#and tied to a specific arc no less

[duckapus]

whats meggy and desti/8s relationship in the avatar au?

did desti have to fight mental meggy/agent 3?

probably girlfriends (which is a big surprise to the factory reset au versions (aka more-or-less canon Meggy and DST-19/Haltmann Clone!Desti) who are pretty sure they're just friends currently (partly because DST-19 is still dealing with Clone Angst since it hasn't even been a full year since she got created))

And yeah she probably went up against Inner Agent M3ggy 'cause even without her memories Desti's no quitter in any universe and would definitely compete all 80 stations.

[evilkitten3]

#i think it's largely because they're thinking of the setting as though it were an actual tiny little universe#kishimoto just made all of this shit up and let em loose like god and then turned it all into a manga like a nature documentary obviously#they're not thinking from a An Author Wrote This perspective#they're thinking from a 'in-universe this is Real to them so what is going on in their brain' way#which is the Wrong way when youre looking at a story that was written by an author because the AUTHOR is making the things do the things

that. exactly that.

but it's baffling how many people manage to only do that when it comes to female characters and not like. literally any other aspect of the manga

one of the most frustrating things about reading naruto meta is that every now and then you'll run into a post that's absolutely brilliantly thought out, has stupendous points, and pulls out all the stops on almost every level....

and you just have to stop and wonder how someone can simultaneously be so good at media analysis and so fucking bad at accepting that sometimes authors just cannot and/or will not write female characters on any level

[moongothic]

When people talk about there being "evidence" for the theory that Crocodile could be Luffy's other bio-dad, they tend to point out these kind surface-level details, easter eggs and Crocodile's odd behaviour during the Marineford-arc. And while all of that is very important as it lays down the groundwork for explaining the theory to people, unironically I think there's even more to the theory. When you really think about the implications the theory has on Crocodile's character and how that would tie into the long running narrative elements and themes in One Piece as a whole, I think it kind of changes everything

So, in this post I want to analyze and speculate about the theory, going a bit "beyond" the basics we already know. Heavy emphasis on the speculation-part, because I'm not here to provide conclusive evidence to prove that Crocodad is Real, rather, I'm here to speculate about how it could be real in practise, and try to explain how so many things would suddenly add up if the theory was true. I'm here to prove that Crocodad would make sense on a narrative level.

Quickly starting with a brief-ish summary of the Basic Thesis of the Crocodad Theory, just so we're all on the same page:

Naturally, if you already know the basics, feel free to skip this bit

Crocodile has secret beef with Ivankov. Although there is no proof that the beef has anything to do with Crocodile being trans, when you go out of your way to introduce a new character whose power is Magic HRT, it's a natural conclusion for people to assume that if these two know each other, then Crocodile could be a trans man. And naturally, if we're assuming he's Luffy's other dad, then he has to be trans

Dragon, as the leader of the Revolutionary Army, is in canon considdered to be the world's Most Wanted Criminal. He is extremely famous as pretty much everyone (except Luffy) knows who he is

Crocodile knowing the second-in-command of the Revolutionary Army doesn't inherently mean he was involved with the Revolutionaries, nor that he has ever met Dragon, but being familiar with Ivankov means it is entirely plausible the two could've met in the past

(Sidenote but I do have a loose theory how Crocodile could've been involved with the Revolutionaries; not relevant here but if you wanted to read it, here you go)

Despite this, when Dragon is revealed to be Luffy's father during the Summit War, although Oda includes the reactions of all the other Shichibukai, he very specifically leaves out Crocodile's reaction to the revelation. This is suspicious as hell, because surely, between his ties with Ivankov and Dragon being world famous, he would've had some thoughts about Luffy being Dragon's son (wrote about this in more depth)

For Crocodad to be real, we are assuming that Crocodile did not know Luffy was Dragon's/his son until Sengoku's announcement during Marineford, this being the reason Oda didn't show that reaction; it would've been too revealing

(We are assuming that Dragon never told Crocodile his name; this is entirely plausible considdering his full name had been a secret to the whole world (as explained post-Enies Lobby), and Dragon had kept the existence of his son a secret even from Ivankov and Kuma. We also need to assume that Crocodile did not name his son, otherwise surely he would have realized Luffy was his son when they met in Alabasta)

This is why Crocodile ends up saving Luffy's life twice in Marineford (as well as Ace's) when until the revelation he had no reason to even care about the idiot

Crocodile choosing to save Luffy's life probably means one of two things; either he really hates the World Government more than the child who foiled his plans to take over Alabasta, or he cares about his son despite knowing Luffy hates his guts

Again, this is just the basic concept, if you want to read more and see all the more easter egg-type hints, I'd reccomend this post, this post and this post (the third one repeats most of the stuff the first two do in but less detail, but also adds a few more notes extra notes). But now that we're generally speaking on the same level, we can delve deeper.

Please, go get yourself a drink and maybe a snack, this is gonna get long and deranged

Going to start with a fairly small thing.

Through out the series Oda has been repeatedly hinting at Crocodile having A Past, some History, A Backstory that lead to him becoming the way he is. But Oda hasn't actually told us what that backstory is. On the surface, this wouldn't be that strange, after all, there's lots of characters whose backstories we haven't seen, for example Mihawk. We know essentially nothing about that man and how he became the way he is. But what's different about Crocodile as opposed to Mihawk and many others, is that Oda hasn't hinted at there being an interesting backstory there that's worth telling. Like I'm sure Mihawk could have an interesting story, but Oda hasn't alluded to that at all. So the fact that he has repeatedly told us that Crocodile does have a backstory, but at most gave us two whole breadcrumbs in an SBS, is a little suspicious. (For clarity, the hints we've gotten so far to Crocodile's backstory were his repeated comments about not trusting people and how he had given up his dreams in Alabasta, while Summit War gave us the Secret Beef with Ivankov and his grudge against Whitebeard. In an SBS in Vol 78, Oda did confirm that Crocodile had his ass kicked by Whitebeard after he became a Warlord in his early 20s, and that he went "quiet for a while" until he started his heroics around his 30s, setting his eyes on Alabasta. Indeed, we have some breadcrumbs of lore, but this hardly paints a full picture. We know nothing abot what he was doing in his late 20s, which would've been the time Luffy was born btw)

What I'm getting at, is that Crocodile clearly has a backstory, but the fact that Oda hasn't spilled the beans yet would indicate to me that it's likely Oda has been saving up that backstory. Which would make sense, Crocodile hasn't been in a role in the story yet where spending time to tell his story would've been appropriate. So really, we're just waiting for the right time for those beans to be finally spilled. But what makes things even more interesting is that One Piece has a very specific track record of not giving its villians extended and dedicated backstories/flashbacks. Villians can cameo in other characters' flashbacks (Moria, Arlong), they can have their own little segments inside the the heroic characters' flashbacks (Orochi, Doflamingo), they might even get their own SHORT dedicated flashbacks (Lucci whose flashback was 6 whole panels long). But villians do not get their OWN, dedicated and EXTENDED flashbacks. Flashbacks are for the heroic characters. There has been a single exception to this rule and that was Big Mom. That's it. And while I'm positive this rule is going to be broken at least one more time before the series ends, really. What do you think is more likely to happen? That Crocodile becomes such an important villian again, this late in the game, that he deserves his own flashback so we can finally find out what his deal is? (When Blackbeard and Imu are also there mind you) Or that Crocodile's role in the story might not be that of a villian anymore, and that Oda had been saving up his backstory all this time because it could reframe his entire character and how we view him?

Oda loves taking inspiration from various mythologies and pop culture alike to bring life into his work.

This is nothing new or surprising, we all know this. For example, Oda did base the original seven Shichibukai on the Seven Heroes from Romancing SaGa 2, each Warlord more or less matching a description of one of the game's villians. Crocodile just happens to match Wagnas, the queer coded leader of the group, who had the noble swordsman Noel (Mihawk) by his side when the group was created to save the world from a great evil. Meanwhile Alabasta as a whole took a lot of inspiration of Egyptian mythology, Crocodile in that arc matching the role of the crocodile-god Sobek. Sobek is a protector god ("Guardian of Alabasta"), associated with military power (literally what Crocodile wanted to obtain) and fertility, carrying the epithet of "he who loves robbery" (man stole a lot of things, from money and lives to rain and nearly a whole dang country). Sobek's name is speculated to come from the words "to impregnate" or "to unite", both being potentially very interesting coincidences (depending on if Crocodad Real and what Cross Guild's purpose in the story is going to be) (if you want more details you can go read the Wikipedia article on Sobek). (Also I'm sure there's something interesting to be said about Sobek's fusion with the sun deity Ra, Sobek-Ra, and how Luffy is our lil Sun God)

The reason I'm pointing this out is that based on Oda's hinting and/or references to mythologies, people have in the past been able to predict certain plot twists and reveals way ahead of time. For example, most recently people were able to predict that Saint Saturn had been the one to give Ginny (and by extension, Bonney) the Sapphire Scale-disease based on a certain legent about ushi-oni, which is what Saturn just happens to be. (Here's one of the many Reddit posts that predicted that reveal) And there is one particular story from Japanese mythology I want to bring up, as it may be relevant to our Crocodad Discussion here. The story of Toyotama Hime. Here's a quick TL:DR;

Princess Toyotama had travelled from the depths of the ocean onto land so she could give birth to her child. When the time to deliver the baby came, Toyotama asked for her husband, Hoori, to not look at her while she gave birth, as she would change into her true form. And while Hoori promised he wouldn't look, he couldn't keep the promise. He peeked in on her wife as she was giving birth, only to discover that she had transformed into a gigantic wani. Horrified by what he had seen, Hoori fled, leaving his wife and child behind. Hurt by what had happened, Toyotama abandoned her son and returned to the ocean. (You can read different summaries of the legend on the Wani-article as well as Toyotama's article on Wikipedia)

Now historically speaking, "wani" in mythology can have referred to serpent dragons, sharks or sea monsters. But in modern Japanese, the word translates to "crocodile". It's what Luffy and a few other characters call Crocodile on numerous occassions. Hell, Crocodile's favorite pets are his gigantic bananawani. Historically speaking it might be more accurate to say that Toyotama had transformed into a sea serpent, but for our intents and purposes, Hoori abandoned Toyotama after she became a crocodile.

I can not tell you what exactly the relationship between Dragon and Crocodile was like, how it began and how it ended. There's no way for us to know when Crocodile transitioned (beyond "after giving birth to Luffy"), nor do we know how Dragon found out about it and how he reacted to it. There's a million options for how things could've gone down, and nothing to truly go off of to even make a guess. All we do really know, is that 1) Dragon does not seem to wear rings at all. 2) Crocodile wears rings, but leaves one out specifically on his ring finger, where one would normally wear their engagement/wedding ring (mind you; for the first half of Alabasta Oda drew Crocodile without a ring on his middle finger, but from the latter half onwards, through Impel Down and Marineford, it's always the ring finger). 3) This suspicious ass comment

"I don't know they have kids or not" YEAH RIGHT

If we wanted to use the story of Toyotama Princess as a jumping off-point though. It's entirely plausible that soon after giving birth Crocodile transitioned thanks to Ivankov's ability, and because Dragon wasn't into it, the two broke up/got divorced. The unfortunate reality is that many couples end up breaking up if/when a partner comes out as trans and chooses to transition. Just like Hoori abandoned his wife because she turned into a crocodile, Dragon could've divorced Crocodile because he transitioned into a man. And Dragon would not be a bad person for it (as long as he was respectful about it). If Dragon is straight and just couldn't see himself being with a man, that's just how it is. At the same time, this would be a gut wrenching, painful thing to go through, and this kind of heartbreak could have devastating concequences for Crocodile's character. Concequences that could play deeply into One Piece's long running narrative elements, which is why a lot of my speculation from here on does end up relying on the Toyotama Myth possibly being inspiration for Crocodile's secret backstory. I acknowledge there's no quarantee that's the case, but I am here to make an argument for why it could be.

QUICK SIDENOTES

As mentioned before, although Ivankov holds the key to a weakness Crocodile has (in their own words), we don't know what that weakness is.

Crocodile joined the Shichibukai in the first half of his 20s (SBS vol 78), and he would've been 27 years old when Luffy was born. This means it's nearly impossible for Crocodile to be stealth trans, as he would've been a public figure for years; which means, Crocodile could be openly trans

A single earring on the right ear can be read as a "gay earring". The man does like his jewelry, so there's no proof he's signaling that he's gay, but if Crocodile's happy to let the world know he's into men, then surely there'd be no issue with him being openly trans either

His transition would've happened 17 years ago pre-timeskip, so in-universe it'd be old ass news and not worth bringing up to the readers if it doesn't add anything to the current plot or his character (which it wouldn't have during Alabasta nor Summit War)

If Crocodile's secret weakness wasn't him being stealth trans, and Ivankov can't detransition him against his will (can't hit Crocodile without Armanent Haki), then what is that secret weakness Ivankov knows about?

As Dragon told Kuma: "A child is a parent's weakness". If Ivakov was anywhere near Crocodile when his child was born (so that Crocodile was able to transition as soon as the kid was out) Ivankov could/should know about the child existing, and would thus be able to blackmail Crocodile by holding the information of his secret child hostage

However, Ivankov did not know about Dragon having a child

Meaning if Crocodile and Dragon were in a relationship, it must have happened in secret, otherwise Ivankov should've realized Crocodile gave birth to Dragon's child

So One Piece has a lot of narrative elements that come up time and time again through out the story,

And some of these have become more and more relevant in the story especially post-timeskip. This is not a comprehensive list of all of them, just the ones that could heavily tie into Crocodile if he were Luffy's other dad, as they could reframe his character. So, let's look at these narrative elements, how they've appeared in the story so far, and speculate how they could reflect in Crocodile.

🐊 People existing in the wrong bodies / bodies that have been altered (and what it means for you to be "you"/how does your body reflect who is on the inside) 🐊 Queerness

Wrote about this more in-depth in this post, but to keep things short; Thriller Bark, Punk Hazard, Dressrosa and Wano all heavily featured characters who have had their bodies either temporarily or permanently altered, sometimes with the person's consent and sometimes without it. Not to mention all the various characters through out the series who have gone through similar things, like Franky, Kuma as well as Brook, among countless others. As well as every Devil Fruit user who can transform their body (including every single Zoan user). People, the way they inhibit their bodies and the freedom to be who you are is very important to One Piece. That is already a very queer-coded narrative, but then we also have explicitly queer characters. Queer characters, who have been deeply important to the story, and whose presence has become more and more prevalent with time. Not to mention how queerness in general has been "escalating" over the course of the story. There's this video from Berry for A Thought on YouTube which explains this more in-depth, but to summarize the most important observation from the video; we have slowly gone from Kuina wishing she had been born a man, to non-binary drag queens (first one being able to temporarily change their own bio-sex by turning into someone else, to the second one being able to change anyone's bio-sex permanently), to two pre-transition transgender characters. All we really need for this escalation to reach its "peak" is if we had a (named, non-background) transgender character who has already transitioned. Unsurprisingly, Crocodile could fill that role really nicely.

🐊 Loneliness

Loneliness is generally speaking a very important theme in One Piece, as it's on the opposite side of coin with friendship on it. So many of our main characters have suffered for years from loneliness, by being ostracized and rejected by their communities, abandoned by their families, sometimes suffering for decades for the sake of their loved ones because they had promises to keep. Luffy himself considders loneliness to be most painful, scary thing imaginable.

Loneliness is something queer people struggle with. A lot. Being rejected by your loved ones for who you are is a painful, common experience for many. It alone can keep many queer people in the closet for years and decades, because the fear of being left alone and abandoned is too much to bear. Some people are accepting of queers but only as long as they stay "over there", pulling a full 180 when a family member comes out. Some people only ""accept"" trans people as long as they don't transition. And while some people may appear to be accepting of you when you come out or are early into your transition, many (trans men especially) lose friends and support the more they start to pass. Crocodile does not trust people. He set up base in Alabasta sometime around the age of 30, meaning he spent around 14 years by himself (until he recruited Robin), unable to trust anyone. That's a long time to be alone. Of course, there may have been a practical side to why Crocodile chose to spend over a decade in utter emotional solitude. If he was scheming to take over a country, then having anybody close who could leak his plans out and foil them would be dangerous. Hell, it's exactly what happened thanks to Robin. But having your significant other destroy your ability to trust people and then isolating yourself to avoid further heartbreak and "betrayal" could be another, potential reasoning as to why Crocodile chose solitude.

🐊 Two failed weddings and one relationship that never was

In Thriller Bark we witnessed Nami almost get married off to Absalom. On Whole Cake Island, we almost saw Sanji get married into Big Mom's family. During Egghead arc, we saw how Kuma never got to have the relationship with Ginny he had yearned for deep inside. I already mentioned Crocodile's missing ring. How his relationship with Dragon might not have worked out because of his transition. How Crocodile's queerness could've lead into solitude, out of distrust. We already have three relationships that never worked out. So how about a fourth one.

🐊 What makes a family (/chosen families) 🐊 Family reunions (with blood-relatives) 🐊 What it's like when your blood-relatives are really horrible people

For the first half of the series, One Piece did very much focus on the concept of chosen families, as most of the Strawhats grew up with non-blood relatives that they all considdered just as much family as their actual blood relatives (if not more-so); Luffy with Ace and Sabo, Sanji and Zeff, Nami, Nojiko and Béllemere, Chopper and Hiruluk, Franky and Tom's Workers. Chosen families are deeply important to this story. At the same time, a lot of post-timeskip OP has actually revolved around (blood) family reunions. Punk Hazard was about sending the kidnapped children back to their families (as well as Momonosuke to ""his father"" Kin'emon), Dressrosa was about reuniting all the broken families Doflamingo (and his family) had torn apart. Whole Cake Island was about Sanji reuniting with his blood family while being forced into a whole new one, and Wano allowed Momonosuke to reunite with his sister (and Kin'emon with his wife). On Egghead we've gotten to see the gutwrenching reunion between Bonney and Kuma, and we are all dying to see Luffy meet Dragon eventually. Not to mention all the other reunions many of us are waiting to see, like Shanks and Buggy, Moria and Perona. Luffy and Garp (currently held hostage by Blackbeard), Mihawk and Zoro. And many others. But indeed, not all the family reunions have been good. Sometimes, the blood relatives have been horrible people. Like Big Mom (to some of her children and husbands), Judge and Kaidou. Sometimes, your blood relatives suck ass.

Needless to say, Sir "I tried to bomb one million people to take over a country" Crocodile is not exactly the greatest guy around. But what might be arguably more important is that... Why is Crocodile a plot-relevant character again, on an emotional level? As I mentioned, characters like Buggy and Mihawk relate to certain characters, so potentially getting to see them reunite with other characters would have emotional weight behind it. Mihawk and Buggy are both relevant characters both to the plot but also on an emotional level, their return to the spotlight makes sense. But then we have Crocodile, a fellow member of Cross Guild. Sure, he's definitely there to help move the plot along, no doubt about that. But emotionally speaking, why the hell is he here again? Is there a character he could "reunite with" that would have that same kind of emotional weight behind it? You could argue Vivi perhaps, but between Vivi hating the man's guts and and Crocodile probably not giving a damn about her, I'm not sure that reunion would have that much emotional weight? Robin on the other hand could be very interesting, considdering she did live under Crocodile's protection for four years until she betrayed him, an action that seemed to have stung Crocodile. That reunion could be deeply interesting.

But you know what this post is about. If Crocodile is Luffy's other dad, then those two coming across each other would suddenly have enormous weight on it even if Luffy himself didn't know about it. Because if Luffy were to find out, Luffy would then have to decide if he'd acknowledge Crocodile as his other dad or disown him. Mind you, Crocodile already knows that Luffy hates his guts for what he did in Alabasta, not to even mention the fact that he tried to kill him three whole times. Luffy has every reason in the world to hate Crocodile. The man surely understands that. But then there's the fact that Crocodile isn't Luffy's mom, but his transgender father. If Dragon rejected Crocodile for being trans, why would his son be any different? Which raises the question, would Crocodile be afraid of that? Of meeting Luffy again? Of Luffy somehow finding out and then getting rejected by him too? How does Crocodile feel about any of this? Now of course, we the readers already know that Luffy canonically loves and respects queer people. Luffy would never look down on Crocodile for him being his dad (the warcrimes are different). But Crocodile doesn't know that. And this is what I mean by there being emotional weight on these two reuniting, as anything that could go down between these two could have massive concequences for Crocodile's character. And please, keep in mind, although Oda hasn't dwelled too deep into the subject in One Piece, there are people who aren't accepting of queers in this world.

This prince, and his entire kingdom, could not accept his mother for who she was. An entire country crumbled because their queen came out as trans. So just like there are accepting families (including Kaidou strangely enough), there are unaccepting, queerphobic ones too. So the fear of rejection would not be unfounded. (Also, if Crocodile and Dragon are divorced then those two coming across each other, especially after The Shit Crocodile pulled in Alabasta, would have a lot emotional weight on it too.)

🐊 The things you are willing to do and sacrifice to protect your loved ones

Shanks gave up his arm for Luffy. Zeff ate his leg so Sanji could have actual food. Béllemere died for her daughters while Nami sacrificed her freedom in an attempt to save her village. Tom gave up his life to protect Franky and Iceburg. Robin attempted to sacrifice her life so the Strawhats could continue their journey in peace. Sanji gave up his freedom for Baratie and the Strawhats. And so many countless more lives, given up for the sake of others.

So people often give Dragon shit for being a "deadbeat dad". I've discussed this in the past, so to keep it short; the World Government went out of its way to hunt an unborn child, hurting countless pregnant women, mothers and newborns while chasing for Gold Roger's son. A child who had "evil blood" and had to be exterminated from the world. Similarly, the World Government went out of its way to put a massive bounty on an eight year old child for the crime of being able to read ancient texts. Dragon would have known and understood that if he ever had a child, as the leader of the Revolutionary Army, his child would become yet another target for the World Government to hunt, just like Ace and Robin did. This should also apply to Crocodile; if the WG found out about him having been involved with the Revolutionaries they would no doubt strip him of his Shichibukai status and make him a wanted man again. Crocodile's child would thus be in just as much danger, even if the Government didn't realize it was ALSO Dragon's son. If Dragon wanted his son to be free and choose his own path in life, Dragon had to keep his distance from Luffy. The same would apply to Crocodile. Luffy probably ended up in Garp's care, not because his parents didn't want to raise him, but because they wanted Luffy to be free.

But as long as the World Government exists, if they ever found out about Dragon having a son, that child would end up in danger, he could become a target. And the only way to ensure that child's safety would be by eliminating the ultimate threat. The Government.

Now that is the ultimate goal of the Revolutionary Army anyways, something Dragon and co have been working towards for over two decades now. But most of their efforts have gone into freeing small countries by overthrowing corrupt governments and gaining support, little by little. Which is understandable, the WG is impossibly powerful, you can't just walk into Marijoa all willy-nilly, take out the Tenryuubito and free the world, the Government's forces would take you down within seconds. Dragon understands this, which is no doubt why the Revolutionary Army hasn't made a move against Marijoa directly until the latest Reverie. It'd be too risky, and if the Revs were taken down, who would be left to oppose the WG? Their slow approach makes sense. But at the same time, while the Revs did attack Marijoa, destroying the Tenryuubito's food banks and freeing a single slave... as long as the Tenryuubito are allowed to literally stay on top of the world, this attack has done nothing. They're just going to demand more tributes, they're going to enslave more people. It's going to make things worse for those who aren't in power. It's harsh and unreasonable, and I don't agree with them, but I do understand where some fans are coming from when they considder Dragon a "fraud". If you wanted to help free the world from this corrupt rule, then you have to actually strip those in power from their status, otherwise nothing will ever change. You have to actually fight the enemy.

I can not tell you for certain why Crocodile wanted to create "a military nation powerful enough to oppose the World Government", I do not know for sure why he wanted to obtain an Ancient Weapon. But nuking Marijoa out of orbit sure would be a fast way to end the rule of the Tenryuubito, ensure nobody would get hurt by the World Government's corruption and slavery ever again, and make sure your son would never become targetted by them. A line of thought I'm sure Dragon would not have agreed with. But a line of thought Crocodile could believe in.

Remember how we still don't quite know what Cross Guild is up to? How the Shichibukai are based on Romancing SaGa 2's Seven Heroes, a group formed by Wagnas (Crocodile) with the swordsman Noel (Mihawk) by his side to save the world from a great evil? And how Cross Guild has been focusing on hunting down Marines by putting bounties on their heads? Make of that what you will.

🐊 Learning not just to love and trust others but to be loved as well

Robin tried to sacrifice herself not just because she loved the Strawhats, but because she thought she herself was unlovable and did not trust the crew, believing they too would betray her eventually. Sanji tried to sacrifice himself because he thought he was unworthy of being loved. Ace went through most of his life, thinking it would've been better if he had never been born at all. We know Crocodile does not trust people. The logical assumption here is that it's because he was betrayed in the past and had his trust broken. Did he ever have a crew, in his younger pirating days? If so, what happened to them? Did they betray him, leave him? After Whitebeard kicked his ass? Who knows. If Crocodile was in a relationship with Dragon though, it does mean that one point he loved and trusted someone, deeply. So much so they had a child. But if their relationship ended because Crocodile is trans, that would have broken his heart, wouldn't it? Made it hard for him to trust anyone ever again. And what would make you believe you were unlovable more than being rejected by your significant other for being queer. But as I mentioned before; Luffy loves and respects trans people. His affection towards queer characters through out the series is absolutely unmatched (the way he exclusively uses the "-chan" honorific for Bon Kurei, Ivankov and Inazuma, calls Yamato a man, and is far more interested in Okiku's spooky mask than her being trans). What would be a better way for Crocodile to be reminded that he can be loved and that he can trust others than being accepted by his estranged son?

🐊 Inherited Will

In Alabasta we learn Crocodile once had a dream that he gave up upon after learning how strong the most powerful pirates of the Grand Line, the ones standing between him and his dreams, truly were. In Marineford we learn Crocodile lost to Whitebeard in his youth. During Miss Goldenweek's Cover story, we learn Crocodile dreamt of becoming Pirate King.

A dream that he shares with Luffy. An inherited will Luffy carries on.

You know the RPG trope where the final boss is either god or your dad? Yeah. This line really hits different when you shout it at your father.

Now, all of this is fine and dandy, but what does this actually do? How would Crocodile being Luffy's other bio-father add to his character, impact Luffy and the story as a whole?

Now there's no way for me to fully predict how the plot is going to develop through out the Final Saga and what might go down. There's a million moving pieces and a billion potential directions things could go. We could be here forever debating those things. But as I did explain in detail already, if Crocodad Real, it could heavily impact Crocodile's character depending on what does/doesn't happen.

For one, we could have an idea of why Crocodile is a plot relevant character again; if his ultimate goal had always been to destroy the World Government to protect his son at whatever cost, then we might know why he wanted to create Cross Guild to begin with; either create a military force strong enough to fight the WG on their own, or, if nothing else, dwindle down the Government's forces and be a general nuisance that leaves the WG vulnerable (perhaps enough so that the Revolutionaries can do the hard work) and/or unable to spend their resources on hunting down Luffy and the Strawhats. Crocodile could be acting as bait, a distraction to protect his son. There's a few options there. This would also give us an idea of where that Cross Guild plotline could be heading; some people believe CG is there to join the race for One Piece and get defeated by the Strawhats, and that'll be the end of it. But now we would have another option, of Cross Guild joining the expected final war against the World Government together with the Strawhats and the Revolutionary Army. So that's one way Crocodad could impact the story and the general direction its heading.

But then there's the character-side of things, how would Crocodad impact our characters? Now obviously, the three characters that would be most impacted by the theory would be Crocodile, Luffy and Dragon. There's some other characters too, Ivankov (since they didn't know), Robin, potentially some Cross Guild members (could they learn to respect Crocodile more sincerely if they learned that the man did in fact have a heart and something/someone he cared about and wanted to protect?) and maybe even Garp, but realistically, it's the core of the family itself.

Now Dragon already would know about everything so there'd be no Shocking Revelation for him. And based on what we saw him say about Sabo maybe being responsible for Cobra's death at the Reverie, we can make an educated guess that Dragon is Not Happy With What Crocodile Did In Alabasta.

So the two aren't on good terms, probably. Dragon might just be absolutely furious at Crocodile for what he did. Understandable tbh. I guess we're just going to be left wondering if the two could somehow ever reconcile, and whether or not they still love each other deep down, despite all the pain and hurt (and warcrimes) they've gone through.

Then there's Luffy. And I guess everything boils down to two major questions; will Luffy ever find out the truth, and if he does, will that impact how he feels about Crocodile? 'Cause it's entirely plausible the series could end with Crocodad being real and Luffy never finding out. And in that scenario, well, Crocodad could impact those other aspects of the story, just not Luffy. And in some ways that could be fine too. It could still be meaningful for Crocodile (and Dragon) that way. But what if Luffy did find out? Now, mind you, it's already a bit of a mystery how Luffy feels Crocodile as of now in the story; back in Impel Down he still understandably hated the man's guts with a fiery passion, but after Marineford Luffy does kind of owe Crocodile his life after he saved him. And Luffy is generally speaking pretty respectful when it comes to stuff like that. But also Luffy was unconcious when Crocodile yeeted him and Jinbei out of Akainu's reach, so does Luffy even know Crocodile saved him? (Though surely he would remember Croc sparing Ace and getting guarded from Mihawk) Not to mention, when the Cross Guild reveal happened, the only comments we got about it where Luffy calling Buggy an idiot and Zoro being confused about Mihawk being there. They didn't even acknowledge Crocodile. It was almost like Oda seemed to avoid the subject?

We also need to considder how much would Luffy find out? Just the basics, that his other parent is a trans man and just happens to be Crocodile? Or like, everything? From whatever his plans were with taking over Alabasta to however Crocodile might feel about his sweet baby boy? Because if all Crocodile had wanted to do was protect his son, despite knowing he might never see him again, and if Crocodile did still unconditionally love Luffy despite everything that happened, despite knowing (/assuming) that Luffy already hates him... Well first off, Robin nearly assassinated Iceburg and was willing to let the World Government potentially get their hands on an Ancient Weapon just to protect Luffy and co (on top of all the deaths she helped cause while working for Crocodile, all because she wanted to read the Poneglyph herself). If Luffy was willing to forgive Robin for all that, would he not forgive his dad for doing the same? And Luffy isn't one to dismiss kindness, when people express that they genuinely care about him and his well being Luffy does respect that (even if doesn't fully reciprocate the feelings, like with Hancock). And Luffy has deep emotional intelligence too. If Crocodile was convinced he'd be rejected by Luffy for who he was, especially if that had happened to him in the past to begin with, over something Luffy wouldn't bat an eyelash at (like being trans), like. Luffy wouldn't be shitty about that.

We know Crocodile is a broken, traumatized man. We don't know how much shit he has gone through though, beyond getting his ass beat by Whitebeard and The Divorce. Knowing how Oda likes to layer trauma in character backstories*, there definitely could be more to Crocodile than just those two things, but for the sake of this post, let's just focus on The Divorce. *(Like how Robin was alienated by her community long before the Ohara Genocide, and then spent decades of her life fleeing from the Government, hurt and abandoned by people time and time again. Or how Kuma was born into slavery, lost the love of his life and finally gave up everything he had just to save the life of his daughter. Early OP flashbacks may have been a bit simpler, but as time as gone they have definitely gotten more complex and layered, so I would not be surprised if Crocodile's Full Backstory had like 3+ layers to his trauma)

One important part of One Piece has been teaching/reminding certain characters important lessons, to change their view of the world and make them better people as a result.

Here's some of the messages of One Piece, its beating heart and soul

And of course, sometimes some characters can't have their minds changed, at least not that easily. But their ideals and worldview can always be challenged and proven wrong. This is what happens to many of the villians in the story. Like Moria's ideas of how he shouldn't have to do any of the hard lifting himself and how instead of having friends he can just have replacable zombies instead. Moria's worldview was wrong, and is exactly what led to his downfall in Thriller Bark. Or Spandam and the CP9's ideas of justice, how anything they do can be justified as it is for the "good of the world", including killing innocent civilians. They can do that, because they are "heroes of the world", they are "justice". Needless to say, none of the CP9's actions during Enies Lobby could be considdered "heroic", and, well. If "justice always prevails", then their defeat did prove theirs was a false one. Or how Enel isn't a god, how Doflamingo doesn't have a god given right to rule (neither does Wapol for that matter), how Akainu's ideas of "absolute justice" are monstrous at best, how the way Judge and Big Mom treat their families is not how a family should be like at all.

During Alabasta, Crocodile's plans were foiled because of he didn't trust his underlings with his secret identity and refused to communicate properly with them himself. That one conversation between Crocodile and "Mr. 3" (Sanji) is more or less what allowed the Strawhats to reach Alabasta just in time to stop him. But although distrust is what lead to Crocodile's downfall, he still carries that core belief even now; he still doesn't trust others. Which raises the question, what other beliefs might Crocodile still carry deep inside?

That he can't trust anyone because people will betray and leave him sooner or later? That nobody would ever stay by his side, that nobody will ever love him?

Are those not the exact same core messages of One Piece, the false beliefs that we've seen proven wrong, time and time again?

It really wouldn't be right to end the series without Luffy proving Crocodile wrong once and for all, and make him change his worldview, now would it? But hey, the good news is that there might be no better way to prove Crocodile wrong than to have his son unconditionally forgive him and accept him as his father.

All of this to say; yes, I think if Crocodad was real, it would heavily impact Crocodile's character and whatever character arc he might have. Like I'm not arguing for Crocodad in the name of meme'ing. His whole story could suddenly tie into so many of series' core themes and messages, and tie into our main character in a meaningful way. It could impact heavily where the story as a whole is heading.

The other, more likely option is that Crocodad isn't real and that I have lost my marbles thinking I was onto something with this post. In the end, time will be the judge of that. Thank you for reading, I hope you enjoyed my utter derangement.

Minor EDIT (Oct 20th, 2024) but. Because I am still obsessed with Crocodad, I keep on thinking about it and both coming to new conclusions and noticing new things, and I wanted to link a few shorter posts I wrote recently because I think they add to Crocodad, if in minor ways

Crocodile's motif is being a protector

Ivankov's fame as a miracle worker matching the Crocodad Timeline

Whitebeard would not have invited a woman on his crew (side tangent; the actual post is about something else)

[unionizedwizard]

so. many people have already pointed that koana is sort of like an ARR alphinaud remix and while it is not untrue, i think this analysis is only superficially correct. because the salient point of koana's character is that he feels shame and resentment towards his roots & origins and therefore overcompensates with sharlayan weabooism (well-intentioned, but still unsuitable). he comes off as really weird and stuck up, in the beginning especially, where it's like. "what the fuck is this guy's problem" in a way that's rather similar to the average player's reaction to ARR alphinaud.

BUT!

the thing with ARR alphinaud is that he was the Quintessential Sharlayan, both on account of his upbringing and family tree, and of his personal interests and achievements. he was (and still is) secure in his origins and cultural identity. koana's case is different, because he clearly loathes tradition and turali cultural practices in a way that comes across (and fundamentally is) really weird and destructive, which comes to bite him in the ass on many occasions during the rite of succession (and understandably so).

it all starts to make sense when you learn about his backstory though. while we know that wuk lamat doesn't remember anything of her own childhood, having been adopted by gulool ja ja as a toddler, koana was adopted at a much older age. he remembers his early years, and that's what fuels his entire vision for the future of tural. as he tells it, he was born to one of the most traditionalist hhetsarro tribes in tural, and abandoned (accidentally(?) left behind) during one of their yearly migrations, only surviving thanks to a pelupelu merchant who rescued and took him in before employing him in his tuliyollal shop. an obviously incredibly traumatic event that would shape everything about his future mindset: he's closed off and withdrawn to the extreme, highly analytical, values self-sufficiency and independence and technical innovations above all else, because that's how he survived to begin with. because his nomadic, highly traditional, presumably (from what we've seen of the one hhetsarro tribe we've met so far) tight-knit, spiritual and social tribe rejected and abandoned him. it would make sense that he'd rationalize this unfathomable violence by leaning hard into the opposite, and letting his own pain and resentment color his entire vision, turning his own feelings into a more general mindset of shame, resentful inadequacy, and complete rejection of anything "traditional"

i think sharlayan was a good choice for him because it's pretty much, indeed, the opposite atmosphere: in sharlayan culture, family ties are a lot less emphasized, while the kind of ties that colleagues, peers, teachers and students develop are considered as very important (see pretty much every sidequest and margrat's custom deliveries and all). all these relationships based on a common work and aspirations rather than origins would indeed agree with koana's character better, and his analytical skills, vision and intelligence are pretty much the most valued traits to them.

which is why it was actually such a stroke of genius to have thancred and urianger specifically support him. of course, both of them had a character development arc that echoed with koana's issues: learning how to express himself more openly and acknowledge his feelings, all that, meaning they were uniquely able to help him. but when you look more closely, they can also relate to him on a more personal level: thancred was "adopted" by louisoix as an orphaned lominsan street urchin, probably at a similar age as koana when he was adopted by gulool ja ja; and urianger's parents notably "abandoned" him to the point he was mostly tagging along at moenbryda's house and, later, at the leveilleur estate, as louisoix's disciple and honorary uncle to the twins (also worth noting that urianger and koana share the same flavor of autism).

so the rite of succession was a much-needed window into his own biases and (literal) coping mechanisms, and must have been quite difficult to deal with considering pretty much all the feats involved interacting with and strengthening tight-knit smaller communities with strong traditions and family ties. luckily, partly thanks to thancred and urianger (but not only! he did the work himself), he was clear-minded enough to realize his own failings, and well-intentioned enough to step down - because he did not want power for its own sake, unlike zoraal ja; he wanted to protect the turali people from a potential invasion by leaning hard into foreign technological advances, therefore mimicking his own personal journey and adapting his own tried-and-true methods of survival: anticipating the hardships, being as independent and self-sufficient as possible, and choosing isolationism.

and finally i want to point out that the new techniques and technologies he imported from sharlayan are all (safe, fast and reliable) modes of transportation: aetherytes, dirigibles (including the alpaca carriage adaptation), and trains. interesting choice, moreso considering that while aetherytes are the #1 sharlayan specialty, they have neither dirigibles nor trains; which takes on a whole new layer of meaning when you remember that his original tribe was nomadic and that he specifically was left behind, stranded in the desert, during one of their traditional migrations............

in this regard he truly IS green g'raha, considering that g'raha was, similarly, raised in a traditional seeker manner before being sent to sharlayan for his own (and the tribe's) safety; of course the difference is that g'raha embraced his heritage by locking himself in the crystal tower by the end of ARR, since the G tribe was tasked with guarding the remaining allagan ruins and weapons, to make sure their power would not be misused by yet another imperialist military force (he locked himself in the tower to reinforce its defenses and make sure the garlean empire would not access it to conquer eorzea)

thank you for your time 👍

[dekusleftsock]

I think that there’s a fundamental misunderstanding of what exactly is…happening with Izuku’s character. Specifically in regards to chapter 425.

I’m glad that a lot more people generally recognize that Izuku is not a character that can be read at a surface level, given that he’s both a repressed person with built up emotion of basically everything and also a very glaringly HUGELY unreliable narrator, but that doesn’t necessarily mean I agree with the ways I’ve seen this most recent chapter spoken about.

I see posts, comments, etc with ideas like “Izuku don’t suppress your emotions! Open up with people! It’ll be okay I promise!” When that’s fundamentally not what is happening here.

There’s always always ALWAYS been a distinct difference in character throughout horikoshi’s writing when he is showing that a character is:

A—Avoiding emotions, thoughts, ideas less than ideal for them. Not opening up when they probably should about their problems given that they’ve been handed the space to do so. Just genuinely not acknowledging, feeling, or expressing emotions that they don’t want.

B—Reflecting on the ways they feel about the world, themselves, or other people given their new perspective on a situation. Not outright reaching out to others to talk about these problems/feelings, but instead waiting until the moment they feel they have the most confidence to do so with their new outlook on their own life.

And genuinely, guys, to grab your BkDk attention rn, this is the exact reason why Ochako’s reflection on her feelings for Izuku and thereafter decision to pull away from them WAS NEVER GOING TO END IN OCHAKO EXPLODING WITH HER LOVE FOR HIM.

This was another common interpretation I saw of Ochako and Izuocha for a long time. That because she pushed these feelings away, they were somehow going to explode in this unbelievable way and she would “get the boy” because of it. That her arc would surround accepting her romantic feelings and that she can’t just push away how she feels for a career.

But yk. That didn’t happen. At all. Nowhere close even.

The same kind of goes for Katsuki, allmight, etc. They all had moments in their arc where it was spent genuinely reflecting, and the only reason we as the audience never connected it in the same ways we do ochako or Izuku was ALWAYS BECAUSE the narrative showed their inner thoughts while doing so (mostly because Allmight’s arc after losing OFA and Katsuki’s arc on what it means to be a hero were so intrinsically tied, both starting at the same time and ending at the same time during the final war. And because they were so tied this caused their own reflections, development, and thought process to be broadcasted to us frequently throughout their arcs… to each other. They also somewhat shared aspects with Izuku, but these were cherry picked more often than not, like dvk2 for example).

To us Katsuki never seemed to be.. idk, suppressing his anger in any way because we were always told what he was doing and why (side note: this is why I’ve always thought arguments against Katsuki were so weird, bc unlike characters like endeavor or Ochako he wasn’t like… hiding who he was and how he was changing. Ever. Like the audience knows at all times past basically season 3 what Katsuki is thinking and doing. Like how do you watch this happen, stare me dead in the eye, and tell me how much of a terrible and awful teenage boy he is. Like damn I didn’t think we were this dumb. This is also my theory as to why he’s most popular, his arc is very… in your face if that makes sense). Katsuki’s entire mini arc on reflecting his mistakes and his childhood and his future is spent TELLING YOU that it’s what he’s doing. (I’m referring mostly to the endeavor internship arc, the provisional license exam makeup, and basically everything in the war arc related to him leading up to bakugou Katsuki rising here)

And see, Horikoshi will stare you dead in the eye, tell you “this girl has taken into consideration that she doesn’t want to waste her time training her career focusing on a boy because he kinda caught her fancy”, and y’all will still say that this will explode in her face.

Y’all this is a series about learning how to manage emotions, maturity in relationship to one’s emotions, how to feel an emotion, but in a way that is helpful. Horikoshi isn’t telling you “go buck wild, feel everything all the time and always express it”, in fact he explores why you DONT do that! Through Toga or Shigaraki, they show how grief and anger can genuinely consume you. But he also shows why you shouldn’t just put everything in a box to never look at or acknowledge, or why you shouldn’t just let your grief destroy the world around you, or pretending that some emotions simply don’t exist.

I can’t say this enough, so let me say it now, mha is about the extremes of your psyche. That you should control something, but not too much. Everything can be harmful. Everything can be good.

Izuku is not controlling too much, he’s expressing just enough.

I LOVE shaming this dickhead at all times in all my posts. I love saying he’s an ignorant dipshit with a weird amount of distaste for a girl who just confessed to him. I’ve joked that chapter 348 is basically an entire chapter spent on Izuku calling Himiko a mean dyke. And yet I also believe he’s doing nothing WRONG here.

In fact, I’ll even say that this moment right here?

ISNT EVEN IZUKU DOING THE SOCIALLY APPROPRIATE THING ABOUT IT! But he’s still TRYING to reach out to someone he thinks MIGHT be able to understand. (And frankly, this moment is far deeper than what it’s being made out to be, to me it reads more like an unrequited friendship that Izuku both desires and has thought of them to have, while simultaneously showing the distance Ochako has successfully wedged between them for her own sake. Maybe it was always there though, maybe in weird, miscommunicated Horikoshi fashion, this is a representation of how Ochako always read all those “fun friend hangouts” as a little more than that, and without those feelings the friendship never really held any substance to her in the first place. Where Izuku saw his first real friend at UA, she saw little more than acquaintance)

Simultaneously, Izuku is genuinely reflecting on what it means for the world to change, to be a hero, to live after loss—and trying and failing to gain the connection he desires from individuals who can not and will not afford him that.

Izuku is ready for the world to change, a few select characters are also ready for the world to change (mirio, for example), but not nearly enough are. So maybe I’ll have to take this back if I’m proven wrong and I accidentally looked into this far past what everyone else did for no reason, but I genuinely believe with moments like this

And this

Aand this

That Izuku has come forward with that aspect of his character development. He’s reflecting on his new beliefs, not repressing his emotions for them.

[gay-disabled-characters-showdown]

LGBTQ+ Disabled Characters Showdown Round 3, Wave 2, Poll 1

A character being totally canon LGBTQ+ and disabled was not required to be in this competition. Please check qualifications and propaganda before asking why a character is included. 

Check out the other polls in this wave and prior here.

Yang Xiao Long-RWBY

Qualifications:

She is canonically wlw (has been for years but specifically kissed and got together with her now girlfriend in the latest season) and uses a prosthetic arm and has been shown to struggle with PTSD due to the traumatic nature of losing it during the show.

Canonically had her right arm chopped off, uses a prosthetic. Has PTSD. Is canonically in a WLW relationship.

She has a canon girlfriend and canonically has a prosthetic arm and PTSD

She's canonically sapphic (part of a recently canonised wlw slowburn relationship) and is an amputee (due to events from the 3rd season finale) who wears a robotic prosthetic. She also suffers from PTSD which is explored in the show

Propaganda:

I will keep on submitting Yang to relevant brackets until I die. RWBY has plenty of strengths and weaknesses with writing, especially Yang's recovery arc, but instead of forcing her to push past her trauma and enter the battlefield immediately, we see her struggle with it, take time to process, and not be pushed into repression and when she chooses to wear her prosthetic, chooses to train to ready herself, and chooses to seek out her family and save lives, she isn't perfectly healed, as no one is. The show depicts her having flashbacks due to sudden loud noise, shaking hand the first few times she has to fight for her safety instead of training with her dad, and snapping at friends when they bring up Blake, the person she lost her arm trying to save (who, near immediately after ran away due to feeling she was endangering those she loved, furthering Yang's already present abandonment issues.) It isn't done perfectly but the intentions and general message sent are extremely positive and honest. She struggles less as the show progresses, and there are opportunities to consider herself less for being disabled or "become whole again" but she explicitly refutes these ideas and says that's she's better because of her failures and losses, and isn't any less whole. Her becoming disabled is also extremely tied to her being LGBT, because, as previously mentioned, she lost her arm protecting her then friend and partner, now girlfriend, directly after the villain who cut her arm off told her love interest that he would "destroy everything [she] love[s]. (Camera pans to Yang, he looks at her.) Starting with her." LIKE. He attacked her BECAUSE Blake cared for her so much and Yang ran to her defense blindly BECAUSE she loved Blake so much. When they reunite, they struggle with communication because Yang feels Blake is seeing her as weak, and through several things, mostly a climatic battle against the man who severed Yang's arm, they affirm each other as equals. I can go on but this is already too long. YANG SWEEP!!!!!

Yang lost her arm while protecting her best friend and future girlfriend from said girlfriend's abusive ex. Had a whole arc about learning to live with that loss and dealing with PTSD. Is totally devoted to and in love with Blake Belladonna and is just the sweetest but most badass character in the show.

She's one of the main characters, and just finished a 10 year slow burn romance. Plus, she has both physical and mental disabilities, but is never treated as lesser or incomplete.

Yang Xiao Long was one of the first examples of a sapphic character I ever saw in animated media with her character journey in the show being an iconic part of my teenage years and current young adulthood. The loss of her arm after a traumatic event in the show's 3rd volume was one of the big shockers of the show that nobody saw coming. Since then the show has done an amazing job in exploring both the mental and physical effects of her losing a limb, gaining a prosthetic arm and the recovery journey. Her character also has a major arc regarding handling her PTSD from both this and her past most notably in the 5th and 6th volume. Her character also has a slow-burn romance with her teammate and fellow main character Blake Belladonna which is one of my fave romances ever (it has everything: canon soulmates, friends to lovers, sunshine x grump,battle couple etc..) that has recently became CANON BABIEE!!! There are MULTIPLE characters in RWBY with various disabilities that are handled well in the narrative but i would say Yangs definitely the top FAVE!

Harrier ‘Harry’ du Bois-Disco Elysium

Qualifications:

Bisexual. Struggles with addiction, post-polio syndrome, multiple kinds of mental illness, and whatever else he's accrued by living in a city with no accessible healthcare.

Propaganda:

You know who he is. Vote for him.

[conflictofthemind]

I love the post that took the rounds again a week or two back discussing how much more "being gay" and internalized homophobia is a theme for Will than it is for Mike. It's things like this that make me such a neutral party on the "gay vs bi" debate.

I'll try to word it in a way that makes sense. My real opinion is that Mike's arc with sexuality is a lot more symbolic than it is material. That post does go into a lot of it. For Will, his sexuality is directly brought up by both friends and strangers, and he must ask questions like "will my family disown me for liking another boy" and other things that are basically only about being gay.

For Mike, his arc is wrapped in metaphor - understandably, since he is less visible and his feelings are meant to be a plot twist. But I think even as it's revealed, it will be written differently than Will.

Its like, "how do we explain sexuality in a way that is understandable to every viewer" (Mike) versus "how do we represent a specific experience to the queer community" (Will).

Saying this as a Will fan who also wishes people would understand Will better, I wish people (especially Mike fans who should know better) would understand the scope of Mike's character and how it informs what he does!!

He basically spent the entire last season whisper-screaming for help, but this has still flown everyone heads who still believes his biggest struggles are liking men and not liking El primarily because she is a girl, no deeper reasons here.

Mike's acceptance and/or realization of his sexuality is so wrapped up in other things that are crucial to his character. To the point you can't address one without having the whole house of his personal issues fall apart. It's an arc about personal acceptance - not specifically for liking boys, but for daring to step out of the suburban nuclear family dream, for not rushing to abandon his desires that seem 'childish' to others, knowing that his worth goes past what he can provide. Not feeling inadequate.

His relationship with El not just failing because he is (possibly / probably) unable to reciprocate her attraction but because they are deep down incompatible individuals, beyond sexuality. They don't have much in common. El's power brings out Mike's lack of. Mike is only able to connect with her in situations of danger, when his previously stated mental health crises are triggered, not everyday life.

Disclaimer of course that this is not a hard black and white line, and Will's struggles with his sexuality are also tied into his character flaws. But not in the same magnitude. I also think Mike will face the material reality of his feelings and being gay in the time period, but again, not to the same magnitude as Will's arc emphasizes.

[bubblez-bubble]

If I could I would like to talk about the very second "nalu moment" in the series that takes place in episode 2. (The first I would like to believe is him telling her he's taking her to fairy tail.)

But this moment...

This was a major nalu moment for 2 reasons, 1 way more obvious than the other.

So let's start with the obvious.

First of all, for those who haven't made it to the grand magic games arc for any reason...

MAJOR SPOILER WARNING!

This is how Natsu remembered this moment. Which automatically gives it points for NaLu.

If you recall, towards the end of the grand magic games arc when the dragons attacked, Lucy was targeted by future rogue. Future Lucy, however, used her body as a shield and saved present Lucy's life. We then find out that the way we initially thought Natsu would remember the moment she officially joined was not how he remembered it at all, but instead remembered it as what seems to have been one of his core Lucy memories.

But I have a theory as well.

Here we can see that Lucy's favorite colors are pink and blue. However, unlike everyone else in the guild. Her outfit nor hair even once match her guild mark (with the exception of pajamas). Gray usually wears black pants to match his, erza wears a blue skirt to match hers, wendy wears blue in every outfit to match hers, and even natsu at least once wore red to match his, which if I'm being honest the color of his guild mark could have more to do with igneel seeing as his scales are red, but that's a totally different topic for another time. But lucy primarily wears blue and white. Neither of which is the color of her guild mark.

Why is this important?

As you may have guessed it has to do with my personal theory.

Does anyone remember how excited she was to show her guild mark to Natsu specifically? The moment she had it she ran to him to show him without hesitation.

I promise there's a reason for all these points.

Well my personal theory has to do with her guild mark, if that wasn't obvious already.

Again several times with everyone else in the guild we see them wear outfits to match their guild marks, but the only outfit lucy has ever matched with her guild mark was her pajamas.

So why did she choose a pink guild mark?

My theory is...

Because it matches Natsu's hair!

He was the first one she wanted to show her guild mark to.

He was the one that brought her to fairy tail.

AND he saved her from bora and his men!

To me, this was her way of showing her appreciation for Natsu.

And to me this also ties in with the "natsus core memory" bit.

Another headcanon is he remembered this because this moment touched him. He was the first person she wanted to show and her guild mark is the same color as his hair. To him, seeing her guild mark for the first time could've meant the world to him. But they just met so he couldn't let her know that.

It's just my personal little theory/head-canon. But it's still so cute none the less to think that this might be a possibility.

[seventeenlovesthree]

Koushirou Izumi's clothing style - a meta analysis

When it comes to Digimon and fashion, you can tell that certain characters have - mostly consistent - preferences. Most obviously, every character has colours they are usually (but not exclusively) wearing, certain motives and symbols keep returning... And for some characters, their choice of clothes is - more or less - arc-defining.

While looking for references for some art pieces on Pinterest, I stumbled over one of my favourite Digimon Adventure 02 concept artworks:

We never see Taichi, Sora and Yamato wear their Summer uniform in the series and Koushirou literally only wears it in one episode - but looking at the ensemble here, there was something that caught my eye specifically. And this observation took me down a little rabbit hole in terms of what exactly Koushirou's style is, how it changes through the series - and what it may mean for his character as a whole in my humble opinion.

It simply felt like the perfect opportunity to post all these ideas as a contribution to @izumikoushiroweek 2024 and the prompt "Dressing Koushirou".

Adventure (+ Our War Game), age 10-11:

Analyzing Adventure won't take too long, because we don't have a lot of variety at this point - however, it still gives us the baseline for what we will have to expect for the entirety of the series.

Koushirou wears very "boyish" clothes that can be, more or less, considered to be common for a "computer nerd" in the 90s and early 2000s; wide, if not oversized button-down shirt (big emphasis here!), t-shirt, wide shorts, (colourful) sneakers. It's all "comfort over function" at this point, because, as pointed out, he seems to prefer wide clothes. While his signature (crest) colour is purple, his favourite colour appears to be orange, and there are usually lots of earth/nature tones too.

Honorable mention goes to his trademark Japanese school boy undercut hair with a middle parting, barely able to tame the spikyness.

So let's see what elements he will keep and what will change:

02 (+ Diablomon Strikes Back), age 13-14:

As mentioned, the concept art above was what inspired to make this post in the first place - because I couldn't help but notice his pants there. If you compare the way he wears the Summer school uniform to the way Taichi and Yamato wear it, three things come to mind:

The older boys wear the shirt very casually, whereas Koushirou has tugged it in - which is definitely a change to how loosely he wore his button-downs before.

Taichi and Yamato also don't wear ties in comparison to Koushirou. So far so good, these are the most obvious aspects...

And then there are the pants - which are particularly less "form fitting" than it is the case for Taichi and Yamato. Considering how he used to wear wide shorts in Adventure before, one may think that this is related to "comfort over form" again, but it collides a little with how "correctly" he wears the rest of the uniform. So my assumption here is: In one of the dramas he mentions "one of the female 5th graders in computer club who is taller than me" and we can definitely assume that he was referring to Miyako there. He says that he is "working very hard" to catch up... Which leads me to believe that he wears wide pants in anticipation of getting a growth spurt. Which is not only practical in general - but would also spare him/his mom the stress of constantly buying new uniforms.

In sum, we learned that he is the only male character in the entire season who wears his uniform correctly - with the spunky shoes being the only glimpse of "individualism" there. This is an interesting contrast - and will actually turn out to be quite a pattern for him: When it comes to important duties and business, he will make sure to wear his clothes appropriately and neatly (which, at this point, is important if you consider him taking so much responsibility for the 02 kids as their team mom dad). Outside of that, we still see the habit of wearing more comfortable clothes:

Koushirou definitely likes to wear layers (similarly to but not in the same way as Taichi btw), the good old button-downs or hoodies over shirts in particular, it's all very cozy and simple - and while he hasn't completely abandoned his associated colour orange, he seems to have adopted a second favourite colour to his wardrobe as an addition to the earth tones: Green. We later learn that his mother used to buy the clothes for him, so based on her excited expression in the first shot, watching him put on his green school uniform blazer for the first time, they may have realized how well the colour complements his red hair. The wide shorts and pants are also still there and he also seems to prefer basic long-sleeves (and stripes) at this point (which may or may not have been inspired by his own Digimon partner's colour schemes, very sneaky).

Last but not least we have the hairstyle - he's been growing out the undercut to even everything out and starts the season off with a VERY short cut and a side-parting. Very neat and, at first glance, very easy to tame, since the spikes are a lot shorter at this point. The side parting did not last for long though, so the middle-parting returns through the course of the season and he also grows it out a little.

Overall, the dichotomy of "business serious-casual" and "comfy-cozy" is already coming through, but we haven't come to the heavy lifting yet:

Tri (+ the Stageplay), age 16:

As I have briefly pointed out in the intro, for some characters, fashion is an arc-defining factor. For teenage!Koushirou, his interest in fashion is basically a B- or C-plot that - in my opinion - could have been handled in better ways, but I will get to that.

First of all, let's start with the "easy stuff": Hair and uniforms.

His way of wearing his uniform hasn't changed much from 02; he is still wearing blazer, shirt and tie "correctly" - but his pants are not as wide as they used to anymore, as can be seen on the promo art I have used above. (Since he has surpassed Mimi in height and is basically as tall as Sora, he may not expect to grow much further, so he probably chose more fitted pants at this point.)

The hair, especially the spikes and middle parting, are still pretty much the same and thus - probably - still very difficult to tame. It's notable that he has grown it out more in comparison to 02 though.

Now onto his private wardrobe: We see him confiding in Takeru, telling him that now that he goes to high school, he intends to pick clothes for himself, but... Shopping has proven to be quite difficult for... Various reasons. So instead, he created a software to generate outfits for him, with... Varying degrees of success. So through the course of the first few movies, it's heavily implied that he's making use of that software and also Takeru's advice - who appears to be a little bit of a mix between a "k-pop-fanboy / hobby-novelist with a Starbucks order in hand" and "an absolute fashion disaster" himself, but he seems to enjoy being Koushirou's wingman and assumes that his sudden interest in fashion stems from him wanting to impress Mimi.

And this is where things get a little more complicated. I will not go into too much detail about why I think that this was the wrong approach for his arc, because I have already talked about it in full length here. To summarize it very shortly: Koushirou's arc had ALWAYS been about him learning to be himself. That him being the way he is is perfectly fine and that he doesn't have to hide his true self - being adopted, smart, into computers, with all his flaws and quirks, whatever it may be. Him trying to bend over backwards to impress somebody else contradicts his arc and the only reason to include it at this point is for him to come to the same conclusion again. Of course there are underlying insecurities all over the place - especially since he actively seeks Mimi's approval. The school festival should have culminated in a scene in which he and Mimi - dressed up in a costume that was heavily criticized before, thus criticizing Mimi's way of being as well - should have had a talk that went along the lines of: "You know what? It doesn't matter what you wear, as long as you are comfortable." (Which... In itself leaves room for a lot of subtext as well, but I will get to that by the end of the post.)

So long story short, what we see through the course of the first three movies is him being quite experimental: Overalls, wild patterns like koi karps, lots of layers and a peculiar interest in bowties... He also adds several new colours to his arsenal, reds, blues, even his signature colour purple makes a prominent appearance. All for the sake of appearing "less plain", and to have more variation in his style.

While he has abandoned shorts from his wardrobe at this point, he - just like Taichi - likes to wear 3/4 length pants. One style of clothing he hasn't abandoned is his button-down shirts and (open) collared shirts in general. This has been a constant so far and I doubt that we will ever see it change, since they basically feel like "comfort clothes" for him. The interesting part here is, like we discovered before, the consistent contrast between "private" and "important occasions/business settings":

Once he's out with his parents for their anniversary, once he shows up at the school festival in a whole suit, once he wears his school uniform: He WILL wear the (bow-)tie correctly, the collar will be tight, the shirt will be tugged in, no funky shoes either.

Once he's in a private, less "urgent" setting, the collar will be more loose (!), the shirt will (most likely) be pulled out of his pants, the style will be more comfy, the shoes will be more "funky."

We've seen that since 02 already and it's nicely represented in Tri as well - the stageplay even dared to merge two of his outfits from the first Tri movie, a casual and a serious one, to create the perfectly "nerdy" mix for him: (Shortened) Shirt and vest from the anniversary (with an open collar and without the bowtie), 3/4 pants and yellow sneakers from the "let's look for distortions" scene. So we can tell - he DOES have preferences and may not even need a software to tell him what he naturally gravitates towards!

So let's fast forward a few years to see how it'll all develop...

Kizuna (+ The Beginning), age 21-23:

Unfortunately, we don't really get a glimpse of his private wardrobe as a young adult - but we can still be pretty sure that the patterns we spotted before are still going strong:

First of all, it can be assumed that he stopped experimenting for the most part: The hairstyle went back to the roots, for whatever reason he returned to his elementary school undercut, the middle parting and spikes are still there, but less wild. The associated colour orange also returns - and even makes its way into his business wardrobe, as he is back to wearing neckties instead of bowties.

That aside, we mainly see him in his work attire as the boss of his own tech company: White shirt with the orange tie and a closed collar (short-sleeved in Summer, long-sleeved in Autumn), black pants + brown belt, black business shoes.

And once again: Depending on his surroundings, the difference in how he presents himself is still intact to some degree: The outfit is still the same, but once he's just with his friends, shirt and pants appear to be wider again, whereas they seem to be more tailored once he is in "business mode" - this can be seen in particular in The Beginning, where he function as PR Digimon expert and gives interviews to the media.

Long story short: He kept his dichotomy alive for the majority of the series.

The epilogue, age 38:

Even the epilogue shows us that he could never give up the wide, collared shirts (wide collar, no tie, pulled out of the pants!) in nature tones after all. The most notable part here is probably the hair - not only did he grow it out to the point that the spikes vanished almost completely (aside from the long, pointy bangs), but he apparently managed to FINALLY get the side-parting going after all.

Final thoughts (and a few headcanons):

I've once conducted a whole post on how I felt like Koushirou broke a few gender stereotypes in interesting ways for a series that was created in the 1990s and early 2000s (and not only because he was the only male character who basically never had a male voice actor or because 02 basically turned him into "the mom" of the group). I feel like it's no coincidence that his arc and the way it is portrayed actually speaks to a lot of people who consider themselves as neurodivergent, non-binary or trans. It's a story of self-acceptance, about someone who used to question his whereabouts, who didn't know where he came from, who he was. He didn't consider himself to have much "worth" aside from being a human extension of his laptop and also tended to mask his insecurities (at least in front of his parents) with a polite and very correct demeanour.

The way fashion is interwoven into it all may not have been conducted perfectly, but the fact that it is tied to self-discovery still leaves room for interpretations and headcanons. While his personal clothing style has always been rather "boyish" (and not feminine in the slightest), him gravitating towards oversized clothing in private settings while conforming (!) to a very correct and neat dressing style for important occasions still is a curious contrast in this regard. Hiding behind his computer, hiding behind a software to tell him how to dress (and being uncomfortable going shopping physically), hiding his generally slender body behind (mostly) wide clothing because he may - or may not - experience something along the lines of gender-dysphoria is a headcanon that a lot of people can relate to. Especially if you take Tri overall as a metaphor for him figuring out "his preferences" (in both sexuality and gender and thus the scene in which he looks at a kimono - presumably made by Sora - will forever live rent-free in my head, especially because it is a more feminine piece this time).

In the end, it can all be just a matter of perspective - the most likely explanation is that he simply prefers comfort in private settings, but can easily adjust towards a "serious business mode" whenever the situation requires it. Through the course of the series, you may argue that the characters that had the most influence on his casual style were Taichi (layers), Mimi and Takeru (being a little more experimental). On the other hand, you may also take Tri as your average "the nerd cannot talk to women and doesn't know how to dress, so he makes disastrous choices" trope and call it a day. But personally, I feel like, since Koushirou does have obvious preferences that are mostly consistent, it really is more a period of self-exploration. And like I said before: I wish the outspoken conclusion for him had been: "As long as you feel comfortable, you can wear whatever you want."

[that-wizard-oki]

To me, Malistaire cared very little about the Wizard in Arc 1. We're more of a mild bother to him as he schemes and plans and whatnot. The only goddamn thing on this guy's mind is getting Sylvia back. everything else is background noise. That is his madness, and that is what drives him.

I think this makes Arc 2 stronger in retrospective because, while she may carry herself like she's above it all, Morganthe is much more personal with the Wizard, not just about herself and her life, but in a way that targets the Wizard's own insecurities, flaws, etc- and how similar we are to her, vice versa. This gets way, way more under the Wizard's skin than anything I recall Malistaire doing or saying; which is FINE! It would actually be a disservice imo to have Malistaire act similarly to how Morganthe acts around the Wizard. Morganthe's specific motives have much more to DO with the Wizard (meaning she's under the influence of Spider, who needs the wizard to be so invested in defeating Morganthe that they would eventually get to Khrysalis and release him), so it makes sense to me why she deliberately gets under the Wizard's skin, or makes comments about how similar they both are. Malistaire doesn't care who specifically is trying to stop him. Could be anyone or anything. All that matter's is resurrecting Sylvia. Both of these antagonists have very different motives that inherently mean they will interact & veiw The Wizard in wildly different ways.

(side tangent: this is also why im not a huge fan of Malistaire the Undying still having like... a feud with The Wizard specifically... like Mr. Drake sir, you did not even. Also he's reunited with Sylvia anyway as spirits, why would he even care about he Wizard foiling his plans when us beating him ultimately got him what he wanted.... anyway)

Arc 1 is your classic fantasy story, where in the end it is less about the Wizard, and more about The Drakes. The Wizard is just a perspective device for the player during that Arc. Arc 2 however, is when The Wizard actually becomes the main character. The story (especially during our encounters w/ Morganthe) constantly forces The Wizard to face their reality as not just a Wizard in the Spiral, but the SAVIOR of the Spiral, and how that's tied to their worth & identity, just like Morganthe's own power influenced how people saw her. Idk, to me is sort of like A New Hope vs. Empire Strikes Back when it comes to Arc 1 & 2. Both are solid, but the second almost comes off as stronger because it inherently expands upon what the first had established.

[pessimisticpigeonsworld]

D&D saying that one of their favorite plots from the books is the Boltons in Winterfell is a massive sign of their sexism. Now, for anyone one else, I'd probably not care, in fact, I'd agree it's a very interesting part. However, when it comes to the showrunners who needlessly wrote in excessive rape and violence against women, I see it as a red flag. That's compounded by the way they wrote it.

From the beginning of the show, D&D sabotaged the storyline by removing Jeyne Poole. Keep in mind, ADWD was released in 2008, while GOT premiered in 2011, meaning there was no possible way for D&D to not know everything necessary to bring about that specific plot. Add to that the fact that GRRM was heavily involved in season one, them blatantly ignoring Jeyne makes even less sense if they truly cared about adapting it properly.

Knowing this, that D&D themselves sabotaged their own story, the way it was handled makes a bit more sense, though not nearly enough. Without Jeyne there to play the part of fake Arya, a new bride for Ramsay was needed. Sansa was D&D's favorite character, they were unsatisfied with the story GRRM had written for her, they wanted more screen time and plot relevance for her. It seemed like making Sansa take Jeyne's place was a good solution to both these issues.

Except it wasn't. Littlefinger sending Sansa out of the Vale to marry Ramsay makes no sense. Not only is Sansa the object of Littlefinger's obsession, a replacement for Catelyn in his mind, she also was important to Littlefinger getting the Vale on his side (in the show). She was charming the lords and knights, balancing their intense dislike for him with their desire to help/protect her. Not to mention she was his only alibi to save him from accusations of Lysa's murder. Sending her away from the Vale harms Littlefinger's plans. She also would definitely not be "protected" from Cersei; after all the Boltons were loyal to the Lannisters and hated the Starks, what's to stop them from killing Sansa or handing her over once the Northern lords are more settled?

Speaking of the Northern lords, D&D removed the Northern Conspiracy. Throughout the book plot, the Northern lords are plotting to save Arya and depose the Boltons (in a nutshell, it's actually much more complex, but I'm not going into that rn). It's an excellent expression of how the Northerners loved the Starks and hate the Boltons. In the show, the lords are a bit disgruntled, sure, but they have no interest in deposing the Boltons and saving Sansa.

Another major part of the storyline minimized by the show is Theon/Reek. Theon's struggle with identity is a major part of his character throughout the series, and ADWD is no different. He's been stripped entirely of his identity by Ramsay's torture and Theon's own choices. Part of his arc in this book is discovering himself apart from the Starks and the Greyjoys.

That's definitely not what the show did. As I said earlier, Sansa is D&D's favorite character, so naturally she became the center focus of this arc, while Theon was pushed aside. He's essentially reduced to the method of Sansa's escape and goes on track to return to his pre-season one perception of himself: a Stark. This is a massive disservice to his character, Theon isn't a Stark; his life with them is important to his storyline and will definitely inform what he becomes, but it's not the true culmination of his arc. Basically, Theon was turned into a side character in his own story. It's through his pov we see this story, he's the character most tied to Ramsay. Obviously Jeyne is important and a main character in her own right for this arc, but she is not the central character we see the story through. So why is Sansa? She has no stake in this story, Jeyne is forced there after being sex trafficked and Theon is a captive.

So what does this leave for the show version of the plot? There's no conspiracy, Theon's pushed to the side, and politics and overall story are sacrificed. Well that leaves torture and violence against Ramsay's bride. Without the many moving parts of that storyline, it's just a story of a woman being abused horribly by her husband and eventually escaping. However, the escape isn't even the main aspect of the story focused on, that's always the abuse. It's also purely Sansa's abuse, not Theon's or the many people tortured and murdered by Ramsay, Sansa is the sole focus.

So basically, D&D took a plotline that's filled with the inner workings of Northern politics and the complexities of battling identity loss and reduced it to another excuse to show a woman be raped and abused on screen. The desire to turn this stroy into another way to make Sansa suffer is disturbing, and to make matters worse she fucking thanks Ramsay later on?? This whole storyline in the show is disgusting and yet another sign of how sexist D&D are.

[theamityelf]

I gotta get messy about some of my favorite Makoto ships now. Give me a minute, lol.

Imagine Makoto is dating Byakuya.

They came together during school; Makoto's perfectly normal but powerfully principled personality appeals to Byakuya despite himself. He stops trying to swat him away, and welcomes his company with less and less frost. It becomes natural to see them together. They start dating, almost matter-of-factly. They're happy.

But Byakuya knows how this ends. There was a time when he had every intention of keeping Makoto at his side for as long as he wanted him there, in his employ or however else, while he did his duty as a Togami and had a lot of heirs, etc. But now, he's been dating Makoto for a while, and he can't ignore the feeling that Makoto is destined for a wholesome, domestic life. A spouse, maybe children of his own. Someone who can give him their attention and heart. Something monogamous.

He breaks up with Makoto. He doesn't tell him that's the reason, but basically he starts to feel like keeping Makoto tied to him is too selfish even for him. (But he spins it in his head to where this was inevitable.) He's cutting Makoto free, and really a Togami shouldn't be dating someone so kind normal anyway.

Then Makoto starts dating Hajime. And Nagito. And Chiaki. At the same time.

And Byakuya realizes that he never asked Makoto how he feels about polyamory.

Now he has to watch as Makoto receives visits to his dorm and is walked to class by people who Byakuya "knows" are more fitting for him. Upperclassmen with genuine smiles, insignificant talents, and open arms. (And the reserve course student, of all things.)

In actuality, whole character arcs took place to get that polycule to where it is now, but to Byakuya, it just looks like Makoto effortlessly found the people who would actually make him happy. And Byakuya could just mope quietly about it, but he's not that selfless; he's rude to Hajime and Nagito, and he legit might perform a hostile takeover of a game company just to "indefinitely postpone" the release of a game Chiaki has been looking forward to. (I'm sure he tells himself he has a different reason for doing this, but his ears absolutely perked up when she mentioned the game in his earshot, and it was a short walk from thinking, "What game is that, anyway?" to "You know, the Togami Corporation might benefit from...")

Chiaki does confront him about this, by the way. He did not expect a confrontation from her, but he gets one, and Hajime is right there with her.

And I'm thinking Chiaki specifically chooses to confront him when Makoto isn't there, because she doesn't want Makoto to feel bad, but as luck would have it, Makoto and Nagito are taking a pleasant walk and they happen upon the confrontation.

Makoto is dismayed that his friends– specifically, his s/o's and his ex boyfriend –are arguing, while Nagito just stands back and watches, trying not to laugh at the petty drama.

[aspoonofsugar]

Lucifer: Dreams of Redemption

Lucifer is my favourite Hazbin Hotel character, so here comes a meta about him, his arc and the themes he is tied with.

OVERTURE

"The Story of Hell" tells us plenty about Lucifer by introducing his character and preparing his story. In particular, it sets up two key themes in his arc:

Redemption

Dreams

ADAM AND EVE (REDEMPTION)

Lucifer is tied to redemption, as his and Lilith's story is basically a revisitation of Adam and Eve's.

As a matter of fact the original Eden's myth goes more or less like this.

There is a man:

Then a woman appears:

And the two fall in love:

Charlie: Drawn in by her fierce independence, Lucifer found her and the two rebellious dreamers fell deeply in love.

They are happy together, but are forbidden to get involved with a strange fruit. They disobey, evil is born and the couple is punished and fall:

Adam and Eve are banished from Eden. Lucifer and Lilith are forced into Hell. It is the same story, but the rebellious couple offers the fruit instead of eating it themselves. The basic meaning doesn't change, though. The two lovers make a mistake, which spirals into a disaster. Adam and Eve are asked to pursue goodness, so that they can be forgiven. What should Lucifer and Lilith do to gain redemption? When it comes to the Devil, his path forward lies in dreams.

LIGHT AND FIRE (DREAMS)

Lucifer is a dreamer:

Charlie: He was a dreamer with fantastical ideas for all of creation.

Who grows into a cynic:

Charlie: Ashamed, Lucifer lost his will to dream.

Interestingly, this change of heart is conveyed through Lucifer's light turning into fire. He gives up on dreams and goes from angel (light) to demon (fire). This thematically frames Lucifer's moral fall as a consequence of his loss of hope. So, it makes sense that his "redemption" will be about rediscovering dreams. Still, what kinds of dreams should he focus on?

Charlie: As punishment for their reckless act, Heaven cast Lucifer and his love into the dark pit he had created, never allowing him to see the good that came from humanity, only the cruel and the wicked.

In Hell, Lucifer stops seeing the good in people. His current challenge is then to find goodness in others again. Specifically, he must better understand:

Charlie (microchosm)

The sinners (macrochosm)

ALL OF THE OTHER REINDEER

Both Charlie and the sinners share similarities with Lucifer. In particular:

Like her father, Charlie is an outcast in her own kingdom. In his younger days, Lucifer is a seraphim, who believes in free will against a world built on order and rules. In the present day, Charlie is a royal demon, who believes in redemption, despite a world full of chaos and violence.

Like their king, the sinners made mistakes, which landed them in Hell. The sinners are violent and selfish, so they are given a world of destructive chaos. Lucifer gives humans free will, so he is presented with the negative consequences of his gift.

Lucifer is like Charlie and the sinners, but he acts towards them like the Elders of Heaven:

Charlie: However, he was seen as a troublemaker by the elders of Heaven. For they felt his way of thinking was dangerous to the order of their world.

Lucifer: Alright, I mean, look, I love that you want to see the best in people, but these sinners, you know, they're just the worst. I, I don't know how much you can realistically expect from them.

This behavior has to do with Lucifer's own sin and banishment. He can't believe in himself anymore, so he doesn't believe in Charlie. He doesn't forgive himself, so he doesn't forgive the sinners. In short, he is projecting his unsolved feelings on both his daughter and his subjects. What the King of Hell is missing, though, is this:

Rosie: Hey, who down here isn't (flawed)?

His Kingdom isn't a place for perfect people, but for flawed ones. Still, it is precisely because everyone there is a loser that they have the potential to understand each other:

Angel Dust: You're a loser, baby Husk: A loser, but just maybe if we Both: Eat shit together, things will end up differently

This is true for the Big Boss of Hell himself, as it is highlighted by two motifs:

The Ugly Duckling in relation to his bond with Charlie

The circus when it comes to his relationship with Hell as a whole

Both are tied to loneliness and creativity. Still, they explore these ideas from different angles.

THE UGLY DUCKLING= FATHER AND DAUGHTER

The Ugly Duckling is about a small duck, who is refused by his peers because different and ugly. Once he matures, though, he is revealed to be a beautiful swan, who flies away victorious. This fairy tale is alluded to in Lucifer and Charlie's flashback, as he conjures a light show for her. As a matter of fact the protagonist of Lucifer's short stage play is a small duck, who becomes a shining seraphim-swan.

How does this symbolism tie to the themes of loneliness and creativity?

Loneliness- Lucifer is seen as weird by the other angels, who do not understand his way of thinking. He dreams of proving himself, so that they will accept him. At the same time, his own situation is a tragic inversion of Andersen's fairy tale. The Ugly Duckling is a duck, who takes flight as a swan. Lucifer instead is a seraphim, who falls as a demon. The Ugly Duckling finds a new family of swans, whereas Lucifer loses his family of angels.

Creativity- Lucifer tells Charlie his past in the form of a fairy-tale and gives it a happy ending. This short interaction shows how Lucifer is using fiction and creativity to handle his trauma. He channels his sadness into creation. Still, as the years go by, Lucifer's creative drive grows weaker:

In the present day, he is stuck building rubber ducks he himself dislikes (aka ugly ducklings). Not only that, but Lucifer's disdain for his creations hints to some self-hate issues:

Lucifer: That's it… Almost there… Now presenting… the magic-tastical back flipping rubber duck! Haha! That spits fire! Hoo hoo hoo! Hold the applause please, okay. Oh, thank you, thank you. Oh god, who am I kidding? This sucks!

The magic-tastical back flipping rubber duck that spits fire sucks. Still, Lucifer himself is a fire-spiting ducky:

In other words, Lucifer feels he himself sucks. He is an ugly duckling that can never become a swan. He is stuck as a duck. Why is that so? It's because Lucifer finds himself in a vicious cycle, where his loneliness and his loss of creativity are intertwined.

As he loses hope, Lucifer becomes less and less able to dream and create. This provokes more self-loathing, which leads to Lucifer cutting off his loved ones:

Charlie: No, we just have never been close. After he and mom split, he never really wanted to see me. He calls, sometimes, but only if he's bored or like needs me to do something.

How can he escape this situation? His only way out is to stop hyper-focusing on himself and to earnestly look at others. Starting with Charlie:

When I was young, I didn't really know you at all. I always felt so small. But I heard your stories and I was enthralled. The tales about your lofty dreams. I listened breathlessly. Imagining it could be me. So in the end, it's the view I had of you, that showed me dreams can be worth fighting for.

When Charlie is a child, Lucifer tells her a story about himself, his pain and his hopes. Charlie makes this story hers. She sees herself as the ugly duckling, who will one day fly free and shine at the centre of the universe. Charlie takes Lucifer's painful past and plans her own happy future. She imagines her story as a wonderful conclusion to his. Lucifer desperately needs to see this story play out. He needs it to heal and dream again. And yet, to have it, he must first accept that he himself isn't Charlie and that Charlie isn't him:

Charlie: Dad, I don't need you to protect me from this. Lucifer: I just don't want you to be crushed by them like… like I was.

He projects his failures on his daughter and opposes Charlie's dream out of fear. In this way, he forces Charlie to live a life she herself hasn't chosen. He keeps seeing himself as the main character, but Charlie is the protagonist of her own existence. She is free to write her own narrative, which might end up differently from Lucifer's. He may be the Ugly Duckling, but she will become the Beautiful Swan.

CIRCUS FREAKS = KING AND PEOPLE

The Circus is a key motif for the Hellaverse as a whole. As a matter of fact Hell is divided in seven Rings ruled by the Seven Deadly Sins that embody different circus acts. So, basically, Hell itself is a giant circus, which is why this form of enterteinment is very popular among demons. Still, it all starts with Lucifer, who used to be the Ringmaster of the sins' original circus troupe. In other words, Lucifer himself modelled Hell after the circus.

Why is that so? And how does this imagery fit with the ideas of loneliness and creativity?

Loneliness- Lucifer is the Showrunner of the greatest Freak Show of the universe. This is one of the meanings the circus metaphor stands for:

Adam: Okay, seriously! How many of you freaks do I have to fight?!

Adam: No… you (Lucifer) don't get to end this! I'm fucking Adam! I'm the fucking man, and you're just some fucking clown or something!

Hell is full of people, who failed in some way. All the sinners and demons are strange, chaotic and imperfect. They are outcasts the world belittles and refuses. They find themselves in Hell. Lonely together.

Creativity- Three-ring circus is a circus with three acts going on at the same time. On a metaphorical level, it indicates a chaotic situation. Well, Hell is a seven-ring circus. It is chaos taken up to eleven, but it is also the greatest show in all of creation. Lucifer is at the centre of it, which makes him the Greatest Showman. This is highlighted also by the King of Hell's preferred business. After all, among his known activities there are:

Its previous shows with the Seven Deadly Sins' Troupe

A theme park called LuLu World

An App similar to Ticketmaster, which is called Lucimaster

Hotels, like the decadent one Charlie uses for her project

These are all businesses linked one way or another to the enterteinment industry. Isn't it strange that the King of Hell has no control over a more strategic part of the economy, like industry, banks or health? Not at all because the enterteinment industry is the most important deal in Hell (thematically). And yet, there is another sin, who is pretty active in this business:

Mammon, the King of Greed, owns his Theme Park, organizes his own shows and even has a clown pageant to find testimonials for his brand. This probably happens as a consequence of Lucifer's depression, which lets him vulnerable to Mammon's attempts to steal Lucifer's ideas:

Octavia: Is it true this park is just a really shameless spin-off of Lucifer's far more popular Lu Lu World?

This detail is interesting because it shows Lucifer is slowly losing control of his own Kingdom. In fact, even his own area of domain is being threathened. This is not surprising, though, because Lucifer himself isn't really trying to be a good ruler. Or a ruler at all, to be honest. As a matter of fact he is shown pretty passive, when it comes to Hell and its people. Not only that, but he openly despises sinners:

Lucifer: Our "people" Charlie, are awful! They got gifted free will and look what they did with it! Everything's terrible!

Still, this is just Lucifer projecting his frustrations and self-loathing on his people. He unconsciously sees their failures, as his own failure. However, he refuses to rationalize it and consciously insists that his family should stand above the rest:

Lucifer: Mhm, you see? What'd I tell you? Charlie, sinners are violent psychopaths, hell bent on causing as much pain and destruction as they can. There's really no point in trying.

By doing this, Lucifer can't be the King of Hell because he is too disconnected from others. This makes him unable to empathize with his people and to create new dreams for them to enjoy. At the same time, this condemns him to isolation with really no-one he can relate to. He is stuck in his own head both when it comes to creativity and to emotional development. In order to move on, he should come down from his pedestal and realize that he can find companionship in his people. He too is in Hell. He too is a sinner. He too is a circus freak.

DAD-HONCHO LUCIFER

Lucifer's first step towards redemption and hope is to leave his studyroom (his own head) and to connect with the people around him. Specifically, he must be:

A better father (microchosm)

A better king (macrochosm)

In season 1, he moves in this direction and his journey is highlighted by 3 key moments:

-In episode 1, Lucifer doesn't appear, but he still kicks off the plot by setting up Charlie and Adam's meeting. By doing so, he fails both as a father and as a king. As a father, he doesn't offer any emotional support to Charlie after Extermination Day. As a king, he refuses to meet a Heaven Ambassador. Basically, he pushes all his political responsibilities on Charlie without giving her any assistance.

-In episode 5, Lucifer makes some progress by accepting to get Charlie a meeting with Heaven. Once again, he has Charlie face Heaven in his stead. However, this time he does so out of trust for her and her project. He starts supporting Charlie and seeing hope for his people. Still, he doesn't get directly involved:

Lucifer: Ok, I can get you the meeting but once you're in Heaven, I won't be able to go with you. Will you be ok?

-In episode 8, Lucifer does what he should have done since the beginning. He confronts Adam, defeats him and ends the exterminations. By doing this, he protects Charlie as a father and saves his people as a king. Not only that, but Lucifer also offers Charlie the emotional support he initially negates her:

Lucifer: Come on little lady, why the frown? In the last 10,000 years You're the first one to change this town You can do this, now I know it! For your story has just begun You can't quit now. Hell, you owe it! There's still damage to be undone You've changed my mind, you've touched their hearts Found the good in souls gone bad The stage is wrecked, the crowd is gone But by God, Charlie! The show, it must go on!

And he helps her and the group rebuild the Hotel. In this way, he starts openly supporting Charlie's ideals of redemption:

Everyone: Twice the bedrooms, we can fill it Lucifer: With more sinners than you can dream!

By the end, he is shown closer to both his daughter and her found family of sinners:

And he finds his creative drive again:

Lucifer: A remedial creation fom me! It's as easy as can be!

Interestingly, after the battle Lucifer loses his coat, which gives him a rather formal and dignified image. He appears more casual, just as he joins the group and works together with them.

Dreams through redemption and redemption through dreams. This is the basic idea of Lucifer's arc, which is centered around Charlie (microchosm) and the Hazbin Hotel (macrochosm). What do these two things represent for the King of Hell?

CHARLIE, THE FORBIDDEN FRUIT

Charlie is Lucifer's dream:

You didn't know that when I tried this all before My dreams were too hard to defend And in the end, I won't lose it all again Now you're the only thing worth fighting for More than anything, more than anything I'll shelter and adore you more than anything

After losing everything, he gives up on his ambitions regarding the macrochosm and focuses on the microchosm. He can't save humanity, but he can protect his daughter. He can't be a king, but he can be a father. And yet, this isn't the case because Charlie herself wants to get involved with the macrochosm. She doesn't want to be sheltered forever. So, to be a good father, Lucifer must step into the world again:

Lucifer: I'll support your dream, whatever lies in store

In this way, Charlie comes to embody Lucifer's ideals in two ways.

She is Lucifer's daughter, so she is the hope every child is to their parent. She is a small personal dream, when compared to his past ambitions of grandeur.

She is the embodyment of Lucifer (and Lilith)'s old dream:

Lucifer: I've been dyin' to find out who you are Looks like the apple doesn't fall far

Charlie is the apple that doesn't fall far. This means that she is her parents' daughter and shares their ideals. It also means that she herself is the fruit her parents gifted humanity with. After all, she is the fruit of a forbidden love. Not only that, but Overture sets up a very clear foiling:

The Fruit of Knowledge corrupts humanity, but Charlie will save it. Not the apple, but Charlie is the true magic of free will. A person born from a love story, which shouldn't have happened. A child free from her parents' sins. A woman whose name "Charlie" means "free man". Truly a beautiful synthesis of Lucifer and Lilith. A powerful embodyment of their deepest dreams. Still, how is Charlie going to free humanity? Simple, she will do so while pursuing her own dream.

THE HAZBIN HOTEL, A SECOND CHANCE

The Hazbin Hotel is Charlie's dream:

Charlie: I have a dream, I'm here to tell About a wonderful, fantastic new hotel Yes, it's one of a kind, right here in Hell Catering to a specific clientele

It is an impossible and lofty dream, which aims to change the laws of the universe (macrochosm). At the same time, it is a dream rooted in Charlie's personal desire to belong somewhere (microchosm). It is her interpretation of Lucifer and Lilith's legacy:

Charlie: But Lilith's hope remained. And her dream passed down to their precious daughter, the Princess of Hell.

In a sense, it is the evolution of Lucifer's old dream, as it is rooted in the belief human souls can choose goodness. Even after death:

Charlie: Don't you care, Sera? That just because someone is dead, it doesn't Mean they can't resolve to change their ways Turn the page, escape infernal blaze

This is precisely why Charlie uses an old hotel that belongs to Lucifer for her project. It is an unconscious attempt to bring both her parents and their dream back. This duality is well conveyed by the hotel's name:

Hazbin Hotel = a place where you can leave your past self behind and be reborn. A temporary house, where to find hospitality and redemption

Hazbin Hotel = something that used to be a hotel, as it is a crumbling building. It is symbolic of Lucifer himself. A person and a dream in ruins. An empty shell of his past self

So, the Hazbin Hotel is a place where to be reborn. This is true for both the sinners and Lucifer. It is a new dream rooted in another one as old as Earth. It is humanity and Lucifer's second chance.

FROM SHAME TO PRIDE

Lucifer starts the series full of shame. He is ashamed of himself. He is ashamed of his subjects. He is so ashamed Charlie is convinced he is ashamed of her too. Still, the Princess of Hell is determined to make her family proud:

Charlie: Don't worry, Mom. I'll make you proud.

This means that Charlie will become Lucifer's pride. This is set up also by the juxtaposition of Lucifer's two songs in episode 5.

Hell's Greatest Dad is an exhibition of selfish pride: Lucifer shows off his power to impress Charlie. He doesn't consider Charlie's wishes, but is focused on his own insecurities. This is made clear by how he keeps self-duplicating throughout the song. Lucifer's imaginary world is full of his many selves:

More Than Anything is a showcase of selfless pride: Lucifer opens up to Charlie and listens to her. Thanks to this, he creates a pocket dimension made for Charlie. This imaginary world is the Ugly Duckling with Charlie as its protagonist. Lucifer has her play with water, like the little duckling, and fly at the centre of the scene, like the swan:

Lucifer stops putting himself in the spotlight and gives it to Charlie. He goes from a selfish pride broken by shame to a selfless pride empowered by love. He leaves behind a negative manifestation of his sin to embrace a positive declination of it. This is coherent with the other sins seen so far:

Asmodeus, King of Lust, believes that lust is an art to be enjoyed by both partners and is against coercion and sexual violence. Thanks to his bond with Fizzarolli, his healthy lust blossoms into romantic love.

Beelzebub, Queen of Gluttony, enjoys sharing alcohol and food with her community, so that they can indulge into gluttony together. She gains pleasure from her subjects' fun and feels bad when they are down. Basically, she is an empath, who is very sensitive to others' emotions.

Interestingly, Mammon, King of Greed, is the only sin so far with no positive declination. This isn't because greed can't ever be portrayed positively (look at Greed in FMA), but rather because Mammon exhibits no form of selfless love. As a matter of fact love is the force that mitigates and redeems sins:

Romantic love (Asmodeus)

Community love (Beelzebub)

Familial love (Lucifer)

So, our King of Hell is going to overcome his internalized shame thanks to the pride he feels for Charlie. He is gonna deal with his depression through love. This brings us to two conclusions/predictions when it comes to Lucifer and Charlie's bond:

Charlie is going to inherit the Pride Ring. Why shouldn't she? She is the one fighting for the sinners' sake and she is the embodyment of Lucifer's pride. She would be perfect as Queen of Pride.

Lucifer is gonna realize his masterpiece is Charlie herself. She is his greatest accomplishment and creation, who will lead everyone to a freer and better life.

Lucifer means light bringer because he brought to life Charlie as the brightest light and dream:

She is both his dream and his redemption.

[artbyblastweave]

Hey so, thought exercise, how do you think Taylor would fare if she got dropped into the invincible universe? For the sake of mechanics let's say she literally gets dropped in via doorman portal or something.

So one thing about Invincible is that I think it's setting is protagonist-centric in a way that Worm's isn't. To the extent that Invincible's setting has worldbuilding- worldbuilding that isn't, like, ported in from the books's early association with the confederated Image Comics shared universe- it's worldbuilding that exists to convey the impression of a big-two-flavor universe. Here's our spin on the undersea kingdom, here's the riff on the Martians, here are our riffs on SHIELD, on Gotham, on Themyscira, on 70s blaxploitation-adjacent heroes, and so on. This is the entire ethos underpinning the Guardians of the Globe in particular- piggybacking on pre-existing audience affection for the Justice League to convey that it's a Big Fucking Deal when the guardians get blendered in issue 7.

You have flashbacks demonstrating that there was capital-S Superhero Stuff going on in the seventies and eighties, or as far back as the thirties with Immortal, you create the impression of a status quo, a big pond in which Mark is a little fish. And to Kirkman's credit, some effort clearly went into making sure that the non-Mark capes are sufficiently fleshed out that you can believe that they've got other stuff going on in their lives. But at the end of the day, it's the Invincible universe. You don't see a lot of people talking about the Guarding the Globe spinoff. Many of the most interesting characters- Cecil being a big example here- are interesting because of the ways in which they bounce off Mark specifically, the ways in which he chooses to deal with them. The universe is less of a character in the story the way that Earth Bet is- it's just the place where Mark's story, specifically, is happening. If there's a codified setting bible, I'll eat my hat.

Now of course the world of Worm is, in many ways, equally Taylor-centric, because that's what it means to be the protagonist. But owing in part to the themes of the story, and in part to the sheer number of false-start protagonists Wildbow played around with before settling on Taylor, it's very good at conveying the idea that there are many stories happening in this setting and Taylor's is just the one this particular work happened to focus on. There's an actual point to doing OC worldbuilding for what the superhero scene looks like in Wormverse Denver or Seattle or whatever- whereas you can come up with superhero teams for Invincible-verse Denver, but what actually ties them to that universe? What are you getting out of putting them in Invincible specifically, that you wouldn't get from whipping up a barebones MASKS setting to support your OCs? Anyway. This is a really long way of getting to my real point, which is that I think the question is less "how does Taylor bounce off the Invincible setting" and more "How does Taylor bounce off Invincible the character, around whom the setting orbits even when it pretends not to."

This I'm unsure of, because where do you stick her in his life where you get an interesting dynamic? One thing that's interesting here is that Mark's overall character arc already involves learning a lot of taylorisms- the strategic ruthlessness, the shift from a good-evil dichotomy to a helping-not-helping dichotomy-so what about his arc is going to change if they spend time together? Why would they spend time together? Given the different power levels on display, what would differentiate her, in his experience, from the dozens of filler capes that exist for him at the level of "vague acquaintance?" This is assuming she's active as a cape at all, which she might not be if this is Post-GM. Mutual association through Cecil and the Global Defense Agency might be a hook- maybe they're paying for her new arm or something- but would she latch her cart to Cecil's wagon in the first place, barring some obvious crisis situation? Hard to say. If she's depowered, and present in his life somehow in a civilian context, well, that's a fast-track to not being part of the story anymore either, given how Mark's civilian connections slowly fading away was kind of a quiet plot point.

There's some configuration of these pieces that could be interesting, but I'm not quite sure what they are. Soliciting input here.

[the-au-collector]

Scalan Names

So something I've noticed about Missing Link is the names. It's very interesting that they're Roman myth names when the rest of the times we've seen Scala, we've only seen Scalans having Norse names. Especially since we have characters like Freya, whose name does come from Norse Myth, walking around with characters like Remus (and Neptune). I doubt Nomura did this on accident, so I'm curious about the implications of the Norse vs Roman names in Missing Link.

So I went back through Dark Road and Union X and gathered up all the characters with mythological names (yes this includes Missing Link beta content and theorizing). It's a long post, but stay tuned for the end where I've thrown all my Remus thoughts:

Skuld

So in Norse Myth, Skuld is a Norn. Specifically, the Norn of the future. The Norns also closely resemble the Fates from Greek myth, which is interesting. I find it really interesting that Skuld is named specifically after the Norn of the future when her game takes place in the distant past. Obviously all the Union Leaders travel to the future--so why is Skuld the only one named after a myth figure that specifically has to do with that? I can't wait to see how this all lines up later, since so far we've only had one game with her in it.

Baldr

He's the important guy, both in Myth and in Dark Road. In myth, he's the son of Odin that's deceived and killed by Loki, however it is Hod who deals the fatal blow. I feel like his name lines up with his myth inspiration very nicely--he's tricked by darkness, which ultimately leads to his death. However, one really interesting thing is that Baldr is said to survive Ragnarok, so does that mean we'll be seeing Baldr again someday?

Bragi

So Bragi is interesting. In myth, he's actually a poet who was diefied as the god of poetry. He's also known for his wisdom. The really interesting thing though is that myth Bragi's wife, Idunn, had a tree with the apples of youth, which keep the gods from aging. Really interesting that Dark Road's Bragi is actually Luxu, a guy who does not die... Clues lying in plain sight, really.

Vor

There really isn't much to find about Norse Myth's Vor, other than Vor was a minor goddess of wisdom. I just think it's cool that Vor's name is based off of a goddess of wisdom, since Vor's whole arc in Dark Road is figuring out who's right and what she wants to do.

Hermod

So in Norse myth, Hermod is the messenger god and a son of Odin. He also uses magic. In one particular myth, Hermod tried to rescue Baldr from the underworld, but ultimately failed. He has other myths where he acts like a messenger too. I don't really have much to say about Hermod's name inspiration and how it ties to Dark Road, but it is interesting how Hermod dies immediately after visiting the Underworld trying to find Baldr.

Urd

I... I have the least to say about her (at least about the main DR cast). In myth, Urd is a fate like Skuld, but she's the fate of the past. It's just weird she's named after the fate of the past and not the present. Or maybe not since this game is technically Xehanort's past...

Odin

Can you tell he was based off of Odin? He has the long beard, he's old, he's got a long coat, and a wide-brimmed hat (those are how Odin is usually represented). In myth, Odin is the god of war and also poets. He's got a horse named Sleipnir and was a magician. I know there are also theories floating around about Yen Sid potentially being Master Odin and honestly? Yen Sid fits the description.

Heimdall

In myth, Heimdall is the protector of the rainbow bridge and the entrance to Asgard. He also had heightened senses and didn't need to sleep. He and Loki actually ended up killing each other in myth as well. I have even less to say about the upperclassmen, honestly, especially ones like Heimdall who are only in a few scenes anyways. It is ironic that Heimdall was killed by darkness, though (and darkness, in my eyes, takes up a very Loki-like roll).

Helgi and Sigrun

I'm merging these two since their myths are very connected. So basically, Helgi was a Norse hero figure that is the son of Sigmund. He fell in love with a woman named Sigrun and ends up getting killed by her brother, Dragr. Sigrun eventually dies of sadness, but both she and Helgi are reborn. Sigrun is reborn into a Valkyrie named Kara whereas Helgi gets to keep his name. It's very interesting that their myths have aspects of reincarnation tied to them, which isn't true for any of the other DR characters. It's also very curious that Sigrun got a new name... and DR Sigrun looks like Strelitzia...

But that's just a theory a--

Vala

So Vala isn't an actual mythological figure, though they do show up in myths a lot. Basically, a vala is a priestess/shaman. In myth, they could use magic, see the future, and influence battles. I don't have much to say about Vala despite her being one of the more interacted with members of the upperclassmen, but she does appear to be the most wise/level-headed of the group.

Vali

I could have sworn Vali was a girl but Vali is, indeed, a guy in Dark Road. Anyways, in myth Vali is the son of Odin who was born to avenge Baldr and killed Hod. Vali does survive Ragnarok as well. It's just interesting how he has a reverse to his myth inspiration, considering be dies to Baldr and Darkness, though he does try to avenge Hod's death.

Hoder

The blind god of the night in Norse myth and son of Odin. Hod was actually tricked into killing Baldr and so was told by the other gods to avenge Baldr's death by fighting Vali. Vali won, Hod died, but when Ragnarok happened, both Hod and Baldr returned and survived Ragnarok. Very interesting implications when it comes to Kingdom Hearts...

Vidar

In myth, he's the son of Odin and was also fated to survive Ragnarok. He killed the wolf Fenrir, who's Loki's son who ate Odin. That's about all that's known about Vidar from myth. I do think it's very ironic that DR Vidar died to a Heartless when his myth inspiration killed Fenrir. Also interesting that his is the name of someone fated to survive Ragnarok despite him dying in DR...

Sigurd

I nearly forgot him but here he is! His name in myth is Siegfried. He's a hero figure who fought a dragon and awakened a valkyrie from sleep. In some stories, he's of noble blood but was an orphan. He's also associated with the ancient Germanic princess, Brunhild, who had Old Norse origins. Basically the story of Brunhild is that she vowed to marry the man who could beat her in strength, and Siegfried was able too, but he won her for another person. Brunhild got vengeful, and Siegfried died. Not every story of Brunhild leads to his death though.

He's a lot more interesting than I thought, especially for a character who shows up for like 2 lines in Union X's secret ending lol. Likelihood is, he's from another Society or the people in charge, and he welcomed Brain in Scala ad Caelum (this we know). Judging from his myth and what we already know about him, he's likely of noble or blue blood and is probably a Keyblade wielder. I wonder if we'll see any grand feats like fighting a dragon or if he'll die in Missing Link, though?

Freya

I can't really say much for Freya either since she's so new and her game isn't even out yet. She is the sister of Freyr in Norse Myth and is the goddess of love, fertility, battle, and death. So just keep in mind that she's an option for the tragic siblings trope.

Now for the really interesting guys!

Nept

I've decided to start with Neptune since Remus is a whole can of worms. So Neptune is the Roman god of the sea, and used to be just the god of freshwater until the Romans identified him with Poseidon. His myths are the same as Poseidon's: get eaten by his dad, get vomited out, draw sticks to see which realm he gets, yada, yada, yada. He was loyal to the Roman Zeus, Jupiter, and married Salacia, though he had many affairs. He also created horses and bulls!

We really don't know much about Nept since he only has a few released scenes so far, but the fact that he's probably named after the Roman god of water is interesting (i've said it before but Aqua's ancestor??? Perhaps???). I'm a little worried about the loyalty aspect though...

Remus

This. This fucking can of worms. Remus do you even know the implications of your own name?

So the myth of Remus and Romulus! Their mother, Rhea Silvia, was the daughter of the king of Alba Longa, Numitor. Numitor got removed from the throne by his brother, Amulius, who forced Rhea to take a vow of chastity by becoming a Vestal Virgin. Well she ended up having the god of war's, Mars', twin children: Remus and Romulus. They were cared for by Mars' sacred animals (she-wolf and woodpecker) and taken in by farmers, Faustulus and Acca Larentia. When the twins grew up, they killed Amulius and restored their grandfather to the throne. The twins then went on to found a city, and after Romulus built some walls around it, he killed Remus, and the city was named Rome after Romulus.

So this myth is interesting for a number of reasons. First and foremost: the siblings thing. Tragic siblings being a staple of the KH mobile games and all leaves Remus and Romulus perfect candidates for being the tragic siblings. This is also why I'm so worried about Remus being late to showing Player the Astral Realm because--is he already dead? His mythological self dies! It's practically written in the Book of Prophecies at this point!

However the second most important thing about the Remus and Romulus myth is how Remus and Romulus are the grandsons of a king who got overthrown. What if, somehow, the Baroque Society is the very last remnant of Ephemer's line/society? Somehow, what if Ephemer's line gets usurped and its last remains of his society dwindles down to at least 4 people (the question is if there's 5 members considering Freya's "another one" line)? After all, the scientists do say the founders' societies. Who are these other founders? Are they even real? What is going on with Scala ad Caelum's governing situation? We already know that it can't be good, but we don't know how bad it is.

Another really interesting thing is that Player specifically, very weirdly, reaches out to Remus when they're by Ephemer's statue. That scene was all shades of odd. Which begs the question--is Remus somehow connected to Ephemer? Is Remus is the descendant of Ephemer, and all these silver-haired characters are just there to throw us off? Did Ephemer's bloodline somehow get usurped? Is Missing Link going to be about reinstating his family line, or watching it all fall to ruin? Is Remus going to get killed by his own brother?

It's just. It's all shades of interesting and worrying at the same time. And I'm not even mentioning Remus' similarities to Lea!

Conclusion

Remus nearly made me forget this post had a point: the differences between Roman and Norse names. I thought maybe there was a connection between the "sons of Odin" thing going on, but no. Baldr and Hermod both are sons of Odin, but Baldr has a gold Master's symbol and Hermod doesn't. Even for the non-sons, Heimdall has a gold Master's symbol but Bragi doesn't.

It's also too early to really tell anything distinct about the new Missing Link characters, since a) we don't see much of them and b) the naming doesn't differentiate them either. Freya is a member of the Baroque Society alongside Remus and Nept. There's no distinction there either. There is no visual disctinction between Freya, Nept, and Remus except for their underclothes, and I'd say those design choices are more geared toward their personalities than anything else. They also don't have Master's symbols (which is another interesting thing. Sigurd doesn't have one either. Do they not exist yet? Are they the symbol of another society?). Even if they did, we still don't really know the difference between silver and gold ones, though one theory is gold = blue blood, silver = non-blue blood.

There is definitely a naming convention going on here, though. It's no coincidence that all of Dark Road's characters have Norse-inspired names, but not all of Dark Road's do. I just really want to crack why there's this distinction. I'm betting it has something to do with these noble houses/blue blood families, though (I'm willing to overlook Xehanort and Eraqus as they existed long before these concepts were even thought up.). For now I'll leave it at that and post this so that we have a bit of a collection of all the name inspirations for our myth-inspired Kingdom Hearts characters in one place.

Also, if anyone knows more about ancient myth than what Google could tell me, please let me know! I absolutely could have missed something!

[qilingxiong]

alright, so there's one outfit of li xiangyi's that i have questions about and which stands out to me, and it's his robes in the flashback with zhan yunfei.

(bear with my screenshots, sorry. things in this scene move very fast and it was more difficult to get decent captures)

in the vast majority of his flashbacks, li xiangyi is in his red or white robes, which we generally associate with his status as leader of sigumen. they're the robes he's immortalized in in his portrait as baichuanyuan, the ones he wears at donghai, in his memories with qiao wanmian, etc. those outfits have a common silhouette, with the long, draping sleeves that fall open from the shoulders (apologies, i don't know the technical term). i don't have to post them here; we all know what they look like.

these robes are an exception to that. they're less elaborate, in different colours/accents plus in a different style, and it makes me wonder if his time with zhan yunfei took place before. before sigumen, before becoming 天下第一, when he was more of a wandering xia still building up a reputation for himself. not li xiangyi the legend but just a disciple, come down from his master's mountain to do his best for the jianghu. it would make sense, i think; no one else is in that clearing aside from zhan yunfei, himself, and the man they were trying to capture. there's no power of a sect involved here, and li lianhua doesn't mention working with one (just that "zhan yunfei teamed up with others") as he retells the story to fang duobing. this outfit certainly gives him more of a boyish feeling, less so a sense of being a leader or a representative hero of the jianghu. which brings me to my other point.

you know whose image li xiangyi is very closely evoking in this memory?

that styling in the zhan yunfei flashback specifically is the closest that li xiangyi and fang duobing have ever visually mirrored one another (beyond fang duobing generally wearing his hair like li xiangyi, which other people have brought up before). i chose these outfits of fang duobing's from the yucheng and yipin tomb arcs for comparison, as li xiangyi's outfit has the most direct resemblance to them down to smaller details like the belt ties, but fang duobing wears robes cut like this (with varying embellishments) a lot. this show is very deliberate about characters' distinct silhouettes, something i've mentioned before. i very sincerely doubt this similarity wasn't intentional.

why dress li xiangyi like this in this memory specifically? i don't know. perhaps it's because li xiangyi and zhan yunfei, too, are linked by an upheld promise over ten years the way fang duobing is to li xiangyi. perhaps it's to situate li xiangyi's age, remembering that he, too, was once at the same point of his life as fang xiaobao is now, earnest and still working his way to the top in the jianghu, however short and/or since forgotten that time was. perhaps it's simply that li lianhua, given that this flashback is told from his point of view, truly has come to see fang duobing in his younger self gone by. regardless of the reason, i think it's a fascinating parallel, and i once again wish we had more context for the past and period of time spent with li xiangyi and zhan yunfei together.