblr User BNHAObservations might be onto the type of societal reform that Horikoshi might be going for in this epilogue.

So there's two approaches that you can approach to MHA, and specifically it's endings. BNHAObservations is using Literary Analysis. That is they're not talking about the work in terms of "thing good, thing bad", but rather assuming that everything Horikoshi put into his work is intentional analyzing the themes which Horikoshi is putting forward. What is the theme of MHA and how does Horikoshi demonstrate that theme with characters and events in story?

That's the question to ask if you're taking a literary analysis angle.

(By the way if BNHAObservations sees this I'm not criticizing your post in any way sorry if I give that intention I'm just using it as an example, and also reccomending people read it because it's a good post. This post isn't a response to this post I promise I'm just linking it to provide an opposite point of view from my own).

The second is Literary Criticism. While I prefer Literary Analysis, I've been taking a Lit Crit approach as to late because. My question is not "What is the theme of MHA?" but rather "Does MHA use the tools of storytelling to communicate it's theme to it's audience well?" So, let's discuss how Hori chooses to convey the themes of the fictional world he created.

So as I said BNHA observations has an answer to your question from a literary analysis perspective. The gist being "Horikoshi seems to be suggesting that the improvement to society will come from the public being more involved with stuff like community outreach to assist the heroes, and maybe with Spinner's comic the villains voices will be heard on top of that." Which is a valid perspective and why I linked it.

However, from my literary criticism angle I don't think that particular theme is communicated well by the story. This is why while I think acknowledging the cultural context of the story is an important perspective, it's just one perspective because MHA is still A STORY and it has to use the tools of storytelling to get those messages across. MHA can exist as a piece of cultural commentary and still be confusing about what exactly kind of commentary it wants to make, because it doesn't function as a story.

So here's the literary critcism angle of: Why is it so gosh darned frustrating that the public at large doesn't seem to have changed at all by the ending of MHA?

When you are a writer you can write anything you want. But if you want to write a story that people want to read you have to follow the rules of good storytelling.

There are reasons why storytelling rules exist. A story is a bond between author and reader, readers to other readers. It is a communication between humans and humans work in a certain way.

I'd also argue that literary criticism is something that exists across cultures, like for example I watch Japanese Horror movies with my friends. Japanese Horror movies are very different from american ones because what that culture considers scary is different. However, if I'm watching the movie that has bad lighting and uncreative camera work, and I criticize it on that grounds, I think the rules of what makes good and bad camera work and shot composition work across cultures.

To quote this post:

Storytelling rules are rules of communication. Rules for handling expectations and saying what you intend to say without it being misheard. Rules for tugging at emotions and pulling heartstrings in a good way rather than a bad way. Storytelling rules are lessons learned by authors of the past that failed to communicate what they needed to. They are not that subjective.

So to address your ask finally friend, I believe a lot of audience comes from Horikoshi's inability to get his theme across in his own story with the tools of storytelling, just what he wants to say about the the society that he's created in his fictional world.

The first is the very obvious discrepancy between setup and payoff. As an example I read the Sam Vimes discworld novels, which you could say is copaganda about a good cop who does his job. However, the story is not trying to be a deep analysis about the crimminal system, it's a fantasy story taking place in a deeply corrupt medieval city where the main character is a parody of Dirty Harry. In other words it doesn't bring up any of those deeper issues so I can just read it for what it is, knowing it's kind of dated.

MHA sets up these deeper issues in a way that calls to be addressed. It's made clear several times in both Shigaraki's walk, and his speech during the first war arc that there's already enough heroes and yet problems in this society persist.

Theme is basically the story asking a question and then providing an answer. The question is: If there are so many heroes then why are there so many people who don't get saved?

It seemed like the answer we are building towards is that heroes need to change the way they deal with villains, hence why everything post War Arc focuses on the main trio trying to save their villains without just putting them down. You have Twice's death at Hawk's hands, and the question of why heroes only save the good victims. You have the parallels between Shigaraki and Eri. You have Deku say "ONE FOR ALL IS NOT A POWER FOR KILLING."

Hori is an author who makes choices and he chose to deliberately bring up these issues and not address them, and that makes the story feel unsatisfying to read because serialized stories hook the audience by promising future development.

Read this story because you want to see how the Todorokis will find a way to unite their family. Read this story because you want to see how Bakugo and Deku will become the greatest heroes, by saving by winning and winning by saving.

Twice's death, Toga's question about if Uraraka is going to kill her, Shigaraki's walk, OFA is not a power for killing these are all things that mattered in the story and then suddenly didn't. If you promise a story is going to address something and then you renege on that promise the audience will find it unsatisfying. If I'm reading a murder mystery and it ends with everyone eating cake and the murder hasn't been solved (and that's not the point of the story) I will feel like the story has wasted it's time.

So it's not just a case of "MHA was never going to be a story of deep societal reform because it's a shonen jump manga" but these themes are brought up, and then never addressed again.

Which is where we get my second layer of criticism, the massive tonal whiplash. My Hero Academia seems like a story of how kids are going to grow up to be better heroes by saving their villains, until it's not.

My Hero Academia is not a tragedy, until it becomes a tragedy in the last five minutes. Every single person thought Shigaraki was going to be saved somehow, until he wasn't. Everyone thought that Twice's death was going to be the last death in the league of villains, because the kids were going to realzie they have to find another way than killing the villains, until it wasn't. The audience isn't stupid for thinking this was going to happen, that's what Horikoshi was foreshadowing in his story until he threw it out.

The worst part is the tragic tone doesn't work, because it's poorly written as a tragedy. Greek Tragedy revolves around the fall of the heroes (this is a japanese work and japanese theatre is different, but Superheroes are inspired by the greeks). If the villains failed to get saved, then it should be a failure on the heroes part, it should be devastating on the heroes.

Hawks failed to save Twice but he's fine, Deku failed to save Shigaraki (OFA is not a power for killing) but he's fine, the only hero who seems personally affected by their loss is Shoto who is losing his brother. If this is a tragedy then heroes should be the ones to fall because tragedies are about the tragic flaws of the heroes.

However, we get this tonal inconsistency instead where no consequences stick to the heroes and every single bad thing that happens to them gets magically done away with by plot convenience.

So Hori has shown that he can just handwave away whatever kind of grievous injury he wants, and yet he still chooses to go out of his way to unnecessarily punish the villains for their actions, in the manga that's supposed to be about saving them.

And even if we go with the "Well, their hearts were saved" approach, the manga fails to demonstrate how their hearts were saved. Naruto, a manga running in the same magazine, does this so much better with characters like Obito.

Look at Obito's sendoff in the manga. A character who also is responsible for directly harming the main characters and who went to war with the entire world.

Obito has a dream sequence where he realizes he could have always gone home and still tried to become Hokage and he wasn't beyond redemption. He lives long enough to assist Naruto in the fight against the final villain. He gets called awesome by Naruto for trying to become Hokage because they shared the same dream.

His last moments in the manga are Rin the girl he loved comforting him in the afterlife, by saying she was watching his suffering all along. His literal last action is to lend his power to Kakashi his best friend in order to fight together once more against the villain.

Shigaraki on the other hand doesn't even get the majority of screentime in his own death chapter, he gets two pages compared to AFO's five.

It's not just the fact they get unsympathetic deaths, the story also bends over to show that they deserved it. Toga doesn't want to accept prison for her actions so it's okay for her to commit suicide even though she's a young girl. Shigaraki didn't want to give up being the hero to the villains, so it's okay that Deku didn't save him.

People are discussing whether or not Spinner should be held accountable for not saving Shigaraki because of his character flaw of deciding to not think about things and go with the flow, but that ignores the fact that once again Spinner is not the main character. Yes, characters should be held accountable for their flaws, but the protagonists are the one who should be held the most accountable because the story is not about them.

Spinner and Deku both failed to save Shigaraki, but let's look at their punishment. Spinner is in prison for the rest of his life probably, almost became a Nomu, and has survivor's guilt for being unable to save Shigaraki in time due to his own actions.

Deku... has to live with the fact he killed Shigarki and will "never forget it."

If we are going for a tragic ending, and Deku is the center of that tragedy, than Deku should be the one suffering for his failures. Deku should be held just as, if not more accountable than Spinner.

Spinner is held accountable and that makes him a good character - but to what end? I know what it's to slide blame away from Deku, which is also why Spinner randomly says something racist at the end of his scene.

So in all it's not frustrating because MHA isn't some deep, thoughtful criticism of Japanese society. It's frustrating because it violates the rules of setup and payoff, and it also is extremely tonally inconsistent.

A common response to this is I've seen is "You should just like MHA for what it is, and not what you want it to be."

However my underlying problem is that MHA as a story seems to be very confused about what kind of story it is. That confusion shows in Horikoshi constantly throwing out his own foreshadowing, and the wild swings in tone from tragedy to a story about optimistic young kids who are going to be the best heroez eva. Hori can tell whatever story he wants, but that doesn't necessarily mean he's telling it well.

As I said Hori's indecisiveness shows by this point in the story. I've already discussed this with Class1aKids but it really seems like Horikoshi is setting up two things with scissors-kun:

He'll either be A) A new villain that Deku and the kids prevent from becoming the next AFO or B) a resurrected Shigaraki who can save the rest of his league and fulfill his role as hero of the villains.

At this point there's equal foreshadowing for both, and this is my personal theory but it truly seems like Hori is gauging audience reaction to see which path he should take. If the japanese audience is satisfied with the villains "hearts" being saved, or if he should bring Shigaraki back to let the villains end on a more hopeful note.

[letters-adressed-to-the-fire]

so this is why i think peter is the one looking in people's windows

A few days ago, I saw a swiftie on TikTok talking about how I look in people’s windows could be taken as the other perspective of the same story narrated in Peter, and I just couldn’t stop thinking about it. So, I decided to go in-depth and start a self-assigned quest to look for any clue that could interweave these two stories in a way that made sense.

I know this could sound a little absurd or could be taken as a stretch of some sort, but I believe, and I’m sure most of her fans would agree, that most of the beauty in Taylor’s writing comes from the countless different interpretations people bestow on her lyrics. I’m not asking you to take this analysis as absolute truth because I’m genuinely just having fun with it, and I hope you do too.

I’ll analyze “I look in people's windows” from Peter’s point of view and “peter” from the other character’s pov, whom we’ll call Wendy given the obvious parallelism to Peter Pan.

Well, the main and obvious connection is given by the “window” element. While Wendy is waiting for Peter by the window, Peter is looking for her from outside that window. If you look at this through very literal and rational eyes, I believe you’d think it doesn’t make sense that they were both looking for each other through the same window but never met again. So HERE is where I want to insert my interpretation.

There are two options I can think of that would explain the failed meeting. 

Peter intentionally avoided Wendy while still looking for her every day.

Every time they were looking for each other, it happened at different moments.

The first case presents a lot of questions, like, is the pledge to grow up what is stopping Peter because he knows he can’t do it? Or was he cruel enough to wait for Wendy to move on and then come back? Either way, the conclusion remains the same. In this scenario, Peter was a coward. If it was because he didn’t want to grow up, if it was because he just wanted Wendy to never move on, or if it was because he never gave her a real answer.

On the other hand, the second case talks about something that’s closer to a tragedy. They were always doomed by the narrative. While Wendy was waiting for him, Peter was looking for her, but Wendy never saw him—not when she waited or when Peter was looking for her. We would need to assume some things here tho. Either it all comes back to the first option and Peter had been avoiding her the entire time, or he thought she had already forgotten about him. The first option shows us, once again, that Peter is a coward, but the second one also tells us something important: he may be too scared to grow up, but he’s not selfish enough to stop her from moving on.

“Northbound I got carried away As you boarded your train South, south, south, south, south, south A feather taken by the wind blowing I'm afflicted by the not knowing so”

Based on this verse, we can design a new theory. He watched her leave and he was aching for her to come back to him. So he started looking for her in other people’s windows, wondering if one of them was gonna be her. Even when he had already said goodbye to her.

And here’s where another verse of peter will acquire significance:

“I thought it was just goodbye for now”

With both songs in mind, it sounds like he said goodbye to her, hoping they were gonna see each other again, but he also knew he had to let her go at the time and that he was condemned to miss her. But what Peter didn’t know was that Wendy was gonna go through the same thing, but she wouldn’t have the comfort of knowing what he did (wait for her).

“promises oceans deep, but never to keep”

This is why we get two completely different endings for both songs. While Peter is still addicted to the what-ifs, Wendy has turned off the light; the fantasies have expired for her. Wendy grew up; Peter didn’t. While I look in people's windows gives you the feeling of being running from house to house in a neighborhood you don’t recognize anymore, trying to fit into a routine you were used to in the past; peter reads like the last chapter of a book you’ll never touch again.

[wistfulnightingale]

The Chess Moves Theory Set (New Ideas About the Final 15)

*An 8-Part set of Interconnected MetaTheories that support each other and might start to answer some interesting questions.

Did you have any nagging thoughts about things that didn't make sense from the last 2 episodes of Good Omens S2? Out-of-character moments, or odd changes in mood, or just little things someone said that stood out, but you weren't sure Why?

Me too.

For me, it was Especially because I became convinced that Aziraphale and Crowley committed to each other as loving partners on that bus ride home from the almost-Apocalypse, and that we were seeing An Old Married Couple as S2 opened. They were sweet, but stable, with set looks and comfortable touch and familiar quarrels, and now a sudden dramatic crisis had strolled up to their doorstep in all his naked glory...

So, for many months I was poring over YouTube videos, rewatching full episodes -- with headphones, or not, with captions, without sound, with sound but not watching the visuals.... Bonkers, right? But, as the Cheshire Cat said, "We're all mad here." And Alice later told the Hatter, "...I'll tell you a secret. All the best people are!"

I saw so many wonderful questions about S2 being asked by my fellow madly devoted Ineffables fans. It occurred to me that maybe we needed to ask all the questions at the same time, in order to come closer to the answers we were looking for, instead of looking at one question as the key. Similar to chess, where no singular move can win the match without the other moves and counter-moves.

I came up with 8 Mini-Theories I christened The Chess Moves Theory Set that all impact and support each other. Some may seem too wild or weird for the ineffable path you follow, some you might love, some may (I hope) turn out to be on the right track, and some may prove to be altogether wrong. But I did my best, and I do believe all of them are supported as theories by what I discovered and what I describe in each meta-theory analysis. I hope they are also consistent with the vision Terry Pratchett had for the final story. Even if I was mistaken, at least it gives us something fun to talk about until then!

Tumblr doesn't make it easy to prep and link 8 theory posts and a Master Post -- I tried (oh so hard!) to put cross-links in each one for you, and it just couldn't happen at posting time. Annnd, I'd also foolishly put my works-in-progress from "draft" into "private" 5 days ago! This makes it even tougher for you to get to them. So here's a nice shiny new post with all 8 Mini-Theories plus the Master Post that explains how Chess and Magic connect to all this:

The 8 Chess Moves Theory Set:

1 - The Metatron Misdirection

2 - The Metatron's Second Coming

3 - Ineffables in Check

4 - A Hefty Jigger of Death

5 - Nothing Lasts Forever

6 - The Circle Kiss Theory

7 - The Nightingale DID Sing

8 - Aziraphale's Jubilant Smile

Also: The Chess Moves Theory Set, Why Chess & Magic?

(If anyone has trouble with any links in any of the blogs, please let me know asap, and I'll try to fix it! I had some issues when I tried to cross-link everything!)

I also linked them in my pinned post on my blog page, "I Believe In Nightingales" at @wistfulnightingale.

I hope you enjoy them, if you decide to check them out! I'd love to have you along on this crazy ride until we get to the final chapter for our Beloved Ineffable Husbands!

[ritornello]

since i can't answer myself so well, what would you say are asada nemui's distinctive storytelling traits and on a personal matter if you'd like what makes you like her stories? not so much tropes but running themes, art and such. i hope it's not too heavy of a question and thanks ^_^

Hi, this is a great question. For anyone with the patience to read all this I think it might help explain what makes Asada Nemui such an intriguing manga artist. (especially without the "it's because X reminded me of Y! - type analysis that occurs very frequently in english fandom communities)

There's a lot of images in this post, but it's not too spoiler-ish.

Comments about art

The first aspect of Asada's art I would want to praise endlessly are the page layouts. Dear, My God was one of the first stories I read by her and the flow of the panels is what really stuck out to me. I like using this sequence of pages as an example - can you guess what's going on?

I removed all of the dialogue and SFX, and it's so well laid out that the sight-to-panel direction, background design and expressions of the characters are enough to understand what's happening. It almost feels like you're looking at a scene from a movie or storyboard.

Text version:

While reading The Sound of the Waves, a page describing the plot of a writer's story more or less summarizes Asada's layout style. It generally begins with an establishing shot before laying out the rest of the scene, which with a longer story may take a few more pages to conclude.

The divisions of pages seems to average around four to seven panels, and pages with three or fewer panels show up very sparingly - likely saved for more impactful scenes.

(I'll just take a second here to add how much I love that she generally sticks to one shade of screentone. Limiting the palette to just three values is a great way to create shadows and dramatic lighting effects!)

Asada's direction is very focused on telling a story - there is always some type of visual cue that the scene is actively present and happening in front of us, the readers. I like this continuity compared to a series that might have excessive headshots or pages of flashbacks during a scene with a lot of action.

One of my favorite scenes in Sleeping Dead is in the second volume, when Mamiya is out in his van and attempting to construct a conversation. It fills an entire page, but his entire monologue could have been condensed into one "thinking" panel.

It doesn't necessarily look bad like if it were like this, but Asada intentionally uses the entire page to emphasize Mamiya's expressions, his awkwardness as he slowly loses confidence in himself. (Plus he's actively driving and looking at the road.) I like that this is a very private scene that reveals the inner character he tries to hide during the majority of the first volume.

I also like that she understands the importance of a readable layout enough to redraw areas that might be confusing to look at, like this one from the magazine version of Sleeping Dead (left side) :

In the last panel it's difficult to tell who's talking, because there are four detached bubbles and you can't see Sada or Mamiya. I wasn't sure if Sada was talking in the first bubble since it's directly below him, but the second seemed like Mamiya since it's drawn so awkwardly. For the paperback release she added a line to connect the two bubbles - obviously it's Mamiya saying both and becoming nervous as he brings up the possibility of having more sexual activities with Sada.

If you noticed the changes in the other panels of that page it also goes into her tendency to do redraws. Some of them look quite different after they've been changed - from the series I've read I noticed major redrawing for Dear, My God, the older short stories republished in Ai, Sei, and even Takatora and the Omegas (though Asada credited changes in that one to the fact that she's now working 100% digitally).

My opinion for these is kind of mixed, sometimes they do look better and sometimes I prefer her original style. This one from Dean My Love that appears in Ai, Sei is a crime lol.

There was a two-volume manga called Mangaka Gohan Nishi (Breakfast, Lunch, Dinner and Comic Artists) published in 2015, and it has one page comics by mangaka discussing food they eat. Asada appears in the second volume and her page mentions watching movies.

(basically it's about being bad at / injured by stovetop cooking so she prefers the safety of the microwave. But in the unidentified movie the characters make an explosive device with a microwave…)

I would undoubtedly say films are a large influence to her, and I've caught some parallels/references in her work, but it's kind of a disservice to only point out similarities in characters or genre tropes rather than her skill as an artist and storyteller.

During the last couple years Asada's also been fairly active on Twitter where she shares concept art and extra comics that add more to what she was limited to write in the published works.

For Takatora she's even been live-streamed the planning and inking of its (as of now) upcoming chapter on Pixiv Sketch. The series already has over two dozen pages of extra content judging by a numbered page she shared on Twitter.

Overall I appreciate that on top of having a high output she seems to care a lot about the quality of content her readers are getting. Not every artist makes redraws for their series on top of doing multiple serializations and lots of fanart/doujin content.

(And she has made a lot of fanart and doujinshi. For 10+ years.)

Comments about storytelling

I'm probably going to sound more rambly here, because I'm not a writer or a critic. Regardless of which series I enjoyed or disliked, I think most of them have an element of pushing boundaries in BL manga.

As one Japanese reviewer said when commenting about Sleeping Dead - Asada's manga are the type you want to recommend anyone to read...except you can't.

I think it goes without saying that the focus of sex in her manga can be a barrier, but there is enough range in her work that a reader (with some help) would be able to find a story with an amount of sexual content they'd be comfortable with. I could definitely see Asada working on more non-BL titles like The Swerve, Yoi and A Friend's Funeral, but to be blunt...she seems to really enjoy drawing men having sex.

Boundary-pushing can be apparent in most of her manga, especially when it starts as early as the first chapter. In the least extreme variation, her titles like Sleeping Dead and Call feature somewhat jarring love interests - middle-aged, sexually awkward men that are unconventionally designed compared to other BL love interests.

When the second volume of Sleeping Dead was nominated a Chil-Chil award for its story, Asada shared this illustration of Mamiya in a boxing ring. I love to imagine it as him squaring off with the much more handsome and less follicly-challenged ukes of the other nominated series.

If you check out her earlier series there are a few subjects considered taboo to look at. Sexual violence occurs pretty frequently. Surprisingly (or not, if you've been around long enough), it's not even rape that's considered risky subject matter in BL magazines.

According to a recent interview with Chil-Chil, Asada originally planned to publish Takatora and the Omegas with a different publisher (my guess is Shodensha, since they serialized My Little Inferno in OnBlue), but its inclusion of sexual health topics was considered too extreme:

[Interview translation credit goes to Ikari of Bottom of the Sea Scans, which currently scanlates Takatora and the Omegas.]

Thanks to Canna being willing to publish her more explicit story ideas, we might be able to see how far she planned to go with Takatora. The published chapters have already broached subjects including hysterectomies, abortion and sexual autonomy. I think this situation with Takatora has parallels to the struggles female shoujo mangaka faced in the early decades of manga publishing for girls.

The magazine Canna tends to serialize BL stories that include elements of science fiction and fantasy, which I think has made it a place where artists like Asada can have less restriction in their storytelling.

But...I don't want to praise Asada just for tackling difficult topics. Going back to the comments about page design, there's a huge focus on dialogue. Characters are frequently conversing and making eye contact with each other. She's amazing at writing characters with unlikable traits that are still enjoyable to read about, or are paired with a partner that helps balance out, or even tolerates their faults.

I think it can be easy to drop a series if it has unlikable characters, but she tends to put them in situations that question their ideologies, and we get to see how they change over the course of the story. Even Asada commented that she's not a huge fan of how the protagonist of Takatora and the Omegas acts:

Takatora could wind up being one of the most extreme examples of an unlikable protagonist, but we'll get to see if his bigoted views are changed as he's challenged by his peers, and as he offers his own support to solve their troubles.

At this point I totally got lost in the Takatora sauce, but other little aspects I love about her manga are the humorous moments, the sometimes getting too over-her-head writing, and endings that can be unexpectedly gut-punching yet written in a way that's the most grounded in reality. And in Sleeping Dead's case, immediately followed by a whiplash of silly extras.

I hope that with Takatora and Yoi - which seemed to have planned out for a while - Asada can continue to do her own thing, because I think it's a much better creative output to make whatever the hell you want instead of conforming to the preferences of the publishers.

In conclusion:

[writing-for-life]

WHAT DO YOU MEAN DREAM'S HAIR USED TO BE WHITE!! oh my god. i just saw your post about killala and i have now perished. thanks for breaking my heart.

but also hi!! i'm relatively new to the fandom and it's a great place to be. i haven't finished reading all the comics yet but i'm curious to know:

what do you think are the main differences between TV!Dream and Comics!Dream? i've heard so many people claiming that he is incapable of changing, for instance, and though the show does convey his overall rigidity pretty well, i'm not getting the vibe that he's immutable.

also!! it's clear that he feels a lot. which is always funny to me when the corinthian is like yo, try this and maybe you'll feel something for a change but like. he does!!! or i get the impression that he does. he probably feels too much if anything?? all of it simmering just beneath the surface, barely contained. how would you personally analyze his relationship with his own emotions?

i hope all of this is coherent enough for you to answer lmao, i saw your post about enjoying being asked sandman questions two seconds after i woke up and barged into your inbox. hope you have a lovely day!

Thanks so much for the ask, and welcome if you’re new(ish) to the fandom! 🤗

I’m sorry I broke your heart—much more heartbreak to come I fear if you haven’t read the comics yet, so I’ll try to keep this as spoiler-free as possible.

I am one of those people who believes the differences between comics!Dream and show!Dream are actually not as big as they are made out to be where it matters, and you will definitely find people who disagree. At the end of the day, we all read it through our own lens and will never be fully objective about it.

The main difference I see is that they filed off the rough edges of the comics a bit to make a new audience sympathise more. It’s very hard to do that with a character who is basically in full arsehole mode for most of the first 40 issues or so, and even then only slowly begins to come out of it (although we can obviously see glimmers of what lies below the surface at the beginning of the comics, too, but it’s far more subtle than in the show). I’ve worked in musical theatre for a over decade of my life and understand a bit about bringing the written word to stage/screen, and some things simply don’t translate well from book to stage/screen, and you have to change it. So my personal opinion is we get a more sympathetic Morpheus and certain changes so the audience can do exactly that—sympathise off the bat. You will lose an audience pretty quickly if they don’t care about the protagonist and the universe he moves in, and you can’t be as nuanced about it as you can be in a written work. We’re talking about streaming services thinking about profits here, even if people don’t want to hear it.

Also: The more you sympathise with a character, the deeper the emotional investment and the more you feel, even if it hurts.

Having said this, I don’t think Morpheus is incapable of change, and I never got where that idea comes from. His biggest flaw is that he believes he cannot change (and even he has moments when he admits he might have). In the introduction to Endless Nights, Neil Gaiman says that he was once asked to describe The Sandman in twenty-five words or less, and famously, it was this (you might have heard it):

“The Lord of Dreams learns that one must change or die, and makes his decision.”

And I think some people might have wrongly taken that for an either/or thing. I don’t want to say too much at this point because I don’t know how much you know (if you’d like spoilers or already know how it ends, let me know, I’ll happily expand on it). Only so much:

He is capable of change, also in the comics. Very obviously so. But just like he denies he has his own story (which also isn’t true), he denies he can change. Or at least he thinks he perhaps cannot change enough (it’s actually hard to write about this without giving everything away, help! 🙈).

As for his feelings: He does feel, but again, it is something he pushes down and will deny himself. Until it bursts to the surface and breaks through, and when that happens, it’s usually with, well, let’s say varying results, and that’s putting it mildly. Personally, I’d say he has problems relating to his feelings, but that doesn’t mean he doesn’t feel. Quite the opposite in my view. He holds the collective unconscious—all unprocessed feelings and whatever else floats around in that collective mess, and it’s exactly what he says to the Corinthian in that famous scene: he needs to keep a lid on it and keep that lid firmly closed so all of it doesn’t consume him. But that also means denying himself the feelings that are linked to his own personhood (if you want to call it that). There’s Dream of the Endless, and then there’s Morpheus. And while they’re one and the same and inseparable, Morpheus is also the “point of view”. The character, the person, if you will. And deep down, he craves that personhood so badly. Out of all the Endless, he is the only one who basically collects names because they mean having something beyond his function, which is also mirrored in what he tells Death in “The Sound of her Wings”: he wants something more. He is the only one whose realm is populated with sentient beings (yes, I know Despair has rats, but I think you get my drift). He is desperately lonely and struggles with it. He seeks connection yet denies it to himself. That’s not someone who doesn’t feel.

I don’t know if this answers your questions at all—I was doing the wild “spoiler-free” dance 🤣 But please let me know if you want me to go a bit deeper, I love talking about this stuff.

You can also have a look at my metas if you haven’t already. The headers pretty much explain what they’re about and what spoiler-level to expect, but none of them are truly spoiler-free I guess:

Again, thanks so much for encroaching on my inbox, and feel free to follow up if anything was left unanswered.

@dreamaturgy ask answered

[veespee]

Vinnie is *such* a complex character i feel. And he makes me feel very conflicted, but here are some (personal) opinions about him: (kinda an analysis? idk i'm just rambling)

-Firstly, he's the voyeur, although unknowingly. The word “voyeur” has two meanings, the first one is.. we won't talk about it, but the *second* one is: a person who enjoys seeing the pain or distress of others. Now, i don't really think he actually likes seeing people in pain. Of course, he shows remorse and guilt over the deaths of his close ones, and even people he didn't know that where victims, so why voyeur? Why would HABIT describe him as a “voyeuristic fuck”?

So, i may be getting some lore wrong, and i apologize in advance, but it's revealed that he has led everyone to their deaths, due to his insistence to keep filming and find answers. Also, if i remember right, he had intentionally left out footage that caused him to be seen in a bad light, and it showed that he had led Jeff and Alex to their doom.

-Now, of course for any sane person, why would someone do that? The answer is… well, for answers. That's the word he seems to be infatuated with, ’answers’. And it's made pretty clear. He saw what HABIT was doing, he saw the state Evan was in, and he knew. He was fully aware, he's not stupid, and he knew what he was doing. If Evan wasn't going to do what Vinnie was telling him to, then… he was going to summon HABIT. He was also aware of HABIT's intelligence/experience with the human race, which was good for him, since he was going to get his questions answered.

-Now’s the trick question (for me at least), is Vinnie a horrible person? Well… yes, and no? I mean, he did do horrible things, that much can be said. He led everyone to doom, he purposefully ignored people's wishes (Evan's request for Vinnie not to upload the video about Jesse's grandmother dying), and of course, continuing to record after all of these things happened, despite Jeff's and Evan's wishes. But he feels incredibly guilty. “Sometimes you gotta do stuff that you don't agree with, but that's the price you pay. But you gotta remember, sometimes the price is too steep, and you just can't live with yourself... I'm sorry... I'm so sorry to everyone that I've hurt, to everyone that has died, around me or because of me.” (these are his own words).

I honestly believe he's a very, very flawed character. His goal is answers, and he will do anything to get them. He has the drive to get what he desperately wants, even after being tortured by HABIT. And i feel that HABIT has some respect for him because of that. And of course, his role was set from the start. Everything was calculated, and he was fulfilling his role, “the voyeur”, “the guardian”, whatever it may be. Everything happened for a reason, the God Killer was created, Vinnie's “purpose” was completed. I guess he could be described as a pawn, a follower that was blinded by his desperation for knowledge and control, but fell into the traps of the bigger entities at play.

thank you for reading! i apologize if i got any characteristics wrong, i just wanted to get my thoughts out. and this is very yap-y, so here's a TL;DR:

Vinnie is a complex ass character, who's blinded by his search for control and answers. He's guilty and self loathing, but avoids responsibility. Basically… opinions vary about him, you either love him or hate him.

[thewertsearch]

[ there was more to this ask, but some was spoilers 😆 - C ]

Ooh, that is a fun challenge! I might make this a bigger Title post, actually, because it's been a good while since we've had one of those.

...alright, I just finished, and this one kind of got away from me. I hope it's ok that I sort of hijacked your post to talk about Aspects as a whole - but rest assured, I did answer the original question. Let's get into it!

Unfortunately, it might be kind of difficult to make Class guesses. My theory is that they're Sburb's take on RPG party roles - and for obvious reasons, we haven't seen how any of the non-Player characters would fit into a Sburb party. A full analysis of the hypothetical Midnight Crew, Exile and Guardian sessions would be fun, but it's a little out of scope for this question.

Personality certainly seems to be a factor. I don't think it's a coincidence, for example, that the Seers are the most inquisitive members of their respective parties. Dave and Karkat both hide their true emotions behind a persona - but then again, so do Feferi and Jade, two happy-go-lucky Witches with incredibly dark backstories. Dave may be the worst offender, but half the cast is hiding behind some sort of facade.

John, for his part, doesn't seem to have anything in common with Equius - at least, nothing I can see. I might dig a little deeper for human/troll Class parallels once we've seen more of Equius and Feferi, but our sample sizes are so small that it's going to be hard to tell which shared traits are intentional.

Anyway, none of the other classes feature a pair of Players that I could toss into a Venn diagram, so we're at a bit of a dead end.

I suppose I could approach this from another angle, and try to extrapolate a Class from each character's life circumstances - for example, by speculating that Grandpa's inheritance of the Betty Crocker brand makes him a potential Heir - but that's clearly not an accurate method, given that literal heiress Feferi is a Witch.

See, Classes are a tough nut to crack! The main issue here is that the comic has given us very little to work with - it's been tight-lipped on Titles in general, and there's been almost no exposition on Classes specifically.

It might be easier just to try and assign Aspects to each of the non-Players - so that's what I'm going to do. I'll also take the opportunity to put forward my best guess for what each Aspect means.

Without further ado:

Time means time.

This one seems extremely straightforward. Not all the Aspects are quite so literal - Breath, for example, seems more closely related to wind than the body function it's named after - but Time is about engaging directly with its namesake. It may have other meanings as well, but we haven't seen any yet.

If you wield Time, then you're the session's designated time traveler - which is a lot less cool than it sounds, because it means you're on Doomed Timeline cleanup duty. Enjoy the corpse disposal!

Both of the comic's Time Players have fashioned their own personal time machines out of musical instruments. Music seems to have some connection to Time - which makes sense, since it's an art form of pitch, rhythm and beat. Music is time.

We can also talk for a second about Dave's Quest. As we'll see, each Land Quest seems to directly concern the Player's Aspect. Dave's Quest is to...

...um.

Well, one of these is Dave's Quest. The LOHACse is the only one of the two which is directly related to Time, but I've speculated that Dave's sword-in-the-stone quest will involve him rewinding Caledfwlch to an earlier point in its timeline. Plus, the Caledfwlch quest also speaks to Dave's Class as a Knight, so I think it's the real one.

For the sake of completeness, let's also talk about the Time Lands. Each Land always seems to feature one trait which either directly or obliquely references its Player's Aspect. LOHAC is self-explanatory, but Aradia's Land of Quartz and Melody is an interesting case, as its 'Aspect trait' could be either of its two descriptors. Quartz could reference the quartz in a modern clock, and Melody could reference the musical connection I mentioned above.

I can't think of any non-Players with particularly strong ties to Time - aside from the Felt and Lord English, who we know very little about. Let's say they're all Time Players, and English rules over them as a Prince of Time. As a mob boss and destroyer of worlds, he undoubtedly shares some of Eridan's megalomania.

Space... well, we actually don't have much for Space. We haven't seen Jade or Kanaya do anything with their Aspect, nor do we know anything about their Quests.

We do know that both Space Lands contain the Forge, so maybe there's something to that. Presumably it's going to forge something, and I think it's probably where you're supposed to create the universe. If your task is literally to create Space, it makes sense that a Space Player would take point - but that begs the question of what would happen in a session without a Space Player.

Maybe the game prefers a Space Forge, but it can spawn on another Land in lieu of one - or maybe Space is the 'default' Aspect, and it's actually mandatory in every session.

As far as Space's symbolism is concerned, my assumption is that it's as straightforward as Time, but we'll need to see more.

While I'm here, I guess I should dip my toe into this hot mess.

Yes, LOFAF's Space Word does appear to be Frogs. Yes, that does imply that Kanaya's was also Frogs, or something equally mysterious. No, I do not know what this could possibly mean.

These frogs are apparently heralds for their god, Bilious Slick, whose shadow has been looming over the comic for months now. I guess their appearance on the Space Lands implies that Slick is Space themed, which is at least consistent with my theory that he's the final obstacle between the Players and their universe.

Moving on, because I give up.

(Oh, and if anyone's a Space Player, it's Bec. You could also make an argument for Mom Lalonde, since her home was fitted with an observatory, but that's very tenuous. We don't know much about Space, so I don't know how else to tie a character to the Aspect.)

There's a lot going on with Light.

All Quests so far have had ties to the Player's Aspect, so whatever Jaspers thinks he's talking about here should have something to do with Light.

Jaspers... seems to be talking about different ways to represent information, and instructing Rose to find a particular DNA sequence. (I have to assume this isn't the MEOW sequence, because I don't think Sburb wants Rose to fill LOLAR's oceans with First Guardians.) So, it sort of looks like Light is information, doesn't it?

Well... maybe. See, things are are complicated by the fact that Dave's Quest above was also Knight-themed, so this spiel from Jaspers could be partially Seer-themed. How can we tell which is the Seer stuff, and which is the Light?

Recently, Rose said this, seemingly confirming that her Title is about information ('knowing shit'), and also implying that the 'knowing' is a Seer thing.

This allow us to compare her to Terezi, the other Seer. As we'll see below, she specializes in discerning people's personalities and motivations - literally, seeing into their minds - so it sounds like being a Seer is about perceiving or 'seeing' things that relate to your Aspect.

Rose, the Seer of Light, should therefore have an advanced perception of Light - but just what is Light? What can Rose see?

Well, she says she can see 'the big picture'.

I think Rose's powers allow her to zoom out, understand the broad strokes of a situation, and see how it all ties together - and I think that is the essence of Light.

Dave wonders how he's going to navigate the Furthest Ring's twisted-up space, so she scans the overall situation with her Light powers, and vaguely understands that it won't be a problem. Dave will be able to play his part.

However, if he asked why, exactly, it won't be a problem, or how he's going to do it, she'd be stumped. That's not her department.

I think I sort of understand what Light means now, but I can't think of a succinct way to describe it. The zooming-out Aspect, maybe? The everything-is-connected Aspect? The don't-sweat-the-details Aspect?

Guys, I think I'm starting to understand Homestuck!

Ah, shit.

Yeah, I don't know how Vriska or her powers slot into this interpretation. As the Thief of Light, I guess she'd be stealing... the bigger picture... from other people? And that lets her take their luck, somehow?

I guess when you give yourself 'good luck', you are sort of improving your situation in the general sense, rather than the specific. You don't know the details of how your luck will manifest, but you don't really need to - all you need to know is that it'll be good for you.

I don't know. This is getting messy, and more than a little abstract. I'm sure Vriska will be doing a lot of luck-stealing, so we'll hopefully learn more as we go.

At least the Land of Maps and Treasure fits Light-as-the-big-picture. A map is, literally, a big picture.

A flurry of disquieting happenstance is related to the ADORED SOVEREIGN. With no other options, her counsel is all that is left to be sought. Abdication is never ideal. But in the face of inevitable conquest, conceding ground can supply the only remaining advantage.

WQ, then, seems like a good fit for a Light Player. After listening to PM's full report, she seems to understand how the pieces fit together.

The Queen knows that Jack wants her dead, and clearly understands how dangerous a Player item can be, in the wrong hands. She doesn't know what's in the package, or what Jack will do with it - but she doesn't need to. She can see the writing on the wall, so she retreats.

I did a bit of Breath research for this post, and landed on the above quote. I think Breath is about direction and destination.

TT: John? TT: Are you there? -- tentacleTherapist [TT] is now an idle chum! -- EB: hey, yeah i'm here! EB: and not dead i think. TT: I know. TT: I've been watching you scramble through the house like a lunatic. TT: You should have answered me sooner.

John's a meandering kind of guy. He's wandered haphazardly around the session for three thousand pages, but he always seems to reach his goal. Despite not knowing where to go, he always seems to be where he needs to be.

John's Quest as the Heir of Breath has been explained in detail. He needs to unclog the pipes of LOWAS and defeat Typheus, freeing his Land's fireflies from their cloudy prison. In essence, John's Quest is to give these bugs a new direction, allowing them their full axis of movement once again.

There might also be some Heir stuff in this Quest, but its ultimate goal seems to align pretty well with that Breeze quote above, so I'm willing to accept it as Breath evidence.

AG: Have you ever tried to fly? I 8et you haven't! AG: How a8out we take to the skies, Pupa! AG: Hahahaha, oh you like that idea, Pupa? Yes, you do. I can feel it in your simple, mallea8le 8rain. AG: You want to fly so 8ad!

Breath might also have something to do with agency - or at least, the ability to choose your own actions. John's freedom-themed Quest isn't the only example of this - Tavros's entire arc is about how Vriska keeps denying him agency, while pretending she's doing the opposite.

(I'm going to avoid comparing Homestuck to other works, because this post is long enough as it is, so you're just going to have to imagine the twelve paragraphs of Deltarune meta that would otherwise be placed here.)

AT: bECAUSE THE ONLY TIME i EVER HAD FUN PLAYING THIS GAME WAS WHEN i WAS ASLEEP,

Tavros just wanted to do his own thing. He wanted to ignore the game and float around Prospit, away from everyone's expectations - but he was denied this opportunity, again and again. It's no wonder that he's on a bit of a high right now, after being granted the freedom of his new robo-legs.

As for potential Breath Players - well, CD reminds me of John a little, but he seems a lot more likely to stay on task. I don't know what Aspect he'd be assigned.

Now - we're onto the Aspects we've only seen in trolls. We don't have as much for most of these, since we haven't seen any troll Quests, nor any Aspect powers sans Vriska and Terezi.

Terezi, the Seer of Mind, deals in personality - or maybe, more generally, vibes.

CG: WE'RE NOT EXILING JACK, HE'S COOL. [...] GC: [...] 1 DO NOT G3T 4 GOOD F33L1NG FROM H1M! GC: H3 K1ND OF CG: STINKS? [...] GC: W3LL GC: SORT OF GC: H3 DO3SNT SM3LL B4D 4CTU4LLY GC: H3 SM3LLS R34LLY CL34N 4ND SH1NY 4ND D4RK D4RK D444RK L1K3 4N O1L SL1CK 4ND TH3R3 1S 4 T1NY H1NT OF L1COR1C3 TH3R3 TOO GC: 1TS MOR3 L1K3 GC: TH3 W4Y H3 MOV3S GC: 1 SM3LL H1S SMOOTH MOT1ONS 4ND TH3 W4Y H3 SQU1NTS H1S 3Y3S 4ND 1T G1V3S M3 TH1S R34LLY N3RVOUS F33L1NG

When she smells someone, her Mind-enhanced perception doesn't just tell her what they look like - it also seems to communicate that person's essence. Terezi can see the idea of Jack Noir, here. She's smelling what it feels like to be inside his head.

GC: TH3 D4Y 1T H4PP3N3D W4S TH3 F1RST T1M3 1 3V3R H34RD FROM MY LUSUS GC: SH3 WOK3 M3 UP, 4ND 3V3R S1NC3 H4S B33N T34CH1NG M3 4 D1FF3R3NT W4Y TO S33 GC: 4 D1FF3R3NT W4Y TO P3RC31V3 3V3RYTH1NG 1 GU3SS, NOT JUST 1N 4 S3NSORY W4Y

Terezi is also a naturally perceptive person, so it's sometimes unclear whether her reads are due to Seer clairvoyance or her own deductive abilities. As a general rule, I'll only treat her insight as a Mind power if she explicitly refers to her sense of smell as its source, since that's the avenue for her supernatural perception.

GC: T3LL M3 YOUR R34L N4M3!!! >:[ TG: ok lets say its TG: dave why not GC: D4V3! GC: TH4T SM3LLS L1K3 TRUTH GC: 1 W1LL D3C1D3 TO B3L13V3 1T >:] TG: fuck

Therefore, I'm pretty sure her powers do, in fact, allow her to detect lies. Mind, then, might be related to the concept of truth - as in, your Mind is the truth of who you are, stripped of all illusions.

I was initially going to place Droog here, since he seems to be the only Crew member with his head screwed on, but I no longer think Mind is about being rational or analytical.

Blood is the first Aspect I don't really have a guess for. Maybe it's got something to do with genetics - Karkat is a carcinoGeneticist, after all, and a mutant to boot.

Spades Slick is blood brothers with a Knight of Blood, and he's got a lot in common with Karkat, commanding his party with a moderately annoying leadership style. I'll put him here on the strength of those parallels, and I can revisit it when Blood is explained.

We don't know much about Nepeta, so we don't know much about Heart. Shipping is all about drawing them, though, so maybe Heart is about romance - or, more broadly, relationships and connections.

Nepeta's Land of Little Cubes and Tea is a lolcat joke, so it might not conform to the Aspect Word pattern. I guess, since the cubes are sugar cubes, it might be a pun on 'sweetheart'? Who knows.

I'll put Hearts Boxcars here, and not just because of his name. He's the only member of the Midnight Crew with any interest in shipping.

Feferi revived Sollux with a kiss, so Life is probably healing, as it is in many other element systems.

How her Land of Dew and Glass relates to Life is a mystery. While dew can refer to condensation on any surface, it's often used to describe the water droplets which accrete on grass and other flora. That's kind of a connection to a living thing, but feels like a stretch and a half.

Let's also put Nanna here, since she's the only true healer in the cast. I don't know why the other sprites don't use the healing beam.

Our Void Player is in a Land of Caves and Silence - a hole in the earth, and an absence of sound. Void seems to represent negation, or a lack of something.

Also - this might be a reach, but Scratch describes the gaps in his clairvoyance as 'pockets of void', so perhaps Void also has something to do with uncertainty - aka, a lack of information.

Most of the Guardians could go here, really. Bro seems the best fit, since he's constantly hiding from Dave, and completely vanishes for most of the session.

When a timeline is marked for destruction, we say that it's doomed.

Doom seems to represent death, obliteration and entropy. Sollux Entered into the Land of Brains and Fire, and I think it's pretty clear that Fire is the trait which is tapping his Aspect.

Doom may also be the Aspect of prophecy. After all, Sollux is a prophet of Doom - so maybe he's a prophet because of Doom. It could also be related to his nature as a Mage, but Mages haven't been explained, so I can't speculate.

I originally thought that Sollux might be a Seer - but the Seer Class seems to be about gathering information related to a particular Aspect, rather than directly divining the future. Maybe a Seer of Time could see future events, but it's certainly not a default ability of the class.

Grandpa seems to have some ties to Doom. He prophesized Jade's death to her when he told her about her dead Dream Self - plus, he's a hunter, with a house full of corpses. Also, his entire presence in the session is overshadowed by the spectre of his future death. This is probably the Aspect guess I'm most confident in.

I guess there's also Hope, a brand-new Aspect with no lore. Eridan's 'hope' would seem to be expressed in the fact that he constantly hits on people, hoping in vain for a yes. Thankfully, we're not aware of any non-Players like that....

The mail is the one final hope for resurrecting a dead planet from its ashes, and the letter carriers are the brave soldiers of God in this righteous crusade. They are the defenders of the light of knowledge, free communication, and the exchange of ideas. They are the bold toters of all those little papery conduits of freedom, the white postmarked angels that whisper a message on their deliverance, a promise to the yearning: "There is hope yet."

...but PM is pretty much screaming about hope in her mail monologue, so we'll put her here.

ORDER IN THE COURT. YOU WILL HAVE ORDER IN THIS COURTROOM. IF EVERYONE DOES NOT SETTLE DOWN YOU WILL CLEAR OUT THIS COURTROOM, YOU SWEAR TO GOD.

It's hard to classify the Aimless Renegade. He's all about crime and punishment - which is certainly a Terezi trait, but I don't think it's a Mind trait.

As for Dad, he has a well-established gentlemanly personality, but I don't know what Aspect is the most 'gentlemanly'.

I could try and classify more obscure characters like FedoraFreak, the Pen-pal, Jaspersprite or the Hussie self-insert, but I'll tell you right now I don't have any guesses. Still, that was fun, and it was a good opportunity for me to update my thoughts surrounding the Aspects!

[midnight1nk]

...Oh hey, my dear fellows! I was just vibing here in my pillow fort. Please come in! So, uh, how are we feeling?

[*panic noises*]

Hmm, understandable. We got that episode... then that render... then the website changed... Well, the point is: a lot has happened and things are about to escalate even more than what we have right now. Oh, yeah, things are about to get even crazier and we wouldn't even know. I don't really have many theories on my end since I already launched my "WOTFI 2024 Predictions" post, both the OG and the revisited version, before these episodes came in. What more can I really say?

Actually, there is one thing I could go over...

The Ticket

⚠️ DISCLAIMER IN INTRO POST ⚠️

"Nothing lasts forever..."

Unlike the usual stuff, this will be more of an analysis/prediction. Somewhat of a "mini-theory", if you will. Before I continue, I do want to give a heads-up that Tumblr is giving me a hard time uploading images so for all my sources, I would link them so you can see them for yourselves. At least, until the issue gets resolved.

Now, without further ado, let's-a go :

TRADITIONS

We are all familiar with how WOTFI works. The challenges, the points, the end goal. And, of course, the channel drops hints for the audience to pick up on, usually related to the plot. This is nothing new. Let's look back to the previous one, the 2023 Heist (aka the Notebook Arc):

After Mario stole SMG3's notebook, we ended on the cliffhanger of Three standing outside the Castle, furious at Mario, in the episode 'SMG4: Trust No One'. Since then, we have been given hints here and there, with Three missing his notebook to plotting something to get it back, before we got the trailer for WOTFI and the Heist-Planning stream. This year, though, the hints we received so far all revolved around a ticket.

The first one [link] is SMG4 getting his in an envelope.

The second one [link] was of the crew holding out each of their tickets to the sky. The picture features Bob, Luigi, Three, Four, Mario, Tari, and Karen. We can assume these are the characters we will side with for this year's WOTFI.

And now, the third [link] is the most mysterious of them all so far: A ticket was ripped up and left abandoned on the wet ground.

WHO DOES THIS BELONG TO?

So, what's so mysterious about it?

The ticket being left abandoned is one thing, but the fact that whoever had this ticket ripped it. To start with the first question:

Who does this belong to?

Now, the obvious answer would be Meggy. After all, the last (and shocking) episode just showed us that Mr Puzzles forced Meggy to turn back into Leggy. Meggy won't be with the main crew for WOFTI, it just makes sense.

Well, that's if we assume the episodes and the posts are happening at the same time.

I've been following the people behind the SMG4 channel to see if they have anything to comment on. About the recent episodes, about the renders. And oh boy, did they have things to say:

When the first one dropped, a few people, including myself, made the connection that Mr Puzzles was the one who sent the envelope to Four, similar to how he sent a letter to Wren back in Western Spaghetti. It wasn't until now that the crew alluded that we were right. It's not to say that it's an absolute confirmation. But we are on the right track.

When the second one dropped, many people suspected and joked that the reason why Meggy was in the picture was because she was too short or the one taking the picture. It wasn't until now, after we saw that Meggy was going to become Leggy, the crew was like "I guess that's why Meggy wasn't in the picture" with such a mischievous smile. (they are so silly.)

Seeing how they worded their responses, I believe that, timeline-wise, the episodes took place before these posts were made. Think about it this way:

Two plots were happening at the same time, one with the usual adventures with the crew and the other following Mr Puzzles. But, from our point of view, we only saw one of the plots.

Until the show took a turn and was like "Hey, have you ever wondered what the hell Mr Puzzles is up to while this was happening?" before we transitioned to this plot of Mr Puzzles slowly going insane.

Viewing this exact timeline, it would make sense for Mr Puzzles to already have a carnival in his hands, and send invites to all the people who wronged him (in this case the SMG4 crew) as part of his revenge plan. Leggy would already be with Mr Puzzles at this point, so there isn't any reason why she would own one. The ticket can't be hers.

Then, whose is it?

Well, it's a bit...tricky.

The first thing that comes to mind is the SMG4 crew. There's literally a picture of them holding their tickets. The thing is, they can't be the only ones. Take WOTFI 2023 for example. Sure, Three and Four were the main duo we sided with but other side characters were in the casino as well. Not only that but they were involved in the results for the ending.

Mr Puzzles wants to have a successful carnival to "prove" to his father that he has creative vision. And to do that, he would have to have the park filled with satisfied visitors. More people. and therefore, these side characters would have a ticket as well.

Our pool of "suspects" just went from the main crew to a hundred possible visitors. That is the tricky part. Fortunately, for us, there is still a way. Instead of picking a needle in a haystack, we could use the process of elimination to check off anyone who doesn't fit the criteria.

THE RENDER

Let's look over the recent third post once more. BenJoJoGV, the thumbnail artist for the channel, worked really hard on this render. You can tell how realistically detailed this looks, with the mud and puddles of rain. BenJoJoGV really cooked fr fr.

A few people pointed something out: if you look closely at the mud, you can see a shoeprint. Likely to come from a (work) boot due to the heel and the grooves being emphasized by the mud.

If this wasn't done on purpose and was simply part of the textured pattern, then this means nothing.

However, if this was done on purpose, then it means our suspect wears boots. The soles of the shoes are probably not as detailed as the ones in the render, but they're still boots. Everyone who doesn't wear boots as part of their model is automatically eliminated. From the main crew, it would be Bob and Tari.

What about Karen?

Her model does have shoes with a pronounced heel on them. However, she has no motive as to why she would rip the ticket. Just like the rest of the crew, she doesn't know who sent the ticket, let alone know who Mr Puzzles is.

As a mom, she would likely take her kids to the carnival to have some fun.

If I was right about Marty being part of WOTFI, Karen would've had to get some intel that Marty may be in the carnival. Better yet, she could've used the ticket as an opportunity to finish him off.

Either way, there is no reason to waste it.

As for the rest of the crew that do wear boots, there is yet to be a motive for any of them to rip their ticket. They don't know that Mr Puzzles is the mastermind behind all of this. To them, this is a free pass to a carnival.

This leads to my next question:

Why rip the ticket?

Other than the Didney workers, no one knows that Mr Puzzles killed Mickey and took over Didney Worl to create his own idea of a carnival. The rest of the world, whoever received a ticket, would simply think this is a fun carnival. And a free pass, too? Don't mind if I do!

Who wouldn't want a free ticket?

One person didn't. Our suspect.

They could've handed the ticket to someone else, or simply not go. Why go through the effort of ripping it?

Because, my dear fellows, they know the truth.

They would know what's the deal with the new carnival, who Mr Puzzles is. And perhaps, what Mr Puzzles has done. They would learn the truth and not respond so positively to it.

From the render, we can piece together that:

our suspect was standing in the rain

they ripped the ticket and dropped the pieces

and walked away, leaving the print on the mud, without looking back.

By the time this photo was taken, it would've happened recently since there isn't any mud or rain covered. It just landed on the ground.

Would they confront Mr Puzzles themselves? Would they warn the crew about this? Or simply not take part in WOTFI?

Hmm, lots to think about...

Right now, someone knows the truth about WOTFI and they will definitely take a big role. Remember when Three was standing outside of the castle for last year's WOTFI? It was raining. Things are about to get serious, my friends.

.・-: ✧ :--: ✧ :-・.

The question, the one that still remains after all of this... who is our suspect? Who is this person?

We don't know, I don't. But at least we are a bit closer to learning their identity. We just have to wait and see what they have in store for us.

"I got a golden ticket. I got a golden glimmer in my eye..."

But hey, that’s just a theory…

AN SMG4 (MINI) THEORY

🎶Thanks for dropping by🎶

...now if you excuse me, I got a bingo card to prepare!

[catboygirljoker]

Free Pass Ask to talk about In Depth Luxu Analysis in case of no one sending in the right question to go off with

ok! here's my ~1600 word post about That One Scene At The End Of Dark Road. grins smilingly.

You know the one. Right after we see Baldr easily kill most of the cast of the game, right after a boss fight against him, right after we witness firsthand how powerful he is, we see a flashback of him confronting Bragi with the intention of killing him. And Bragi just...casually flicks his keyblade out of his hand. Bragi fully knows what Baldr's actual deal is, knows that Baldr has killed people, and is completely unthreatened by him. For good reason, it would seem!

So, Luxu's a badass, obviously. He made the big villain of the game into a jobber. And I think that's certainly one of the purposes of the scene. Luxu is about to be one of the primary antagonists of the franchise, and this sets him up to be very powerful!

...But I don't think it's the purpose of the scene. That is, I don't think that's the entire story. Because there are a couple questions left by this scene.

What happens at the end, there, when Baldr runs up to him and attacks him? And why doesn't Bragi reappear until long after Baldr is already dead?

I think we can piece together at least part of an answer.

In the earlier montage where Baldr says he killed everyone, we see a brief scene of Baldr slamming Bragi down onto an island in the Underworld. I assumed that this was a visual representation of Baldr lying and claiming he had killed Bragi when he didn't. But Bragi is the only character in this montage who we don't see die on screen. I believe we're meant to understand that this scene actually happened, and that this is what immediately follows the Luxu reveal cutscene.

Which seems contradictory with Bragi being such a badass, right? Was Bragi disarming Baldr a fluke? The thing is, when Baldr attacks Bragi at the end of the cutscene, Bragi is completely off guard and unprepared for the attack. We already know that Luxu can misjudge people/situations, to his own downfall.

Consider in Dream Drop when he seems to fully believe Sora will join the Real Organization XIII, or Days when he's unthreatened by Xion right up until she knocks him out and leaves, or Re:Mind when he finds out Luxord decided not to simply obey orders without question this time. So him being defeated by Baldr doesn't necessarily mean Luxu is weak if Bragi was defeated due to hubris.

(As a side note—I do think that this would be part of the reason the cutscene cuts off when it does. Luxu still needs to be a threatening villain in the upcoming games, so the audience has to have a strong impression of how threatening he is. We get the full cutscene of Luxu being cool and powerful, and only little glimpses of the fate he meets directly afterwards.)

I think what happened is Bragi sauntered off all cocky and smug, not believing Baldr would attack him. Then Baldr attacked him, and Bragi, realizing what a threat Baldr actually was, pulled a trick we've already seen Luxu pull before. (Seemingly so well that Hades himself is fooled.)

Baldr believed he killed Bragi and saw no reason to be like, "yeah, and also Bragi said some weird mysterious stuff I didn't understand, but the point is that he's dead, too."

Now for the question of why Bragi didn't reappear until long after everybody else was dead. If he's such a badass, surely he could have helped stop Baldr and saved lives. Why didn't he?

From here, I can really only speculate. In my view, there are a few options:

Luxu didn't care about his classmates and left them to die as soon as he realized what a threat Baldr was.

This is...possible, but not very interesting to me. It's the option that results in the least emotional complexity. I think it's most interesting to read Bragi in Dark Road as the second-to-last step on Luxu's downward spiral, rather than just another point on a straight line—that his personality as we see him in the current-day games is informed by the trauma of him losing all of his friends to an opponent he could have stopped but didn't.

Also, maybe this isn't very convincing as evidence, but in his appearance in the graveyard, Bragi's attitude isn't smug or mischievous, it's somber, possibly remorseful. If we were meant to understand that he didn't care about his dead classmates, we'd get, like, a smug grin or something.

So the other options assume that he did care about his classmates:

Luxu sincerely cared about his classmates, and wanted to help them, but was injured so badly in his fight with Baldr that he was physically unable to come to their rescue.

Like I said, I think this is more probable and more compelling than if he didn't care at all. And there's potential tragedy in him trying his best and still failing, or having the best intentions and being unable to follow through on them, for sure. However, in general, I'm more interested in characters failing because of the mistakes they make and the flaws they have, rather than failing due to chance or unavoidable circumstance.

Also...we already know Luxu is the kind of person to stand by and allow terrible things to happen without doing anything to stop it. We know he has been specifically instructed to do so. I think it's more interesting and more consistent with his character if he could have saved his classmates and stopped Baldr, but didn't.

This last option, then, is my favorite, and in my own writing would be the interpretation I go with:

Luxu sincerely cared about his classmates and had the power and strength to protect them from Baldr but, through his own decisions or inaction, still let them die.

Luxu's classmates were all children or barely adults, younger than him by perhaps centuries. But he hung out with them. Actively participated in conversation with them, asked them questions, joked around with them. He seemed to like them. They were his friends. And he let them die.

There's variety in the potential specifics. Maybe Bragi fled and hid until everything was over just to save himself. Maybe he grit his teeth and made the conscious decision to do so; maybe he was motivated by pure animal fear for his life. In either case, he still had a role to carry out, after all. A role that, as I mentioned, has already required him to stand by and allow people to die. If he could swallow the keyblade war, he could swallow the events of Dark Road.

Maybe he believed he had an excuse to run away. In his confrontation with Baldr, Bragi says Xehanort is onto Baldr, and seems to believe Xehanort would be able to stop him. This is before Baldr attacks and seemingly defeats Bragi, but maybe even after that, Bragi still really believed in Xehanort, and believed he could let Xehanort do the rest—misjudging Xehanort's ability to stop Baldr before any more death could occur.

If you wanna get really angsty with it, maybe Bragi did try to save his friends. Maybe he rushed to the scene of Baldr's next murder and saw children with keyblades fighting for their lives, heard the clash of metal on metal, and was suddenly immobilized by the voice of his Master telling him to watch. And by the time he was able to overcome this trauma response, it was already too late.

Whatever the specifics would be of why he left his friends to die, I'm aware that this is the option that casts him in the worst light. If he didn't help them because he didn't care about them, then he's just a coldhearted villain and we can't expect much better from him. If he cared about his classmates and tried his best to help them but failed, then he's a sweet goodboy and uncomplicatedly sympathetic. If he, for any reason, decided not to try to save his friends from a powerful entity that has killed and will kill again, then he's pathetic, morally repugnant, a weakling or a fool or a coward or a combination of the three.

But I like when characters are flawed and stories are messy! I like that, even before you get to the events of Dark Road, Luxu is a messy, complicated, but still sympathetic character! Many of my other favorite Kingdom Hearts characters are messy and complicated in ways that I feel get frustratingly flattened by the fandom. I'm Team Messy and Complicated forever. I hope the games keep making Luxu even worse and more sympathetic and more tragic.

anyway thats my post i hope you liked it haha whee! i once again had to keep deleting detours and tangents about like. redemption arc flags, riku/terra/luxu parallels, luxu/MoM and luxu/xehanort parallels. but the were just that, tangents, and quite a lot of them were more headcanony/watsonian/speculative than i usually like to go with my Analysis. in any case thankyou for coming with me on this journey

[wordsandrobots]

I just finished Iron Blooded Orphans just a few days ago and I don't know how to feel about it. I know not everything is supposed to be a happy ending and tragedy is abundant in war stories, but characters are the most important thing for me in stories.

Athough I really liked the characters of Iron Blooded Orphans, a lot of the them didn't seem to have character development based on few opinions I hear about Iron Blooded Orphans. Could you summarize the character arcs and character development of Orga, Mika, McGillis, and maybe even Kudelia (I like her in season one but she didn't do a lot in season two) as to me they are main characters of the show. Although some of my favorites were Akhiro, Gaelio, Lafter and Atra.

I haven't read your writeups but some of my mutuals on MyAnimeList reccomend your blog.

Okidokie. I'm going to say three things before answering this, and then I'm going to be quite verbose for a bit, as I tend to be. I hope you'll stick with me, Anon, I promise I'll get to the point eventually.

First, people on a completely different site are recommending my blog? That's extremely flattering and slightly disconcerting, since my fandom experience with this show extends to here and Ao3!

Second, I want to stress that I'm an amateur when it comes to analysis. Past secondary school, I never studied literature/media in a formal setting; my academic training is in philosophy (which taught me how to make an argument) and history (which taught me how to handle sources), and also in physics but that's not relevant. So when I make statements about a piece of media, it doesn't make me an authority; it just means I have things to say. This isn't me trying to be humble, by the way. If I didn't have confidence in my opinions, I wouldn't state them publicly. I simply want to make it clear my essays are based on of years of taking an interest, not formal expertise. Your question touches on how we engage with things, and Tumblr being a rather combative place regarding reading comprehension, I think it's important to say upfront, I mainly muddle along on two decades of experience stringing words together on the page.

Third, while I love Iron-Blooded Orphans to a ridiculous degree, I'll do my best not to tell you what your opinion should be. If what I say makes you approach it from an angle you'd not considered, great! But it might simply be that it's not the show for you and that's equally fine. There are plenty of well-made stories I cannot get along with, despite knowing exactly how they work and seeing that they are constructed with great skill. Such is life!

Right then.

Let's start with a question: what do you mean by 'character development'?

Because I think there's a natural tendency, especially when talking about the protagonists in a story, to treat it as synonymous with character growth, that is, with characters learning and maturing over the course of the events being depicted. This is why we watch heroes struggle, right, so they become better people through the experience? And that is an absolutely valid thing to do in a piece of fiction: it feels good, it's rewarding, and it can make for some excellent triumphant moments. Quite apart from anything else, I think most of us would like to be able to take what we experience and learn from it, to do better next time.

However, this isn't always how it goes. Like, obviously, there are people in the world who commit whole-heartedly to never learning anything, ever, but more importantly, there are stories where the point is not that the characters becoming better and triumph; rather it's the opposite. They get worse. They fail. Their world falls apart. Indeed, character collapse is often a vital part of the same stories that feature character growth; it's what happens to the villains the heroes confront.

And there's a third way of looking at character development, which is as purely an increase in complexity. A character who starts off with simply defined motives and responses may be gradually built up into something far more nuanced, often (but not always) by revealing their past in greater detail. Their actions and personality do not necessarily change as part of this process, but their context does. We, the audience, come to see them in a new light, which helps us understand more thoroughly why they are Like That, even when they haven't meaningfully changed in and of themselves.

Now, I know you said you care primarily about characters, but I do need to talk about something else here. When I recommend Iron-Blooded Orphans to people, the very first thing I say is 'it's a tragedy'. And I don't mean it's going to make them sad -- although, yes, it probably will -- I mean that it has a tragic structure.

You might already be aware it wasn't originally planned to be a two-season show. It was always meant to end badly for Tekkadan, though, and you can see the ghost of the initial plan in Season 1, with the high point being the episodes from Kudelia ending the massacre on the Dort Colonies to the gang landing on Earth, and everything thereafter increasingly going off the rails. Getting a second season allowed the writers to turn this into a fake-out. The first season instead ends on a victory at Edmonton -- and then the next twenty-five episodes ramp the stakes and costs up and up and up until the catastrophe is inescapable. The whole has this beautiful rise/tall trajectory, with the very qualities that created success in Season 1 transforming into the reasons for the Season 2 failure.

You have to keep in mind that the characters serve this structure. They are characters within a tragedy. Therefore, you can't necessarily expect them to show growth and to learn from their mistakes. Tragedies explore negative emotions and their consequences and tend to be driven by characters making the absolutely worse decisions they possibly could in the circumstances, because of who they are and what they (don't) know. Oedipus hasn't a clue Jocasta is his mother when he marries her, Macbeth is too weak to stand up to his wife, Romeo and Juliet are dumb horny teenagers, etc, etc. Part of what makes this work is often characters' refusal to grow or change or adapt as the situation develops. They keep acting in the same fashion that worked for them previously, irrespective of whether it's still a good idea (spoiler: it 100% is not).

That is what makes the story of Iron-Blooded Orphans work. Tekkadan keep throwing themselves into fights because it's the only way they know how to survive. Orga keeps reaching for bigger prizes because he's got it into his head that he has to secure everyone's safety and prosperity as fast as possible (the poor boy does not know how casinos work, no). Mikazuki will not take back his promise to do whatever Orga needs him to, no matter how disabled he becomes as a result (or how many other people would really like it if he didn't die). McGillis cannot countenance the idea he can't change the world on his own (I mean, it's literally unthinkable or his entire self-image goes kaput). Gaelio is just flat out ignorant of the reasons behind McGillis' actions until it's far too late to stop (Gaelio's role, as I've said a few times, is to be Always Wrong (TM)). Etc, etc.

This is a story about a society run on exploitation and the damage that does, not only outright, but also by shaping people's responses such that they cannot see alternatives beyond violence. It's 'Maladaptive Coping Mechanisms: The Anime'. Everyone is screwing up, big time, and the only thing that could have stopped the resulting disaster is if they weren't the people they demonstrably are.

Mikazuki and Orga's character arc is one of a mutual collapse, Mika physically, Orga mentally, as their shared love for one another drives them to greater and greater acts of desperation. They both think the other is incredible and they cannot do anything less as a result. Their relationship sits at the heart of why Tekkadan goes wrong, the motive force behind the fatal end to which everything hurtles.

McGillis' character arc, we discover, happened years before the story started. What he is now is fixed, a man determined to be a singular force for change, unwilling to let finer feelings sway him. He knows the world is sick and corrupt and believes the only way to respond is to be stronger than it is, more powerful, in the fashion of a child imagining themselves a king, setting everything to rights. He fixated on an old story as the escape route from a life of abuse and won't give it up for anybody.

Kudelia, of all the characters in the show, has the most traditional 'growth' arc, shedding her naivete across the course of Season 1 and becoming better fitted to the challenge of building a fairer society. She learns to fight in her own way, to accept the cost of pushing forward, and most importantly, to see the people at the bottom of the existing social structure as equally real and human. She comes to understand exactly what she's fighting for, and grows into a force to be reckoned with as a result.

And then she runs straight into the problem anyone who wants to make a difference faces: she has to decide how best to compromise to get what she's after. That leads her into deals with Teiwaz and Nobliss Gordon, even with factions in Gjallarhorn, which in turn ties her hands. Structurally, she can't be in a position to save Tekkadan, come the final run of episodes. The writers turn that into a commentary on long-term versus short-term gain, whereby Kudelia committing herself to building up the Admoss Company means relying on Tekkadan's violent protection (contra her wish to save them from getting more blood on their hands) and restrictions around what she is able to do right now. That's the point of her conversation with Makanai after the Arbrau/SAU war arc: if she's serious about improving Mars' situation, she can't act recklessly. Which traps her into watching helplessly while Tekkadan do.

There you have it, really. The ways IBO develops its characters extend from its structure and I think you have to take that into account when considering how they act. Their arcs are all towards an immediate failure, with even the snatched, last-minute saves and the more hopeful future being bought at a terrible price. You're meant to like them and then watch them go through an absolute meat-grinder of a time. As I said, that might not be what you want from a story, but it's what this particular one is, fundamentally.

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I don't know if this was all what you were after, but I do hope it's at least given you some help in sorting out how you feel about Iron-Blooded Orphans. I've written in more detail about all these points elsewhere: here's me talking about Mika and Orga's relationship; here's a long discussion of McGillis through the lens of what little we know about Agnika Kaieru (and also capitalism); and here's me turning getting huffy about people dismissing Kudelia into an exploration of her pragmatism.

If you're up for it, please feel free to browse my full index of essays. You'll find bits on Gaelio, Lafter's death, and the Turbines in general, along with a ton of other stuff. I also recently answered an ask about Atra, Mika and Kudelia's relationship (you are of course entirely correct that Atra is The Best). Sadly I've not done much focused on Akihiro; it's not that I have nothing to say about him, more that I haven't quite find the right angle to do so yet. Well, not outside fanfic.

Oh, yeah, I have also written an unconscionable amount of IBO fanfic, primarily a 20-part post-canon story called Wishing on Space Hardware. It takes a narrative approach to unpacking my many, many feelings about the show and I'm quite proud of it, so if that's your sort of thing, well, please give it a go!

Thank you for your ask, and feel free to drop me another if there's anything you'd like to hear my thoughts on that I haven't already written about (rapid responses not guaranteed).

[yyh4ever]

Yoshihiro Togashi Handwritten Letter

Togashi sent a handwritten letter to the idol Yumiko Seki, answering 11 questions. The letter was read aloud in the Iwakura and Yoshizumi's Show, on TV Asahi, on November 14th and 21st, 2023.

There's already a translation of the Q&A by the hunter fandom (please read it), but I want to share my favorite parts and maybe some interesting info that was said during the TV program. You can watch the full version on bilibili. The whole film studio was decorated with Hunter x Hunter manuscripts and figures, and BGM from both versions of the anime was played during the broadcast.

The MCs of the show are two female comedians, Yoshizumi and Iwakura. The guests were Yumiko Seki (former Sakurazaka46); singer Toshiya Miyata (Kis-My-Ft2), a huge Hunter x Hunter fan; and the comedian Shintaro Morimoto (TONTSUKATAN) who read Togashi's letter and served as moderator.

At the beginning of the show, Seki-san revealed she met Togashi in a Sakurazaka46 live concert.

Everyone was shocked to learn she met him face-to-face!

Then, Seki-san showed an autographed shikishi Togashi-sensei gave her when she graduated from Sakurazaka46. (T/N: She announced her graduation on December 13, 2022, and graduated on April 30, 2023 at the Sakurazaka46 3rd TOUR 2023).

Killua: "Graduation is the starting line!!"

It's interesting to add that Killua is Seki's favorite character and orange & white were her penlight colors, also her favorite colors. That's why Togashi drew Killua holding a bouquet of orange and white flowers.

Miyata joked that he will make sure that everyone knows he loves Hunter x Hunter by the time he graduates from Kis-My-Ft2 boy band. Morimoto told him "don't graduate just to get a shikishi" (LOL).

By the way, Miyata loves Kurapika, so I hope Togashi gives him a Kurapika shikishi one day :P

Here's Togashi's huge letter!

Before reading sensei's answers, they anticipated the huge success of the show, and came up with the hashtag #冨樫先生からのお手紙 (letter from Togashi-sensei).

It was a success indeed, trending all over social media.

Then, Morimoto started to read the Q&A.

The second question was about the Hunter x Hunter character setting. Before reading the answer, they showed a Togashi's memo containing a detailed timeline of each character that he uses in order to develop the story without creating any contradictions. There's a timeline of the Chimera Ant Arc, and a table of the princes' entourage, allowing Togashi to distinguish them. He even drew characters that didn't appear.

Miyata left his seat and came closer to the monitor, so he could see the memo better. He's a crazy HxH stan just like us.

This material is actually from Jump Ryu's booklet (2016). You can also watch the Jump Ryu video with subs on YouTube, where Togashi explains better how this character table works.

Here's the part of the answer Togashi talks about Killua's inspirations. I am a huge fan of MDP Psycho!

The author of "Toy-y", Atsushi Kamijo, thanked Togashi on his Twitter. He also wrote that he loves Level-E.

When answering question 4, we found out Togashi-sensei watched Sakurazaka46 New Year's special feature in 2021, when Seki-san asked for the complete set of Hunter × Hunter.

But, because Togashi-sensei is such an introvert, he thought he would make her feel uncomfortable by actually sending it. It took him two years to finally decide to send it.

Miyata laughed so hard, saying: "Togashi-sensei is such an otaku!!" (LOL)

Seki-san confirmed Togashi really sent the Hunter × Hunter set to her ^^

The 5th question was about Togashi's favorite nen ability. Seki-san and Miyata also shared their favorite type of nen.

Seki-san loves Killua, thus she likes transmutation. She also likes Hisoka's analysis about nen, and thinks Killua fits his description about transmuters perfectly.

As for Miyata, he loves Kurapika, therefore he likes the conjurer type. He remembered that in order to conjurer chains, Kurapika had to imagine, touch, draw, and even licked real chains.

He was curious if Goreinu, a character that appears in Greed Island, had to do something similar and touch gorillas in order to be able to materialize them.

Miyata is a crazy HxH fan, he came up with many curious tidbits and did a deep analysis of the series. It's not confirmed in the manga or any databook if Goreinu is really a conjurer, but I really liked his point of view.

Question 7 about Meruem's final moments was really touching. After hearing Miyata's explanation about Meruem and Kogumi, Iwakura almost started crying.

Tears rolled down her cheeks when she saw the double spread of Meruem's final moments.

The funny thing is, at the beginning of the show, she told us she had only read the first chapter.

So, Morimoto joked: "Why did you have to stop at volume 1!!?" XD

Morimoto also revealed that Togashi-sensei's favorite scene is Meruem and Kogumi double spread.

Question 8, what does Togashi do on his days off? Morimoto asked Seki-san's opinion. She imagines Togashi having mandarin oranges on a kotatsu table, and talking to cats on the porch.

T/N: Eating oranges while sitting around a kotatsu table is a japanese tradition during the winter.

Togashi didn't mention anything like that in his answer, but there's an interview with Naoko Takeuchi (WITH magazine, May 2022) where she says, "We have been married for over 20 years. Although we have small fights sometimes, my husband is extremely kind and quiet, like a hermit (...) The house we have lived for 20 years is also a place of healing. Sometimes we have meals or tea in the garden". So, I can totally picture Togashi-sensei eating oranges in the winter and talking to cats.

Togashi-sensei stated he is the type of person who always has sound playing while he is working, just like Yoshizumi-san. She was happy she was acknowledged in his letter!

The question 9 was about manga that Togashi-sensei found interesting recently. Miyata remembered that Togashi had wrote a recommendation on the obi of Kimestu no Yaiba (Demon Slayer) volume 4, praising the series. I had completely forgotten Togashi loves Demon Slayer!

In his letter, Togashi-sensei wrote he couldn't give the name of the series he's currently into, since he would get criticized. But he left some clues. Yoshimizu said the crazy amount of ッッッ (small tsu) used in his answer was maybe a keyword, and that the fans would probably figure it out. She had no idea what manga he was talking about, though.

Togashi-sensei also wrote this manga is a true story published in 2023. So, many fans came up with the Autobiography of Keisuke Itagaki (author of Grappler Baki): an autobiographical manga depicting the harsh life experienced by Keisuke Itagaki in the "JGSDF 1st Airborne Brigade" that consumed his youth!

I started reading it, and the author really loves to use "ッッッ" at the end of the sentences. I don't think it's the kind of content I would recommend to an idol like Seki-san. Anyway, I don't know whether that's the correct answer or not, but it seems so.

The manga that Togashi-sensei ended up recommending was "Oi! Tombo". It has been serialized in Weekly Golf Digest since 2014. An anime is also scheduled to premiere in 2024. I was happy to see that the Golf Digest X Account mentioned his letter!

Seki-san was introduced to an unexpected golf manga, but she immediately became interested, saying, "I really want to read it'' and "I want to buy it right away.'' I guess we all felt that way. I'm definitely watching the anime!

The 10th question was about the ending! The reaction of the guests and MCs when Morimoto read there's an Ending D in case Togashi-sensei dies was priceless.

Before Morimoto could read the "Ending D", Miyata recalled he went to watch the Hunter × Hunter movie "Phantom Rouge", and received a copy of Volume 0. He grabbed it, and showed the Q&A with Togashi-sensei, highlighting Question 4: What will end up happening to Kurapika and the Phantom Troupe? A: "They will all die."

He was really looking forward to knowing the ending of Hunter × Hunter, but not this one (LOL). Morimoto and Miyata were too nervous, they took a sip to calm down before reading the "Ending D Pattern".

The final question was about the amount of text in volume 37. Miyata commenting that his answer also had an incredible amount of text made me laugh so hard. It was a huge answer indeed.

Togashi's last words were:

"Words are da best!" (Words rule/Nothing can beat words/Only words wins/ whatever sounds better in english).

Everyone laughed so hard, because this is actually a slang used by young people or fandom to say someone or something is the best. He wrote the letter in polite japanese, it was fun he ended it with a slang. By the way, Togashi-sensei loves slang, specially fandom unique vocabulary, as he usually uses it Hunter x Hunter. He's a fan of Keyakizaka46/Sakurazaka46 after all.

Miyata was excited to hear that Togashi-sensei himself is "bugged", which makes him want to continue reading HxH even more. One thing that caught Miyata's attention during this final question was the part Togashi-sensei mentioned he needs to settle many issues during the voyage of the Black Whale ship. Actually, the word "settlement" (解決) captured the attention of many fans, as they posted a lot about that on social media.

Miyata thought about people on board the ship whose fates needs a resolution. He wondered if this was about Kurapika and The Phantom Troupe since the conditions to what Togashi-sensei said in volume 0 (everyone's gonna die) are right there to happen soon.

He showed his Volume 0 again. LOL, I hope Togashi-sensei was just joking.

Of course, let's not forget that are many other unfinished business that needs a solution in this arc, we have a whole succession to the throne war in motion. But, Miyata was really hyped about Kurapika and volume 0.

The show ended with a big thanks and bow to Togashi-sensei!

Miyata said he has been reading HxH for more than 20 years, since he was in elementary school. No matter how old he is, he still gets excited about it! He loves Hunter × Hunter!

Morimoto asked Seki-san to say some final words to Togashi-sensei. Besides showing all her love for Hunter × Hunter, Seki-san was really cute and asked Togashi-sensei to take really good care of his health!

That's it, sorry for being like Togashi-sensei and writing too much. Although my posts are more about Yu Yu Haksuho, I feel I needed to address his letter too. I didn't take the Ending D too serious, since it was discarded. However, I think it was a cute closing to HxH. Like Miyata-said, everything went back to the beginning, The Whale Island where it all started.

I just want Togashi-sensei to live long and write his favorite ending!

There were other interesting parts, like Seki-san telling Togashi-sensei to make a DVD BOX of the TV show. In the end, everyone wanted to make one ^^ (me too). It is a really precious letter. I hope Seki-san frames it and make an altar :P

Thank you very much, Togashi-sensei!