#anti lelouch

[sherylhooper]

If BNHA ends like Naruto did and Izuocha becomes new Naruhina, I'd better start stocking up bottles of wine to get fucking drunk!!

I swear to god, if this manga ends in such underwhelming way, I'll have to ask mangakas how do they manage to fucking do that!! Cuz there has to be some kind of bullshitery skill!

AOT, Tokyo Ghoul, Naruto, etc.. many, many manga has ended in such way and honestly, I think it'a time that even after years I really should get used to Code Geass having THE BEST ENDING in anime history (ft. Kimetsu no Yaiba, kind of, but then again the author is a woman and she rockes for it, even if it was kinda rushed).

Lelouch, you and Suzaku's ending will always be iconic, fr. Imagine dying at your bff's hands while you also make him take up your secret identity. King Emperor behavior!

Once again, Hiroshiki wtf are you doing with the ending???

[marxist-lelouchist]

Or am I?

[themattress]

Gundam: The Witch From Mercury >>> Code Geass: Lelouch of the Rebellion.

EXCEPT on one major count.

Ichiro Okouchi wrote both giant mecha anime series that balanced campy over-the-top spectacle and wacky school life shenanigans with serious socio-political and military writing along with mature philosophical and emotional themes. The largest differences is that Code Geass was divided into four cours (the first two being just Lelouch of the Rebellion and the second two being Lelouch of the Rebellion R2) while The Witch From Mercury was only two cours, and on Code Geass Okouchi was assisted in the writing process by Hiroyuki Yoshino, who is also known for extreme melodramatic works such as My-HiME and My-Otome.

While possibly an unpopular opinion, I believe that the lack of another pair of cours was actually good for Witch as it helped it avoid the fate that befell Geass. For all its gleeful stupidity, Geass had genuine substance and intrigue in its first pair of cours, and it all went out the window in the second pair. It was better Witch quit while it was ahead than risk the same happening to it. The lack of Yoshino also helped, as it meant Okouchi's worst instincts as a writer were more curbed rather than aided and abetted. A perfect example is to compare a major climactic event in Geass' first season vs. a similar one in Witch. In Geass, the big shark-jumping moment for the show was toward the end of its first season where a major political procedure centered around a princess wanting to do right by the people her family has oppressed but manipulated by more sinister interests was to occur, and of course it would all go wrong and there would be a lot of carnage and devastation that makes things worse instead of better. But instead of this being accomplished in a way that made logical sense that was set up by the narrative and the characters, it's because of an out-of-nowhere, completely uncharacteristic joke that happens to be made when a mind controlling power reaches the point of going outside its user's control. The mind-controlled princess goes on a civilian killing spree and in the end gets put down by a single bullet (which her nation's medical science can't treat despite saving a foreigner who was riddled with bullets several episodes earlier) so that her love interest feels man pain that will advance his character while all the potential of hers is casually discarded. This was the point where Geass lost its way.

By contrast, in Witch we have a major political procedure centered around a sort-of princess wanting to do right by the people her family has oppressed but manipulated by more sinister interests occurring, and of course it all goes wrong and there's a lot of carnage and devastation that makes things worse instead of better. But it is accomplished in a way that, shock of shocks, makes logical sense that was set up by the narrative and characters! It feels like a tragedy that was inevitable rather than one that happened out of nowhere because someone suddenly decided to make a joke about genocide. And of course, the princess-type character actually gets to live with the consequences and grow from them to redeem herself. This is what should have happened on Geass: Lelouch should have deliberately sabotaged Euphemia's procedure just as he was intending to, only to be met with unforeseen and unwanted consequences when Schniezel retaliates with extreme prejudice, similar to how Prospera's sabotage of Miorine ended up setting off Shaddiq to go full school shooter.

So, with all that said, what's the one major thing Geass has over Witch?

While in Witch the main protagonist is Suletta Mercury, her mother Prospera is the character with a more direct correlation to Lelouch: a strategically brilliant, personally manipulative and theatrically charismatic individual who wears a metallic mask and yearns for both revenge and the creation of a new, better world no matter how many lives they have to take to achieve these goals, and who will use their loved ones as a justification for the selfish things they do.

Even though Geass developed a bad habit in its second season of glorifying Lelouch despite his atrocities in order to pander to his popularity, it never fully lost the plot on him (that only happened in the later, separate continuity film Lelouch of the Resurrection, but we're not talking about that garbage here). The narrative's position was still that he did wrong and that he had to pay for it in the end; he himself acknowledged this and even ensured that it happened! Additionally, as awful as he could be Lelouch was a teenager, and he had been wronged when he was a mere child, so there was still a degree of sympathy and leeway that the viewer could offer him, since the adults and systems in his life legitimately failed him.

Prospera, on the other hand, ended up feeling validated for all of the horrible actions she undertook. Instead of accepting and facing the consequences like Lelouch did, she gets off scot-free because someone else rather spontaneously decides to take the blame for her. Her living victims forgive her and the dead people she was seeking revenge for even show up to say they're proud of her! The discussion that she created more victims and by her own vengeful logic is fair game to be targeted for revenge by one of them is never had! Worse is that she was already a grown woman when the tragedy that sparked her into seeking revenge and a better world transpired, and roughly half of her villainy involves manipulating children! Many viewers say the sudden endgame Death Star type laser was the worst thing Witch did, but I beg to differ: that would have been fine had Okouchi been granted more time to set it up, which would have happened if he wasn't forcibly saddled by the higher-ups with a subplot he never intended to eat up the time that it did (Guel and his stupid family drama). There is no such excuse with this decision. Okouchi just decided she was an uwu victim.

I can accept the Death Star type laser. I can even accept Suletta's big Deus ex Machina peace-sparking victory in the final battle because that's kind of a Gundam franchise tradition at this point and there have been far worse versions of it. But I cannot accept a murderous terrorist facing no repercussions and even getting rewarded for their crimes in the end. For all that went wrong in it, Geass knew (at its time as a series anyway) that Lelouch couldn't live Happily Ever After in a peaceful world with his sister; not after he'd denied so many others that same chance. But Prospera gets to live Happily Ever After in a peaceful world with the daughters and daughter-in-law that she abused, and we're just supposed to be OK with that.

You did better here overall, Okouchi, but you still need to go back to writing school.

[madaras-tits]

Euphemia, the “Nippon” zone, and why it was a bad idea.

WARNING: Spoilers for the first season of Code Geass below the picture.

So, as it says in the title, I want to discuss Euphemia’s plan for the “Nippon” zone in the middle of the Tokyo settlement, and why it was a bad idea to begin with, even if Lelouch wouldn’t have geassed her into genocide.

So, her plan is to create a special zone of sorts, in which the British and the Japanese people would live together in harmony. This plan was interrupted by Lelouch, who, during the announcement of the special zone, lost control of his geass and ordered her to kill all Japanese people. But would Euphemia’s plan even work if it was set into reality? It could’ve, but that plan is highly flawed. Let’s talk about the side effects and goals this plan has.

First off, the obvious good thing about the plan is that the Japanese or “elevens” get to have their own safe space. It isn’t really a safe space though, since British people are still allowed inside, and as we have seen through the series (and especially through characters like Nina) the racism that the British had against the Japanese was deeply rooted. Is it really a good idea to make them live together, especially since it was supposed to be a safe space for the Japanese, who would be recognized as Japanese instead of Elevens.

Secondly, Putting a bunch of “Elevens” in one spot makes them an obvious target. If anyone wanted to kill “Elevens”, this plan would’ve made it so much easier, since the majority of them are all in one place now. In the end, that’s also not far from what happens: Lelouch accidentally geasses Euphemia into genocide, and since the Japanese people are all in one place, it made it so much easier to let them all be killed.

The last point, and in my opinion the most relevant point, is that this is basically just another way to keep the dangerous “Elevens” in check. Of course, they get a part of their land back, but only under Britannia’s terms, their own terms being that the Japanese all have to stay in their cute little bubble, and if they don’t, they’re the tasteless, terroristic Elevens again, and are met by lawful segregation. So they HAVE to stay in “Nippon”, because they aren‘t equal members of society if they don’t. This won’t create “peace” either. Britannia is just throwing bread crumbs at the “Elevens”, so they don’t scream of hunger. The empire gives them a little bit of attention to make the Japanese think that the government cares about them so that the people stop revolting for at least a little bit, since they think that the situation is improving, which it isn’t. It’ll all stay the same - Britannia will continue colonizing the rest of the world, Charles is still in power, and the Japanese are still Elevens in the World’s and in the emperors eyes.

[of-his-dragoon-ways]

Clothes by Nightfall

[tina-rocket]

Suzaku didn't realise his nemesis was his friend in disguise and the only reason he survived the series is because he's literally magically compelled to not die. Hell, he didn't even win anything except a seat at the Big Boy Table™️ by bootlicking the evil colonialist empire. His ass is not making it out alive.

[alicent-vi-britannia]

Why did Rolo kill Shirley?

When I entered the Code Geass fandom, I quickly learned that the world is divided into two groups: either you love Rolo because he killed Shirley (you're a Shirley hater) or you hate Rolo because he killed Shirley (you're a Shirley fanboy). But, since I'm an anti-establishment person, I don't identify with either group and I take my own position: I suffer equally for Shirley and Rolo because one of my favorite characters killed another of my favorites and that fractured one of my favorite relationships in the series (damn you, Code Geass, so many years watching KDramas, movies, anime, animated series and TV series and I never found myself in an emotional dilemma like this). So today I'll analyze what led Rolo to kill Shirley. But before that I would like to invite you to read the first analysis I wrote about Rolo in which I investigated why Lelouch manipulated and deceived Rolo successfully, as there I delved into Rolo's damaged mind and it is vital to understand Rolo's background and what situation he is in. That is why I'll be forced to rescue three key points from that analysis and expand on them, before answering the question.

Point #1 "Rolo's background".

It's difficult to judge Rolo since he was not educated in values ​​and norms like the rest of the characters and even us, the viewers, despite the difference that exists between environments. Rolo wasn't raised to be a human by loving parents or guardians, on the contrary, he was trained to be a killing machine by the Geass Order. Therefore, he has no morals or discernment of right and wrong or social skills or emotional tools. Just as I said in that analysis, Rolo never grew up. He is a child who was given a gun. Something similar to Superboy in Titans, who killed a man as soon as he took his first steps in the world and never repented because he didn't understand that what he did was wrong nor did he know that the power he had carried with it a responsibility; although, for Rolo, killing is little more than fulfilling a duty. In the Order of Geass, Rolo was indoctrinated (which is not the same as "taught") to follow orders, solve problems through violence (specifically, through murder) and repress his social, emotional and affective needs. This indoctrination conditioned Rolo for his entire life. Rolo is a child who had his life stolen from him and his mind controlled, even by the person he loved the most: his brother, Lelouch. And here I will take the opportunity to link it to the next point...

Point #2 "Lelouch's manipulation and Rolo's mental fragility".

As soon as Lelouch regained his memories, he realized that Rolo was a problem (because Rolo had been ordered to kill him and his Geass made him dangerous) and that the best way to handle him (and, furthermore, take advantage of him) was through manipulation and lies, since Lelouch observed that Rolo never had a family, but he wanted, deep down, to create an emotional connection since, despite the conditioning of the Geass Cult, Rolo was still a human being. However, Rolo's genuine and pure desire for a family (brother, in this case) tells us something else that is pertinent to take into account: Rolo also desires validation and this contributes to Rolo having low self-esteem.

Rolo has no appreciation for anyone's life, not even his own. Watch R2 Episode 4: Lelouch tells Rolo that if he kills him right then he will lose two things and one of them is his life, to which Rolo literally replies: "Like I care about that.". I suppose that's why the Geass Order conditioned him to see himself as a worthless tool: that way if one day Rolo gave problems to V.V.'s evil organization, he wouldn't oppose being eliminated; it's even safe to say that the lack of value that Rolo gave to his life optimized his performance in missions, since he would accept all the risks, regardless of what happened to him. Likewise, the lack of appreciation for life and his work as a hitman for the Geass Order are the reason why Rolo trivializes murder, to the point of putting it on the same level as mundane and ordinary activities like brushing the teeth.

As a consequence of all this, Rolo is someone manipulable and without mental strength, which makes him very vulnerable and a perfect victim for a snake charmer and, moreover, a silver tongue like Lelouch. This scenario that I have just described is the ideal breeding ground for an emotional dependence of Rolo towards Lelouch to develop and that is exactly what Lelouch intends to do, why? Because in this way Lelouch will have at his disposal the complicity, the skill and the Geass of Rolo who will follow him out of practically unconditional devotion and will prevent Rolo from betraying him in the future, how will he do it? By putting himself at the center of Rolo's small world. In episode 4 of R2, Lelouch urges Rolo to find a purpose in life and convinces him (or, rather, manipulates him) that he is that purpose, that only he can bring him a future, make the promise of a change come true. A happy life with his brother. Rolo won't notice the red flags, he'll even tolerate them if he sees them, because he finally has validation and affection. For the first time, someone acknowledges his existence and tells him and shows him that he is valuable and important.

But a presence threatens Lelouch and Rolo's wonderful partnership and it emerges at the moment Rolo killed Shirley. No. Rolo didn't kill Shirley because he hated her or want to annihilate all of Lelouch's loved ones to isolate him and keep him for himself, he killed her because she said, " I wanna bring all the happiness back into Lelou’s life! Then maybe he could be together with his sister, Nunna!" That's right. Nunnally.

The series made it clear to us in R2 episode 7 that the mere name of Nunnally unnerved Rolo and in R2 episode 18 Rolo is determined to kill her. Why? Because Rolo is jealous of Nunnally and jealousy is a manifestation of insecurities, but what is Rolo insecure about? The love that Lelouch says he professes for him. Rolo is perfectly aware that he has taken Nunnally's place (that was the mission that the Geass Order entrusted him with) and that Lelouch sincerely loves his sister, so that not only Lelouch sees Rolo as a "false brother", he sees and feels himself that way too. Therefore, Rolo feared that Lelouch would get rid of him once Nunnally returned and poor Rolo was right since Lelouch intended that same thing before Shirley was killed. However, losing Lelouch not only implied an emotional loss for Rolo, it also implied losing his purpose and his identity since Rolo has no future without Lelouch nor is he anyone without him. Lelouch is the one who can make Rolo happy, Lelouch is the one who validates Rolo and if he disappears, what will become of Rolo, who can no longer be the Geass Order's hitman or Lelouch's brother?

So when Shirley showed the naive and noble intention of reuniting Lelouch with Nunnally, Rolo felt threatened by a danger that had been stalking him for a long time in his worst nightmares, breathing down his neck and what did he do? He dealt with the danger as he dealt with all his problems, the only way he knew how: by killing Shirley. Thus Rolo eliminated any possibility of the reunion between siblings and Lelouch would know nothing of the help that Shirley offered him.

I think Rolo chose to believe the lie he made up, that is, that he killed Shirley to protect Lelouch's identity, instead of accepting that he felt vulnerable and in danger, because that reason legitimized his crime and, at the same time, was the best defense mechanism. Rolo couldn't accept that he somehow hurt Lelouch; instead, if he helped and protected him, the murder becomes acceptable and even forgivable. For no other reason Rolo reveals to Lelouch why he killed her before he asks him, in search of validation, of course, just like a puppy that pants and licks its owner to be rewarded with a bone.

If Rolo were a normal person, if Lelouch and Rolo didn't have such a toxic relationship, if there were therapists in Britannia who could treat Lelouch and Rolo, everything would have been solved with a heart-to-heart talk and personal work. Unfortunately, that wasn't the case.

Shirley's murder was a direct consequence of manipulating, lying to, and using a boy who was abused as a child, who was conditioned by adults who were supposed to protect him, and who has emotional deficiencies. It's tragic for Shirley because it's unfair that she had to pay the price. It's tragic for Rolo because he wanted to preserve his happiness and ended up destroying his relationship with Lelouch. It's tragic for Lelouch because it's his responsibility (even if the fanboys continue to only blame Rolo).

All of this seems to indicate that Lelouch and Rolo’s relationship is based on manipulation and lies and yes, that’s true, however, there was also love and that’s what’s interesting about Lelouch and Rolo’s relationship. It’s beautifully twisted, more so than Suzaku and Lelouch? Uhm! Maybe yes, I’m not sure at the moment, more so than Lelouch and C.C.? Hell! I dare say no. One day we will address the positive aspect of this relationship and we will do so when I discuss Rolo’s death; but, before that, I will talk a little about Lelouch and Kallen’s relationship, which is the most underrated relationship of all, despite the nuances and complexities. Maybe I'll talk about why Kallen returned to Lelouch, despite him showing himself to be a leader unworthy of her loyalty; maybe I'll talk about the time when Lelouch lies to save Kallen from the firing squad, which is one of the most underrated, heartbreaking and romantic moments in the series. We'll see. For now, I hope you enjoyed the analysis and that it has improved your understanding of Rolo's character and his relationship with Lelouch. Nowadays, I just want to talk about my favorite series and forget that the alternate universe exists, which is difficult considering there's a spin-off airing. I hope there are fans who share my feelings. Without further ado, I'll take my leave.

[aquagirl1978]

Meet my OC: Charlotte (IkePri)

Name: Charlotte Lelouch Paired with: Chevalier Michel Relationship: romantic Age: 27 Hair Color: dark red Eye Color: hazel green Birth Sign: Aquarius

Early Life

Charlotte came to live at the Palace in Rhodolite at an early age. Her mother, Clavis' sister, passed away when Charlotte was very young. With her father not in the picture, the now orphaned Charlotte moved into the palace to live with her aunt Leticia and cousin Clavis. Clavis and Charlotte were the best of friends, with Charlotte following her older cousin around and getting into trouble with him.

Incredibly intelligent and kind hearted, Charlotte was much like her cousin down to the matching birthmarks below their mouths. The one glaring area where the two differed was on their relationship with Chevalier.

Charlotte often acted as a buffer between the brothers. Clavis, never wanting to be alone with Chevalier, brought Charlotte along with him to make things more bearable. Chevalier, who tolerated so few people, allowed Charlotte to remain as, in his words, she, unlike her fool cousin, knew when to stay quiet.

After the death of the former queen and her aunt, Charlotte's future was unknown, until Sariel agreed to let her stay. He reasoned that it would be detrimental to her to remove her from her closest living family member.

Childhood Friends

When they were young, Charlotte had a somewhat distant, but respectful, relationship with Chevalier. She would remain (mostly) quiet in exchange for borrowing books from his library. They would sometimes read together, with minimal words exchanged. She was in awe of Chevalier - his genius, his grace, and as she got older, his looks. She never understood why Clavis hated him so much, and perhaps a part of her tried to get closer to Chevalier to improve their relationship.

There came a time in Charlotte's education when she, to put it nicely, outsmarted the palace teachers. Sariel was at a loss as to what to do with her - being the hellcat's cousin, no one wanted her as a student. That is, until the second prince agreed to be her tutor.

From that day on, they would spend time in each other's room studying together. Chevalier was impressed with her intellect, and found her thirst for knowledge refreshing. Unlike her cousin, she was not obsessed with besting him and was therefore able to focus her attention where it mattered.

It was during these study sessions when Chevalier first noticed he was experiencing strange feelings. They weren't unpleasant, a bit bothersome if anything. Over time, he grew accustomed to them, so much so that he even enjoyed these new feelings. He knew then it was time for him to stop being Charlotte's tutor.

Dating Chevalier

Now we get to the anti-climatic part of this story. I don't want to put anything here, because this is where it gets fun - flirting and kissing and teasing and more - and I have fic ideas planned for their dating journey. I'm gonna kinda just end it here, if I don't I'll ramble on until I can't write anymore words on this post. Charlotte has lived in my head for close to three years now, and I have a lot of stories in my head. Some I might share, some I won't.

On that note, I do welcome any and all asks about her, about her relationship with Chevalier and Clavis and anyone else in the palace. I will be reblogging OC ask games moving forward - always feel free to ask about her. I also have a modern AU for Charlotte and Chevalier which deviates greatly from canon. I might actually be more invested in that one, as I have far greater creativity there.

I also had so much fun working on this for Charlotte, that I have created another OC, this one for Ikemen Villains, and I hope to have her page up soon.

[hamliet]

I was talking to a friend about how in recent years it has become so common to have anti-heroes and villains as protagonists. I think this trend started with Tony Soprano back in 2000 and it was definitely something that changed series and movies in a good way, gave us alot of great and interesting characters to explore (Tony Soprano himself was an incredible and complex character that captivated the audience, even though he sometimes did things that we found horrible and hated him for it. But seeing the success and popularity, it's no wonder that after the Sopranos show people started to explore the idea of ​​anti-hero/villain protagonists way more). I can't say when this trend started in anime, if it was before or after The Sopranos, but it also became something quite common (Light Yagami, Eren Yeager, Lelouch Lamperouge and the list goes on). I confess that sometimes I miss seeing a character with a good alignment as the protagonist, I wanted to know your opinion on these things.

So... I think there are a few layers here.

I don't actually agree that morally gray protagonists are very common at all, sorry Anon!, but--

I do think there is a general lack of well-written protagonists of all moralities, and--

All writing is a product of its time to an extent, and in a world where people at least pay lipservice to the idea that we are all culpable for the horrid state of the world, stories are at least going to pay lipservice to that.

On the line of lipservice.... Antihero protagonists do exist, but I think if anything protagonists have become very, very sanitized. Even the ones who are considered antiheroes aren't really doing anything bad. They're just vessels for the authors to preach... which, to be fair to authors, is also partially because I do think there's a lack of critical thinking among the populace and no one wants to be accused of supporting something truly terrible especially in an age where cyberbullying is an expected part of the job. But writing about it isn't inherently an endorsement.

Even in stories like House of the Dragon, which literally is based on a book that is all about gray morality, has sanitized the characters (especially the Blacks and even more so the women) so much that they are barely characters anymore. They're not the ambitious, human people who love and lust and hurt and do the unforgivable yet are still so human. Again, I think the reasoning is pretty clearly to appeal to the audience by not doing the misogyny GoT Season 8 was... except they ironically actually are but bending over so far backwards they're making the characters caricatures instead of people.

I mean, I don't know which movies nowadays besides nugu artsy ones don't have a "good" protagonist. It's far more common. Look at Pixar, at Marvel, at Disney's stranglehold on the industry. Look at BNHA. Part of this is genre-dependent too, but. Good guy wins. Bad guy loses.

In fact, it's so common for people to assume that protagonist status is an endorsement of everything the protagonist does that a sizable portion of AoT fans refuse to accept that Eren Jaeger wasn't intended to be a hero and created ANR, and other fans wrote for big-name publications directly calling Isayama a fascist for portraying a hero who sank into fascism. Overall, I do think the majority got the message, but I also think that while there are certainly some things that could have been done better, the main issue isn't the messaging of the story. I don't think AoT is muddy thematically. I do think the majority of people can't think critically if their life depended on it these days.

That said, I do think what you're onto is that a lot of characters and protagonists just are not well-written. Heroic or not, they're not well done. They're vessels to be used to prop up the author's moral views, rather than explore the difficult questions about what it means to navigate that morality in a bleak world. And I can't even blame them, because the way audiences respond gives them no choice.

Yet, antihero characters are often the more popular characters over MCs. Why? Because they're usually the ones who have a touch of humanity left, and also because tragic stories have appeal when the world is, well, tragic. Until the Mouse beats that humanity out of them anyways. However--

A good "good" protagonist is Luffy from One Piece, honestly. He's complex and interesting while maintaining his fundamental desire for kindness and compassion in the world. Or Tenma from Monster. Jim and Aja from Tales of Arcadia and Adora from She-Ra, too! And Xie Lian from TGCF (okay he considered genocide but--). And, of course, Ruby from RWBY!

[ultraericthered]

Where’s the lie?

Only thing Light’s really got over him was he chose to lose his memory that one time (something something Keikaku).

Lelouch vi Britannia is what Light Yagami wishes he was ✋

[just-a-little-moth]

I can't stop trying to read into the fact that 621's AC always explodes when you hit zero AP. You fall over and explode. Raven dies. She doesn't get out. She's gone.

Compare this to the fact that a bunch of AC pilots keep showing up to challenge you again and again, despite going down in the fight. G5 Iguazu being the biggest offender. Iguazu fights you 2-3 times depending on your playthrough. Chartreuse and King talk about the other ejecting when you take them out. So who does die (Lists are NOT complete/exhaustive)?

Die For Sure G4 Volta (Killed by The Wall) "Cinder" Carla (Killed by 621) G1 Michigan (Killed by 621/V.IV Rusty) Chatty Stick (Killed by 621 or V.I Freud) Walter (Killed by 621 after siding with Ayre, though Arquebus "Brain Fried" him first) V.IV Rusty (Killed by 621 after betraying Ayre) V.VI Maeterlinck (Killed by 621) G3 Wu Huahai (Killed by 621) V.VII Swinburne (Killed by 621, and is the VA of Lelouch Lamperouge, unless spared) V.V Hawkins (Killed by 621 and Middle Flatwell) V.VIII Pater (Killed by 621 and Middle Flatwell, or killed by 621 at AllMind's behest) Sula *ASSUMED* Every MT pilot, helicopter pilot, tank/artillery crew, tetrapod pilot, PCA pilot, PCA warship crew, the Strider crew, crew piloting The Wall, Every Doser encountered, multiple RaD pilots, Others? Confirmed Survivors Every pilot aside from 621 in the mission to fight the Ice Worm G5 Iguazu Chartruese King Ambiguous Raven Everyone else, including the Assumed KIA "Mob" NPCs above. So what does this tell us? Well, it tells us that the destruction of your AC/MT/ETC isn't a death sentence. Yet, 621, Our Raven, dies when her AP hits 0. Her AC falls over and explodes. Every other AC falls over, kneels down, or hunches over and bursts into flames. The wreck is still on the map. It's still loaded in. You can analyze them if you want to and have time to do so. In the Arena the enemy does the same.

Since the Arena and the ACs in missions are, essentially, every possible AC combination on display, there's no reason that 621's AC couldn't follow the same pattern. Which raises a question.

Can 621 leave her AC?

In the briefing cutscene after being captured by Arquebus we are essentially chest high in the water as it flows past us/we trudge forward. Ayre is telling us we need to escape. After some time we find the run down AC Walter, or the Overseers, left us.

This briefing cutscene can mean two things. Either 621 can leave her AC and move around on her own, or, she's being carried out by Overseer operatives in Arquebus (Which I've seen posited online).

We know from one of the introductory cutscenes that 621 is essentially a mummy with a "crown/halo" driving spikes into her brain. We know that her brain is "fried" which makes her a good hound candidate. There's no way to know how much mobility she's capable of, all we know is she's a brain-fried mummy who does everything she's asked to, only sometimes deciding who she obeys.

So we can't know conclusively whether 621 can leave her AC voluntarily or not.

What we can know, is that 621 and her exploding AC isn't special. EVERYTHING aside from enemy/Ally ACs explode when they hit AP 0. MTs explode. Helicopters explode. Artillery emplacements explode. The "Anti-AC" artillery/tanks explode. The PCA explodes. The Dosers explode. The BAWS Tetrapods explode. Everything that isn't a named character or main boss explodes and disappears.

(I admit the PCA warships are a bit funky in this lens, acting more like a "dead" AC than anything else.)

There aren't even lines from our Handler when we die. Ayre doesn't say anything. The only people who "talk to us" when we die, are our enemies, telling us we weren't the hot shit everyone said we were. Why do we hear them instead of our closest allies? The two people who dictate our life as a mercenary?

Instead we just explode like any ol' MT pilot.

In a way, the fact that 621 just explodes. The fact that she dies when she fails at a mission instead of being able to eject is tied to who she sees herself as and what she is.

Raven, 621, is an AC pilot. She gets the job done despite the odds. That's all she is. So if she can't get the job done, then she may as well be dead. Her only reason to exist is to follow the orders of Handler Walter or Ayre. She's a hound, a brain-fried dog, loyal to her masters over anything else, even taking her failure to the grave. What good is a dog who can't fetch?

[latinotiktok]

Propaganda:

LELOUCHE LAMPEROUGE porque es parte del lore de code geass que "el imperio de britannia" (que aunque se llame asi no tiene a los britanicos) en realidad esta ubicado en todo el continente de las americas (https://static.wikia.nocookie.net/codegeassfanon/images/f/f0/Code_Geass_Map_%28LotV%29.png). Y considerando que Lelouch era ignorado por su padre el emperador, al punto de que lo mando al territorio enemigo (a japon, especificamente) como rehen de guerra cuando el pibito renuncio al trono, NO ME EXTRAÑARIA que Lelouch no viviera en las "homeland", sino que en alguna de las colonias de britannia (ubicadas en latam). <- es un headcanon, pero para mi es canon Y COMO PUNTO A FAVOR, dado a que el imperio de britannia tecnicamente se centra en estados unidos/canada, y Lelouch derroca a todo el imperio, le da puntos por ser anti-gringo (???) Y que en el proceso, libere las colonias (latam incluido) de sus colonizadores (a los que dejo sin imperio) solo lo hace mas una Typical Latinoamerica Experience™. <- porque que pais de latam no nacio despues de independizarse de sus colonos nocierto Lelouch le diria Ñ a los gringos. No tengo pruebas pero tampoco dudas.

Utena Tenjou y Anthy Himemiya

Anthy Himemiya (de utena) (Argentina). En la serie siempre hablan del fin del mundo y yo eso lo tomo con que viven en tierra del fuego👍. Yo digo que toma tereré.

Utena Tenjou (mexicana). EN EL DOBLAJE ELLA SE LLAMA ÚRSULA. Y A LA SERIE LE PUSIERON ÚRSULA Y EL ANILLO MÁGICO. Representación de tortillera mexicana

UTENA Y ANTHY DE RGU. LITERALMENTE TIENEEEEEEN Q SER LATINAS. DEJENLAS GANAR ALGO POR FSVOR

[divinecomedyproductions]

Fandom Woes: Self-Righteousness of Modern Tragedy

I think I want to explain my case better about my beef with modern tragic/more-bitter-than-sweet fantasy/sci-fi, such as RWBY, Code Geass, and D.Gray-Man and it’s not necessarily the stories in of themselves

It’s the Self-Righteous Martyr/God-Complex of toxic contingent within these fandoms, to me they seem to ultimately not care the message the tragedy and suffering of these stories are trying to convey, but rather enjoy them and flaunt them for their own self-righteous megalomania

And I know that sounds hyperbolic, but it’s the tone, attitude and behavior of these people that give me that impression

For example with Code Geass and RWBY and the tragic deaths of Euphemia Li Britannia, Shirley Fenette, Lelouch, Pyrrha, and Penny respectively

As soon as that happened, many among the fandom would come out and theatrically proclaim the necessity of these tragic deaths, how it is so realistic an shows “thats life”, and brag how ultimately hopeful the stories still are and how it taught them how to be oh-so hopeful despite the odds, and I can see them act that way towards the burden of Allen Walker if the fandom was still active today as it was back then.

In any these cases, these people act as if they themselves were righteous martyrs, prophets of God,Life,Reality, usually the latter two because they claim "that's life" or "that's reality" all in a tone that reeks of holier-than-thou arrogance and vanity...

"Of my virtue, I am justly proud..."

Or worse, they speak with ghoulish glee and bragging about it gives them a feeling of power over these fictional characters as if they themselves are God almighty and it bleeds into how they treat real people who didn't like it by passive aggressively or belligerently belittling, judging, shaming, gaslighting, and sneering at them, implying the worse reasons of their distaste, and tell them to go watch a sitcom or slice-of-life anime or something

Then they are quick to condemn other fictional characters like Suzaku from Code Geass for being such a SOB and cheer on Watts putting Cinder on Full Blast, all while implying themselves to be such better people than both

Then they brag about what story was told with these ideas and concepts to be the end-all-be-all of these concepts in any fantasy/sci-fi epics that have even the slightest tinge of darkness and conflict and, lock them down into little theories, formulas, dogmas, and rule out everything else as a corruption, heresy, or a worthless little parasite, because they themselves are the infallible, all-knowing, and all-seeing “literary experts” who got everything all figured out and everyone else, wether the majority or minority, as peon reprobates.

Which then they pressure onto creatives with less power than them, especially when they disagree. All while they themselves can do whatever they want and do whatever they want with things they are unhappy with because “we know better than you”

I have experienced this expressing my ideas of what RWBY could have been instead, AU and Original work and been told it could only work as a slice of life anymore or a sitcom, or otherwise what I do with this stuff is ultimately meaningless and heresy and spiteful

All while they supported things like His Dark Materials Trilogy which is the Anti-Narnia written by a Atheist who hates CS Lewis and Christianity with a passion because he made the concepts more “interesting”

Or how making a sexy magical Captain Marvel with her own sailor scouts like Kamen America and her Kamen Corps because the creators were unhappy with what was done with the concept of Captain Marvel is nothing but a "Porno Captain Marvel Rip-Off"

while making an evil superman like Homelander and other nasty rendition of superheroes in "The Boys" by a guy who despises superheroes is totally fine because he knows what's the "interesting" end-all-be-all of these concepts.

All these things I describe can be summed up to figures in the Bible, The Pharisees

“They tie up heavy, cumbersome loads and put them on other people’s shoulders, but they themselves are not willing to lift a finger to move them.”-Matthew 23:4

They brag about the virtues and necessity of tragedy at the expense of fictional characters and real people, and boss around other creatives on what they do with this stuff, especially when they are unhappy, all whilst they themselves do whatever they want because they are supposedly so “objective”, they don’t need to follow the rules like everyone else

These prigs will tell others to “broaden their horizons” and give them the benefit of the doubt, but will refuse to give others the exact same courtesy because once again, “We know better than you.”

These self righteous people seem to only enjoy these stories not because of the message the tragedy and suffering is trying to convey, thats just a shield for them, but rather for their moral superiority and the thrill of power over others and being the measure of all things, for they know how life exactly works for specific individuals in specific genres and they know how to carry it out exactly.

They know with a "G"(gnosis) what's the end-all-be-all of specific concepts in ideas in specific genres and how to carry them out and they alone are the alchemists who can turn lead in to gold and everyone else is subjective and suffer from false consciousness.

In fact, I compare them to Digory’s Uncle Andrew in The Magician’s Nephew who though he could control other people by using their values against them to get them to do what he wants, while he himself doesn’t need to follow the rules, and basked in self congratulation of being a “great magician”

“Men like me, who possess hidden wisdom, are freed from common rules just as we are cut off from common pleasures. Ours, my boy, is a high and lonely destiny.”

And while we’re at it and Code Geass is on the table, let me point to one of the antagonists of Akito The Exiled, Gene Smilas

He was the mentor and surrogate parent of Lelia Macal who sought to bring Europe to a brighter future, often invoking the tale of the venerable St.Joan of Arc.

But when the time came to supposedly save EU, did he bet on his own life like the Saint did?

No.

He decided to position himself as God and Lelia as Joan of Arc, planning for her to die as a martyr for his own gain and become Emperor of Europe, because she happened to be a young lady with good morals who wasn't afraid to fight alongside her troops.

Like Uncle Andrew, Gene was nothing more than a peddling magician, but worse, he saw himself as God who controlled Lelila's destiny all while basking in delusions of righteousness in his quest for power. While Uncle Andrew was at least scared straight by Narnia.

To use a description of the Pharisees from the TV Series Jesus of Nazareth(1977) but slightly tweaked,

He bowed before the Story of Joan of Arc, but violated the heart of it.

And that's why I am so irritable about Tragedy in these kinds of stories, it feels like they are no longer enjoyed out of humility, compassion, truth, goodness, and beauty.

But rather out of pride, vanity, power, cruelty, and moral superiority

and sometimes it tempts me want to write my inspired stories in a way that gives them all the finger rather than for what I saw these ideas and concepts could have been, just so I can give them a taste of their own medicine

I know that's wrong, but these people test my patience, especially when they keep invading other people's spaces, bypass other people's "curations" because "there's nothing subjective about this, I need to correct and educate you", and getting away with this kind of nasty behavior

Because they are perfectly “objective” and everyone else is “subjective” therefore “subjected” to their “objective” will.

@beatricehawthorne @vitamaeternum

[kiwi-kuns-art-tumb]

Nah, Kaiba fights to preserve the Status Quo. Lelouch fights to destroy an oppressive power structure and protect his sister.

Code Geass if Lelouch got obsessed with YGO instead of chess.

[cherryisagamer]

trying to find songs for the princes and someone tell me why Taylor Swift is so Clavis Lelouch-coded??? esp the last 2 albuns

this clown is a mastermind, an anti-hero, midnight rain, he breaks his toys, he can do it with a broken heart while screaming FUCKU CHEVIEEEE TO THE NIGHT SKY

tbh these are the easier ones to remember but 6? 6 my dude?? are you really making me choose

[serendipitysparks]

In terms of life, his existence can be viewed as a tapestry woven with the threads of socio-political upheaval and personal tragedy, reflecting the complexities of human experience and the quest for autonomy.

From a psychological perspective, Lelouch exhibits a profound understanding of strategic manipulation and social dynamics, indicative of high emotional intelligence and an acute awareness of the human psyche. His motivations are often driven by a desire for retribution and justice, which can be analyzed through various psychological theories, including existentialism and utilitarianism.

Regarding birth, his origins are steeped in aristocratic lineage, which bestows upon him both privilege and the burden of expectation. This duality shapes his worldview and informs his subsequent choices, leading to a profound internal conflict between his noble heritage and his revolutionary aspirations.

In terms of personality, Lelouch embodies a complex amalgamation of charisma, determination, and moral ambiguity. His character oscillates between the archetype of the tragic hero and the anti-hero, showcasing a rich inner life marked by introspection and ethical dilemmas.

Finally, his intelligence is not merely academic but encompasses strategic acumen and tactical foresight, allowing him to navigate intricate political landscapes and orchestrate elaborate plans. This intellectual prowess is complemented by a keen ability to empathize with others, albeit often manipulated for his own ends.