#and its sibling 'something that claims itself to be inhuman is in fact more human than most humans and has always been'

[featherymainffins]

GIVE IT THE FUCK UP EVERYONE WE GOT ANOTHER ONE

[iturbide]

the fact that edelgard is the villain in 3/4 routes and yet intsys STILL glorifies her to no end enrages and annoys me. no other villain has been given that perspective of “well actually maybe they arent so bad” except for the hypocritical tyrant. even when she has *literally become an inhuman monster* intsys is still like “oh no dont worry she was right actually!” and it upsets me deeply

It upsets me, too, friend.  IntSys seems to really like glorifying people who don’t deserve it, especially in recent games (Walhart in Awakening, Rudolf in Echoes -- I can’t say if his whole ‘orchestrating a plan to have his son murder him’ thing is carry-over from Gaiden or not, but it definitely exists in the recent remake so I’m including it), but Edelgard actually ends up as a bit of a weird case. 

(I have a lot of thoughts about this, so I’m just going to cut preemptively.)

Now, I’m actually not opposed to Edelgard being the protagonist of the fourth route in Three Houses.  Anyone who’s been here a while knows that I generally see Grima, a figure that IntSys generally tries to paint as a rote villain, as at least a sympathetic villain (and possibly even a secret hero in the events of Awakening itself); it’s entirely possible for someone that’s a villain in most of their appearances to have legitimate reasons for what they’re doing and why, and revealing that in their personal route could be incredibly powerful if done well. 

And here’s the thing: Edelgard really is a compelling character, in large part because of her moral ambiguity.  I actually agree with her when she says that the Church of Seiros is corrupt at its core and the system needs to change.  She’s right about that!  While Seiros might have had decent reasons for establishing things this way, over the past thousand years human societies have changed while the church itself remained stagnant -- something potentially exacerbated by her selfish ambition to restore her mother -- and this has led to a structure that once served an important purpose becoming a toxic and destructive mess for humanity at large.  Edelgard has a completely valid point there, and it’s something that I could absolutely get on board with if she had gone about achieving change in some other way, because she does have other methods available to her that she writes off without real reason -- and even that can relate back in part to her deep trauma and difficulty trusting people after the betrayals she faced at the hands of her “uncle” and her own father’s powerlessness to stop the nightmare she and her siblings suffered through. 

IntSys probably could have crafted a narrative that showed from her perspective why she believed war against the Church was the only valid option available to her.  The issue is that she undercuts her own argument by targeting all of Fodlan, rather than specifically going after the Church: she doesn’t give the Kingdom and Alliance a “stay out of my way or else” warning, she literally turns her sights on the Kingdom as soon as the monastery falls and attempts to fully annex it once Cornelia sets up Dimitri’s fall, leaving the Alliance only because she has her hands full with Faerghus.  She didn’t have to take Cornelia up on her offer of making the Kingdom into the Dukedom of Faerghus and sending troops to finish the job: she could have just left the woman to her own devices, forcing the Twisted to utilize their own people to maintain and secure full control of the region while she worked on addressing the systemic issues, which would have had multiple benefits:

The Imperial Army doesn’t get overwhelmed and exhausted fighting in conditions they’re not equipped to deal with, leaving them stronger overall while the Twisted forces are potentially weakened by the same

Hubert is able to better assess the threat they’re dealing with, including learning their capabilities and possibly even where they’re coming from before Merceus

Edelgard actually puts her money where her mouth is and ends up helping the people she claims to be doing this for, rather than just using them as fodder for the war to grind up

Unfortunately, the way she’s written ends up just making her an imperialist.  She’s not just going after the corrupt core of the Church, she’s trying to forcibly unite the continent and return Fodlan to some long gone ideal where it was all united under the Imperial banner because she refuses to believe that Adrestia could have split by natural causes.

Crimson Flower ultimately ends up being a particularly egregious example of this glorification phenomenon in action because they give her a personal route that makes no effort to critically examine her actions and make her face consequences for them.  This, I think, does her a massive disservice as a character, because that aforementioned moral ambiguity that makes her so interesting could have been utilized to great effect -- and the proof is actually there already, because they do it in Dimitri’s route.

Dimitri is himself another interesting character, and outwardly presents as Edelgard’s polar opposite: he recognizes that he doesn’t have all the answers, struggles to figure out the correct course of action when presented with difficult subjects that have  no clear-cut answer -- like the fact that reliance on the Crest system is toxic for noble families, but it’s those very Crest-bearers and their Relics that help keep Faerghus safe from invasion by Sreng -- possesses incredible strength but specifically refrains using it in most cases to avoid harming others, and generally takes everyone’s problems onto himself to his own detriment.  He’s also deeply traumatized and was never given a chance to deal with it in a healthy manner, which contributes to how he snaps -- and Azure Moon starts with Dimitri being so far out of reach that you can’t unlock any of his supports and can’t even engage with him in the weekly discussions.  He’s lost himself to his survivor’s guilt and need for vengeance, considers himself to be nothing more than a monster, and has no qualms about killing if it helps advance his quest; as the story progresses, he faces a direct consequence for this murderous inclination in the form of Fleche who attempts to exact vengeance for her brother’s sake in the same way that he’s attempting to claim it for his family and friends -- only to lose Rodrigue, and have his dying words be a plea for Dimitri to live for himself rather than those who died before him, at which point Dimitri sets his sights on opposing Edelgard rather than killing her and seeing to atone for the crimes he committed.  While I think the game made the change a little too abrupt, it’s handled well overall, and shows a real development arc complete with both actions and their associated consequences that directly relate to Dimitri’s growth as a person.

Contrast this to Edelgard in general and Crimson Flower as a route.  Edelgard believes that she has all the answers despite not trying to engage with anyone outside her own House, decisively chooses what she believes to be the right and proper course of action regardless of how difficult the subject matter, possesses great strength (both physically and of sheer will) that she uses to dominate others, and forces others to join her in addressing what she sees as problems -- such as her line about making her own people into “worthy sacrifices” for her “higher cause.”  Crimson Flower is the only route where her attack on the monastery fails to capture Rhea, but once Byleth returns she sets her sights on attacking and subjugating a territory that has remained entirely neutral through the past five years, turns on the Twisted while she’s still in a vulnerable position which ultimately causes the deaths of at least a third of the forces she left at Arianrhod once they fire their warning shot, lies to her friends and allies about what happened there, murders her step-brother, and allows a city full of trapped civilians to burn unchecked while she deals with what she considers to be the “real” threat on the opposite side of the Faerghus capital -- and all of this is capped off with her never dealing with the Twisted, and cute little endcards that talk about how everything worked out fine and there were no problems ever, The End.  Edelgard doesn’t get a development arc in her route: she’s never challenged, she never faces real consequences (and the one she does face she literally lies about to her friends and then leaves as a problem to deal with later), and she pretty much ends the game exactly where she started it: completely assured that she made the right choices.  The moral ambiguity inherent in her character is instead cast as “of course she’s in the right, she’s so great and there’s nothing at all wrong with what she’s doing or how she’s going about it, isn’t she wonderful?”

At least in the main game, Hegemon Husk Edelgard is treated with real gravity, shown as the pinnacle of her drive to see her ambition come to fruition and the tragic consequence of her inability to change course and find another path.  The Forging Bonds event just takes the CF brush and paints her actions as the right ones, even though what made her so compelling is that her reasons were right while her methods were horrific.  Edelgard really could have been wonderful.  The potential is right there in her character.  But IntSys completely botched the execution of it, so that her route feels rushed, incomplete, and at best unsatisfying (or, if you’re me, utterly disgusting for how it glorifies imperialistic conquest), and her Heroes appearances only make it worse.

[lumilasi]

 So I figured for an introduction ref, full body + some examples of his power use would be enough. I can’t stress enough how much I love his outfit, and its so weird considering I normally aren’t a huge fan of green lmao. I think I’ll focus on Joaquin next, as I have no ideas for Minerva’s look yet.

More info below:

Full name: Kaspian Kravchenko

Nickname: Kas, The bogeyman/Shadowcrawler/that snake boy bastard

Sexuality: Aro/Ace

Height: 178 cm

Notable family: A little brother named Sebastian (mostly known as Bass)

Role(s):  

Event manager for his unofficial adoptive mother. 

One third of a vigilante group formed by him, Minerva and Irina. They usually deal with personality cults/criminals who worship Minerva’s dad’s old persona; the trio basically works to dismantle them and keep them away from her dad as he’s not interested/letting him deal with these people could probably be a bad idea.

Personality summary: Cunning, intelligent, tends to be rather polite especially towards women, sarcastic and dry sense of humor, a tad sadistic, has a strict moral code despite his fearsome reputation as “The Shadowcrawler”. Protective over people he’s close with. A surprisingly good listener and considerate when the time requires it. Basically really good at reading people, and good at herding others and getting them to do what they need to. Doesn’t like opening up about his own internal demons easily. Calm and collected majority of the time, but can get pretty dangerously irrational when its about his little brother’s safety.

Aspect details: BASICS: In his world, some people have abilities that theme around an emotion/mental state that they call “aspects.” His is one of the rarer ones and more fearsome ones as well, no pun intended. Each aspect type tends to have different ways of manifesting itself depending on the individual, hence they might be using different terms despite technically basing on the same kind of emotion/mental state. A person can usually only wield one aspect at a time.

GENERAL: All “Fear” aspect users can excrete a shadowy substance from their body that allows them to morph parts of their body, usually basing on the most common fears among humans, such as developing long deadly claws, spidery legs, venomous fangs, or even demon-like wings. They can also use this shadowy form to teleport through reflective surfaces. Also inhuman speed and strength is naturally included, though this stuff is common with plenty of Aspects.

Kaspian-specific is his ability to dig into people’s psyche and bring out their worst fears or traumas, something he finds quite fun to do. He does have some personal rules about using this though, and doesn’t wield it all the time and against every enemy like some people like to claim. He doesn’t bother correcting them about this though, considering his terrifying reputation is useful.  

FUN FACTS

Kaspian can sing and whistle quite well, and has kind of a dry, somewhat nasal voice. He often likes to hum a song or whistle as another form of taunting/terrorizing his opponents

Kaspian was infamous as a teen, known as a criminal named “Shadowcrawler,” though nowadays this persona is more of an urban legend, the same way his rescuer, Vincent A.K.A his unofficial adoptive dad is.

In fact, Vincent busted him out of Juvenile after overhearing a conversation between his wife and daughter, where Minerva wanted a sibling. His wife happened to be reading an article about Kaspian being caught at the time, so Vincent, being the weirdo he is, decided that yes, this kid will be my daughter’s new brother!

Kaspian was pretty baffled about the whole thing at first naturally, but was more than relieved to have a second chance. 

He often helps Minerva to paint her nails and allows her to do so with his. In general the two tend to keep a lot of “girls night out” days. 

Minerva often rants to him about random stuff, and he is pretty patient listener and tends to offer surprisingly good insight/advice at times. 

His brother is actually part of the task-force responsible in handling improper aspect usage, and is assigned as a bodyguard for one of their more valuable members. (Joaquin, whose aspect is really rare)

They often end up running into one another, because coincidentally the people Kaspian and his group deal with are often the same people that want to get their hands on Joaquin.

Kas does keep a close eye on Bass, because he’s concerned about his little brother refusing to use his own aspect (also fear based) which can lead to some serious consequences.

Overall, the only person who can make him lose his usual cool and even panic is his little sibling. 

His tinted glasses actually belonged to Minerva’s dad originally, but the man gave them to him. They did have to change the lenses as Kaspian actually needs prescription glasses, unlike Vincent to whom they were simply a stylistic choice.

Kaspian wears non-tinted normal glasses on his day-to-day life

Both Kravchenko brothers have albinism, which is why they are pale and has light colored eyelashes. They also burns in the sun very easily because of it, so neither is fond of beach days or summer.

the scales are a side-effect of his aspect. Often times your aspect tends to manifest on your body physically somehow. Scales are fairly common for fear-based aspect users, but the amount Kaspian has is rarer.

[vuelie-frost]

Living in the woods

aka, vuelie-frost verbally babbling why Elsa lives in the forest instead of Arendelle.  This is still a part of the ending that flickers my unease, even this morning after having slept on it. This isn’t a post to convince anyone, but literally just my own thoughts and processing. Hopefully by the end I’ll be more accepting, or even excited about Elsa’s development. I don’t like it, but it doesn’t mean it’s bad or the wrong decision. Separating the part of me that has desires (ie that Elsa would be queen in Arendelle forever and ever) and the part of me that recognizes cinema as a series of complex character arcs (ie what I desire might not actually be best, or in character) is REALLY HARD. But I posit it’s essential to interpreting media in a healthy way.  I 100% trust Jen Lee and Chris Buck, not because I idolize them, but because they so obviously care about these characters and this world. Maybe I’m too starry-eyed, but I don’t get the sense that they did this sequel for the cash cow. Now Disney execs probably pushed them in this direction for that reason (Disney is a corporation at the end of the day,) but Jen has stated that they didn’t want to make a sequel if there wasn’t a story to tell. They still felt parts of the story were left unsaid, and that’s why they pursued this film.  That said, the movie takes on a LOT, and I have a hunch that’s why it feels so fast paced. Not only is it a kids’ movie and therefore has to hold your attention at all times, but it packs in a lot of plot and character development into a short timespan. The sacrifice of a fast pace is the realism of some situations. Is it realistic that Anna would process her grief over Elsa so quickly? In the real world, no. Probably not. Is it realistic Elsa would so easily hand over the throne when it was something she enjoyed and was good at? Probably not. But (and the first movie had some similar issues too,) we have to suspend disbelief a bit. This isn’t exclusive to Frozen; it happens in all movies. You see it in small bits where someone hangs up the phone without saying “bye,” or when people make eye contact and something spoken goes unsaid. That doesn’t really happen in real life. But we turn a blind eye to those details because the larger purpose of the story is more important than those details. And as these details in Frozen are only rushed, not invalid or stupid, we can still accept them.  The idea that Elsa belongs in the forest/among nature is hard for me to accept, but again, that doesn’t mean it’s wrong. It just means my vision for her wasn’t what the writers thought was best. And the writers know her better than I do. They did her such justice in the first film and even in this film (her poor skills at charades? GOD RELATABLE.) I’ve often fantasied, albeit unconsciously, about the Elsa I’d like to see. I realize that in the 6 years since Frozen, I’ve loved the idea of Elsa as a mysterious, snow-bound sorceress type, living a somewhat solitary life. Still as human, flawed, and precious as ever, but becoming “larger than life” figuratively. Someone revered, respected, maybe a little bit feared upon first impression, but ultimately gentle and warmhearted. Loved by all. Feared by her enemies. (In fact, I write an RP character who is partially inspired by Elsa and partially an infusion of my own personality, and to my own surprise, this character is on that exact path. Unconscious channeling much?) Maybe.. that’s exactly what she is now. The fact that I’m uncomfortable with this just development testifies that 1) she feels out of my control, which makes me feel vulnerable, which makes me feel angry and 2) I’ve at least partially idolized her for her job (queen) instead of her as a whole person Note that I’m not using the reasoning of “she belongs with Anna all the time” as a cause for my uneasiness. This is more about Elsa as a standalone character than their relationship. One, I’m not an Elsanna shipper, so the physical dislocation of two siblings doesn’t scream “heartbreaking�� to me. It’s incredibly normal to have family you love with your entire heart and not live with them full-time, if at all. Maybe it’s because I’m the oldest sibling and can see this dynamic more clearly. Two, Elsa could not step into her new role if she didn’t have the unbreakable support system that is Anna behind her. If there was ANY doubt of their relationship’s strength, I’m positive Elsa wouldn’t leave her baby sister to rule alone. It’s not that they don’t need each other. On the contrary, and perhaps paradoxically, they need the other so much that the epilogue could not come to fruition if their bond wasn’t ironclad.  I’m still going to miss Elsa as queen. I’m not..... totally unconvinced that she’s not still a “queen,” someone with political leverage in Arendelle, as she’s still its protector and a royal by birthright. It hasn’t been ruled out that they’re co-rulers, just operating in different spheres. I’m waiting for more interviews/podcasts with Jen that I hope will address this detail. If not and Elsa’s technically a princess again, that’s cool too. She’s still part of the royal family and therefore can’t be a commoner or anything. But I wonder why I’m so hooked on her status as a queen, and I realize: it’s just a role. It’s not who she is. I’ve enjoyed it for the inflation of my own ego- seeing someone who’s like me in a position of leadership and reverence is incredibly validating. Watching her walk with beauty and grace as a beloved queen lets me live vicariously. But I have a working hypothesis that escapism in fictional characters is actually our attempt to connect with the real world better. I’ve so badly wanted her to remain queen because it validates ME. It helps ME believe that someone with her set of quirks and nuances can succeed. The issue isn’t with Elsa abdicating the throne- it’s with me assuming that she’s not herself if she’s not in a position of power, and then it throws my own identity into question.  And it admittedly has to do with the ambiguity of being the “fifth spirit.” I was worried Elsa would transform into a spirit being, or ghost, or ethereal creature that was no longer human. That doesn't happen, to as much as I understand the movie (she transforms her dress, steps onto a symbol that unites the four spirits, and then unfreezes after the dam breaks.... but there isn’t some spirit-world complete transformation of her essence.) The part of her that’s magic IS inhuman, which is self-evident (no other human in this universe has magic abilities LOL), but that’s not to say she’s inhuman.  I’ve also mentioned that I interpret this role as descriptive, not prescriptive. She was a gift to Iduna and Agnarr from birth. This is who she was meant to be from day 1- the potential was inside her the whole time, manifesting in the form of ice magic. I theorize she’s awakened into the 5th spirit role, but it was never something where she had to change in order to become it. (Now deeper lore, like how a 5th spirit existed when Agnarr was a kid and what subsequently happened to it, is still a mystery. I’m interpreting it to mean that the 5th spirit is a role of unification, not a spirit in and of itself. And once the forest became trapped, it dissipated by definition. Elsa was born to fulfill that lost role again, OR to be the first physical catalyst to hold it. Not to mention Anna is imperative here as well- they’re both the bridge.) Someone else mentioned that since their mother was Northuldra, Elsa’s actually among her own people. This is important too, I think. Imagine if Elsa went back to the castle canonically after all that happens. They’d be leaving a huge part of their family history out there, not to mention Ahtohallan which Elsa obviously has a mysterious connection with. I think if Elsa did go back to Arendelle permanently, we’d be having similar conversations in reverse by claiming that she really does belong near Ahtohallan and in nature with the spirits. We can’t win. She belongs in both places- among her family & among her predestined purpose. And she’s able to come and go among them both whenever she’d like. That’s her true independence. She’s FREE, wholehearted and integrated. I also mentioned in a previous post my penchant for a savior complex, probably stemming from my own issues with codependence and infatuation. I won’t get too far into those here again except to say: I liked “needy” Elsa because I wanted to envision myself as the one saving her. That’s my own thorn. It originates from a total infatuation with her that I’m still working on letting go (ha.) But I’m sure I’m not the only one who experiences this. It’s because she’s a character so meaningful to me that I care so much about her, even to an unhealthy degree. I know she’s not real. I know the fantasy of knowing her and “fixing” her is irrational, weird, unfounded, and impossible. But that’s ME, not her. Show Yourself, which is beautiful and emotional, unexpectedly made me feel a little sad to know she’s no longer aching to find herself. Maybe I want that kind of certainty for myself, especially as I’m on the cusp of finding a new job & moving. Maybe it’s my unhealthy fixation on her that wants her to remain insecure so that I can feel validated as her “protector” (again, weird and irrational. I can’t explain my brain’s projections.) Maybe it’s not as clear cut as I want it to be, and I just need to- brace yourselves- let it go. ; ) Granted I still have reservations about her new role, like how someone who was pampered all her life & is known for her pose & grace will adjust to essentially camping 24/7, but those are details and inherently flexible. You can’t say she doesn’t belong in the forest just because she’s not acclimated yet.  Now what I feel a lot of people feel unease over is the loss of the first movie’s ending. And by that I mean, we have to disregard our previous headcanon that Elsa remained queen for her lifetime. I mean, we assumed that for 6 whole years and had all that time to flourish in our creative exploits built on that premise. So it undoubtedly feels a little dissonant to have a sequel that goes “nope, not true.” I think that’s normal, and it’s the kind of thing that becomes accepted with time. Shifting our mental framework of Elsa & Anna’s respective futures will take some getting used to. Again, it doesn’t make it a bad ending (you’re free to think that, of course! But something unexpected =/= something bad.) tl;dr vuelie-frost has a lot of feelings and concerns that are pretty indicative of her own issues, not the movie’s. Frozen 2 isn’t perfect but a lot of my grief could be alleviated by focusing on my own projections and expectations, and shifting my perspective to be more open and accepting. You know how people say attitude is everything? It’s annoying but it’s true. And I mean, I still love this movie and want to buy all the merch and draw Elsa endlessly, so my love for the franchise is obviously still THRIVING