#anyway I love this take on the Mirror World and the characters are very compelling

[ghostycatz]

Binged @post-it-notes7 's Mirrorverse masterpost recently and wanted to doodle some of their GSA folks! (Well one of them is a former member anyway)

[cooliogirl101]

Okay I realize absolutely no one asked for this but here are some of the changes I would make to Fourth Wing:

*Spoilers below and warning, this is gonna be a very long post with more or less coherent rambling*

To start with, Violet's mother's motivations for suddenly demanding Violet become a Rider 6 months prior to Conscription never made sense to me and that's something I'd definitely want to flesh out more. She fell in love with and married a Scribe, and was apparently fine with Violet training to become a Scribe up until then-- so what the hell changed, made her suddenly decide to throw her youngest daughter into a death college where she'll start off at a major disadvantage? I think it makes more sense if her decision coincided with the death of Violet's father or something. The pain of losing him, of wanting to avoid all reminders of him, led her to demand Violet become a Rider rather than a Scribe. It's also stated in the book that in the last few months of his life, Violet's father became more withdrawn and was likely looking into venin/wyvern-- she could've forbidden Violet from becoming a Scribe in order to get her away from all that and the possibility of discovering the truth (although granted, sending her away to the same College the Rebellion Kids-- who are very much aware of the truth-- are forced to attend may not be the best way of going about it).

For that matter, I'd stop giving Violet so many opportunities to leave. I know it's supposed to show off her determination or whatever, but it makes her motivations and characterization super inconsistent if she's constantly going on about how her dream in life is to become a scribe and she turns down literally every opportunity for her to go and do that. It's also a more compelling story for me if she literally had no choice but to become a Rider but managed to succeed anyway-- and it mirrors the rebellion kids' story as well.

The hair. There's no logical reason for Violet to have natural balayage, the fuck. It's stated in the book that even if she was to cut her hair, it would just turn silver again at the ends after it reaches a certain length, which...?? And there's zero explanation for this. Like, if you're gonna give the MC special hair, at least provide a good story behind it. For example: after Brennan's death 6 years ago, Violet shut down completely. She couldn't stand being around her mother's rage and her father's devastating grief and Mira's absence, so she just picked a direction and...kept going. It took them 3 days to find her and by that time, she was half-frozen and on the verge of death. Borrowing a trope from Chinese dramas, by the time they found her, her hair had turned completely white from stress. Her brown hair grew back in as she recovered but she keeps the white as a reminder to herself to never let herself get to that point again-- to never let herself shut down the same way again.

(To emphasize-- if she cuts it, it doesn't magically turn white again after growing out, that was just a one-time thing. She's not magically gifted with special hair "just because", that's stupid).

Violet's potential as a Scribe. The book continuously emphasizes how smart Violet is supposed to be, how she would've made the Perfect Scribe, and other than her tendency to conveniently regurgitate facts the author wants us to know about the world, we...don't really see much evidence of that. If anything, the book makes the argument that oh actually, deep down inside Violet had always been more suited to be a Rider rather than a Scribe, yadda yadda yadda. Which is just boring to me-- the most interesting thing about her character is the fact that she was never supposed to be a Rider, was never suited for it, and having her turn out to actually have "the soul of a Rider" all along or some bullshit takes away from that. I would much rather have her start off the book with a scribe's skill and mindset and gradually add the traits of a Rider as well for a merging of the two, rather than have her 'outgrow' being a Scribe.

Continuing on that theme, Violet is clearly a very emotion-driven character, which doesn't quite make sense to me given that she was trained to be the Quintessential Scribe. Scribes, after all, are taught to be logical, rational, to always control/hide their emotions: to fundamentally be a "blank slate", without biases or preconceptions, solely dedicated to the preservation of knowledge (emotions only get in the way of that). If anything, it'd make more sense to me if Violet was a little too good at hiding and compartmentalizing her emotions (especially after the deaths of her father and brother), to the point that she was nearly impossible to read and came across as a bit eerie to her peers. This is not to say that she wouldn't feel as strongly or have that same capacity for kindness-- just that she'd become very good at using intellectualization as a defense mechanism ("I'm not helping them because I care, it's because I'm already at a disadvantage and need all the allies I get. It's only logical." "It's only natural to feel a bit anxious watching them fight...they're giving me lessons and it'd be inconvenient if they died. I'd have to find another person to fill their place, which would be...well, it'd be better if they lived. I'm going to make sure they live.")

(The "woman is the openly emotional one and the man is the openly logical one" is also one of the tropes that annoys me the most, so...goodbye to that).

You also cannot convince me this girl was well-socialized growing up, which would cause her to value her relationship with Dain that much more. If he was her only friend growing up, the only person she was close to outside her family, it provides a huge opportunity for character growth as she struggles to learn how to trust, open up to, and rely on other people. It bothered me a little how in the book, several characters (Ridoc, Sawyer) were just suddenly on Violet's side without any actual scenes between them showing how they became friends.

(Ridoc is the first person to make Violet Sorrengail laugh at Basgiath. It wasn't even anything special, just a sarcastic-- but uncannily accurate-- impression of Professor Devera, and he glanced at her just in time to see her hastily turn away, covering her face. Her shaking shoulders gave her away, however.

Hah, he thought, smug satisfaction curling in his chest. So you can laugh. I knew you had a sense of humor hidden away somewhere deep down.

Deep, deep down.

The next second, Violet had managed to compose herself, face as blank and unreadable as ever, save for perhaps the slightly narrowed gaze she aimed at his direction, as if willing him to forget her momentary lapse in Not Being a Robot. He just winked at her, grin widening for the briefest moment before turning back to Sawyer.

Don't worry. Your secret is safe with me.)

Also why is this girl starting her training off making enemies left and right? First off, instead of futilely trying to avoid every rebellion kid out there, it'd be more practical for her to just try and distance herself from her mother as much as possible. That relationship is definitely doing her no favors. And with Xaden/the other rebellion kids-- she, of all people, knows what it's like to be judged for who her parents are. She knows they know what it's like too. It's an angle that she can use to at least try to keep a hundred targets off her back.

("You're Lilith Sorrengail's daughter," Xaden said, studying her through narrowed eyes. It was impossible to pinpoint the emotion in his voice-- but well, she could take a solid guess.

"Yes," Violet replied, just as evenly. "And you're Fen Riorson's son, if we're doing introductions based on our parents now." She gave him a polite nod. "Best of luck on the Parapet today, although from what I've heard about your skills, I don't imagine you'll need it."

When in doubt, there was never any harm in falling back on manners and flattery. That was what Dain had told her, and she tended to trust his advice when it came to dealing with people. He'd always been more likeable than her.

His jaw tightened.

"Your mother killed my father," he said, expression cracking open the slightest bit to reveal something raw and wounded underneath.

And your father killed my brother, she didn't say. It was something they both knew, after all, and she didn't see the point in reciting facts back and forth for no reason.

Violet resisted the urge to sigh. So much for manners and flattery-- it looked like she was going to have to address this now. Directness it was then.

"Yes," she admitted, voice going even more flat. "And I understand you have every reason to hate me for what my mother did. But if you're going to try and kill me, at least have it be for something that I did." She started walking forward-- either he was going to kill her, or he wasn't. Either way, there wasn't much she could do about it. "Everything in my life has been influenced by who my mother is. At the very least, do me the courtesy of allowing my death to occur independently of her."

A pause. She'd caught him off guard.

"So just to be clear, you're not asking me to spare you. Just for some agency in your own death," he said finally. Was that a trace of humor in his voice?

"What I'm asking is for you to stop seeing my mother when you look at me," Violet said, causing Xaden's face to go blank again. "But that's easier said than done. I'm sure you would know, wouldn't you?")

For that matter, I'm also putting Violet on the aro/ace spectrum here (probably demisexual). Not out of any plot-related reason. Just because it was incredibly annoying reading all those descriptions of how inhumanly beautiful Xaden was every 3 pages. 'Lust at first sight' is also one of my least favorite tropes, so. Goodbye to that. (Side note though, I think it would be really funny for Violet 'never-felt-sexual-attraction-to-any-significant-degree' Sorrengail to go find Xaden while their dragons are fucking, completely freaked out about what the fuck is happening, while Xaden (after registering that she genuinely has no idea that the emotion she's feeling is Dragon-Induced Horniness, she legit thinks their dragons might be dying) has a mini panic attack thinking 'fuck am I really going to have to give the dragon sex talk to the girl I'm Definitely Not Crushing On'

One of the things that frustrated me the most about the book was how convinced Violet was that Xaden was out to kill her, despite all of his actions showing he was very much not going to kill her. This from a girl whose defining trait is supposed to be her intelligence. Now I'm all for characters being very smart in one way and dumb in another. But the essence of intelligence is the ability to gather facts and put them together to form a logical conclusion. To have multiple occurrences of Xaden helping her out/saving her life/turning down the perfect opportunity to kill her, and still reaching the conclusion that he wants her dead is...not intelligent.

("What are you doing?" Dain hissed. "I told you to keep your head down and to do everything you could to avoid Riorson's notice!"

That was rather unfair of him, Violet thought to herself. She was keeping her head down, she was trying her best to avoid him, Xaden Riorson just seemed to be annoyingly adept at seeking her out. She couldn't understand why he kept doing so. Surely he wasn't still trying to make sure she wasn't going to spill his secrets?

She felt rather offended at that. Did Xaden really think that lowly of her intelligence? If she reported him, he'd find a way to kill her, simple as that, and she rather enjoyed living. Reporting him would be against her self-interest. At the very least, if he couldn't trust in her word, he should be able to trust in her self-preservation.

She ignored the tiny voice in her head saying that if she was to report him, Xaden Riorson and the other rebellion kids would be dead before they could so much as register the word 'betrayal', much less be in any state to exact vengeance against her.

"If it helps, I really don't think he's going to try and kill me," Violet said honestly. Not as long as she didn't give him a reason to.

"Oh? And why's that?" Dain asked sarcastically. She'd never seen him so discomfited. It was rather...sweet, actually.

"Because it wouldn't suit his interests," Violet stated. "He wouldn't gain anything from killing me, but he does stand to lose a whole lot. It's true that killing me wouldn't be against the Codex-- he wouldn't be formally punished-- but targeting me for nothing else but the crime of being General Sorrengail's daughter...well, it lets everyone know where his loyalties lie, doesn't it? It sends a clear signal to all the higher ups that he hasn't forgiven his father's execution, and he's already on thin enough ice as it is. It would be impractical for him to kill me, and Xaden Riorson may be a lot of things, but he's never struck me as stupid."

Dain stared at her for a while.

"What?" Violet blinked, feeling slightly uncomfortable. He was the one who'd told her that it was rude to stare too long, so why was he doing it now?

"Nothing," he chuckled, shaking his head. "You're just something special, Violet."

"'Special' isn't always a compliment," she said, narrowing her eyes slightly at him. He'd taught her that as well.

"It is when it comes to you," he said, smiling. "Now come on, you have class soon."

"I'll be there in a moment. I just need to head back to my room to grab something." The moment she turned the corner, she paused as she heard footsteps appear at her back.

"Xaden," she greeted, without turning around. "You were listening." It wasn't a question.

"You don't seem surprised," he commented, easily stepping in place next to her as if he'd always been there.

"I've come to the conclusion it's easier to just assume you're there anytime there are shadows present," Violet responded, voice a touch dry.

"It's flattering to know you think I'm so omnipresent," Xaden replied, a touch of smugness in his voice. "You gave a very convincing argument to Aetos about all the reasons why I shouldn't kill you. You had a lot of faith in my...practicality." He seemed amused, although his expression didn't change. "Has it ever occurred to you that not everyone is as rational about these things as you are?"

"Of course. That's why I figure it never hurts to provide a reminder that it costs you more to kill me than to keep me around." Violet glanced down at her planner. "I figure I'll schedule the next one in another two weeks or so."

"No need. You remind me every day." He grabbed her shoulder, forcing her to a halt. "Kairi Stevenson. You helped her before her match yesterday. Why?"

Violet looked down at his hand pointedly. He ignored her. "If you're asking how I learn about the match lineups beforehand, I'm not going to--"

"I don't care about that," Xaden interrupted. "You helped her, even though her father--"

"Even though her father participated in the rebellion, yes," Violet finished. "I've asked you-- all of you-- to judge me on my own merits, rather than my parentage. It would be rather hypocritical of me to not do the same for you."

His grip on her shoulder tightened.

"There's a difference between that and going out of your way to help us," he said, voice low.

"Is there? All I've done is treat her the same way I did the rest of my squad," Violet replied. "She's part of my squad, so I helped her. End of story."

It had been the first thing she'd done since arriving, work on establishing herself as an asset to her squad, rather than a liability. She'd known from the beginning that she would need to build allies in order to survive, given her physical limitations, and her squad, the only people bound by Codex to not kill her, seemed like a good place to start. It started with secret notes passed around in Battle Brief containing hastily scrawled answers. It continued with tutoring sessions and, after discovering Brennan's gift, hushed whispers regarding the next week's sparring lineup. Anything to establish herself as someone who was worth more alive than dead.

She'd spent her entire life under the disapproving eyes of her mother attempting to justify her existence, that she had a right to exist. This was no different.

Xaden's mouth curved up in a sardonic smile.

"So what, are you saying you helped her out of the goodness of your heart? How very...altruistic of you."

"Hardly," Violet said dismissively. Xaden blinked, sneer fading. "It's a mutually beneficial arrangement. She's been offering me help on improving my accuracy with my daggers, did you know? Like Sawyer helping me with weight training and Rhiannon with sparring. It's not like I don't get anything out of it."

"And Anderson?" Xaden questioned. "He's not even in our wing; yet I hear you helped bind his ankle after he twisted it last week. What benefit did you get out of helping him?" The corner of his lips twitched. "Or is he helping you with weight training too?"

"Well," Violet hesitated, unexpectedly flustered. Eli Anderson was a scrawny, hopelessly awkward boy who was quite possibly the clumsiest person she'd ever met. How he made it across the Parapet without tripping over the edge was beyond her. "It's always good to have allies outside of your own wing. It just means one less potential knife in the back some day."

Xaden hummed, studying her for a moment. "I'd worry about yourself first, Violet, before spending your time nursing other students back to health. Someone like Anderson won't make it in the long run anyway. It's better that someone take him out now before he gets someone else killed on the battlefield in the future."

Violet's eyes flashed, lips twisting into a scowl despite herself. Xaden's gaze sharpened and he leaned in, something almost hungry in his eyes. "Something the matter, Sorrengail?"

"I'm fine. I disagree with your argument, that's all," she said stiffly. "How do you know that Eli won't one day become an amazing dragon rider with the proper training? All this focus on 'weeding out the weak' and 'killing off the weaklings' with absolutely no emphasis on actually helping people become strong-- how does that make sense? We live in a world where the war is getting more dangerous by the day, where more people are dying by the day, and what are we doing here? Learning how to kill each other off," she scoffed. "What's the point in waging a war to keep our home safe, and then turning around and tearing ourselves apart inside it? The biggest threat here at Basgiath isn't the gryphons or Pomoriel-- it's each other. How sad is that?"

"All day, every day, encouraged to attack each other, to kill each other. I understand that killing is a necessity on the battlefield, but here?" she continued, tone scathing. "That's not training. That's not learning. That's just...that's just senseless cruelty and it serves no purpose. All you end up with then are people who won't think twice about stabbing a comrade in the back if it serves their own self-interest. It's meaningless, it's illogical, and it's...it's stupid."

Violet said the last word with a particular viciousness, as if it was the most scathing indictment she could imagine. Despite himself, Xaden found himself fighting a grin.

"It's better to get used to killing here, where you're in a relatively controlled environment, than it is on the battlefield," Xaden murmured. Violet shot him an unimpressed look and he had to press his lips together to keep the corners from twitching upwards.

"Are you volunteering yourself as a subject?" She asked, raising an eyebrow.

"As entertaining as it would be to see you try to murder me, I'll have to decline," Xaden replied, flicking her on the forehead just to see her scowl deepen. He coughed to hide a laugh as she reached up to swat his hand away. "Try not to die coddling some random stranger, Sorrengail. It would be a horribly anticlimatic end to your life."

"I'll try not to disappoint," Violet said, voice dry as the desert. She'd never coddled anyone in her life; at most it could be said she lent the occasional helping hand. And as she'd already established earlier, that was hardly altruistic in nature. The nature of things as they were was hardly conducive to her continued survival-- the current system was designed to swallow people like her whole. Obviously then, she needed to act differently from the established social order.

A favor given meant a favor received. Helping someone else now meant potentially being helped in the future.

That wasn't kindness. That was just common sense.

(Rhiannon, at some point in the future, after seeing Xaden and Violet interact:

"Oh my god," she said, mouth dropping open. "I thought he hated you because of your mother and that's why he wouldn't leave you alone, but...holy shit, he's just been pulling your pigtails this entire time, hasn't he?"

"I don't have pigtails," Violet frowned, even as Riorson shot her a warning glare. Rhiannon had to admit it was a fairly menacing one.

"Fine, tugging on your braid, whatever," Rhiannon waved her off, fighting a grin. Since discovering he was likely crushing on her best friend, the Wingleader suddenly seemed much less intimidating. "The point is, he li--"

"Matthias, I can and will give you double chore duty for attempting to spread untoward rumors about your Wingleader," Riorson growled.

He didn't say inaccurate, Rhiannon couldn't help but notice.

Violet tugged at Riorson's sleeve, brow furrowing slightly. Riorson's expression instantly softened a fraction and Rhiannon had to suppress a snort.

"What was that about?" Violet asked.

"Nothing you need to worry about," he replied. "Let's get back to practice, shall we?")

This post is getting wayyyy too long so I'll stop but one last point: not gonna lie, I was pretty disappointed by Violet's signet power in the book. It seemed to signify that deep down, she was the quintessential rider all along-- it's not a power that honors her intelligence or scribe background at all. Not to mention the whole her wielding lightning seemed to be a pretty deliberate counterpoint to Xaden wielding shadows, like come on, you couldn't come up with a less obvious metaphor to state they represent light and shadow? If I were to give her a power, it'd be something like probability manipulation or hyperintuition-- both abilities that compliment and highlight her intelligence.

[stormyoceans]

Top 5 ships of 2022 💛

thank you so much for asking, anon!!!! 💜

1. puentalay – vice versa. not only my favorite pair of the year but quite possibly my favorite pair OF ALL TIME. there’s just something incredibly beautiful in the way these two characters were thrown together by extraordinary circumstances and yet fell in love in the most ordinary way, just two souls meeting and connecting and choosing each other time and time again. they went from strangers to friends to lovers in the most genuine, realistic and organic way, which is something that i personally haven’t found in many other pairings. they literally changed the trajectory of my life the game television and the fundamental make up of my entire personhood all while giving effervescent impeccable incomprehensible levels of romance tenderness vulnerability communication openness devotion derangement and love. WHO IS DOING IT LIKE THEM. NO ONE.

2. vegaspete – kinnporsche. it's the twin flame gothic doppelgänger mirroring he is more myself than i am whatever souls are made of his and mine are the same of it all!!!!!! it's watching the careful constructed mask you've built for yourself your entire life being torn apart and getting dragged kicking and screaming into the light to finally being seen for who you really are!!!!!! it's the two of them in their corners with their monstrous needs and starving themselves until they find the only person who can feed them and sate their hunger!!!!!! i know they're not everyone's cup of tea which is completely understandable but also GOD. WHAT AN ABSOLUTE FASCINATING AND COMPELLING DYNAMIC.

3. skyjao – secret crush on you. the amount of absolute joy and delightment these two brought me week after week after week almost rivals that of puentalay. a single episode would take me HOURS to go through just because i kept giggling kicking my feet screaming into a pillow at all their scenes. it was also incredibly nice to see a chubby character not only being loved but being DESIRED and encouraged to feel better about his body. they are lovely and sweet and HOT and one of the biggest surprises of this year for me.

4. togawanozue – old fashion cupcake. if i were better with words i would honestly spend hours waxing poetry about this show and these two. maybe it’s because im closer in age to them compared to the majority of pairings in BL shows, but they are just so very dear and so very important to me. their narrative is all about the possibility of discovering yourself and finding love at any age and it’s being told through what im quickly realizing it’s becoming one of my favorite tropes: food and hunger and starvation as a metaphor for intimacy.

5. danyok – not me. unlike the first four couples, it was extremely hard for me to pick one for the fifth place. there were way too many contenders and yet none of them felt as right as danyok. my feelings for them are very complicated and i don't think i will ever be able to forgive the writers for what they did to them in episode 13, but despite everything they still mean the world to me and there must be a reason if almost a year later i still can't get over them. i guess being seen for who you are and being loved anyway will never not make me lose my mind.

ask me my top 5 favorite anything

[lightandfellowship]

(Major spoilers for KHDR)

One thing that struck me about Dark Road was how practical and realistic the writing felt at times, avoiding common story cliches. Three examples come to mind:

The All-Knowing Magic Mirror: In many stories, when the main characters find an object as overpowered as this, they use it maybe once to solve some specific problem, and then the next moment, completely forget that this super convenient object exists. Usually this happens because the writers don’t want the characters to have the ability to solve every single obstacle or conflict with such an object (it’d be a very boring story otherwise), and maybe the writers either forgot or didn’t care to write in an explanation for why this object never gets mentioned again. But in Dark Road, not only do the characters use the mirror twice, they discuss going back to use it a third time. Who wouldn’t? It only makes sense. Obviously it is Xehanort who ends up providing a logical plot reason for why they can’t use the mirror anymore, but even then we get to see how Eraqus and Bragi go back to try anyway. Because something that powerful is still worth pursuing as an option in their eyes, plot contrivances be damned.

The Magic Carpet: When I first saw the scene of the magic carpet trying to discretely follow after Xehanort, Hermod, and Urd at a distance, I thought this was going to lead to that one type of gag where the main characters have a super delayed reaction to something weird and shocking, and then have an over-the-top “Whaaaaaaat!?” type of response when it finally hits them. But no, the characters look back at the carpet, and then have a completely calm discussion about it. Which makes sense! They��re keyblade wielders for one, they know that magic exists and that each of the outside worlds has their own unique order and laws of nature. Plus, like Hermod mentions, they’ve already been to Wonderland, where a bunch of animated poker cards are running around. It’d be really silly and out of character if this scene was written the more “typical comedy” way, and let’s face it, the gag they went for instead was way funnier.

Vor and Baldr at the End: We’ve seen scenes like this so many times in all sorts of media, even in KH! A character gets killed by the bad guy, dies in someone’s arms, manages to have a 5 minute monologue despite being in the process of passing away, and then the bad guy just stands awkwardly ten feet away off screen, not even trying to get a sneak attack on the heroes as they sit there with their backs turned to them. But Vor only has a couple of lines of short dialog before she goes, and Baldr? When the camera pans back to him, he’s moved to a different position in the room and is casually leaning up against the window, right next to Xehanort and Eraqus, like he decided not to interfere because watching them suffer as their friend died was entertainment to him. And also because Baldr is so confident in his ability to kill them that he doesn’t feel the need to take advantage of their vulnerability in this moment.

I loved Dark Road so much that I actually felt compelled to read the credits for once in order to see who was responsbile for the story writing for this game, and lo and behold, Tomoco Kanemaki, the KH light novelist who helped intimately with Days’ story (which is possibly my favorite story in the entire series), was among the names. I wonder if this more natural and realistic sort of writing was her influence? If so, I really hope she keeps on returning to write for more KH games in the future.

[alicent-vi-britannia]

Lelouch and Suzaku's childhood traumas explained through the enneagram

I love finding parallels in the works I'm reading or watching and I love even more when they're intelligently done and confront them. Code Geass is an excellent work that uses narrative duality. Lelouch and Suzaku are the most obvious parallel because I think it's the only one that the series deliberately teaches you because they try to build a compelling rivalry that wins hearts, despite the fact that in CG they abound more and are just as interesting (you are more otakus than me, therefore, they know that the topic of rivalry is very common in the anime industry, especially if the work is aimed at a male audience). You must understand that Suzaku and Lelouch are each other's reverse mirror. So much so that I think it gives rise to analyze the development of the relationship of both because the paths of both are intertwined and affect the narrative arc of the other. But unlike Shirley's, Rolo's, and C.C.'s story arcs, which are totally dependent on Lelouch, Suzaku's story arc stands on its own (Lelouch plays a key role in his evolution, but it's not everything). In that sense, it's more like the Kallen and Nina story arcs (this is something I respect and like about Kallen and Suzaku as main characters).

Today I want to focus only on the childhood of Lelouch and Suzaku, where it all began, taking advantage of the fact that in my previous post I talked about the enneagram.

Today I want to focus only on the childhood of Lelouch and Suzaku, where it all began, taking advantage of the fact that in my previous post I talked about the enneagram.

Although Lelouch and Suzaku are mirror inverses of each other, there are scenarios in their lives that are similar and their responses have been more or less similar. One of them is the trauma that forged their character. To begin with, Lelouch and Suzaku are the sons of two very powerful men (Genbu isn’t the Emperor of a world superpower, but he is the Minister of Japan; he is someone important, he isn’t the man who sells fruits in your neighborhood) who, in turn time, they are horrible parents. Without intending to sound like a psychologist (because I'm not), for boys, the relationship with their fathers is important since they are the model of the man they want to be in their lives (a model that they can reject, accept or idealize). In the case of Lelouch and Suzaku it's cutely obvious: they reject him (and the devilishly ironic thing is that the more they try to get away from them, the closer they get; in Lelouch it's more obvious xD).

On the one hand, we have Suzaku. A 1w2 enneatype (even when I find traits of a 1w9 enneatype, I lean towards the option of Suzaku being a 1w2 since he also goes about correcting the people around him, even if he is a self-preservation subtype and, by extension, is so preoccupied with fixing himself. I don't rule out that he's looking at his Faith cognitive function because Suzaku is an ISFJ, but I think, in that case, his Faith would boost his wing 2 even more than wing 9... Anyway, we won't let's divert). 

Regardless if his wing is 9 or 2, his enneatype is 1 and the emotional wound of the Ones is that they see themselves as imperfect beings. They have a great feeling of inadequacy because in their childhood they were not given the message that they were good (or it was a message that was lost) and surely it was because their parents demanded a lot of them. I entered the field of speculation assuming that Genbu was a strict father given his role as Minister of Japan (at least, he is in my headcannon and in my fanfic). Hence, Suzaku insists on correcting the error that "perverted" him and strives like a beast to improve himself (and his environment) with his ethical values, always trying to be morally blameless and consistent with his ideals to justify himself. himself and avoid being judged by others (in R2 episode 17, Suzaku angrily yells at Lelouch that the Geass order he gave him broke his convictions; for Ones, who are hyper-moralistic and want to be examples of virtue , this is a curse).

Without a doubt, Suzaku lost sight of that message that he was good when he killed his father. Suzaku sees himself as a bad person. A monster. That is the reason why Euphemia asks him not to hate himself. It's pretty fucked up because since the Ones can't live up to his unrealistic standards and neither can the others, they finds it hard for them to forgive; so if Suzaku doesn't forgive himself for killing his father, don't expect him to forgive Lelouch for killing the girl he loved.

I feel like little Suzaku got a tremendous disappointment from his father. I think that children tend to idealize their parents (with time and maturity, this idealization weakens and when they are adults they have a more realistic or demonic image of their parents, it all depends). Not only Suzaku realized that he was imperfect (and bad), but also his father. Imagine the feelings that little Suzaku must have experienced when he saw his father persist in forging ahead with the war against an empire that Japan had no chance of winning, because their pride was more important than the lives of the citizens who he had pledged to serve. 

From here, Suzaku unconsciously psyched himself up: "My father was bad and imperfect; but I won't be, I will be different, I will defend the people I serve, the methods I use do not transcend my purpose, much less my principles, I will try to be good". Consequently, we have a Suzaku who lives to reach an unattainable ideal in order to correct what is wrong with himself and Britannia and he will never achieve it because mistakes are unforgivable, in his opinion (the good thing is that the Zero Requiem brought peace to his tormented conscience, not just to the world).

It is not true that Suzaku went completely unpunished. He gave himself a punishment: he forever refused forgiveness. He chose to live a life of suffering. 

By the way, don't think that all Ones are as obsessed with his mistakes as Suzaku. He is an insane One. This is because he, in his crazy head, believes that he can regain lost goodness or achieve perfection at the expense of his own life (that's something we saw for example in Natalie Portman's character in Black Swan: Nina, a self-preserving One pretty insane).

On the other hand, we have Lelouch. I will tell you what the Eights' wound is because if you read my other post, you should know: vulnerability. This is because when they were children they weren’t protected by their parents, so a conflict deprived them of their sweet innocence. By now you should know what I mean. At the beginning of R1 episode seven we are given a flashback to Lelouch's last conversation with his father. A little Lelouch complains to his father why he didn’t protect his mother who was murdered and, although he doesn’t express it, this claim extends to his sister, who was left paralyzed and blind, and himself. His claim verbalizes his trauma: "why didn't you protect my mother? [Why didn't you protect my sister? Why didn't you protect me?] Weren't you supposed to be the most powerful man in the world?" (of course, I’m paraphrasing and what is in brackets is what he does not say, but feels). Here you can see the childish disappointment of his father figure: his father isn’t an all-powerful, omnipotent, omnipresent man who is the image Holy Britannia projects of his Emperor. What does Charles do? Well, if little Lulu and his sister had a minimal amount of protection from his father, now they will have nothing since he will exile them to Japan (he has left them totally helpless).

Both Charles and Genbu justify themselves, hiding behind the image they must give. But with Charles, the childish disappointment is double because, in addition, he excuses himself in the ideology of Britannia: he abandons Nunnally because he is weak and the individuals who are fit to survive must do it on his behalf, thus demonstrating their strength. I don’t want to mess with Social Darwinism because it isn’t my intention to go off on a tangent, but these words are very important because they will shape his personality. From then on, he will assume vulnerability as something bad. I don't know what little Lelouch's position was regarding the ideology of the Holy Empire of Britannia. I’m going to assume that he accepted them by natural disposition (like, for example, us with gender roles that until we properly document ourselves do not begin to question them). This sinister, in particular this discussion, made Lelouch rethink the ideology of his homeland and reject it. To finish off poor Lelouch, Charles yells at him that Lelouch is nothing without him (well, he's dead without him because he gave him everything he is; I don't know what seems stronger to you).

And what does Enneatype 8 have to do with it? ALL! As a result of this wound (which has not healed in the case of average and insane Eights), Eights learn to fend for themselves and be self-sufficient because they assimilate that the strong survive and develop a protective instinct towards others. weak and their relatives. It goes without saying that Lelouch was psyched that he was going to prove his father wrong: "My father is not powerful and he believes that I am incapable of surviving without him; he does not define me; I will prove to him that I am alive without him; I will become strong ; I will be independent; my sister will not miss my father because she will have me; I will protect her; I will not fail her like my father did". It doesn't matter if it is Lelouch, he was a child and a child isn’t called the atrocities that Charles said to him, look at him in the photo, isn't he cute? That reminds me that type 8 is called the Challenger, what does Lelouch do when his father boasts? He challenges him yelling that he doesn't want to be his heir xD).

Lelouch never shows vulnerability because he subconsciously believes that it is to be weak and he needs to be strong and to do so, he must keep himself under control. Even when he feels vulnerable, he tries to suppress it. But being a sexual subtype, emotions get the better of him more times than he'd like to admit, and they often come out in a negative way. Lelouch has terrible emotion management and zero emotional intelligence (it's not for nothing that he confused romantic love with filial love in that phone conversation with Shirley or he's not sure what to say to her when she asks him if he loved that girl he was talking; Eights have a hard time giving and receiving love because they only understand that people are either for them or against them). He has a hard time recognizing the emotions and feelings of others and himself because it is his Achilles heel.

Also for this reason Lelouch is wary of people and prefers to keep them at a distance since he interprets them as signs of vulnerability (essentially I mean the Black Knights, but even the people who managed to gain Lelouch's trust struggled to earn it).

By the way, I heard somewhere that each country has an ideal citizen model that corresponds to an enneatype (for example, the United States is enneatype 3, long live the American dream!). In the case of Britannia, I dare to say that it is the unhealthy enneatype 8. Starting from that idea, we would see that the ideology and values ​​of Britannia contributed to the formation of Lelouch's personality (does the same happen with Suzaku? I only know that the Japanese have a strong sense of community rooted, not like Westerners that we are more individualistic, and they repress inappropriate behaviors. Suzaku is a person who acts for the common good and is interested in the community, so...).

Still, it's amazing that Lelouch turned out an 8 average. He has things to work on himself. But he could have been worse.

I left you with these traumatized little ones and their horrible parents who, because of them, didn’t have a healthy growth. Thanks for screwing everything up, Genbu and Charles. I think most of you will think that Charles is worse than Genbu. Honestly, I think they're both just as terrible.

Little Suzaku needed someone to hold him and explain that it's okay to make mistakes because he's part of growing and learning. "You're not perfect, but it doesn't mean you're not good."

Little Lelouch, for his part, needed someone to hug him and tell him that being vulnerable is not weak and that he can trust others without feeling the fear of being betrayed.

Hugs for mini Lelouch and mini Suzaku. They need our love. Stop hating them. They already hate themselves enough. Don't make it worse.

[atticsandwitch]

Obey me characters with an MC who does reckless things because they're afraid of being a burden.

Self indulgent, comfort, angst Less headcannons, more drabbles.

First, in a group chat without MC: House of Lamentation (7) Satan: I just found MC in the kitchen, trying to open a can with a chef knife. Mammon: WHAT Mammon: Why would they wanna do something like that?? Asmo: (Wide eyed emoji) Belphie: Yea, that's stupid even for Mammon Mammon: HEY! Satan: They couldn't find the can opener, and they said they didn't want to bother anyone. Levi: That's actually kind of cute. Levi: It's just like the main character of this anime I just started watching who acts really tough and independent, but deep down is afraid to ask for help and just wants to be loved! Satan: That's not all Lucifer: it's not? Satan: Solomon saw MC yesterday climbing the bookshelves in the RAD library. Satan: Apparently they'd reached the sixth shelf before he could levitate them and the book they needed back to the ground. Beel: Are all humans like this? Lucifer: No. It seems we've found a particularly troublesome one. Levi: Actually I saw them do something similar earlier this week. Asmo: Oh no. Asmo: I bet Mammon's having a heart attack rn Mammon: (sweaty nervous emoji) Levi: They were standing on the counter trying to reach something on the top of the cabinets waaaay in the back. Belphie: That's not that bad Levi: They were also standing on an upside down pot because they were still too short. Levi: and they were wearing heels. Lucifer: Everyone, make sure to keep an eye on MC as often as possible

Lucifer

Sighs out loud reading the group chat

"And here I thought I would just have to protect MC from demon attacks"

He decides to have a talk with you once he gets a little time, and not just about safety. He has a whole lecture planned out about climbing the book cases at RAD.

Unfortunately he's swamped with paperwork and bills to go through, so he doesn't have the chance to talk to you right away.

The next day, however, you're all invited to the Demon Lord's Castle for another overnight retreat, or event of some sort.

Everyone is having fun and causing a ruckus, as usual, and at some point during the evening the group loses you.

You excuse yourself to go to the bathroom, but the palace is so huge you get lost even with directions. At a certain point you know you can find your way back and ask for help, but you can't bring yourself to, and decide to press on to try to find it yourself.

Eventually you find yourself standing in front of an ornate mirror with no reflection. You stop and ponder it for a moment, and as you're about to step away you hear a whisper. You can't make out what it says, but it compels you to step closer. In a corner of the reflected room you notice what looks like a puppet made of bone, with blackened eyes.

"~MC~..." An ethereal whisper, "...c...l...oser..." and in a blink of your eye it's closer to you, and you've stepped closer without realizing it.

Your heart is racing, but you can't stop yourself from reaching out to the mirror. Is it really a mirror...? Another blink and the bone puppet is closer. It tilts it's head at you, and outstretches an arm.

You try to pull back, but realize you can't, you're now mirroring the actions of the puppet as it steps closer, and closer.

Suddenly your vision goes black and you're pulled backwards by the waist, away from the mirror.

After a moment, Lucifer removes his gloved hand from over your eyes, and spins you to face him. He looks worried, frightened almost, but soon regains his composure.

"I thought you were going to the bathroom, MC" He says

It takes you a second to form words again, "I... I was.... I got lost" You had to really think hard about it for a moment.

Lucifer sighs, "You know the castle can be dangerous. If you weren't sure where to go, why not ask someone to show you?"

You were feeling particularly vulnerable after what had just happened, and so decided to be deeply honest, "I'm afraid of being a burden..." you mumble.

He's surprised by the admission, but pulls you close.

"Of all the burdens I've had to shoulder in this life, I promise that you are not one of them, MC" He whispers into your hair as he kisses the top of your head.

Mammon

Immediately goes to find you after he finishes reading the group chat.

He finds you doing something dangerous with a knife again, and grabs your wrist to stop you.

"Oi, human!" He only calls you that when he's angry, which is rare, "What do ya think yer doin'?"

"I'm just-" he cuts you off

"I don' wanna hear it!"

"Then why did you ask?" you're stare at him. Mammon's face reddens and he realizes he's still holding your wrist, so he gently takes the knife out of your hand and sets it down.

"I mean- What's goin' on with ya lately? Everyone says yer doin' a buncha dangerous stuff!" He put his hands on his hips and only resumes eye contact as he finishes his sentence.

"What do you-?"

"Like climbin' bookshelves, and whatever this is-!" He gestures to the knife and you look away. You're silent for a while; too long for Mammon to take, "C'mon, MC, talk to me" His voice finally softens, arms dropping to his sides. You finally meet his eyes, and the look of concern on his face is heartbreaking.

"I like doing things myself..." you can tell he's not buying it, "I... I just don't want to be a burden..." You admit quietly, voice wavering somewhat.

His eyes go wide, "...MC..." he says softly. Mammon pulls you in for a tight hug, one arm wrapping around your shoulders, and the other hand resting on the back of your head, and holds you like he'd do anything in the world to protect you, which he would.

"Listen up, 'cuz Mammon's gonna give you some free advice" you hear a sniffle, and realize he's crying.

His human was hurting like this, and he never even noticed. What kinda demon am I? He thought, but he knew this wasn't about him right now, so he held you tighter.

"You will never be a burden to me...Ya got that?"

Leviathan

Thinks its pretty adorable that you actually seem to be a little tsundere.

Because of this, and his social anxiety, he doesn't confront you about it right away. Not until the jellyfish incident anyway.

One night you're hanging out with Levi in his room, when you notice that one of his jelly fish decorations had fallen to the ground. So, you decide to string it back up for him.

You looked around, Levi absorbed in his game, and tried to judge the distance between the edge of the bed-tub and the ceiling. That should do it! you think, and climb the edge of the bed-tub. The edge was difficult to balance on, but you knew you'd be careful, and you could almost reach.

Levi turned around just in time to see you, arms stretched too far over your head and on your tip toes on the edge of the tub, and watched as you lose balance completely. He saw it, you were going to fall backwards toward the other side of the tub and crack your head!

Now, he may not be as fast as Mammon, but he is still a demon after all, and just as you felt the jolt of the fall as your foot slipped, you felt arms around your middle, pulling you forcefully forward.

Leviathan had jumped to your rescue, unconsciously changing into his demon form, discarding his controller unceremoniously to the floor, and in his panic underestimated his own strength.

The two of you ended up both landing on the floor, you on top of a very red Leviathan.

"Wh-wh-what were you doing normie?! You were about to fall and crack your skull on the tub!"

You guiltily hold up the jellyfish, "I was just trying to fix it"

"Well get a ladder next time!" It's taking everything in Levi to ignore the position your both in, because its' just like that time in- nevermind, this is more important.

"All you had to do was say something! I was sitting right there!" He still hasn't let you go. He sees the look on your face change into something he can't quite get a read on, but whatever it is, is also full of sadness. "You could have died just then, MC. Why wouldn't you just ask for some help?" His voice is softer, "I was right there" and softer still, almost desperate.

"I..." He could tell whatever you were about to say was difficult for you, "I'm just so afraid of being a burden"

He's heartbroken, "You're my best friend, my player two, my Henry th-the- the person I love" He goes red again and quickly continues as if to bury the words beneath more words, "You're a lot of things, MC, but you're not a burden"

Asmodeous

Worrying is bad for the skin. Worrying is bad for the skin. Worrying is bad for the skin. But he can't help it.

One night you get home particularly late, and none of the brothers have seen you. They were about to send out a search party when you finally came home.

When he finds out you walked home alone again, and were so late because you got lost, that's when he finally decides to confront you.

"You walked home alone again? And took WHICH street?! MC don't you know how dangerous it is for a human in the Devildom, especially one with no real magical powers? Not to mention in that area!"

How were you supposed to know? You were lost. He knows these things, but doesn't give you a chance to point them out.

"Beel saw you leave right after classes. If you were so lost why didn't you call one of us?" he asks. The worry and exasperation is plain in his voice.

"I..." you start, "I didn't want to bother anyone that's all" but he can tell there's more to it than that.

"Why are you so worried about bothering us? Don't you know we care about you?" He asks, concern slowly turning to sadness.

"I just don't want to be a burden..."

His eyes go wider than before, which you didn't think was possible. "What in the three realms would give you the idea that you're a burden? MC, you're so precious to me, and if anything were to ever happen, I-"

He begins welling up with tears and pulls you into a tight hug.

"MC, I was worried sick. We all were. Please... Come to me when you need help... I love you"

Satan

He walked in and found you trying to use a chef knife to open a can, brought you the can opener, and ultimately left; not entirely sure what to make of the situation yet.

The next time he saw you, you were climbing on top of an unsteady looking stack of books to reach something in the House's library.

Were those one of his stacks? Had you stacked them yourself? It didn't matter. What mattered was that the books all began slipping out from under you.

He rushed over, and caught you with ease as you fell, but your momentum ended up knocking you both to the ground.

He sighs, "What am I going to do with you?"

"Sorry, " you let out an embarrassed laugh, "Are you okay?"

"Yea, and you?" he asks. You nod, and he helps you up. To his confusion you immediately begin stacking the books back up.

"What do you think you're doing?" He asks, suspicious. It looks like you're about to try to climb the stack again.

"There's a book I need" He was right.

This must be how Lucifer feels. He sighs again, and grabs your hand to stop you.

"You can't keep doing stuff like this, MC. It's dangerous" He looks serious, but his cheeks are a little pink, "I'm worried about you. Why won't you ask for help?"

"I..." You start, but hesitate, averting your eyes.

"Tell me the truth, MC" Satan almost pleads, a sad look in his eyes.

"I don't want to be a burden... that's all..." You say, so quietly it's almost a sigh.

Suddenly it all made sense; the way you tried to hide when you were upset, how you always carried just a little too much, the way you always offered to help, even if there was little work to do... Why hadn't he put the pieces together before now?

"Then, I need you to do something for me" He says, after thinking a moment. He steps closer, "I need you to start asking for help,"

He pulls you close, and hugs you tightly, "I know it'll be difficult, but that's why I'll always be there for you"

He pulls away slightly, still holding you, to look into your eyes. His face is very red now, "I'll do whatever it takes to show you that you're not a burden," Kindness and determination burn in his eyes as he leans in for a kiss.

Beelzebub

He was walking down the hall when he spots you down at the other end near an open window.

The wind blew something out of your hand, so you leaned out the window to try to grab it. This is when Beel got worried, his instincts kicked in and he picked up his pace.

Your homework got caught by the wind, but stopped by some of the vines clinging to the House of Lamentation, so you leaned out the window but it was just out of reach. You knew you could get it if you could reach just a little further, so you lean out a little more... Just a little more...

Unfortunately that's when you lost balance, and felt yourself tip forward. You'd be out the window in no time flat, and then you'd be flattened on the ground.

Thankfully Beel was able to grab you by the waist and hoist you back inside to safety.

You thank him, and explain the situation but he still looks confused.

"Why wouldn't you just come get one of us? We could've easily gotten it down for you" he asks.

"I thought I'd be able to reach" you try, with an embarrassed and unconvincing smile.

"Tell me the truth, MC. Why are you so afraid to ask for help?"

"I don't want to be a burden..." You say softly, sadness written plainly on your face and in your voice.

"Oh" You look up and the sad, sympathetic look Beel gives you makes you want to cry. "I know the feeling"

"You do?" You ask, tears beginning to spill over

"You think I don't know how many problems my stomach causes for everyone?" He gives you a slightly more serious look, "But that doesn't matter" And now a reassuring, although still slightly sad smile, "Because the people who love and care about you will never think of you as a burden. And trust me, MC, there are plenty of people who love and care about you"

"Like who?" You didn't want to ask, part of your brain knew the answer, but you just had to silence those negative voices.

Beel blushed, "Like me" he says, then silently wipes the tears from your face and pulls you into the softest, safest hug you've ever felt.

Belphegor

He wasn't worried at all initially. Sure humans are fragile compared to demons, but they're not that fragile. Plus you've survived this long on your own and now you've got demons, angels, a prince, and a sorcerer all looking out for you. Not to mention the way brothers' tend to exaggerate.

He was laying outside under a large tree, intending to try out a new nap spot, when he saw you leaning out of the window.

He smiled and was about to wave when he realized something was wrong. You were leaning too far out of the window. You were going to-

He jolted upright like he'd been hit by lightning as he watched you lose your balance

He already knew there was no way he'd be able to make it to you in time, even with demonic speed.

Thankfully Beel was there. Belphie let out a breath he didn't realize he was holding when he saw Beel pull you back inside and got up to go make sure you're alright.

He realizes his brothers were right to be worried, and he's angry about it.

You're on your way back to your room by the time he catches up with you, but he can see that your eyes are red from crying, and his anger evaporates. He asks you what's wrong, and you explain everything.

Why you almost fell out the window, your conversation with Beel, and how you're afraid of being a burden.

"Well, Beel's right, you could never be a burden to any of us" He says, so don't even worry about it" he says, giving you an easy smile, despite how sad he felt for his human.

"That's... Easier said than done..." You reply, unconvinced.

"That's why I'll always be by your side, MC. I won't even give you the chance to worry about it!"

He pulls you into a hug and strokes your hair, starting the waterworks all over again. He'll hold you until you've calmed down again, and then pull you up to the attic where you two can make a pillow fort and nap.

He'll probably also start a tickle fight just to hear you laugh again.

Btw, who made you feel this way, MC, he just wants to murder torture talk.

Diavolo

Lucifer has shared his concerns, as he often does, so Diavolo is aware of your reckless nature. He finds it somewhat amusing, but mostly concerning.

It's during one of the events that he finally witnesses it for himself.

He always found it sweet how you tried to help everyone, and you were doing it again. You were running around helping all of the brothers with everything. He doesn't know how those seven managed without you before you came to the Devildom, and the way they rely on you is more than a little amusing.

This time you were helping Asmo with decorations, but he seemed to have disappeared somewhere, no doubt to fix his makeup, or to take a break to avoid sweating too much.

When Diavolo walked in his eyes went wide. You were using progressively taller stacks of chairs to climb the tallest stack in the room in order to hang decorations on the ceiling, and your arms were so full of supplies that there was no way you could balance properly on the already unsteady stacks.

He'd already made it to the base of the stacks when the one you were on started to wobble.

"MC!" he called out in a panic, but this seemed to startle you, and the jolt caused you, the stack of chairs, and all your decorations to come crashing down.

Diavolo caught you effortlessly, and shielded you from any flying chairs in the process.

"Mc, are you okay?" He asks, eyes still wide, "what in the Devildom were you thinking?"

"Sorry, I was just trying to help" you say

He feels anger towards the brothers creeping in the back of his mind. That they would leave you alone, with so much work, and still none of them are to be found after such a loud crash; it's unacceptable. But he pushes those thoughts back for now.

"That was dangerous, even for a demon. You could have been seriously injured just now," The look of concern on his face tugs at your heart.

"Sorry" you mumble again, "You can put me down, now... I should start cleaning up"

"Forgive me for being selfish," He smiles a little, "But I don't think I want to put you down just yet. The clean up can wait"

Your face reddens. You're not sure what to say to that, but you can't deny that it feels good to be held like this in his strong arms.

He looks briefly around at the mess of scattered chairs and decorations that you had intended to hang and clean up by yourself, "Tell me, MC," He looks back to you, "You seem to have a hard time asking for help, why is that?"

You're surprised by the directness of the question, and look away. He notices, and feels a bit guilty, but knows that if things continue the way they are, you will definitely get hurt one day.

"I guess it's because... I'm afraid of being a burden" you answer honestly. You feel that you owe him that much.

"I see..." He hums, then smiles happily, "Then perhaps I should carry you around until you admit that you are not a burden!"

"WHAT?" the look on your face makes him laugh heartily.

"Just kidding!" He chuckles, "...Maybe"

"Diavolo that's- I-"

"You are extraordinary, MC," There's a serious look on his face now, "In fact I could describe you in a million different ways, but the word 'burden' would never be among them"

He begins walking out of the room, still carrying you in his arms.

"What are you doing? What about the decorations?"

"I think I'd like to keep you to myself for the day, if that's alright with you, my dear" Diavolo smiles down at you.

As you two walk down the hall, away from the ballroom you hear the brothers' voices as they enter, "Whoa? What the heck happened in here?" Mammon exclaims.

Barbatos

He had invited you for tea, and you offered to help Barbatos make and serve it.

You try to carry too much, and in your rush drop the entire tray, shattering the beautiful tea set and all of the plates of desserts.

"I'm so sorry!" You immediately bend down and begin tying to pick up the pieces, "I'll replace it-" You stop as you realize that you're not sure you could even afford to replace a royal tea set.

"Allow me to help" Barbatos says, bending down.

"No, no, it's fine! I can get it!" You look up and give him an unconvincing smile, and while you're not paying attention to what you're doing, you slice your hand open on one of the sharp pieces of porcelain.

Barbatos pulls a roll of gauze and bandages out of one of his pockets, "Let's get this taken care of, shall we?" he says, but you're still picking up pieces with your other hand.

"I can do it, I just-..."

"It's only a tea set," As Barbatos stills your frantic hands, he notices your tears.

"I'm sorry," You finally say after a long moment of silence, during which he begins bandaging your injured hand, "I tried to help, but I was still only a burden after all..." Barbatos is surprised by this admission, to say the least.

"You should know that It makes me very happy to be able help and take care of people. I especially enjoy the way your face lights up with a tinge of surprise whenever I do something for you that you are not expecting..." He pauses in thought, and looks as though he's realized something that makes him sad, but whatever it is, he keeps it to himself. He finishes bandaging your hand, and places his on the side of your face.

"MC, It is a pleasure, and genuinely brings me joy to be able to do things for you. Please allow me to help you more often."

He takes a handkerchief out of his pocket and dries your tears.

He leads you to sit in a comfortable chair, "Please, rest until you feel better, and allow me to take complete care of you today"

He makes some tea and food for you both to share and makes sure you don't have to lift a finger for the rest of the day, leaving the broken tea set completely forgotten on the floor in the other room for the time being.

He always has kind words for you whenever you see each other, and while he enjoys your help in the kitchen, he always makes sure not to let you do too much, and he never lets you clean up.

He takes extra care of you from now on, and Diavolo finds it absolutely adorable, though he may be a tiny bit jealous.

Solomon

You might've actually given this man a heart attack.

He would've thought it was funny if it hadn't looked like the bookshelf was about to come crashing down on top of you.

"Don't worry! I'm used to climbing things; I'm careful!" You try to convince him, "That does not, in fact, make me feel any better, MC"

He dedicates time to teaching you a levitation spell or two, depending on your magical abilities, so you don't have to climb things any more.

As he's teaching you he decides to ask you about the book shelf incident.

"Something's been on my mind lately" He says, turning to you as you practice. You ask him what it is as you turn your attention to his face and notice that he looks troubled. "The other day, in the library. You knew I was there, sitting nearby... Why didn't you just ask for my help?"

"Oh, I just thought I could get the book myself" That wasn't the answer he was looking for, so he presses on.

"But surely it would've been easier to use a ladder, then. wouldn't it?"

"Well... I- uh- wasn't sure where they were" you sounded a little embarrassed, and turned your attention back to the spell.

Solomon looks a little saddened, "Hmm..." he pauses. You didn't want his help and you didn't even want to ask him a simple question? "MC, is there a reason you didn't want to ask me for help?" Watching you, he saw that the question gave you pause.

"I... have a hard time asking for help sometimes..." You admit, hoping that's the end of it. But of course, it isn't.

"Oh?" he gently prompts you to explain.

He can tell that you're only pretending to pay attention to the spell now, to avoid eye contact, "I've just always been afraid of being a burden"

His face grows sadder for a moment, but you continue to avoid his gaze. He folds his arms, and moves a closed fist to his chin in thought.

"I think that sometimes, not asking for help can be more of a burden" he says, finally catching your attention. You look up questioningly and he continues in a gentle voice, "Think about it, you're placing too much of the burden on yourself, which is making everyone around you worry. And besides that, what if you get hurt? Then you'll need more help from others than you would have in the first place"

It's your turn to look troubled. You hadn't realized that you were worrying everyone, or that you were causing them trouble.

He lets you think for a moment, before placing a comforting hand on your back.

"MC, it's okay to rely on others. People like it when you ask for help. It makes them feel special to you" He says, and when you look up he's giving you one of the kindest smiles you've ever seen on this shady magic boomer's face.

He hopes you catch his little hint, I want to feel special to you, MC

"Thank you, Solomon. I'd never thought of it that way" you smile back, "I'll try to ask for your help more often"

"I'll look forward to it!" He says with an even brighter smile.

Simeon

He noticed just in time; you had decided to walk home alone again and two suspicious looking demons were about to corner you down an alley.

You were scared, you think they had been following you for at least a couple blocks, and now you had nowhere to go. You were at a dead end.

"You two want to leave." A familiar voice, "NOW." Simeon was smiling, but he looked so intimidating in the shadow of the alley, and something ominous was also radiating off of him. Was he angry?

"C'mon it's not worth it" one of the demons said, "Killjoy" said the other. Simeon watches them leave with an intimidating expression before finally approaching you.

"MC, are you alright?" He asks, features now full of concern.

"Yea! Thanks for that, I was starting to get a little worried"

The concern on his face grows, didn't you know how much danger you'd been in just then? "Those two had been following you for a while... Why didn't you call out for help? Or call someone on your D.D.D?"

"Well... I- I just thought maybe they were walking in the same direction, so I wasn't sure..." You sounded nervous.

How could you be unsure? Simeon had never seen a more suspicious looking pair of demons in his life, and if you'd heard what they were saying they wanted to do to you, you'd understand why he was angry. He sighs.

He notices you're shaking, ever so slightly. Maybe you had overheard... You seemed to be more shaken than you were trying to let on.

In the silence he realizes that this part of town wouldn't be part of your normal route back to the House of Lamentation, "Were you lost?" You nod. "Why not ask for directions?" He asks

"Everyone was so busy when I left RAD... I didn't want to bother them. They're always taking care of me as it is... I just thought..."

So that's why you were walking home alone

"I'll walk you back then" he offers you his hand, and you want to take it, but to his surprise you can't bring yourself to.

"That's alright! You've already done so much for me. I'm sure I can find my way home now!" You try to force a smile, but Simeon can see right through you.

"MC... What's really going on?" His face is serious again but his voice is kind as he steps closer and rests a hand on your shaking arm.

You can't hold back tears any more, "I... Just don't... want to be a burden... to anyone" The quiet words break Simeon's heart.

Who could've made you feel this way?

He draws you into a strong, gentle hug, cradling the back of your head to hold you closer and stroke your hair.

"Don't ever think like that, MC" He breathes into your ear, "You are so loved"

Luke

You're going to give this smoll baby angel a heart attack, and there's not much he can even do to about it.

You were carrying too much, like you always do, and Luke noticed almost too late.

You were heading straight for the stairs, and your books and supplies were stacked too high for you to see!

"MC, LOOK OUT!" he shouts.

You stop just as your foot passes the threshold of the first stair and you feel the drop.

You drop everything you're carrying, but thanks to Luke's warning you stopped your own momentum before you could tumble down the stairs with everything else.

Relief floods through Luke as you stare at the mess, shaken and disheartened by the prospect of the clean up.

He runs to you, demanding to know that you're okay.

Of course he helps you clean up and carries as much as he can for you.

He's always offering to carry things for you now, even if all you have is a book or two.

He keeps a nervous eye on you from now on too.

Give this poor baby angel a hug.

[narutakijune]

About ATLA Relationship Arcs

So, this is me, finally trying to write some meta after lurking in my little tumblr corner for months! Hi!

Although I’ve tried to tag properly, if you are a Kat*anger and just want to enjoy your favourite couple in peace, this might not be the post for you. I am not trying to bash characters but I do have a lot of critical stuff to say about the writing.

Anyway, you have been warned and here is my story about my personal first Atla experience: I watched the show this year for the first time, and after the end of Book 1 I decided to look up spoilers, because after what happened to Yue, I wanted to make sure that Zuko and Iroh would be ok. So I knew what was going to happen: Kat*ang endgame and absolutely no Zutara at all. Still, by the end of Book 3, I was convinced that I had read wrong - that there would be an epilogue with a different ending or at least that Aang would only get together with Katara post-show- in that Korra series or something - because anything else wouldn’t make sense- right?

….

After I got over my shock and surprise, I went online and found out about that decade-long aggressive passionate ship war and how even the showrunners got involved.

And then I really worried that I might have missed a few points. Apparently ”Aang and Katara were the DNA of the show”, according to the creators themselves, and “Zutara could never have happened”.

Another popular anti-ZK argument I found was: Why do you always go on about Katara and Zuko? Just look at Zuko and Aang! They are the hero/ anti-hero and each other’s foils, their relationship is much more meaningful!”

So I tried to find out what it was that I apparently couldn’t see.

(Another disclaimer: I love analysing stories (like many Zutarians apparently) and this will get long and rambly. If you get bored to tears when people start talking about “narrative structure” you will probably not like this.)

Talking about narrative structure, I do believe that, in order to let your story, your characters and their relationships really shine, a good basic structure is important. There should be a recognizable development and individual parts of the story that build upon each other and lead to consequences and change, until there is a completed arc - because it is all about the journey that takes you to a satisfying ending, right? So that’s what I tried to do, with my personal Kat*ang vs. Zutara take, I tried to look at the structure and development of their relationship arcs.

The argument that threw me off track for a while is that compared to Aang and Zuko, Zuko and Katara’s relationship is not supposed to be that relevant for the plot. After all, Zuko is the foil, the anti-hero, the deuteragonist to Aang, who is the hero protagonist.

This is all true of course. But then why is it that in every finale, Zuko’s main opponent (and later ally) is not Aang but Katara? Why is it that their sun/moon, red/blue, fire/water dichotomy is so obviously highlighted?

I think one reason why Zuko and Katara are paired off so frequently in the story - as opposite elements, as opponents and as allies - is that they BOTH are Aang’s deuteragonists. While Zuko also acts as antagonist and Aang’s foil/mirror, Katara takes over the more traditional deuteragonist role of confidant / best friend/ narrator.

Protagonist Aang is what connects them, although they are on opposite sides: Both need Aang because he represents their hope to save their world. Very simply put, Katara protects him, so he can make the world a safer place again, and Zuko wants to capture him, so he can go home and be safe again. That rivalry between them is already established in the first episode, even before they meet each other: Katara, who hopes that the Avatar will return (as she tells everyone in the intro), and Zuko, who seems to be obsessed with finding him for more sinister reasons.

And just to make sure, I am not talking here about the characters’ feelings and emotions! This is just about the abstract roles they have been assigned within the narrative.

When regarding Zutara’s special connection to Aang and their rivalry with each other, it makes absolute sense to stress their “same but different”ness as well, visually and metaphorically: Red and blue, fire and water, sun and moon, arguably Painted Lady/Blue Spirit, and, when you put into account their story arc, also Oma and Shu.

With this basis, which puts them together and sets them apart simultaneously, their relationship already becomes very dynamic and interesting, even before you consider any romantic potential.

And here’s another thing, Zuko and Katara also have their own story arc within the main plot. Although they don’t have many scenes together before Zuko joins the Gaang, when they do meet there is always a new shift in their relationship and in quite a few cases their interactions are important for the main plot as well. If you just look at their “end fights” at each book’s finale, there is an obvious and consequential build-up, like any decent story arc should have:

Book 1 starts with Zuko as the powered-up enemy and Katara as the weak newbie waterbender. Both are battling over Aang. At the end of Book 1, they are finally established as equally powerful fighters but still fundamentally different (You rise with the moon, I rise with the sun!)

In CoD at the end of Book 2 happens the next step: they realize that they are not different at all! But Aang still doesn’t represent the same for them and they end up on opposing sides of the war again.

In the Book 3 finale, when Zuko has completed his own (anti-) hero's journey and Aang represents the same “hope” for both of them, they do not only join forces: Their “same but different”- traits make them such a uniquely suited match that they are even able to save each other’s lives during their fight with Azula (who in turn happens to be Katara and Zuko’s antagonist/mirror/foil).

And in addition to their own story arc they even get an individual recurring theme, which also appears in every book whenever their relationship status changes: The lost mothers, especially Katara’s mother.

In Book 1, Katara’s necklace (the symbol of Kiya) plays not only a major part in two of Zuko’s capture attempts, it is the reason for their very first one-one one encounter in the story.

Their first friendly connection in COD in Book 2 happens because they start talking about their mothers. And in Book 3, their final reconciliation (sealed with a very cathartic hug) happens after their life-changing trip which is, of course, all about Katara’s mother.

Again, I am not even trying to analyse their characters and motivations within the story - there are many metas that have already done that much better, more detailed and with screenshots. This is just dry structure and tropes and themes. But I think people recognize and connect with a well-structured arc, even subconsciously, which is one of the reasons that makes Zutara such a compelling couple. They complete and contrast each other, their relationship dynamic constantly changes, builds up, falls apart, reconnects. Such a setup is the perfect playground for a lot of creative takes on what-ifs and alternative scenarios and of course, shipping them romantically is extremely tempting - think of all the possibilities! It’s no wonder that the Zutara fandom is still so active decades after the end of the show. And it’s also no wonder that the Zutarians are known for “over-analysing everything”. You can only over-analyse if there is anything that gives you enough food to analyse to begin with. Which brings me to

KAT*ANG

I just go right to the top and take the quote from Br*yke themselves:

Kata*ng was in the DNA of the thing from the start…. [Zutara] was just dark and intriguing.

If you read this quote and then start watching the show, I would (grudgingly) agree that:

Aang and Katara understand and complement each other really well. Aang gives her the chance to have fun and go on adventures and in turn, Katara is his fiercest supporter from the very beginning, something that he really needs after he lost all his people AND has to find out that the world thinks the war is sort of his fault. In turn, the journey to the North Pole is as important to Katara as it is to Aang, because it is her dream to learn waterbending properly. That’s what she literally says when Sokka & Co try to banish Aang: (Sokka: Where do you think you’re going? Katara: To find a waterbender. Aang is taking me to the North Pole.) In that way, they are friends who give and take equally and are equally taken care of. They even have the last Airbender/ last Southern Waterbender status that connects them. The few times they have a fight, Aang does something in the end to redeem himself (perform some heroic feat) and Katara sees that she is right to believe in him.

Aang has this very sweet crush on her and it will be very sweet and wholesome when Katara will return his feelings at the end of their adventure after he has hit puberty. On the other side, there is also some heavy shipbaiting with Zuko: I save you from the pirates. The betrothal necklace. June and her excellent shipping taste. But in the end they are enemies, they barely know each other and, come on, it would be too dark and intriguing! There is no real threat against friends to lovers Kat*ang, the soft heart of the story. It’s very straightforward and there are a lot of simple “the hero saves the day” scenes for Aang but that’s fine! It’s not really my kind of ship but that’s not the point, it works for the story they want to tell.

End of Book 1.

In my - probably harsh- opinion, everything you really need to know about the Kat*ang relationship has been told by this point. If you want to be really mean, already by Book 1, episode 3.

That explains maybe why many (not all! but many) pro-KA arguments sound as if their shippers have not watched Book 2 and 3 at all. The Book 1 synopsis also perfectly sums up Bry*ke’s quote above. But then Book 2 and 3 are still there and I don’t know what happened but it seems as if they somehow decided that the Kat*ang story does not need any new and lasting input. Maybe because they were afraid that too much new development and change would stray too far away from their original Kat*ang vision. But there are still 2 more books and more adventures and Kat*ang somehow has to be kept apart until the finale.

So the tension in their potential romance is based largely on the question whether or not Katara will return Aang’s feelings. In general I don’t have a problem with that will-she-won’t she-technique. It works well in books where the love interest is not a POV or in shows/ movies where the love interest is not one of the main characters. But Katara is not only the female lead but also arguably the narrative voice of the whole story! As a result, this kind of writing makes Katara look as if she doesn’t have any agency in their relationship, which is not surprisingly a very popular anti-KA criticism.

Additionally, since her dream - learning waterbending - has been fulfilled by the end of Book 1, the relationship work becomes a bit one-sided. Of course Aang is the hero and his journey is the heart of the story. But in order to highlight their special connection it would have helped to give Katara another personal agenda, which Aang could have supported in some way. She is still the last Southern Waterbender and he the Last Airbender but this is not really explored in the Kat*ang relationship. And her other personal agenda, her mother, is already reserved for the Zutara arc.

Instead, in Book 2 and 3 the Kat*ang story is somehow all over the place. Of course there is new conflict and a few romantic scenes as well. But obstacles are either introduced too late or just dropped when not needed anymore, conflict is not resolved and their flirty, romantic moments never lead anywhere- and if they do, they lead to more conflict that is not resolved (yes, I am looking at you, EIP Kiss!).

Take for example Katara’s very sudden argument that they cannot be together now because there is a war going on. We hear her saying that for the first time in the very last episode (EIP) before the 4-part finale. That is too late to have any impact! That she has these kinds of thoughts was never even alluded to before. Not once.

Or the pattern Aang runs away/ is flaky - Katara is upset - Aang comes back and does his hero thing - Katara is relieved. In regards to their relationship arc, nothing changes here between Book 1 and the finale, only the stakes for Aang’s heroic performances get higher.

Or Katara being the one who is able to calm Aang down when he cannot control the Avatar state (which, in my personal opinion, is neither romantic nor healthy). This is also connected to the problem with the seventh Chakra, that Aang needs to let go of his attachment for her. I will be angry forever with how they wasted this for a possible relationship development! That Aang has to decide to either do his duty or save his forever girl (because let’s be fair, he did try to let go and only ran when he had the vision of Katara in danger) - that’s a fantastic setup!

But no, it doesn’t have any real consequences for Kat*ang at all. Instead there were only half-baked attempts – Aang does lie about his failed practice with Guru Pathik but the ultimate reason why his chakra is blocked is Azula, not his decision to run. Aang does try to let go of Katara for a little bit but then Azula shoots him. Nothing in Book 3 shows any change in his feelings that could have been a result of his instant let-it-go. If anything, he gets weirdly obsessive - which could have been used as a side effect of his blocked chakra but – again, no, nothing happens.

I suspect the whole thing was just introduced to create temporary drama for poor Aang, but it is never explained why Katara holds him back, what aspect of the attachment is blocking him or what would happen if he did let her go. Maybe they tried to make a statement about how love is more important than Avatar rules – which would have been fine but it’s also never properly explored. Instead, as soon as that plot point becomes inconvenient it’s simply dropped like a random rock™.

Compare all that to the Zutara arc, where both characters’ feelings about each other are always very much in the open, and where every interaction causes lasting effects in their relationship. Yes, it is unfair to compare that to Kat*ang, because up to the end of Book 3, Zuko and Katara almost never meet, while Aang and Katara spend almost every episode together – of course they cannot do meaningful things all the time. But on the other side, with Kat*ang, there would have been a great chance to show a subtle, gradual build-up instead.

It also doesn’t help that the Zutara arc seems hellbent on sabotaging every romantic moment Aang is allowed to enjoy:

There is Kat*angs first maybe-kiss in the dark before the background of the Oma and Shu legend. But it does not lead anywhere. Instead, Zuko and Katara almost reenact the legend itself in the Book 2 finale as two real enemies to almost-friends, including a glowy rocks-backdrop and the right costume colours, just so nobody misses the message.

In Footloose The Headband, Aang and Katara have a really sweet dance together, and everybody can see how they almost intuitively know each other's moves. This could be a great hint on how well they will fight together in the finale. But is it plot-relevant? No, because the final tag team is Katara and Zuko! While Aang gets paired off with random rock™.

Then there is Aang’s riding off to battle- kiss in DotBS, which Katara is not even allowed to enjoy, because keeping her feelings vague is apparently more important than character development at this point. It is the only romantic moment that gets mentioned again, but in a way that sinks the former cute and wholesome ship into the deep ocean, and the reason is - Aang is jealous of Zuko!

If all of this was only done for the sake of shipbaiting, then it really went out of control at some point.

In the end, the showrunners still had their reasons to choose Kat*ang, maybe because that corresponded more to their own vision, and there are still enough people out there who agree with them. Which is absolutely fine! In the end, what matters most is how you personally connect to the characters and nobody needs to defend their personal taste. But the typical anti-ZK claim, that all the Zutarians with their crazy analysis and rambling meta essays are reaching and delusional and that they desperately try to construct something that isn’t there, is not only a very lazy argument but simply not true.

And I’d claim that in spite of the canon choice, Zutara is technically the better written relationship. By far.

[curiosity-killed]

Lang Qianqiu deserves more love goddammit: a post, unfortunately

This brought to you by the wonderful @veliseraptor & @/yuer on Twitter but also mostly out of spite and the fact that it’s preventing me from writing a very dumb poke-the-bear post abt the entire weird social media culture around The Minors

As always ✨SPOILERS!! SPOILERS EVERYWHERE✨

So first off: when I hit the scene where lqq confronts xl and screams “I will never be like you” I sat up in bed, did a little shimmy of delight, and hissed “fuck yes” at like 2 AM so. Now you have a preview of wtf this train wreck will be

1 ) lqq is a good character

We don’t get a ton of time with lqq because tgcf is 87 side characters running across stage with The Most Interesting Concept constantly one-upping each other before vanishing. But what we do get is, I think, enough to make a pretty compelling story: Lang Qianqiu is a kind and generous prince who is also the sole survivor of the bloody massacre of his entire family, committed by the people dearest to him (both in his belief that Gusohi Fangxin did it and in the reality of An Le’s involvement), who goes on to peacefully lead his fractious nation into a peaceful reign before he ascends as a powerful enough (aka beloved and worshipped enough) god to be ranked among the top heavenly generals. That’s like. Pretty fucking classic protagonist vibes right there.

And, as usual with mxtx’s characters, we get a lot more than this lovely little backstory. In his interactions in canon, lqq is capable of great grief and anger; he is willing to sacrifice himself if it means avenging his murdered family; and he simultaneously holds both great hatred and great respect for his old teacher. And, of course, he winds up raising and taking care of his enemy’s son which shows a remarkable depth of compassion and emotional messiness that I find terribly compelling. He struggles with a simplistic view of justice that is supported by lies told to “protect” him and that is uprooted by the truth and forces him to try to make sense of the world without the guardrails that others installed around him (looking at you mister fangxin sir).

Also I’m stealing my own tweets bc I’m Right but:

*pulls up single barstool to lqq is a good character table* I think it’s interesting & Says Things abt the continued relationship btwn lqq & xl that lqq *didn’t* recognize xl, implying that he left fangxin’s mask in place even when he went to kill him

Like here is the man who killed his family & best friend, who left him abandoned in bloodshed on his 17th bday—& here is also the man who saved his life, who taught him, who lqq looked up to & wanted to be like

Even when lqq *does* recognize xl, he still has so much respect for him paired with that hatred that it’s honestly rlly tragic? Like man. There’s so much grief in lqq’s repeated demands for a duel & insisting it’s fine if xl kills him as long as he doesn’t hold back

*pats lqq pompom* this bb is so sad. And so much more like his teacher than either of them seem to realize or necessarily want

Despite being a pretty minor character, lqq gets a lot of complexity and nuance! Look at this child trying to be grown up while desperately turning to his old master for guidance and “the truth”! Look at him! Be sad!!

2 ) lqq is an excellent parallel to xl

Okay stealing my own tweet again don’t look at me I yell the same shit everywhere

Xl didn’t want lqq to become like him (self-sacrificing, vengeful, alone) but lqq not only became alone, chasing vengeance, & willing to sacrifice himself for revenge—he also became kind, open-minded, & remorseful!! & he still clearly respects xl @ novel end 🙃🙃

We all know hc’s “they’re not very alike at all” and yeah sure baby go support your man but narratively, there’s a lot of importance given to cycles, parallels, and foils in mxtx’s writing and most explicitly (compared to mdzs, haven’t read svss) in tgcf. For example, *gestures at beefleaf, gestures at Xianle Trio vs Wuyogn Crew, gestures at Xie Lian & Jun Wu’s whole uh. Deal.* And while I’d argue xl and lqq are part of a triumvirate rather than a pair, we’re not including mister three-face in this conversation so just looking at xl and lqq:

Both adored and sheltered crown princes

Both taught by a guoshi who was seeking to prevent the repetition of their own tragedies and in their efforts, lied/omitted information and failed to protect their charge from tragedy

Both were betrayed* by their closest friends

Both are the last living members of their respective royal families

Both caught the interest of supernatural beings from a young age

Etc etc I’m getting v bored and distracted writing this so moving on

Most importantly to me, we have their betrayal by a very close and adored mentor and how they react. The confrontation I mention at the start of this shitshow is really imo one of the most important scenes in the novel because it a) illustrates the differences in xl and Jun Wu and b) sort of gives you a preview of how xl ultimately wins

So a) Jun Wu and Xie Lian both take a talented, marked-for ascension young prince under their wing. Jun Wu sees himself in the boy and obsesses over shaping him into Jun Wu’s own image in the belief that this will make him the perfect heir. Jun Wu pushes his chosen heir into situations where Xie Lian is repeatedly harmed in an effort to show that the common people are fickle and cruel and don’t deserve his compassion and care.

Meanwhile, Xie Lian is reluctantly roped into mentoring his prince due to his inability to stand aside when he feels he could do something to prevent hurt or injustice befalling another (simultaneously his great strength and great weakness! God I love him). Xie Lian tries to teach his student to believe in and care for the common people and not to sacrifice himself (see: flashback convo re:taking the force of the sword strike into his own body).

When Xie Lian refuses to bend in the shape Jun Wu demands, Jun Wu bashes his head into the wall. When Lang Qianqiu cries “I will never be like you!”, Xie Lian laughs and says “Good!”.

B) this of course feeds directly into foreshadowing! Like Lang Qianqiu’s bold words, xl ultimately refuses to become like his mentor and remains defiant even when it would stop him from being hurt. Xl beats lqq and says so what if I tricked you, so what if I lied, I still won. Naturally, xl beats Jun Wu not through standard swordplay but by using a trick he learned while forced to busk and wander the earth alone and unlucky for centuries.

…okay so I have fully forgotten what I was actually saying here! Anyway!

Like Xie Lian, Lang Qianqiu spends a time consumed with the need for vengeance, hunting his enemy and rejecting the heavens. And like Xie Lian, he winds up caring for his enemy’s “son” and trying to both comfort him and maintain what’s left of Qi Rong’s life force despite having previously been hellbent on destroying him—bc he sees the impact it has on another person. In the end, he even gives a gift to Xie Lian—his mentor, his role model, and the one who killed his father—that was once given to him as a symbol of unexpected kindness. Sound familiar?

But, importantly, and contradictory to what I have been yelling abt but whatever it’s 12:30 am, Lang Qianqiu is not a direct mirror of Xie Lian but a closing of a vital loop in the story. Lqq is very similar to xl (I will die on this hill!! Only I won’t bc I’m stronger than y’all and will keep swinging these pots and pans) but bc xl tries to do better and keep lqq from suffering the way xl has, lqq is able to have a gentler and more optimistic path forward. He’s proof that even a small act of kindness or even kindness to only one person still matters and has a ripple effect that can’t be seen when you’re in the middle of it—a thread started with xl giving the coral pearl to Lang Ying and closed with Lang Qianqiu returning the pearl to Xie Lian.

So I have no idea if any of this is coherent or compelling but I meant to be asleep two hours ago and the points are:

A) Lang Qianqiu is good actually

B) parallels!!!

C) look ive already started another wip about Lang Qianqiu and Xie Lian and I didn’t want this but no one else wrote it so now I have to so pls just accept this as a warning

*sort of air quotes around this for Xie Lian bc frankly Mu Qing was right & Xie Lian kicked feng xin out BUT on the other hand, it was experienced as a betrayal and we also again have all of Jun Wu’s shit so it evens out

[night-will-fall]

ok i have a quick rant on the Darkling/Darklina/Shadow and Bone trilogy i have to get out. i genuinely feel she let down his character, alina’s character, and in general the whole arc of the narrative.

**i want to clarify first that I am not anti Leigh. i’ve tagged that per someone’s request, but the truth is i simply feel that anybody who decides to put a story out there in the world, or any kind of writing, will be subject to criticism. that’s part of writing, it’s part of art, and it’s just part of creation and the real world, no matter your intentions or motivations for your piece. just like this post—it should be subject to criticism, too. that’s how discussion happens and people learn. it’s not an attack on the original writer because the writer is not their work. i love Leigh and her choice to put her stories out in the world, even if i disagree with some of the choices she made. it’s only because of her that we get to have these conversations about our favorite characters in the first place. (I also don’t think it’s fair to her and all the work she put into SEVEN novels to reduce the decisions she made about her characters and plots to ‘coping’ — just my two cents. I’m sure her trauma influenced her work, it’s hard to imagine otherwise. but I doubt she or anyone else would vouch for people refusing to critique their work because of something she went through that does not define her.)**

the problem i have with Leigh’s writing of the Darkling is that after Shadow & Bone, it was so forced. she wrote him doing all of these implausibly horrible things after the fans started to like him to force it down our throats that he was the irredeemable villain. and yet when he was first introduced, i was so hopeful that this character called ‘the Darkling’, a shadow summoner and master of darkness, wouldn’t fall into the predictably, disappointingly easy trope of evil as darkness and good as light. so when she did exactly that, it felt like a betrayal of the character after he had already begun to take on a life and heart of his own. we connected to him. and she did her very best to sever that connection in favor of an emotionally manipulative boy who did almost nothing to help alina grow. Mal actually hindered and harmed her growth, constantly guilting her for having wants, desires, and feelings of her own that didn’t revolve around him, whereas the Darkling never wanted her to be anything but herself. he, like her, was capable of seeing the bigger picture, whereas Mal was an absurdly selfish and bizarre character that cared about none of that (and didn’t even “want” alina until she was famous and desired ?!! like come on). i sincerely can’t believe he was intended to be the love interest we connected with and rooted for.

and i know she likely had personal reasons for characterizing Aleksander the way she did, possibly attempting to embody anecdotal experiences with a specific person who did her harm in her own life, but with this character it felt unnatural and forced. she basically ignored of all of his character’s potential as a complex, nuanced human tortured by watching generations of his people’s pain, trauma, exploitation, murder, etc. (even if it was true that he had eroded morally/emotionally because of the mervost and centuries of standing witness to these atrocities), ironically dismissing his potential to grow in a story that was supposed to be all about growth (another narrative failure i won’t get into here). not to mention that his mission’s intent wasn’t even inherently evil (morally grey at worst, which is so much more compelling than pure evil anyway, which makes it extra disappointing that she bungled this), and by the end of the series all of his completely valid points just went unaddressed and people continued to suffer for it. his attempts to solve that problem were simplistically reduced and deemed as plain ‘evil’, with very few people recognizing the deep empathy and collective pain that drove his actions—something that alina actually did understand. 

i feel bad for him. that’s why i like him and that’s why i like Darklina. he deserved better, and so did alina. their chemistry was so eloquently written (and portrayed in the show) and i truly believe they could’ve helped each other grow. but we never got a chance to see or explore that because of how Bardugo’s personal feelings obscured the natural direction of her characters’ development, ultimately doing a serious disservice to her narrative (she does this a few times — prioritizes certain plotlines and actions that she wants to include even if they don’t align with the natural progression of the story). she tries to make us believe certain things and feel certain ways about her characters and plot points in opposition of the simple truth that they just don’t fit. alina’s character essentially ends up right where she started with only a few slight differences, one of them being the loss of power, which was something that made her uniquely, intrinsically her, and was cruelly ripped away in a nonsensical punishment for what? daring to trust? daring to break away from the insecure hold Mal had over her, and constantly used against her? daring to grow and learn? daring to delve deeper into her own power as a Grisha? daring to connect with the Darkling and the nobility of his motives? it was all around just a sad and disappointing direction to take a story that had so much potential to be powerful and different.

[not to mention all of the beautiful balance in the light/shadow trope, the star-crossed lovers torn apart by situational and ideological conflict, the novelty of their powers and their mirroring inabilities to “fit in” or find others like them, like. come ON, that could have been so great. ugh. just to abandon it all for dusty, insecure Malware. pls.]

ok end rant. thank you if you read my heated word vomit.

[the-music-maniac]

You ever notice how similar Xie Wang and Han Ying’s stories and character arcs are?

A warning here that this contains spoilers for all of Word of Honor/Shan He Ling. Stop reading now, I reference a ton of shit.

.

.

.

.

I was actually discussing a couple fic ideas with a friend a few weeks ago, and I got to wondering after thinking about those parallels I could see -

Does Han Ying x Xie Wang exist as a ship?? Is that a thing?? That exists?? Can it please exist??

It has so much potential. There's so many narrative parallels with these two characters.

They're two people who deserved better than their respective endings, who never got what they wanted, because of the manipulation of men who wanted power and would stop at nothing to get it (Jin Wang and Zhao Jing). The manipulation of those who saw them as less then what they were.

They also have similarities in their relationships with their "mentor figures" - Han Ying and Zhou Zishu, and Xie Wang and Zhao Jing. They have quite a lot of differences too, enough that their lives parallel each other instead of mirror, and I just think that their personal experiences could make for a very compelling storyline if these two were to interact. It would be an interesting road to a development of a potential relationship, and moreover an opportunity for both of them to learn from the other and heal.

And real talk? I just want the both of them to be happy tbh (and of course that obviously doesn't need to involve a romantic relationship - I just have no self control. I'd be just as ecstatic about a really good friendship though).

I also know they never interact in the drama - but then again these two are also literally dead in the drama. Reality is what you make it 🤣🤣. And considering how close the Scorpion was working with Tian Chuang - honestly I'm pretty sure you can't really say they haven't met either.

So anyways, I guess reasons why I think this would be a good ship dynamic:

First of all, their relations with their mentors and how it's similar to each other and also not. The resulting potential for mutual support:

Han Ying's dearest wish is to be a disciple of Zhou Zishu's, as he says plainly in that one episode.

The thing is, there could be quite a lot of subtext taken from that - I've read interpretations that he's in love with Zhou Zishu, or at least has romantic feelings for him - a strong crush possibly - which I can plausibly see (I can also see it just being platonic, which I will talk about later). But yeah, a romantic interpretation just because of how strong his devotion towards Zhou Zishu is. The wistful looks?????

In that kind of situation, IF the romantic feelings are two-sided instead of one-sided - which I would like to go on the record and say that with Han Ying and Zhou Zishu, I don't believe it is - and as a result actually becomes something, that type of relationship would not be the most healthy, because there's a very strong imbalance of power. Even if the mentor figure genuinely cares and actively minds the mentee's feelings - the mentee still undeniably has that level of hero worship - it won't ever be equal. We can see that already in Han Ying's case, Zhou Zishu repeatedly tells him to stop treating him with so much formality because he's not the leader anymore and yet Han Ying still remains deferential.

In that interpretation, if that were the case of it being two sided - Han Ying would have quite a lot of similarity of experience to Xie Wang's relation to Zhao Jing -

And here I can talk about how Xie Wang and Zhao Jing's relationship is uh. Kinda sus tbh. Like. That doesn't look like a healthy or platonic father-son relationship and it gives me the creeps. In Xie Wang and Zhao Jing's relationship, I'm more inclined to believe there's some semi-incestous yifu fucking going on than anything platonic, there's just so many sus moments - and if I'm not mistaken they dubbed over a line in the show where it was basically stated plainly that it's not a platonic relationship. Or at least - Xie Wang doesn't view Zhao Jing platonically (and I don't believe Zhao Jing discourages it at all, if anything he actively encourages and guides it to make Xie Wang dependent on him). So we got another setup where it's potentially one sided romantic feelings/hero worship. Or maybe two sided for them, who knows.

But the thing is, while I talked about unhealthy romantic relationships in my section about Han Ying, a fundamental difference between Xie Wang and Han Ying's relationships with their mentors is that Zhou Zishu's relationship with Han Ying would be a lot healthier. A LOT healthier. So much fucking healthier, I cannot emphasis that enough. And that's mostly because their relationship is not two-sided, and because he sees Han Ying as a person.

He cares about Han Ying a lot but not as anything beyond platonic - he views him as a student and a subordinate and protects him as such. Han Ying on the other hand could have romantic feelings for Zhou Zishu. Not in love per se, it feels to me like it could be a mix of a really strong crush with really strong hero worship. I don't think Han Ying truly knows Zhou Zishu's other aspects of personality (yet?? I guess because if we're gonna hypothetically bring both Han Ying and Xie Wang back to life he probably will eventually get to know Zhou Zishu properly), because I doubt he ever showed anything beyond his stern assassin leader type of persona to his subordinates. He was likely caring yes, but in a way that keeps people at a distance. So, a mentor-mentee type of relationship where Han Ying could be crushing quite hard on Zhou Zishu. But still a healthy one, as Zhou Zishu, one - doesn't intend to pursue a romantic relationship with Han Ying - and moreover, although might know about his feelings, or his devotion at least(tbh you'd have to be blind not to), he treats them, and him, with respect. He doesn't try and manipulate Han Ying, or use his emotions for his own purposes. He sees Han Ying as his own person. His affection and regards towards Han Ying remains unconditional, even if Han Ying messes up or doesn't follow instructions. Instructions that, btw, repeatedly try to keep Han Ying out of the line of fire, and makes it clear that Han Ying is to put himself first.

Everything Zhao Jing does however is solely to cripple Xie Wang and make him wholly dependent on him. He's been grooming Xie Wang from such a young age, and his positive regard and care is ALWAYS conditional. As soon as Xie Wang messes up, he takes it away as punishment, and because of how Zhao Jing's made himself the center of Xie Wang's world, that action is devastating to him. He subtly encourages and toys with Xie Wang's regard for him for his own purposes, he tries to make Xie Wang jealous so he works twice as hard to earn back Zhao Jing's attention. And as we see with his intention to eventually discard Xie Wang as soon as he is no longer useful - he doesn't view Xie Wang as a person. He's merely another tool in his arsenal.

The reason why I wrote such a long ass analysis about the similarities and differences between Xie Wang and Han Ying's relationships is because as I mentioned before, one reason I think this would be a pretty interesting ship and dynamic is how these two could help each other. At first, it might be more Han Ying helping Xie Wang.

Xie Wang hasn't ever experienced what a proper and healthy guardian type relationship is like, or even what it means for someone to choose him first. He's a victim of abuse, and should he manage to survive the avalanche at the end of the show, there is potential for him to start to undo all the damage that Zhao Jing has inflicted on him all those years, especially if the man is truly no longer around. And I think Han Ying would be in a very good position to offer him support in that journey. Moreover, if Han Ying has had an experience similar to that, it could be the reason he would want to offer support to Xie Wang. He's experienced a lot of what Xie Wang has experienced, but he's also seen what it is for someone to genuinely care about him, and as a result likely has a more healthy view on that type of relationship. They're similar enough for Xie Wang to potentially not want to push Han Ying away if he ever offers his help, but also dissimilar enough that Han Ying could offer new avenues of thought.

At the same time, if you just read Han Ying and Zhou Zishu's relationship as a really strong type of hero worship, this dynamic could make sense too. Han Ying clearly looks up to Zhou Zishu quite a lot, and on top of that, Zhou Zishu in a way represents everything Han Ying has wanted and couldn't have - aka a family and a mentor figure and a home to call his own. Regardless of if it's purely platonic or not, it's still an infinitely healthier relationship, a parallel to Xie Wang's experience, so the potential of the offer of support remains the same.

Second of all, similarity in origin and life experiences, which is a small thing tbh but still an important thing:

Han Ying is someone I don't know a lot of background on tbh - I presume he doesn't have a family anymore, and somehow ended up in the Window of Heaven. I've read fics where Zhou Zishu was the one to save him at some point and offer him a position in the assassin group, and I'm inclined to take that as a plausible head canon (unless it's actually canon, idk I haven't read tyk yet).

So, in bare bones, he's an orphan who is taken in by a mentor figure, and becomes a high ranking member of an assassin group.

Xie Wang is also someone who no longer has a family - we don't know that much about his background either, but I presume he was happened upon by Zhao Jing in some way - I'm not sure at what age tbh, is it assumed that he was raised by him?? Or maybe in teenage years??

Whatever it happens to be, Xie Wang was taken in, maybe even "saved" by (although if you ask me, he'd be better off without) Zhao Jing.

So in essence it is the same thing as Han Ying's experiences, an orphan who is taken in by a mentor figure, and becomes a high ranking (or the leader of) an assassin group.

And not only that, as I mentioned from the beginning, these two both realize and know, eventually, that they’re being used by men who are desperate for power (Jin Wang, Zhao Jing).

I mention this actually as just an extension of my first point, because while I mentioned that Han Ying very obviously can support Xie Wang in that particular “past grooming and abuse” aspect, there are probably still many hidden traumas and scars for these two from the lives they’ve both lead. Their similar experiences lead to similar choices which helped shape who they are, and as a result, I think these two could truly understand each other and where they’re coming from.

Their personalities would fit pretty well with each other. I think:

I don’t know if my interpretation on how these two are is accurate tbh, so feel free to let me know if you think it’s out of character.

To me, Han Ying seems like someone who would be pretty calm around the people he cares about; responsible, smart, eager to learn, with a steady sort of presence. He seems like someone who would wear their heart on their sleeve around people he trusts too, but not in any overtly obvious way. I think the reason why I get that impression is that, upon rewatch, I could plainly see his worry about Zhou Zishu in episode one, but when I first started the show, I somehow missed it entirely. Han Ying also didn’t show any qualms about admitting to Chengling that he wants to be Zhou Zishu’s disciple - which can be a very personal piece of info. The way he was around Zhou Zishu, and Wen Kexing also gave off an air of innocent eagerness to do well in his accomplishments and for approval. I’m not saying he’s always like this, because I’m rather certain he has a darker side too - as we see with all the characters, no one is without their traumas and no one is without artifice or without complexity. They’re all grey moral in a very human way, and Han Ying is no different. We’ve seen before too that once he’s got his game face on, the man is pretty competent and also ruthless (his conversation with Gao Chong for example) - I don’t think he could be any less if he’s that high up in the Tianchuang hierarchy. But at the same time I can also see him being a bit of a very subtle disaster (almost?? Slightly dorky??) in certain situations, and we can see that kind of peek through when Zhou Zishu and Wen Kexing hijacked his kidnapping attempt and he was kind of like uhh. Okay so, I’m in a choke hold, I think that might be my former commander, so like. Let them go. It’s actually really funny cause while Wen Kexing was telling Gao Chong and Chengling to hurry up and leave, I swear you could see Han Ying contemplating his entire life.

The face of a man confuzzled.

Xie Wang on the other hand, is someone that’s more impulsive, liable to push or be mischievous, less of a steady personality and more like - for lack of better word - an absolute gremlin. A pretty murderous one. It’s a bit hard to tell all aspects of how Xie Wang is tbh, since he has many different mannerisms while talking to different people. With Zhao Jing he has a very subservient, almost dutiful, childlike and innocent air about him, and a sort of. Sa jiao (撒娇) type of demeanor. He craves approval from Zhao Jing, and is just generally very baby around him, and I’m really not sure how much of that is how he actually is and how much of that is him learning that this is the best way to get Zhao Jing’s attention. And tbh I don’t think all of that is grooming, I think Xie Wang probably does have the potential to be as soft or as innocently childlike and happy with others he cares about (just hopefully in a lot healthier way). I think we see his soft side a little with Qianqiao when he gives her the cure. Despite that though, we can still see other aspects of him surface. He makes suggestions and pushes when he thinks Zhao Jing’s refusals are unreasonable, he just goes and does his own thing sometimes (um usually murderous things. Like when he killed Song Huai Ren and told Zhao Jing he’s a traitor). He’s mischievous about some of his actions (after literally stabbing a man, ‘what? he said I should kill him if I have the ability’). He’s a lot more obviously gritty and aggressive and morally grey than Han Ying appears, which I think adds dimension to his character when added in with everything else. He’s also very smart, competent, ruthless - obviously since he runs the Scorpion, but he’s surprisingly fair and almost? Honourable? In certain aspects? And like Han Ying, he does somewhat wear his heart on his sleeve, retains that eagerness to do well and is somehow not as jaded as he could be, as he still finds the capacity to eventually care for a stranger (Liu Qianqiao). 

I may be oversimplifying how these two could be, but with their personality types I think they have a lot of potential both in a romantic relationship or as close friends. And in a way that at first glance would probably be puzzling - how in the hell did these two become friends/get together (lmao you’ll see Han Ying in his rather sensible disciple robes and then Xie Wang is just there in his braids, dramatic black outfits, winged eyeliner, etc. 🤣🤣😅😅) but on closer thought, makes sense. Han Ying could be a more steadying presence for Xie Wang, and Xie Wang in turn could help him loosen up a bit more. (That’s kind of oversimplifying it but it’s 5 am where I am rn and I’m too tired to elaborate) I also believe Xie Wang might push Han Ying to be more ambitious, be able to do things for himself more - because Xie Wang went through a process of, everything I do is for someone else, until I realized they were using me, and now I’m going to do it for myself. In that way they could potentially push each other to higher heights in what they do, and they are pretty similar in ideology and morals and previous actions. They both have blood on their hands, and they’re not afraid to be ruthless or do what’s necessary to get the job done. They have their traumas, their complexities and an understanding of what it’s like to put on masks for different people.

The potential for found family. All the found family. Gimme:

This one I feel like is more obvious and changes some things about canon, but the timeline I imagine for if Xie Wang x Han Ying would be a plausible ship is one where Han Ying survives the stealing of the fake glazed armour incident and becomes one of the disciples of Siji (second disciple of the sixth generation????). Everything else would likely proceed in a very similar way (although in this au in my mind Gu Xiang and Cao Weining are alive). And then during the avalanche incident, with WenZhou trapped in the armoury, Xie Wang ends up surviving and they end up finding him somehow.

Whether or not it’d be out of character for WenZhou to save him I think could be explored, but the bottom line is that eventually they would probably take him back to Siji. There, whether him meeting Han Ying goes smoothly or not is up to interpretation - I very much doubt it would be an amiable meeting tbh - in fact I fully imagine it to be antagonistic af at first, considering what opposing groups they used to be a part of and the knowledge of how deadly the other can be - trust would be hard to come by, which makes a slow development all the more interesting. And moreover them becoming friends or dating would likely help Xie Wang into the dynamic at Siji because now there’s a more tangible connection between him and the place, and I can see while he’s getting to know all the people of Siji, eventually thinking of them as family as well.  And Han Ying in turn gets another person who cares about him, and for him to care about.

I’ll be honest here and say that I don’t particularly care at this point how realistic or in character it all would be -  I need found family in my life I have no self control. Xie Wang and Han Ying my beloveds needs all the good things.

Another possible meeting is just Han Ying being sent to negotiate with the Scorpions instead of Duan Pengju (is that how it went? I’ll admit I’m a little fuzzy on plot points here) and meeting each other that way. There could be moments of understanding while working together, an inevitable kinda separation, and eventually seeing each other again at Siji, after all the shitshow is over. The development could continue from there.

The closer age gap:

I’d like to preface this part with a disclaimer that I’m not trying to bash any other ships that are out there, this is actually just entirely my personal preference.

I don’t really like big age gaps in my ships unless their both established adults - for example in their 30's 40's, even 50's. Even if one of them remains young in body, it’s just not a dynamic I generally like. The most popular ship that comes to mind here is Ye Baiyi x Xie Wang - and all the more power to you if you do ship it tbh, I can see it being really adorable and healing for the both of them, especially since Ye Baiyi never really gets a happy ending either (and he absolutely deserves one 😤😤😤) - but that as a ship dynamic is personally not for me, especially after Xie Wang’s kinda hinted relationship with another man that’s also older than him. Ye Baiyi obviously is ten million times the man Zhao Jing could ever be, and it would be an infinitely healthier relationship anyway, but yeah the age gap thing is just my personal bias.

So I don’t know, I appreciate that Han Ying and Xie Wang are both closer in age to each other. I know there aren’t confirmed ages (I think?) but if I had to take a guess, I’d say I think both of them are probably in their early to mid twenties.

Anyways, it’s literally 5:43 am now where I am, so I think I’m gonna end this way too long post and pass out. Honestly, I’m not even sure if this thing is coherent anymore, I’m half delirious with exhaustion while writing this. I might possibly write a fic or do something about this Xie Wang x Han Ying ship, I might not, but I just wanted to get it out there. It’s a cute idea.

Oh god my eyeballs are burning. Cheers, goodnight.

[sepedarodatiga]

The Snow Queen fairytale as a motif used in GoT/ASOIAF

First of all, how many fairytales and myths can GRRM fit into this story, seriously?? I know many have written well thought and well informed meta of various fairytale motives fit with ASOIAF/GoT, and I am just here adding into an already huge pile, but it bothers me, okay. I have to get it out there into the tumblr void. And this is not really a well thought and well informed meta (I’m not a folklore/literature expert, not to mention European folklore/literature), I’m just pointing my fingers into the patterns I saw fit. Also, I can’t count myself as ASOIAF book reader, I just watch the show. What I know about the books, I read it here in tumblr. 

But anyway, you might be surprised as to which character I saw fit as The Snow Queen in GoT

It’s Daenerys Targaryen.

I know I know... whaat? The Mother of Dragons, Bride of Fire as The Snow Queen? Get out of here, right...

But it’s a pun. It’s not The Snow Queen, it’s Jon Snow’s Queen, get it? Remember how Jon repeatedly saying “you’re my queen” to Dany during season 8? Yeah. Oh and Jon is Kay, while Sansa is Gerda. 

What made me realize that Dany is The Snow Queen is when I was reading my son the fairytale. In the version retold by Kate Friend, it describes The Snow Queen as beautiful and terrible. And I was like, huh, just like Dany, especially with the white hair and the all white costume in season 8. 

Daenerys Targaryen, beautiful and terrible.

And then of course the story went on describing how Kay becomes her prisoner and then I was like, well that’s like Jon Snow during season 8 too.... And then in Disney’s adaptation Frozen, Elsa has white hair with purple eyeshadow, while Anna (Gerda) has....red hair....which is like... Sansa Stark. Then I also remember the illustration on my son’s book which is by John Patience, that reminded me of the Iron Throne.

The Snow Queen illustration by John Patience. See how much alike this setting is with the Red Keep? Especially in Dany’s vision in HoTU when snow was falling.

So I went investigating, and shit... I mean obviously the sequencing was moved around, GRRM likes to subvert things, but my God!

Before we get into Jon Snow and his queen, I have to start with the other characters first. And I will be taking excerpt of the story from The Hans Christian Andersen Center website which I assume would be the most original one.

Gerda = Sansa Stark

Here is a description of Gerda’s power:  “No power that I could give could be as great as that which she already has. Don't you see how men and beasts are compelled to serve her, and how far she has come in the wide world since she started out in her naked feet? We mustn't tell her about this power. Strength lies in her heart, because she is such a sweet, innocent child.”

Furthermore, her connection with Kay are through roses (they have a window box full of roses) and a song that goes like this:  "Where roses bloom so sweetly in the vale, There shall you find the Christ Child, without fail." Another variation of the song is: “The rose in the valley has flowers so sweet, and angels come down there the children to greet.” She saved Kay with her prayers, hugs, kisses, tears and her song and their reunion literally ended winter and brings spring. If that’s not Sansa Stark (and the jonsa reunion), then I don’t know what is.

Gerda made a journey to the North to find Kay and bring him back together with her to their home. Sansa did not meant to make a journey North to find Jon and bring him back home, but this is what happened anyway. The story even stressed on the fact that when they came back to their homes, they were no longer children but grown ups. On her quest Gerda offered her red shoes to the river to get information about Kay’s whereabouts but the red shoes were given back to her the first time. But she did it once again and the river set her on the path to find Kay. I’m not really sure but for Sansa it could be her betrothal to Joffrey that was then canceled but then she got married to Tyrion Lannister. Her red shoes is her name and her claim to the North.

Gerda then met an old woman who wanted to keep her and made her forget about Kay by keeping all the roses underground. The old woman’s place was beautiful. Here is an excerpt:  “Then Gerda was led into the flower garden. How fragrant and lovely it was! Every known flower of every season was there in full bloom. No picture book was ever so pretty and gay. Gerda jumped for joy, and played in the garden until the sun went down behind the tall cherry trees. Then she was tucked into a beautiful bed, under a red silk coverlet quilted with blue violets. There she slept, and there she dreamed as gloriously as any queen on her wedding day.” But then she saw a rose on the old woman’s hat and finally remembers her purpose of finding Kay. I would say that the old woman is Cersei Lannister who tried to make Sansa forget about her home and her innocence. Sansa was also saved from her clutch by roses (The Tyrells).

Then Gerda with information from a crow, met a Princess and Prince. She thought that the Prince might be Kay, but it turns out he was not. This might be Sansa’s vale arc and the Prince is either Petyr Baelish or Harry Hardyng. The Prince and Princess also gave provisions for Gerda’s journey to the North, so this may be that the KoTV helps Sansa getting Winterfell back. The crow, has a ladylove, another crow and they finally get married and live in the Princess’s castle though unfortunately the crow then died. The crow was a wild forest crow while his ladylove is a tame crow. These two crows could be genderbent into Sam Tarly and Gilly. Remember that Sam is mock as Jon’s ladylove by Alliser Thorne?

Next Gerda met a robber girl who sleeps with a knife and have plenty of pigeons. Yep, of course that is very much like Arya Stark (who sometimes is being referred to as “a girl”)

The pigeons told Gerda about Kay and The Snow Queen. The robber girl finally gave Gerda her reindeer called Bae for her journey to the North. The girl likes to tickle the reindeer’s neck with her knife. At the end of the story it is told that the robber girl then decided to leave her place and find adventure in the world. Very much like Arya’s ending.

Now about that reindeer Bae who helped Gerda to reach to Kay in The Snow Queen’s palace in the far North. In ASOIAF/GoT, we can connect Bae to Baelish. Make sense. Petyr Baelish helps Sansa get to North and Arya’s knife did end up in his neck. But also we can connect it to two foreshadowing of Sansa bearing Jon’s child. The first is more well-known: Bael the Bard. The second one I think is more hidden and I made a post about it quite long ago: Baelor. Is this far fetched? Maybe, but I’ll take it.

Kay = Jon (+ The Night King)

Kay and Gerda are neighbours and they share a garden (particularly a flower box full of roses). Their relationship, in the words of Hans Christian Andersen himself are: “These children were not brother and sister, but they loved each other just as much as if they had been.” So they are NOT brother and sister but love each other as such. While Jon and Sansa are also NOT brother and sister but was raised as such.

Then Kay got splinters of magic mirror stuck to his eyes and his heart. The mirror “made everything great and good that was reflected in it appear small and ugly, but which magnified all evil things until each blemish loomed large”. It made Kay hated all the roses, they look ugly now to his eyes and also made Kay loved the snow and the cold. Jon Snow at the beginning of the story was a cynical little boy because he was raised as a bastard. He wanted to leave Winterfell and sneered at the idea of having a family of his own because he felt that he can’t have them. So he went to the coldest place there is.

In the story, Kay plays with his sled, and then The Snow Queen came with her sled and Kay hooked his sled to hers. The Snow Queen first, covers Kay in a bearskin rug and gave Kay kisses. The first kiss “was colder than ice. He felt it right down to his heart, half of which was already an icy lump. He felt as if he were dying, but only for a moment. Then he felt quite comfortable, and no longer noticed the cold”. The second kiss makes Kay forgets about Gerda and their homes. The third kiss, The Snow Queen does not give him because it would be the kiss of death.

I argue that GRRM subvert this story. I think Jon Snow was already saved by Sansa before he met Dany. The splinters in his eyes and heart was already gone when he faced The Snow Queen. The reunion happened before he met Dany. The first two kisses also already happened: Jon Snow had died and came alive again, and he also forced to forget about his home and family while he was at the Night’s Watch. The bearskin rug which The Snow Queen used to cover Kay can allude to Jeor Mormont and/or Longclaw. 

Then Jon Snow met his queen finally, but instead of a hooking sleds.... it’s dragons. Jon Snow’s sled was his dragon Rhaegal which are hooked to Dany’s sled Drogon. But his eyes wasn’t blinded by the splinter and his heart were already warm. He knowingly and willingly follow the dragon to save his family.

And the third kiss of death that wasn’t given by The Snow Queen? Jon Snow will give it to his queen instead.

Now let’s go back a little bit. Kay was also given a puzzle from ice by The Snow Queen, and if he can solve it then he is free. He was supposed to spell the word “eternity” but he couldn’t figure it out with the shard in his eyes and heart. In GoT we know exactly who has got an shard in his heart.

The Night King. And so that is why he plays with puzzle in ice. He is struggling to form the one symbol that would set him free.

Bonuses

Other than those patterns, there are several interesting tidbits from the story that fits with ASOIAF. There is this one blog said that The Snow Queen story was inspired by another story called “East of the Sun and West of the Moon” which if you read it, it is essentially “The Bear and the Maiden Fair” (the bear is a white bear, by the way)

More bonuses here. When Gerda finally remembers to find Kay during her time in the old woman’s home because of the rose, different flowers gave her different stories even though none tells her about Kay.

This is the story from tiger lily:

"Do you hear the drum? Boom, boom! It was only two notes, always boom, boom! Hear the women wail. Hear the priests chant. The Hindoo woman in her long red robe stands on the funeral pyre. The flames rise around her and her dead husband, but the Hindoo woman is thinking of that living man in the crowd around them. She is thinking of him whose eyes are burning hotter than the flames-of him whose fiery glances have pierced her heart more deeply than these flames that soon will burn her body to ashes. Can the flame of the heart die in the flame of the funeral pyre?"

So GRRM didn’t take the sati ritual for Dany’s rites of passage as mother of dragons from just anywhere, but it is from this story.

Also, hear this story from hyacinth

"There were three sisters, quite transparent and very fair. One wore a red dress, the second wore a blue one, and the third went all in white. Hand in hand they danced in the clear moonlight, beside a calm lake. They were not elfin folk. They were human beings. The air was sweet, and the sisters disappeared into the forest. The fragrance of the air grew sweeter. Three coffins, in which lie the three sisters, glide out of the forest and across the lake. The fireflies hover about them like little flickering lights. Are the dancing sisters sleeping or are they dead? The fragrance of the flowers says they are dead, and the evening bell tolls for their funeral."

Of course this immediately bring to memory the quote of Jon Snow with Val: “The light of the half-moon turned Val’s honey-blond hair a pale silver and left her cheeks as white as snow. She took a deep breath. “The air tastes sweet.”” Well then, according to Hans Christian Andersen, that means death. There are three sisters here which could allude to the three queens at the almost end of GoT: Cersei Lannister (red), Sansa Stark (blue) and Daenerys Targaryen (white).

So those are my stab at it. I would be interested to hear if anyone’s take on it.

[funjoushi]

Miki/Souma is a perfect ship don’t @ me

This ship has taken me on one of those journeys that feels like it has just lashed me against the rocks and left me stranded. So bet prepared for a little bit of some slightly messy but extremely passionate meta.

I started out with “haha, Hakuouki keeps making rival pairs with blistering sexual tension” to “maybe this could be a tasty fucked up ship” to “oh no they are husbands” which is always a wild ride to go on let me tell you.

In general I tend to only get attached to an mlm ship once every ten thousand years. From my observations these ships tend to have a lot of intertwined personal history and themes of loyalty/sacrifice/self-loathing and idealism

However souma/Miki has some particular aspects that really stick out to me

As mentioned before, Hakuouki has a habit of setting up rival and antagonist relationships with a lot of sexual tension wether intended or not. The most notable being Shiranui/Harada and Kazama/Hijikata.

Kazama/Hijikata is only nominally similar as it is much more of genuine enmity but I do believe that the ultimate source of that rivalry is in personal weakness and seeing that weakness reflected in the other. Hijikata whole struggles with the loss of his humanity, and Kazama who rejects humanity altogether.

Shiranui/Harada is one much closer to Miki/Souma in that they are two very similarly motivated men who just happen to be on opposing sides. Shiranui and Harada are both motivated by loyalty to their friends and by love(you cannot convince me that Shiranui wasn’t in love with Takasugi).

Miki being Souma’s rival specifically never made sense to begin with and still doesn’t really, but as a result it leads to a much more fascinating dynamic. They aren’t sworn to kill one another nor obsessed with the other, but instead just two guys caught up in their own stories and cause them to clash.

The fact that they are not directly antagonistic to one another is something that is key to their potential dynamic. Yes, they started out at odds due to the factional divides, and Miki did accost Chizuru which earned Souma’s dislike, but on a personal level, it’s never more than a surface level dislike. Miki thinks Souma to be foolish and wasting his potential while Souma thinks Miki to be nothing but a brute.

However, in reality, they are far more similar than either of them first realise.

During most of their interactions, they appear to be pretty starkly contrasted. Souma is earnest, hardworking and incredibly humble. Meanwhile Miki is prideful, blunt, and distrustful.

However, if you recall...Souma was very different when he first met the Shinsengumi. When Souma was still employed by his domain, he was ashamed of his clan’s neutrality and disgusted of the general state of the country and of the bushi class. He at first views the Shinsengumi as nothing but violent wolves, but eventually comes to learn and understand them and want to be counted among them.

Which is to say that Souma in himself has some similar idealistic, judgemental and spiteful tendencies that Miki ends up displaying during his time in the Shinsengumi. Miki overall appears to view the Shinsengumi as similarly foolish and misguided

This viewpoint of Souma’s I view to be not all too different than how Miki views things, he simply has a different set of base values and puts a lot more value on birth station while Souma values action and conduct. At their core, both are unshakeably loyal which eventually leads to their actual clash.

Another major factor in my like for this ship came in one of the ginsei no shou episodes.

In a scene directly after Souma, Chizuru and Nomura escape Edo after Kondou’s execution, Souma reflects on how he now feels that he can understand how Miki feels. Looking back on how Miki became unhinged and obsessed with revenge after his brother was killed. Itou was like Miki’s sun, he states. Something that illuminated the path that he followed and made everything make sense. And Souma viewed Kondou in a similar way and in that moment feels blinding rage and a desire for vengeance towards those who killed Kondou. But then essentially Souma insinuates that the only thing keeping him from a path of bloodshed is his remaining friends. And so in that way he does not at all blame Miki for his revenge quest.

This section directly highlights how Miki and Souma mirror one another and hold within them very deep similarities.

Souma’s main character flaw is that he is deeply self-critical and has basically no self-esteem. He constantly pushes himself too far out of a desire to improve himself but without support that will only lead to ruin.

We can extrapolate some similar points from Miki, based on how over the course of Souma’s route he becomes increasingly more suicidal as his quest for revenge sends him to deeper and deeper depths, which culminates in him trying to die upon Souma’s sword in the final chapter.

However, Souma notices this. Souma could have easily chosen to just end it all there, but again. Souma has no particular grudge against Miki. And in truth, he pities and identifies with Miki. 

It really just gets me, man. Like, I know that it’s because Miki survives historically, but despite that, they managed to make it so completely and utterly in character. It absolutely makes sense that Souma would show mercy. But what is truly beautiful to me is that said mercy is not out of any sort of pride or high morals, but out of pure and simple empathy.

Just about all of Miki’s former fellow Goryoueiji members are dead, his beloved older brother is dead. And on top of that he is estranged from both his birth family and adoptive family(historical detail not brought up in the game but it SHOULD BE). And while Souma has lost a lot, he still at the very least has Chizuru, and Souma’s humility also compels him not to take that for granted and reach out a hand to someone who wasn’t so lucky.

And considering that they do both survive, and as Souma says they “do not know what the future has in store” :) who knows! Maybe their paths may cross again.

Yes, I fully understand that the fact that Miki did try to kill Souma and Chizuru at one point might be a turn off to some people, which is fine. But also Chizuru was about to be killed by the Shinsengumi upon first meeting them. That’s just kinda how it goes in the world of samurai! And because the grudges aren’t specifc, that’s why I can still find them so compelling. Also I do find it so fascinating that Souma’s kyoto winds bad ending only occurs if Chizuru lets him kill Miki. Hmm! Funny that!

Anyway, in conclusion. This ship is good and no, I will not shut up about them. Thank you for reading and pls ready my fic--

[thevalleyisjolly]

Been thinking about Lapin and Cumulous (pretty much all the time, let’s be honest), and I think it’s really interesting how both of them, in their own ways, stand at a relational distance from the rest of the party, which has really interesting in-game as well as meta implications. 

Because when A Crown of Candy starts, we have the House Rocks set - Amethar, Ruby, Jet, and slightly further away, Liam (by blood) and Theo (by allegiance and love).  Lapin stands apart as someone whom we know from the beginning has a different allegiance, or at least, follows the orders of another entity.  Which is kind of what we, as an audience, need at that point, because established relationships can be a little hard to break into!  In-game, the characters have these deep bonds with each other, whether by family ties or by loyalty, and while those are fun to watch and speculate on the nature of, it isn’t always the easiest to connect with right at the beginning.  Lapin, apart from being a fascinating character of his own, stands at a similar distance like the audience.  Just as he gradually comes to cast his lot in with the Rocks family and become invested in their well-being, it mirrors our (the audience’s) own journey with coming to know the characters and becoming invested in their story.

(Sometimes I wonder if that isn’t part of Lapin’s meta appeal, that narrative-wise, he doesn’t need to become invested in the party, doesn’t need to care about them.  He’s here because his patron wants him to be here, but there’s nothing that says he must become emotionally involved with them.  And yet, and yet!  One of his last acts in the world -and arguably his most meaningful- is to choose to care about these people, to give up his life for them, and I’m still not over how his last insight, his last roll, realizing that the Bulb cares for no one, contrasts so beautifully with his death - this sly, aloof chancellor with a barbed tongue dies because he chooses to care for someone.  What a powerful ‘found family’ vibe indeed)

(In the same way your heart feels and your mind thinks, you, mortal beings, are the instrument by which the universe cares. If you choose to care, then the universe cares. If you don't, then it doesn't.)

Cumulous also stands apart from the rest of the party in a lot of ways.  Like Liam, he’s a relation of the Rocks, but in an even more distant way, and he makes it explicitly clear to Amethar early on that the Rocks are not his number one priority - Candia’s magic is.  By the time Cumulous comes in, we the audience have become very invested in the story of the Rocks family, and we’ve formed our own bonds with the characters.  So it feels a little strange to have a PC who deliberately aligns himself outside those relationships that we’ve come to love! 

But I think that at that point in the story, that’s kind of what we need.   I would argue that more so than almost every other PC, Cumulous situates the events around the Rocks family as part of a larger context, a larger world.  Jet, Ruby and Liam were still young and relatively sheltered, there was a lot about history and the world that they weren’t familiar with until they needed to be.  Even Amethar and Theo, who lived through that history, had a limited exposure to the wider reach of the Bulbian Church.  Within Castle Candy, the Church is something boring and stuffy and alright, you’re not supposed to do magic, you have to call it alchemy, but it’s more of an unpleasant and inconvenient institution than anything else. 

Except then we learn that there’s more to the Church’s suppression of magic than just disapproval of witchcraft.  We learn about how it’s a way of controlling people, and we also learn about how important magic is in Candia especially, how it’s a part of the land and the people, and all of a sudden, the Bulbian crusade against Candia takes on a far darker turn.  Because crusades don’t just spring up out of nowhere, they’re built on years of ideology and fanaticism, and that has been what the suppression of magic, the rumours about Candia’s reputation for “alchemy,” the Ramsian doctrine, has all been about.  What Cumulous brings into sharp relief is that fighting the Church is not just about personal revenge or who should be the rightful emperor, it’s about the Church’s decades-long plan to essentially commit genocide (as well as its decades of oppression and outright abuse, which it apparently had a free reign in).

(Jet, dear Jet, understood this first and fast.  She got that it wasn’t just about her personal feelings, that the problem was in the institution of the Church itself, and she was the first one to devote time to researching what they actually said, what the Ramsian doctrine was, what their plan was, and I’m endlessly fascinated by the possibility of a season where Jet lives and we potentially get a closer look at this world element and see how the party interacts with and dismantles it beyond just killing the Pontifex)

I do think that as dark as A Crown of Candy got sometimes, there’s a far darker undercurrent that sometimes gets overlooked because we are so compelled by the narrative of the Rocks family.  I also don’t think it’s any coincidence that the two PCs with the most pragmatic approach to combat and killing were Cumulous and Saccharina (there’s a difference between being efficient at killing and being willing to kill - all the PCs were pretty efficient at killing and being war guys, but only Cumulous and Saccharina really had the hardness and the instinct to kill).  Because the two of them are the ones who have most directly seen the effects of Bulbian ideology and prejudice!  For the rest of the party, the Church became an immediate enemy after the events at the cathedral.  For Cumulous and Saccharina, the Church has been the enemy -and a powerful, ruthless one- for years.  I remember a lot of jokes when the season was airing about Cumulous doing war crimes (and criticisms about whether or not Saccharina was guilty of war crimes...the double standard wasn’t great) but it makes perfect sense that they would be the ones with a harder line against the Church and a harder approach to the war.  They’ve been in it far longer than the rest of the party.

Anyways, it’s important that Cumulous does stand apart from the rest of the party because he does stand as that wider perspective beyond the intimate revenge and the complicated inter-party relationships.  And it really is something that requires that degree of separation, because Saccharina is another character who also reveals the wider context of the world, but a lot of that is often overlooked because of the compelling nature of her relationships with her family.  Even her horrifying childhood is viewed more often as a reason why she should be sympathized with (which she absolutely should), and we overlook the disturbing implications about how a foreign Church was able to inflict this level of abuse with essentially free reign.  So we need that strange, distant cousin swooping over our shoulders, reminding us every so often that hey, the story is about the Rocks but the Rocks also live in a wider society.  Yes there’s a nasty carrot with a mace that we all really want dead, but the carrot itself is a symptom of something larger.

(Also, something something meta here about Cumulous himself choosing to care about the world, choosing to care about magic and Candia and chickens hiding in a linen cupboard, choosing to be a monk first and a distant cousin of the Rocks second, choosing to remain at that distance because there’s bigger things happening in the world than just one family, even his own family, and it’s worth sacrificing everything for)

TL;DR, Lapin and Cumulous both stand at a distance from the rest of the party, and the meta implications of this are really interesting for how we the audience interact with the narrative and the characters as a whole. 

[theanimeview]

Hazbin Hotel's Double Plot: Charlie and Angel Dust - Or - Why Charlie and Angel Dust are Both Main Characters (And I love one more than the other)

By: Peggy Sue Wood | @peggyseditorial​

Welcome to Storytelling Class, everyone. Now, who remembered to brush up on their Shakespeare? No one? Not to worry, Prof. Peggy (not official... yet) is going to explain it all anyway with a bunch of unnecessary questions she plans to answer for you. Ready? 

Here's a question: What is a double plot? 

It's a more common occurrence in storytelling than you may think and is sometimes mistaken for subplot though the two are not the same. Shakespeare used double plots in several of his works, though King Lear is the most common example. We generally call a double plot structure that which takes two stories with combined plotlines. The two stories could stand alone but are purposefully combined to depict complex situations mirroring each other, often to comment upon or reinterpret events that transpire in other dramatic situations. "Often this takes the form of relatively minor characters and plotlines doubling events and situations from the 'main' dramatic narrative" (Reinke 1, LINK). The main characters of the "second" plot are often supporting characters in the "main" story and vice-versa, meaning that the main characters in the "main" story may act as supporting characters in the "second" plot. 

Subplots have entirely different focuses that ultimately guide the main plot, such as on a hero's quest, the hero's party must split into groups to find different items for a magical spell. Following the group that went away from the party in different chapters is an example of a subplot, as this is a subordinate "plots" that serve the progression of the main one. A good indicator of a double plot instead of a subplot is figuring out whether or not the two plots could stand alone.

John Lithgow, far left, with Clarke Peters in the Shakespeare in the Park production of "King Lear" at the Delacorte Theater. Credit: Sara Krulwich/The New York Times

Using King Lear as an example, our "main" plot features King Lear as the main character of his tragedy, and the "second" plot features  Lord Gloucester in a tragedy mirroring King Lear's story. In both plots, the main characters suffer from their past choices. A more modern example would be that of Netflix's Russian Doll, in which we follow two distinctive main characters suffering from, and traversing, a similar path. We can define them as double plots because splitting the two stories in each work to create separate works with connected characters would still work. (Essentially, the two stories of each work can stand alone--we don't need to know what is happening to Lord Gloucester to get what is going on in King Lear's story. It helps to know that Lord Gloucester's story, but it is not required to understand Lear's story since what will be important to Lear’s plot will be revealed to Lear’s character later on.) 

Another example of a double plot structure in a modern work would be that of Hazbin Hotel--let's discuss. 

We often define a plot by three things. First, the main character; second, the question that said character needs to answer; and, third, the problem(s) that led them to seek an answer to the asked question. In a double plot, you have to answer the first and third questions twice, which we can easily do with Hazbin Hotel. 

Let's start with Question 1. Who is/are the main character(s)? I've stated that it is Charlie and Angel Dust, but why? Two reasons. The first is how each character is introduced, and the second is that they are both asking the same question, though with different reasons behind it.

In the Prologue/Chapter 1 of the Hazbin Hotel comic, the first character we are introduced to is Angel Dust. He is our introduction into this fictional world, and his story follows the hero's journey narrative making him one of the main characters and defining his story as at least one, if not the main, plot in our double plot structure. Charlie is one of the two main characters for the same reasons. She also appears in that first chapter near the end (just like King Lear, who comes in after Lord Gloucester's introduction), and is beginning a hero's journey of her own. Both their stories ask the same question but have different reasons for seeking the answer.

Beginning with Angel Dust, we see that his story starts in a comfort zone--that zone being a criminal lifestyle shown with him trying to make a deal with some demonic mafioso-looking dudes. We soon find out that he's actually acting out despite appearing comfortable in this kind of situation because he what? Wants something, that's right (I knew you were a smart cookie). 

When the deal with the mafia-demons doesn't go so well, we see him thrown into a familiar though much worse situation with his abuser and pimp, Valentino. This is our introduction to the main problems in Angel's current life, the issues that are making him want something outside of his comfort zone. To get what he wants, Angel must enter an unfamiliar, perhaps dangerous, territory and adapt to it until he achieves the goal or fails trying, and the person that provides the opportunity for entering the unfamiliar world, the Hazbin Hotel, is Charlie.

With Charlie's introduction at the end of chapter one, we begin seeing her hero's journey unfold. At present (her meeting Angel Dust), she is seen in her comfort zone. She's in a chauffeured limo with her bodyguard girlfriend, comfortably giving money to Angel Dust and acting as a somewhat naive and rather hopeful princess you might find in any fairytale story. She wants something but has yet to enter the unfamiliar situation (at least until episode 1, where Alistar steps in but that's not important right now). This closes the comic, but perfectly sets up the double plot narrative moving forward, thus helping to identify our two main characters.

What fully defines them as the main characters, my second reason for claiming both Angel Dust and Charlie to be one, is that second question we have for defining plot (the question that the main character needs to answer).

Charlie says that the goal, or question she seeks to answer, is whether or not a sinner can be redeemed once they find themselves in Hell; however, I would argue that the real question is whether or not salvation (preservation or deliverance from harm, ruin, or loss) is possible for Hell's population. Charlie's "redemption" is instead a method to seek the answer to the question rather than the question itself. 

I argue this because that seems to be the end-goal Charlie is seeking for the citizens of Hell--salvation from being slaughtered on an annual basis. It is also the goal of Angel Dust, who seeks to be saved from his current life through his own hands or by someone else (though he doesn't seem to believe that someone else would help him without costing him something in return). For those of you wondering, Angel seems to be seeking an escape from many things, such as needing to trade sexual favors to his landlord because Valentino doesn't pay him well, an escape from hunger, and potentially other physical dangers. 

The two are both seeking answers to this question but going about it in somewhat different ways. 

In a recent video by Diregentleman, Why Angel Dust Should Be The Protagonist In Hazbin Hotel (it's brilliant, btw--a highly recommended watch if you have the time because most all his points are great), he argues that because Angel's story is more compelling and interesting, he should be the main character and while I agree that Angel's story is more compelling to myself as a viewer (just as I felt Lord Gloucester's story was far better than King Lear's parts), I still think Charlie's story worth the focus it is given in tandem with Angel Dust's. 

WITH THAT CONCLUDED, I want to talk about my favorite character, Angel Dust! The lesson is over--let's nerd out. 

I have been thinking about this A LOT since Episode 1 came out, and when "Addict" dropped, I was pumped. In October of last year, I uploaded the first draft for the review into the Google file our team shares but had been writing said draft for a long while already, and watching Diregentleman's video pushed me over the edge to scrap the planned post that should have gone up at 7 AM this morning and instead re-write and post this. Because as much as I loath spiders--I LOVE Angel Dust. 

Gosh, where do I begin….

Angel has been beaten down to the point that his character is a tad bit all over the place. Is he the villain? Sort of? At least, he comes off as one since he's not working very hard to fulfill his end of the bargain with Charlie and since he is a demon--but he also has qualities that are very much fitting the "redemption" Charlie is aiming for without any prompting. In fact, it's what made him so likable to me before the music video release of "Addict"--which just made me love him more. What do I mean?

Well, in the first episode, we see him just coming back from prostituting himself--a job he appears to be forced to do by Valentino (one of the big-bads of Viziepop's Hell):

Valentino: Did you get my money, Angie Baby?

Angle: I'm wittha John now [sic]. I don't get why this needed to happen so soon after the extermination tho, Boss

Valentino: Just do it. No sass k sugar.

Angle: yes Val

He then buys drugs, which get stolen only to see a large piece of a building fall onto the would-be thief. Is he worried about the thief? No. Angel is only concerned with the drugs. Immediately after that, he joins a turf war with a friend of his, Cherri Bomb, and participates in wrecking what remains of the city from the previous night's purging (when Angels descend upon Hell and kill off a bunch of Hell's populous).

Cherri is his friend, and it is at this moment, we see his first redeeming quality in the animated pilot--a self-sacrificing protective nature for a friend. How? You may ask, well, Angel is shown saving Cherri. It happens when Angel sees a weapon pointed at them, something that Cherri doesn't notice. He pushes her out of the way, unsure of what may happen, thereby allowing himself to be captured (or potentially injured) instead of her. 

That's self-sacrificing and is generally considered a "righteous" quality. 

It's not like she could be killed--they're already dead and, from what we've learned, the already dead demons of Hell can only be killed by weapons the angels use or that which is made of the material angels use during the culling period that just ended the night before. The egg creature is not using one of these weapons at this moment, meaning that Cherri is not in danger of death, only injury. 

Despite knowing that Cherri would ultimately be fine, Angel pushes her out of the way and takes the injury risk. (If he suspected that the weapon might kill her, then even more kudos to him here as that means he threw his life before his friend's.) This moment shows that Angel does value life outside of himself, which doesn't immediately come across when we meet him given the crushed thief moment we had prior. 

This act of self-sacrificing, which is generally considered a virtue, shows that he has potential to change. 

Expanding from this, we see him empathizing with Charlie and expressing a moment of guilt. The scene happens after Angel, Charlie, and Vaggy return to the hotel. Angel is presented with the opportunity to "change" (offer an apology to Charlie that he actually means), an opportunity he doesn't take, but the fact that he's considering it when he previously felt no guilt for his actions shows that he is capable of it.

Once Alistar comes into play, we see more of Angel's potential to change. For example, Angel is shown holding Vaggy back from attacking Alistar, which could be read in two ways. Either he holds her back because he doesn't want Alistar to leave (unlikely that Alistar would leave over Vaggy's attack), or Angel is preventing Vaggy from running at Alistar and potentially getting hurt, a very strong possibility that we learn through Vaggy's comment about how powerful the Radio Demon is and how he's grappled bigger demons on a larger scale to take over parts of the underworld.

If we're to believe the story elements pictured in the music video of "Addict," then Angel is in a horrible spot. He's being abused and treated like a working slave to Valentino with little hope of escape on his own and few options to reach out to for help (if one can even ask for help openly in Hell given the place and the people).

While Charlie is nice, shown by her giving Angel money and helping him avoid having to sell himself on the street that night for Valentino in the Prologue/Chapter 1 of the comic, she too has expectations for him or does it with an ulterior motive in mind. He's a big name in Hell, and she wants him for her program. While it may not be intentional, Charlie asking him to try the program in exchange for money sends the same message Angel points out during the offer: Nothing is free--even kindness, particularly from the Princess of Hell. No matter how cute and lovable she appears...

Charlie's story is less compelling, and it's not simply because she comes from a place of privilege, as I've heard some say. I mean, I love lots of stories with the rich and powerful, and if the many seasons of Dynasty can stand as an example--so do a lot of over people. Charlie's story is less compelling because we can't relate to her choices given the situation we see her in or the problems she's facing. For example, she has great political power that goes completely unused. She's a princess of hell, obviously not struggling too much since she's chauffeured around and seen atop a tall--safe--tower overlooking the purged city below in Episode 1. She isn't in a bad situation, from what we can tell, not the same way Angel Dust is, at least. Her problems are more like a passion project from what we've seen so far, and we don't know why she is motivated to make this redemption program work outside of wanting to help her people. But if she wants to help people, why the hotel? 

She has power as a princess that she could use to help correct injustices in her kingdom, such as attempting to put an end to the turf-wards since it seems that the demons fighting for territory still follow and respect the royals and nobility to some degree. But, instead, she's created a program to change people into what she thinks is Heaven's ideal--a thing that may stop the culling by allowing demons to transition out into what? Angels? Spirits? Who knows. Regardless, it's a small-scale venture that doesn't attempt to use the influence she's been given to make sincere changes in the kingdom. Instead, she uses it to get publicity on a news station, and even that is a weak attempt. I mean, if she was doing this right, that new-caster shouldn't have been able to make a single nasty comment towards her during the whole process. I mean, I doubt the newscast would have said a thing had her parents been up there, which shows that she's walked all over and that she's let it happen.

My point is that Charlie's story doesn't yet make sense. It's harder for us, the audience, to put ourselves in her shoes than it is with Angel Dust, and that's why I love him more than other characters, and certainly more than his double plot counterpart, Charlie. 

I look forward to seeing more of this series going forward and hope that Episode 2 comes out soon!

[sprawa-przybyszewskiej]

I cannot claim to know about this play more than some others (Ewa Graczyk, Jagoda Hernik-Spalińska, Kazimiera Ingdahl and Maria Janion, in alphabetical order, are the official Horsewomen of the Apocalypse in this topic), with a lot to bring to the table, and so I will sometimes discuss parts of it which are - at the very least at the first glance - absolutely and doubtlessly simple; but  by discussing them I hope to be able to bring into the discussion some new material, new evidence, perhaps - for the contrary of the popular belief.

I remember when I first read the scene between Danton and Robespierre, I was completely mystified, just as Maxime. To somebody who at that point knew nothing about the historical events, the exchange between them was very logical (and everyone knows how hard it is to obtain, especially in a piece of media where the author blatantly favours one of the characters over another). I am very glad then, to be able to say that while Przybyszewska did everything she could to humiliate and belittle Danton in the more visual aspects of the scene - his gestures, movements, actions, mimicry, even the sound of his voice etc.  - she didn't bother making him out to be a complete clown. His arguments are populistic, but that's not necessarily a bad thing when you're n politician aspiring to be even more than that. Perhaps she thought that painting him out to be a weakling would somehow diminish Robespierre's awesomeness, which is a valid concern. For Robepsierre has little left to do in this scene - it is made out to ba a confrontation between them, of sorts, but is it one, really? I don't think so, not for the large part of it. Robespierre comes in, dishes out few sarcastic lines, looks at Danton with disgust and contempt and then crushes him in a yet another sarcastic line and then leaves. There isn't that much he can do not only to participate in the exchange, but to be visually and audially appealing to the audience as a character in a play. And even though we all know staging The Danton Case is a secondary affair, the main thing you can do with it is to read it and ponder over it, when you do stage it, a lot of responsibility rests on the actors recreating the part. Which is why choosing a good actor can, potentially, make all the difference, sometimes going as far as completely changing the way you view the very same scene you read earlier.

I have always assumed by "the same man" they meant Robespierre. It makes some sense in the light of the conversation, altough I have to admit it makes little sense in the light of Robespierre's reaction. The question thus presented to us is: do we go by what is written, do we percieve a play as a piece of fiction in a real world, OR do we immerse ourselves in the fictional world, suspend our disbelief and for a moment treat it as an alternate reality of sorts?

Polish director Jan Klata has managed to put on stage a compelling retelling of The Danton Case and I would like to present to you a scene from his version, which we're lucky enough to have on YT, with translation courtesy of @that-one-revolutionary​. I've seen the play in its entirety: some metaphors were heavy-handed to say the least, some aspects I wish he'd done differently, but all in all, when choosing the main protagonist, the director casted in the role a truly splendid actor (please note that Marcin Czarnik was young. Young! It made all of the difference and it's worth watching if only for that), who brought home some of the points of character of Robespierre's which could have easily been brushed aside in order to highlight some other aspects of the conversation (the most famous example of this would be the very same scene from Wajda's movie, where the appealing and in all aspects imposing Gerard Depardieu dominantes the scene, thus presentign it in a very different ligt). While it can be read as a political statement, or a match of two great personalities, or a display of cunning on either part, Klata (or Czarnik; it's hard for me to say what the director tried to do with it, a lot of Robespierre's quirks, mimicry, gestures etc. seemed to come directly from the actor, which I can only say because I've seen him in other things and that's sort of his style of acting; all in all, I'll try to treat this not as a discussion over this particular staging, because for that I lack needed data, but it's unavoidable in the long run at least at some points, so please bear that in mind) treats the conversation itself as a minor thing in comparision to what is going on in Maxime's mind at the moment.  Just look at this: there is no significance brought into their meeting, no change of the scenery, nothing indicates this meeting is special in any way. The logical conclusion is, then:  it's not special. Both Danton and Robespierre seem to treat this as a step which cannot be avoided, but which bears no great weight either. The only reason they agreed to make this step altogether is - for "the same man". For Camille.

I do think Przybyszewska's intention was actually to disguise Maxime under this vague title. If this is a play about love - as I will always state it is - she wanted to underline the fact some people will be hatefully loved by those who are beneath them, who have nothing whatsoever in common with the object of their affection simply because the loved one is so great, so genius, so shining and bright it is impossible not to love them. I think this is the relationship between Danton and Robespierre (that is, on Danton's part) up until this point in the play. Danton idolizes Robespierre against his will (against both of their wills, really), because Robespierre is truly made out to be a demi-god at the very least. If you could team up with a hero like this, you should. So Danton goes through a humiliating process of trying to reconcile with Maxime, because humiliation, if everything paid off in the end, would be worth it. That Robespierre doesn't reciprocate the affection is simply a further proof that he is above Danton in every way.

Klata-Czarnik duo seems to have gone into another, subtler direction though. The man that both politicians make an exception for seems to be Camille, moreso because Robespierre loves him than because Danton has any special feelings for him. What is his relationship with Camille, anyway? They are cordial enough, but always a bit on the edge, and we know that Danton doesn't know everything that Camille thinks and feels in regards to Robespierre, mostly because he doesn't care that much, but also because he is characterised as a brute, and this simply goes above his head, it's too subtle, too delicate of a feeling for him to know it. It is also clear he knows Camille pretty well, but he doesn't know his soul, so to say. Therefore, he cannot actually love him, not to the point to make him the one and only excpetion from his otherwise coldly and precisley calculated plans.

Is there, however, a scenario in which Camille could be Danton's exception? Yes, when it becomes more about Robepierre than about Camille. When Camille is sort of offered as a mean to lure Robepierre in. Danton could make this exception only if it meant getting what he wanted (which is later mirrored by his blatant admission that the only reason he lets Camille take the fall with him is to deny Robespierre any joy in life after this point).

Robespierre, however, doesn't see it this way. He actually makes the exception for Camille and I think Danton's words – whatever he means by them, whichever interpretation we think is correct – put him on alert, for the fear of having his secret discovered. In the video linked above it is even more than that – once Robespierre hears Danton indirectly name "the same man", he gets aggressively defensive. For him to have someone like Danton talk almost openly about what he treats as his personal secret (a secret that Danton, being in great familiarity with Camille, could potentially know for certain) is equal with defiling it. I have violated your secret. Do you know what he says in the original? I have raped your secret. It really brings into the focus how much “the secret” needs to be protected, and how much it will hurt Maxime once it’s uncovered and destroyed.This is what he fears pretty much for the entirety of the conversation, his suspiscion somewhat confirmed when Danton says: No catchphrases, Robespierre. I know you.

As I mentioned earlier, the shift in my reading of the scene was prompted by the video. It is worth observing what exactly does Robespierre do when mentioing Camille by surname – he gets visibly more upset, he ponders for a split second for the best way to talk about him. His choice of words is interesting as well:

Both translations here are poor and I quite like what that-one-revolutionary did with it. "Katarynka" is a music-box, so "an instrument" fits much better (not to mention the obvious English connection to the phrase "play like a fiddle", which is adequate here). A parrots is after all a living being, something with a will of its own, if steered by more powerful handlers. But admitting that Camille, from his own free will decided to go against Maxime and everything that Maxime believes in is much harder for Robespierre than calling him an inanimate object, which can be unwittingly used by people with their own agenda. That leaves Camille almost blameless, perhaps careless and foolish, but not responsible fo anything that has transpired.Calling him names serves another purpose as well, which is to steer away the suspiscion that Robespierre protects Camille becuase he cares about him in a special way. He knows there are Danton's accomplices turning ears by the door, so he doesn't want to give himself away with his care and concern.

Ultimately, what do you believe, whom do you think they were referring to I think says a lot about what you think about Maxime's state of mind at the time. Danton's too, though, it can be used as a litmus test whater or not you believe he was honest in idolising Robespierre and offering him his adoration and obedience. In some stagings it will be presented as true, in some as a lie, and that's the beauty of adapting a piece of literature, there are so many options, all blooming from the same roots.

[tillidontneedfantasy]

A Track-by-Track Breakdown of Taylor Swift’s 8th Studio Album: ‘folklore’

Taylor Swift’s 8th studio album, folklore, starts off with the lie, “I’m on some new shit.” Perhaps to someone who hasn’t been paying attention this would seem to be true. But to those listening, folklore is the essence of her skill and success throughout her entire career stripped down for all to see, but more refined, enhanced, and impressive than ever.

Even prior to her pop-world domination with 1989 (2014), Taylor’s storytelling ability has always been her most compelling strength as a writer. In 2010, she released her third album, Speak Now, penned fully solo to prove to the cynics that she does, in fact, write her own music. And it’s damn good. Widely considered her best song, “All Too Well” from Red (2012) is a five and a half minute epic about love had and lost, all in walks through autumn trees, almost running red lights, dancing round the kitchen, and a scarf reminiscent of innocence, unreturned.  

Yet her pop prowess over the last six years perhaps leads to her storytelling being overlooked to those more focused on the music. There is a particular genius in writing a successful pop song, let alone three successful pop albums, that still has hard-hitting lyrics underneath the synth. Take the excellent “Cruel Summer” from Lover (2019) for example. The song is just under 3 minutes, and the production is so enthralling and infectious that it can take such a hold on you, you might miss the tale being told along with it about a fraught summer relationship that was actually just the beginning of her own love story.

But without the pop production, her stories on folklore demand attention. Swept up by a strong wave of creativity and inspiration, Swift secretly wrote and produced this album in around three months with Aaron Dessner of The National, one of Swift’s favorite bands, and long-time collaborator and friend Jack Antonoff. A surprise album is a new endeavor for Swift, as she generally spends months meticulously planning an album rollout. It is refreshing, and as a dedicated, long-time fan of Taylor, it is thrilling. Due to the album cover where she is standing in the woods, and the genre of the album itself, there have been think pieces regarding the “man in the woods” trope and what it means that Taylor seems to be embodying it. As a result of over-exposure, people are unable to stop focusing on her image and the way she presents herself. It’s understandable, as she is a very smart and deliberate businesswoman, and clearly cares about how she is perceived. But with this album, it is clear that none of that was at play. We are in the middle of a pandemic. Her mother has been battling cancer for years. Isolate a creative person in a dangerous world and they will dream up an escape. She understands more than ever how precious each moment is, and does not want to waste another one. The woods being the landscape for the photo-shoot is most likely attributed to the fact that it is the safest place to have one under these circumstances. She’s not pretending she removed herself from society and became enlightened, she didn’t dabble into a more alternative sound to prove anything; she is just sharing stories she wants to tell that she is proud of, and nothing more.

Of course the music of the album is important, but the lyrics are the heart of it all, and I wanted to focus on them. Upon its release, Taylor explained in a foreword that the album was a mixture of personal and fictional accounts. The beauty of stories is that once they are shared, they never live one single life; each person who consumes a story interprets it uniquely, and the story becomes a multiverse, with different meanings and outcomes than what initially drove the pen to the paper. As explained by Swift in a YouTube comment prior to the album’s release, three songs on the album are all one story, which she has dubbed “the teenage love triangle.” The three points of the triangle are “cardigan,” “august,” and “betty.” But if someone had not seen her say that, they might not have figured it out. Maybe they’d interpret each song as their own story, and connect it to their own. Taylor knows this. It is why she loves storytelling and is why she is so good at it. The album itself is a mirror ball, shimmering with every version of the stories being told, reflecting a bit of each person who listens. These are my interpretations, but they can mean whatever you make of them. 

1. the 1 The melody of this song helps set the scene; picture yourself skipping rocks on a lake, reminiscing on the one that got away. “the 1” is about learning to assimilate into a life without them, resentfully accepting that they might be moving on, too. She ruminates on what went wrong and what could have been. In a very Swift fashion, she puts the blame on herself when she sings, “in my defense, I have none / for digging up the grave another time.” Perhaps this song is fictional, perhaps it’s a revisit of a past feeling or relationship, but its relatability makes it feel real and present. She searches for explanations, restraining herself from asking, “if one thing had been different, would everything be different today?” But it’s good she didn’t ask, because she’d never find the answer, anyway. Best lyric: “We never painted by the numbers, baby, but we were making it count / You know the greatest loves of all time are over now.”

2. cardigan (teenage love triangle, part 1: betty’s perspective) “When you are young they assume you know nothing,” Swift sings in her smooth low-register on this Lana del Rey-esque single. “But I knew everything when I was young,” she asserts. They say wisdom comes with age, but there is wisdom lost, too, of what it felt like to be young; but she has held onto it. In this track, the narrator (Betty) is looking back on her relationship with someone she once loved (James, as name-dropped in “betty” later on in the album). Her insight on his character was always spot on; she knew he’d try to kiss it better, change the ending, miss her once the thrill expired and come back, begging for her forgiveness in her front porch light. As soon as she was feeling forgotten, he made her feel wanted, his favorite. The ending in question is unclear, whether she granted him her forgiveness or not. But what is clear is Taylor’s understanding of the pull of young love, the intensity, the immortalization of all the smallest of details, the longing to be someone’s favorite. It’s why we look back on it so often, read stories and watch films about it, even as we grow old. It’s the cardigan we put back on when we want to be Peter Pan and remember what it was like to fly with Wendy. Best lyric: “You drew stars around my scars / but now I’m bleeding.”

3. the last great american dynasty The story of Rebekah Harkness and her destruction of the last great American dynasty, Standard Oil, is documented in this track, as each verse covers a different part of Rebekah’s life, going from a middle class divorcee to one of the wealthiest women in America by marrying into an empire. Swift paints Rebekah as an outcast, the Rhode Island town blaming her for her husband’s heart giving out. Rebekah used her inherited fortune on her ballet company, throwing lavish parties with her friends who went by the “Bitch Pack,” playing cards with Dali (Yes, as in Salvador Dali. It’s not clear if they actually played cards together, but her ashes were placed in an urn designed by him), and feuding with her neighbors. Then, fifty years later, Taylor Swift bought that very house and ruined the neighborhood all over again, bringing with her the triumphant return of champagne pool parties and women with madness, their men and bad habits. It’s a note on how women will be blamed for tarnishing what is sacred to men rather than celebrated, specifically when its related to wealth and power. They will call them mad, shameless, loud. But just like Rebekah, Taylor learned to pay them no mind, and just have a marvelous time. It is also interesting to note that Rebekah went by Betty. Perhaps Taylor felt inspired by and connected to her and gave her a whole backstory, and thus the birth of “the teenage love triangle,” or maybe it’s just a coincidence; but that’s the fun of it all. Either way, this track is a standout showcase of how Swift has truly mastered her craft as a songwriter. Best lyric: “Holiday House sat quietly on that beach / free of women with madness, their men and bad habits / and then it was bought by me.”

4. exile ft. Bon Iver You know that feeling when your parents are fighting and it’s upsetting you but you can’t help but listen? That’s kind of what listening to this song feels like. Bon Iver’s Justin Vernon co-wrote the track, and he lends his gorgeous vocals to play a man who has been exiled by his ex who has moved on with someone else while he desperately tries to understand where it all went wrong. The bridge is particularly poignant, both proclaiming, “you didn’t even hear me out,” while talking over each other. He thinks he was expected to read her mind, but she is adamant that she gave him plenty of warning signs. Miscommunication is one of the most common downfalls of a relationship, and the emotion in Swift’s and Vernon’s voices really draws you into the argument with them, transporting you back into your own exile from people you once called home. Best lyric: “I couldn’t turn things around / (You never turned things around) / ‘cause you never gave a warning sign / (I gave so many signs.)”

5. my tears ricochet Taylor describes this song in the foreword as “an embittered tormentor showing up to the funeral of his fallen object of obsession.” If you know enough, you can put the pieces together that the tormentor is Scott Borchetta, the head of Big Machine Records, and the funeral is of their professional and personal relationship. Taylor was the first artist ever signed to Big Machine. Borchetta and Swift had to trust each other in their partnership for it to be a success, and oh, how it was. But prior to Lover’s release, Taylor announced that she would be signing to Republic Records as her contract with Big Machine had ended and Republic offered her the opportunity to own all of her masters moving forward and negotiate on Spotify shares for all their artists. It all could have ended amicably there, but then Scott Borchetta sold all of Big Machine, along with Taylor’s masters from every album prior, to Scooter Braun. Braun manages some of the biggest stars out there, and had previously managed Kanye West. Taylor publicly spoke out about this purchase, stating that she was not made aware of this before the announcement, and how much of a betrayal it was considering she had cried to Scott before about Scooter’s mistreatment of her. Taylor has continued to be vocal about this, and so she sings, “I didn’t have it in myself to go with grace.” There is a lot to unpack in this song, but the main takeaway is that this betrayal hurts him just as much if not more than it hurts her, because his career was built on her achievements. He buried her while decorated in her success, becoming what he swore he wouldn’t, erasing the good times for greed, all just to be haunted with regret for pushing her out and stealing her lullabies. The pain is palpable, and it is notable that this is song is placed at track 5, the spot generally reserved for the most vulnerable on the album; it shows that there are different types of heartbreak that can shatter you just as much as those from romance. Best lyric: “If I’m dead to you, why are you at the wake? / Cursing my name, wishing I stayed.”

6. mirrorball On Lover’s “The Archer,” Taylor expresses her anxiety over people seeing through her act, her own grief at seeing through it herself, wondering if her lover does and whether he would stay with her regardless. “mirrorball” is about the act, one of the more obviously confessional songs on the album. She talks about how a mirror ball can illuminate all the different versions of a person, while also reflecting the light to fit in with the scene. Taylor’s critical self-awareness is heart wrenching, and it’s clear that the anxiety that surrounds the public perception of her is still prevalent. She describes herself as a member of a circus, still on the tightrope and the trapeze even after everyone else has packed up and left, doing anything she can to keep the public’s attention. It hurts to hear the desperation in her voice, but there’s hope in the song, too. She is speaking to someone (we can assume her long-term boyfriend, Joe Alwyn) and thanking them for not being like “the regulars, the masquerade revelers drunk as they watch my shattered edges glisten.” In 2016, the height of Taylor’s fame and subsequently her farthest fall from grace, all the people who pretended to be her friends and attended all her parties celebrated her (temporary) demise, continuing to dance over her broken pieces on the floor. But he stayed by her side as she put herself back together. And so now, when no one is around, she’ll shine just for him, standing even taller than she does for the circus. Best lyric: “I’m still a believer, but I don’t know why / I’ve never been a natural, all I do is try, try, try / I’m still on that trapeze, I’m still trying everything / to keep you looking at me.”

7. seven Her voice gentle and haunting, Taylor recalls the freedom and innocence of her childhood in Pennsylvania. She asks to be remembered for how she was, swinging over the creek, before she learned civility when she would scream anytime she wanted, then letting out a very pretty one. She sings to her old friend soothingly about taking them away from their haunted house that their father is always shouting in, where they feel the need to hide in a closet, perhaps literally, or figuratively, or both. They can move into Taylor’s house instead, or maybe just to India, just be sure to pack their dolls and a sweater and then they’ll hit the road. She can no longer recall her friend’s face, but the love she had for them still lives in her heart, and she wants it to live forever through story. Just in the way that folklore itself blends reality and fiction, but the truth within it passes on, so will the purity of that love and friendship. Best lyric: “Please picture me in the weeds / before I learned civility / I used to scream ferociously / any time I wanted.”

8. august (teenage love triangle, part 2: the other girl’s perspective) If you had to assign the feeling of longing to a song, it’d be “august.” It’s when you’re teetering at the edge with someone, unsure of where you stand with them, clinging to anything they give you and doing anything just to raise your chances, “living for the hope of it all.” August, the last month of summer, its heat causing it to slip away the fastest in a haze before reality hits. This track is a display of how sometimes losing something you never had causes an even deeper ache than losing something that was yours, and Jack Antonoff’s signature production intensifies the emotion even more. It’s the story of shattered hope, and the longing for the days where it could still fuel you. Best lyric: “To live for the hope of it all / cancel plans just in case you’d call.”

9. this is me trying “this is me trying” is like a drive through a tunnel at night, hearing your loudest anxieties and insecurities echo all around you, caving in. The track is another apt insight into Swift’s struggles with her self-image, with the pressure she puts on herself, so much so that she sometimes pushes herself too close to the edge, her fears luring her out of the tunnel and down, down, down into her own cage, stunting her own growth and keeping those who care out of reach. She tells us how she was “so ahead of the curve, the curve became a sphere.” Every action has an equal, opposite reaction, meaning that she was pushing herself so hard, she rolled back to where she started, and now has to reset. This could be referring to the period between the end of the 1989 era and the release of reputation (2017), or a different time in her life, or just a general sentiment. It doesn’t really matter, though, because no one’s growth is a neat, straight line; growth is jagged. Just like any of us, Taylor will always have to face new obstacles, new pitfalls, new reasons to get back up. She sounds most vulnerable as she cries, “at least I’m trying,” and you feel comforted knowing someone so beautiful and successful has to push herself to try, too, and yet that motivates you more to try yourself. Best lyric: “They told me all of my cages were mental / so I got wasted, like all my potential.”

10. illicit affairs A quiet, slow-build testament of the passion, the tragedy, the secrecy, the inimitability of a romance that shouldn’t exist, “illicit affairs” demonstrates how you can ruin yourself for someone from just one moment of possibility or truth, quite like the narrator of “august” does for the hope of it all. An illicit affair can be many different things: infidelity, forbidden love, a love that can never be fully realized, a relationship that is inherently wrong but electrifying all the same. It’s a reminder of what so many of us would do just to see new colors, to learn a new language, even if the one moment of enlightenment destroys us forever. We might lose the iridescent glow but we don’t forget it; we carry it with us, but must be careful to remember its blinding effect, to remember how fatal the fall is from the dwindling, mercurial high. Best lyric: “Tell your friends you’re out for a run / you’ll be flushed when you return.”

11. invisible string Clearly the most outright autobiographical track, “invisible string” is the plucky pick-me-up needed. The song is like sunshine, as Swift endearingly links all the little connections between her and her boyfriend, Joe Alwyn, since before they even met. She compares the green grass at the Nashville park she’d sit at in hopes of a meet-cute to the teal of his yogurt shop uniform shirt, and gives a nod to her smash hit “Bad Blood” from 1989 with the delightful line “bad was the blood of the song in the cab on your first trip to LA.” She reasons these coincidences as a fateful, invisible, golden string tying them together since the beginning, always destined to meet at the knot in the middle. She thanks time for healing her, (a callback to “Fifteen” from Fearless [2008]), fighting through hell to make it to heaven, transforming her from an axe grinder to a gift giver for her ex’s baby (the ex in question, Joe Jonas, and his wife Sophie Turner, happened to have their first daughter two days before this album’s release). As she has on her previous two albums, she uses the color gold to illustrate how prized their love is to one another. It’s sweet to know in all the gloom that the string has not been severed, and the trees are still golden somewhere. Best lyric: “Cold was the steel of my axe to grind for the boys who broke my heart / now I send their babies presents.”

12. mad woman Throughout her entire career, Taylor Swift has defiantly defended female rage, all the way back from throwing a chair off a platform on her Fearless Tour during the impassioned “Forever & Always,” to her patient, vengeful reliance on karma in reputation’s lead single, “Look What You Made Me Do,” to her most recent tackling of the matter on Lover’s last and final single, “The Man,” where she explores society’s acceptance and encouragement of angry men yet disdain for angry women. “The Man” is catchy and upbeat, and a fun thought experiment into how Swift’s career would be perceived if she was a man, something that is even more interesting to think about now as she releases an album in a genre heavily dominated and lauded by males. But on “mad woman,” she further explores the creation and perception of female rage, though masked under a smooth, haunting piano melody, her vocals subdued, taunting. In the album foreword, she describes the inspiration behind this song as “a misfit widow getting gleeful revenge on the town that cast her out.” This could be the continuation of Rebekah “Betty” Harkness’s story at her Holiday House in Watch Hill, RI, and how she further alienated herself from the rest of the neighborhood as they cast stones at her for the collapse of the last great American dynasty. (Or perhaps Daenerys Targaryen’s descent as the Mad Queen played a part in the song’s inspiration, as Swift has spoken of her love for Game of Thrones and her character specifically.) Taylor herself could also represent the widow, her music and masters as her love lost, and the men behind the crime as the “town that cast her out.” In the first verse she sings, “What do you sing on your drive home? / Do you see my face in the neighbor’s lawn? / Does she smile, or does she mouth ‘fuck you forever’?” It’s the first f-bomb of Taylor’s career (though a much more playful one will come two tracks later in “betty”) and it speaks volume. Taylor has received a lot of condemnation for expressing her anger at their transaction, for calling out their greed for what it is. Some view Swift’s stance on the ordeal as petty and trivial; they see the men as orchestrating a good business deal, and Swift as the girl throwing a tantrum. Ask any woman, and they can tell you about a time a man told them they were crazy for being justifiably angry; it only makes us angrier. “No one likes a mad woman,” Taylor states, “You made her like that.” Swift underscores that here, how they will poke and poke the bear but then blame it for attacking, as if they had never provoked it at all, and how dare it defend itself. Just as they blamed Rebekah for her husband’s heart giving out, they somehow manage to blame Swift for not being allowed to purchase the rights to her own work. And yes, she’s mad, but the song is measured and controlled; she’s used to her anger now, and knows just how to wield it. Best lyric: “Women like hunting witches, too / doing your dirtiest work for you / It’s obvious that wanting me dead has really brought you two together.”

13. epiphany This is another track Swift provided some background on, stating it was inspired by her “grandfather, Dean, landing at Guadalcanal in 1942” during WWII. The first verse paints this image, while the second verse depicts a different kind of war, happening right now, fought by doctors and nurses. She speaks of holding hands through plastic, and the escape folklore has granted you suddenly lifts. Watching someone’s daughter, or mother, or anyone suffer at the hands of the COVID-19 pandemic, just as watching a soldier bleed out, helpless, is too much to speak about. As she points out, they don’t teach you about that vicarious trauma in med school. We are living in a tireless world with barely any time time to rest our eyes, but too much going on while we’re awake to make sense of any of it. “epiphany” is a cinematic prayer, pleading for some quiet in order to find an answer in all the noise. We’re still waiting for that glimpse of relief. Best lyric: “Only twenty minutes to sleep / but you dream of some epiphany / Just one single glimpse of relief / to make some sense of what you’ve seen.”

14. betty (teenage love triangle, part 3: james’s perspective) It makes sense that a song reminiscent of Fearless would exemplify some of the best story-telling on folklore. The final puzzle piece of the teen love triangle, “betty” is a song sung by Swift from the perspective of the character of her own creation, James, attempting to win back his true love, Betty, who he slighted in some way. He proclaims that the worst thing he ever did is what he did to her, without explicitly stating it. Though the infamous deed is unclear, here’s the information we collect from this song: James saw Betty dancing with another boy at a school dance, one day when he was walking home another girl (from “august”) picked him up and he ended up spending his summer with her yet still loved Betty, and though he ended things with his fling and wanted to reconcile with Betty, he had returned to school to see she switched her homeroom (James assumes, after saying he won’t make assumptions. Classic men). So in order to make it up to her, he shows up at her party with the risk of being told to go fuck himself (the second and charming “fuck” on the album! Which is repeated!). Upon his arrival, there is a glorious key change (ala “Love Story”) and all the pieces fall into place for the listener; we realize Betty is the girl singing in “cardigan” as he lists the things he misses about her since the thrill expired, like the way she looks standing in her cardigan, and kissing in his car. He’s 17 and doesn’t know anything, but she knew everything when she was young, and she knew he’d come back. The way I see their story conclude is that she led him to the garden and trusted him, but as they grew older they grew apart, but the love she had for him never faded completely. Listening to this song is like being back in high school, whether you were the person who did someone wrong or the person so willing to forgive in the name of young love, or Inez, the school gossip, you’re right there with them. The other great thing about this song is that it is sung to a girl, and though it is set up so we understand it is most likely from a boy’s perspective, it doesn’t have to be. It’s really great that girls in the LGBTQ community can have a song in Taylor’s voice to fully connect to without changing the pronouns or names (even James, which is unisex and is one of the names of the daughters of Blake Lively and Ryan Reynolds, Taylor’s close friends, mentioned in this song). That is the beauty of folklore: the infinite ways a story can be told, perceived, retold from a different perspective, and told again. Maybe you’ll hear it from Inez. Best lyric: “But if I just showed up at your party / would you have me? Would you want me? / Would you tell me to go fuck myself, or lead me to the garden?”

15. peace One of the most beautifully solemn songs of her career, “peace” echoes the same fears explored in “Dancing With Our Hands Tied” from reputation; will the person she loves be able to weather the ever-present storm that comes with the life of a superstar, but also dwells within herself? Will holding him as the water rushes in be enough? Will giving him her wild, a child, her sunshine, her best, be a fair consolation? Presumably another confessional track and about Alwyn, Swift puts him up on a pedestal, praising his integrity and his dare to dream. She proclaims that she would die for him in secret, just as she told him she’d be on her tallest tip toes, spinning in her highest heels, shining just for him in “mirrorball.” She highlights some of the greatest gifts of love, such as comfortable silence and chosen family. She knows what they have is special, but she also knows the value of peace, the ultimate nirvana, and does not want to deprive him of that. It is so deeply relatable- to me, at least- to feel like you can give someone so much of yourself but know it still may never be enough, and to fear either losing them or robbing them of something better. But looking at what they have together, maybe peace is overrated. Or maybe, she’s looking for peace in the wrong places. The calm is in the eye of the storm, and sometimes, there’s nothing more freeing than throwing away the umbrella and soaking in the rain. Best lyric: “I never had the courage of my convictions / as long as danger is near / and it’s just around the corner, darling / ‘cause it lives in me / no, I could never give you peace.”

16. hoax The truest enigma of the album, the closer, “hoax” is a devastatingly dark ballad about the uncertainty, or perhaps incredulity, of someone’s love for you, a love that is your lifeline. The lyrics are ambiguous, which gives way to a plethora of interpretations. Perhaps she is speaking about a hypothetical situation that has yet to happen (and hopefully doesn’t) in which someone she loves and trusts betrays her. Maybe she is talking about a relationship, real (hopefully not) or fictional, in which despite the torment it brings her she holds onto it for dear life. I’m most inclined to believe that the song represents her difficulty in accepting that someone is willing to love her through such dark periods, that their love must actually be a hoax, but she chooses to believe in it anyway and uses it as the motivation to rebuild her kingdom, to rise from the ashes on her barren land. And even through the downs that come at some point in every relationship, she can still see the beauty in it all. Yes, their love is golden, but waves of blue will crash down around any partnership, because life does not exist without them. So even when things are as blue as can be, she’s at least grateful it’s with him. Best lyric: “Don’t want no other shade of blue but you / no other sadness in the world would do.”

Although we still have yet to hear the deluxe track, “the lakes,” as a fan of Taylor for almost 12 years, it feels so obvious that this is her strongest work yet. The storytelling I fell in love with on Fearless as a teenager (which, much like folklore, was highly inspired by imaginary situations and real emotions) is even sharper now as we have both grown into adults. The music on this album might not be everyone’s speed, and that’s okay. But it allowed Taylor to dip back into what made Fearless such a success: using pieces of her own truth and the whims of her imagination to develop a multi-faceted narrative that becomes universal. During her Tiny Desk concert, before performing “Death By A Thousand Cuts” from Lover, Swift explained the anxiety she felt around the possibility of stunted creativity when people would ask her what she would write about once she was happy. Taylor has released an abundance of beautiful, fun, complex love songs since the start of her relationship almost four years ago now. But “Death By A Thousand Cuts,” which is a fan favorite, helped her prove to herself that she can still write a killer breakup song while being in a happy, fulfilling relationship; the song was the last track written for Lover and was inspired by the film Something Great on Netflix. And so it makes perfect sense that Taylor used folklore to continue exploring this new avenue for songwriting. All of her discography and all of her life experiences have culminated to the folklore moment: as all the best artists do, she will never stop finding inspiration in hidden corners of this dark, mystical, wondrous universe, and falling in love with new ways to share those wonders. And that love will be passed on.

DISCLAIMER - REVIEWER’S BIAS: I love Taylor Swift more than any person in my life, yes including my parents, they are aware and have accepted this fact long ago ❤️