#as it's central to my interpretation of this scene
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rovingotter · 4 months ago
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Heavy spoilers for Joker: Folie à Deux beneath the cut.
Joker 2019 is a movie that is often misunderstood, and one that means a lot to me.  It doesn’t quite manage to nudge out some of my childhood animated favorites like The Last Unicorn and Watership Down, but Joker is definitely in my top three favorite live action movies.  It got me back into writing fanfic after a long dry spell.
I didn’t think it needed a sequel.  Most people didn’t.  The first movie told the story it needed to tell.  I was wary going into this.  After hearing that it was a musical (and with Gaga as Harley?), I didn’t know what to expect but I thought that even if it was bad, even if it completely misfired, it would at least be an entertaining and funny trainwreck. 
Turns out, it’s not funny at all.  This movie gutted me.
I wish it didn’t exist.  The experience of watching it was…I’m still processing it, but I think I can say at this point that it was an unpleasant experience, but also a captivating one.  I hate it but I also weirdly have a higher opinion of it than most people seem to.  I feel like it was tonally true to the first movie.  I think Phoenix and Gaga both breathed life into their roles.  The musical numbers didn’t seem strictly necessary but they also didn’t detract from the experience for me. Music was an important element of the first movie as well.
I also think the central premise is an interesting one.  Arthur, incarcerated in Arkham, is facing the possibility that he’ll be sentenced to death for the murders he committed in the first movie.  His lawyer is aiming for an insanity defense and tries to convince the jury that the Joker is a separate personality—that Joker, not Arthur, killed those people.  In order to save his own life, Arthur needs to convince the jury that he’s not Joker…or he can take a different path. He can say "fuck it," fully embrace the Joker persona and live whatever time is left laughing and watching everything burn.  This is what Harley "Lee" Quinzel, who admires Joker and the chaos he represents, wants him to do.
In the end, he does neither.
After being forced to sit in silence for days and listen to a defense that both infantilizes and dehumanizes him, reducing him to a set of symptoms, stripping him bare and putting all his pain and humiliation on display, Arthur can’t take it anymore.  He fires his lawyer (who represents his best hope of survival) and elects to represent himself.  Initially he tries to represent himself as Joker, to lean into that persona, but he’s not feeling it anymore…especially after the confrontation with Gary Puddles, the guy who was probably his only true friend before he became Joker.  In the first movie, Arthur spared Gary’s life but left him deeply traumatized after he witnessed the death of Randall, the coworker who bullied Arthur.  This conversation with Gary was one of the most riveting parts of the movie for me.  There is a nakedness and rawness to it. Arthur tries to say "fuck it," but ultimately, he can't. Not in the face of Gary's pleading and pain.
After this, some horrible things happen to Arthur in Arkham.  The guards beat him and brutally assault him.  They kill his fellow inmate who tries to offer him support, because the system is still ruthless and still failing vulnerable people.  Arthur is left broken, helpless. Again. Some people have interpreted this scene as the reason he ultimately sheds his Joker persona, but I think it would have shaken out differently if not for that earlier conversation with Gary.  Because Gary is possibly the only person who truly cared about Arthur, when he was only Arthur—a fellow outcast, and the only guy who never made fun of him. 
Joker makes fun of Gary, because Joker makes fun of everything.  And Arthur realizes that he’s not—doesn’t want to be Joker. At his core, he's sick of pain and violence, both his own and other people's. He wants to try to break the cycle.
In the end, Arthur stands before everyone not as Joker but as Arthur Fleck—he stands alone and naked, shattered, traumatized, with no remaining allies, and he takes responsibility.  He says that he did those things.  He did them because he was having a mental breakdown, yes, because he was wounded and wronged by an unjust world, but he regrets it, now.  He hurt some bad people, but he also hurt some people who didn’t deserve it.  He’s tired of being the clown.  He just wants to live.  That was all he ever wanted, really.  Just a little bit of kindness and respect.
This is his truth:  Joker is a part of him, but a part that was born out of pain.  His deepest self is Arthur. In admitting that, he lays it all on the line, in that moment. And this is, in my opinion, the bravest thing he could have done.  I had my hand over my heart for this whole scene. 
And for this small, fragile act of courage, he is utterly forsaken by the world.  Lee—the one person who he has a connection with—is in love with Joker, not Arthur.  She walks out of the courtroom.  She abandons him in his moment of greatest need—not out of malice, but out of weakness. Because she wants to live in a fantasy world and she can't handle the reality of who he is:  not an embodiment of chaos and power, not a symbol, but a man, a vulnerable man who is full of regrets but who is trying, in his own confused way, to be better.
The first movie was bleak but it offered a glimpse of a twisted kind of hope at the end with Arthur finding inner peace even as he’s condemned to a life in psychiatric incarceration for his actions.  This movie takes that bit of hope and grinds it into the dust.  It’s a tragedy, through and through.
Arthur’s random, pointless death at the end feels almost redundant because it’s made clear by that point that his spirit has already been slain.  His connection with Lee was all he had, and when it’s revealed to be an illusion, that’s it.  He can no longer exist as the Joker but he can’t exist as Arthur, either.  He tried his best and was rejected for it.  It didn’t work.  He’s done. 
There are a lot of takes about how this movie should have gone, and honestly, most of them sound terrible to me.  I think this is the only way a sequel could have gone while remaining honest, which is why I didn’t want a sequel.
You can’t hear me, Arthur, but I love you, and I’m proud of you for standing before the world as yourself, and you didn’t deserve to die the way you did. 
This world is fucking cruel.
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420technoblazeit · 2 months ago
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i've seen some people say that jayce's speech to viktor at the end of act 3 rang hollow to them because viktor's illness and disability still caused him a lot of pain and suffering and it felt like jayce was invalidating that but that's not how i interpreted that scene at all. one of the first things viktor ever tells jayce is that he knows that people look down on him because of his disability. piltover is the city of progress. it's stunning and golden and perfect and so viktor's disability only highlights how out of place he is. we know that his appearance, especially when it's changed by the hexcore, bothers him because he hid those changes from jayce and looked visibly upset about it when he emerged from his coma. not to point to the line again but 'i'd rather you not be here for what could be my final form' and 'please don't let them see' says a lot about what viktor thinks of his body. when he becomes the machine herald part of that decision is that he'd rather reinvent himself completely than remain an imperfect version of his old self
and jayce understands how other people's perception of him affects his self image. he's aware of viktor's disability and his illness and he's constantly accommodating for that, whether it's helping him with hexcore experimentation or giving him his seat at the council table. he isn't blind to how that affects viktor's life. but what he's saying doesn't come across to me as 'you're perfect just the way you are' but 'i want you to know that i never thought less of you because of your body. you're not broken to me and i love those parts of you even if you don't' like it's a very central part of jayce's season 2 arc that he also becomes disabled when he travels to that other universe. he's now speaking from experience with a new understanding of how disability changes your perception of yourself and impacts your confidence. the reason why that speech worked is because it was exactly what viktor needed to hear. that an imperfect body is just as worthy of love
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supersoakerfullofblood · 11 months ago
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Point of View: the Biggest Thing You're Missing!
Point of view is one of the most important elements of narrative fiction, especially in our modern writing climate, but you rarely hear it seriously discussed unless you go to school for writing; rarely do help blogs or channels hit on it, and when they do, it's never as in-depth as it should be. This is my intro to POV: what you're probably missing out on right now and why it matters. There are three essential parts of POV that we'll discuss.
Person: This is the easiest part to understand and the part you probably know already. You can write in first person (I/me), second (You), and third person (He/she/they). You might hear people talk about how first person brings the reader closer to the central character, and third person keeps them further away, but this isn't true (and will be talked about in the third part of this post!) You can keep the reader at an intimate or alien distance to a character regardless of which person you write in. The only difference--and this is arguable--is that first person necessitates this intimacy where third person doesn't, but you still can create this intimacy in third person just as easily. In general, third person was the dominant (and really the only) tense until the late 19th century, and first person grew in popularity with the advent of modernism, and nowadays, many children's/YA/NA books are written in first person (though this of course doesn't mean you can't or shouldn't write those genres in the third person). Second person is the bastard child. Don't touch it, even if you think you're clever, for anything the length of a novel. Shorter experimental pieces can use it well, but for anything long, its sounds more like a gimmick than a genuine stylistic choice.
Viewpoint Character: This is a simple idea that's difficult in practice. Ask yourself who is telling your story. This is typically the main character, but it needn't be. Books like The Book Thief, The Great Gatsby, Rebecca, Dr. Jekyll and Mr. Hyde, and the Sherlock series are told from the perspective of a side character who isn't of chief importance to the narrative. Your viewpoint character is this side character, the character the reader is seeing the world through, so the main character has to be described through them. This isn't a super popular narrative choice because authors usually like to write from the perspective of their most interesting character, but if you think this choice could fit your story, go for it! You can also swap viewpoint characters throughout a story! A word of warning on that: only change your viewpoint character during a scene/chapter break. Switching mid-scene without alerting the reader (and even when you do alert the reader) will cause confusion. I guarantee it.
Means of Perception; or, the Camera: This part ties the first two together. If you've ever heard people talk about an omniscient, limited, etc. narrator, this is what they mean. This part also includes the level of intimacy the reader has with the viewpoint character: are we in their heads, reading their thoughts, or are we so far away that we can only see their actions? If your story is in a limited means of perception, you only have access to your character's head, eyes, and interpretations, where an omniscient narrator sees through all characters' heads at once. (This doesn't eliminate the viewpoint character--most of your writing will still be in that character's head, but you're allowed to reach into other characters' thoughts when needed. You could also be Virginia Woolf, who does fluidly move through everyone's perspectives without a solid viewpoint character, but I would advise against this unless you really are a master of the craft.) Older novels skew towards third person omniscient narration, where contemporary novels skew towards first person limited. You also have a spectrum of "distant" and "close." If omniscient and limited are a spectrum of where the camera can swivel to, distant and close is a spectrum of how much the camera can zoom in and out. Distant only has access to the physical realities of the world and can come off as cold, and close accesses your character's (or characters', if omniscient) thoughts. Notice how I said narration. Your means of perception dramatically effects how your story can be told! Here's a scene from one of my stories rewritten in third-person distant omniscient. The scene is a high school football game:
“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” She shivered; the wind blew in. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, stuttered there, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” She met his eyes, which he pulled away. “You don’t mean that," Piper said. “Maybe not. He’s too confident, though.” The cloth of Carmen's uniform caved and expanded under Piper's fingers.
With distant-omniscient, we only get the bare actions of the scene: the wind blows in, Piper shivers, the cloth rises and falls, Carmen points, etc. But you can tell there's some emotional and romantic tension in the scene, so let's highlight that with a first person limited close POV:
“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” Frost spread up from her legs and filled her as if she were perforated rock, froze and expanded against herself so that any motion would disturb a world far greater than her, would drop needles through the mind’s fabric. A misplaced word would shatter her, shatter him. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, thought better, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” “You don’t mean that.” She spoke like a jaded mother, spoke with some level of implied authority, and reminded herself again to stop. “Maybe not. He’s too confident, though.” Piper felt the cloth of his waist cave and expand under her fingers and thought: is this not confidence?
Here, we get into Piper's thoughts and physical sensations: how the frost rises up her, and how this sensation of cold is really her body expressing her nervous fears; how she "thought better" and put her arm around his waist; her thought "is this not confidence?"; and how she reminds herself not to talk like a mother. Since I was writing from the close, limited perspective of a nervous high schooler, I wrote like one. If I was writing from the same perspective but with a child or an older person, I would write like them. If you're writing from those perspectives in distant narration, however, you don't need to write with those tones but with the authorial tone of "the narrator."
This is a lot of info, so let's synthesize this into easy bullet points to remember.
Limited vs. Omniscient. Are you stuck to one character's perspective per scene or many?
Close vs. Distant. Can you read your characters' thoughts or only their external worlds? Remember: if you can read your character's thoughts, you also need to write like you are that character experiencing the story. If child, write like child; if teen, write like teen; etc.
Here's another way to look at it!
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This is a confusing and complex topics, so if you have any questions, hit up my ask box, and I'll answer as best I can. The long and short of it is to understand which POV you're writing from and to ruthlessly stick to it. If you're writing in limited close, under no circumstances should you describe how a character other than your viewpoint character is feeling. Maintaining a solid POV is necessary to keeping the dream in the reader's head. Don't make them stumble by tripping up on POV!
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archiviztic · 1 month ago
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I have absolutely no words to describe how psychically, physically and spiritually impactful this scene was and still is on me. Despite this, I feel I could describe in keen detail its significance from a character perspective. [warning for unscripted and unfiltered fixation rambling]
The way Gihun centralises himself in situ with Sangwoo’s morals. The way Sangwoo is immediately angry at him for even suggesting he would hurt Gihun, but biting his lip back when he realised that Gihun actually considers that scenario in his anger. Gihun’s unwavering gaze momentarily breaking through Sangwoo’s hardened facade, his eyes flickering as he dodges Gihun’s stare, unable to form a response. Sangwoo is such a deeply complex character (as is Gihun ofc) but in such a way that all his thoughts and moral code is obscured through the lens he wants others to see, meaning it lacks full truth on the surface. His appearance is so strictly crafted to what he wants others to perceive that he loses himself in it and when Gihun punctures that presentation it wounds him. Gihun sees through him, and says the exact thing that breaks the camels back. Sangwoo is vulnerable in that knowledge. They are both so vulnerable in this moment, but it’s the central moment that Gihun’s understanding of Sangwoo is projected at him without a veneer of kindness. He wants Sangwoo to feel guilty, and he succeeds in this; despite how firm Sangwoo is in his own part that he plays in the games and his lack of copability for his actions, he stutters under this question. Gihun targets the one thing he knows Sangwoo isn’t able to keep that front for.
Himself.
Gihun has grown up with Sangwoo, seen the pits of poverty with Sangwoo and is now face to face with him and all that history under the impression that Sangwoo’s willingness to kill under these circumstances will extend to him. It doesn’t. And that defined Sangwoo’s one stake in the game;
(Bit of personal interpretation here because I’ve been so solid in my idea of Sangwoo’s true intentions when traversing the game for 3 long years)
Gihun being alive to see the money that he knows he’d never live to use, even if he left victorious.
I adore them. I hate them. I can’t stop thinking about them. They are so deeply important to me. I. Them. They.
It’s 5am, I need rest.
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verypersonalscreencaps · 11 months ago
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"PREGNANT, IF I WANT, WHEN I WANT, HOW I WANT" FRANCE BECOMES FIRST COUNTRY TO EXPLICITLY ENSHRINE ABORTION RIGHTS IN CONSTITUTION The Washington Post | Published March 4, 2024 PARIS — With the endorsement of a specially convened session of lawmakers at Versailles, France on Monday became the first country in the world to explicitly enshrine abortion rights in its constitution — an effort galvanized by the rollback of protections in the United States. The amendment referring to abortion as a “guaranteed freedom” needed the approval of three-fifths of lawmakers — or 512 votes. The vote result on Monday evening was 780 in favor and 72 against. “We’re sending a message to all women: your body belongs to you and no one can decide for you,” Prime Minister Gabriel Attal told lawmakers assembled in Versailles. Thousands of Parisians gathered to watch the proceedings live on a giant television screen at Le Parvis des Droits de l’Homme — or “Human Rights Square” — in central Paris, with the Eiffel Tower looming dramatically over the scene. Before the political debate began, the television screen showed a montage of women’s rights campaigners around the world holding signs declaring, “My body is mine” and “My body, my choice.” The sound system blared Aretha Franklin’s “Respect.” Parisians driving by honked their horns. France decriminalized abortion in 1975; abortion is legal for any reason through the 14th week of pregnancy. This amendment won’t change any of that. But while other countries have inferred abortion rights protections from their constitutions, as the U.S. Supreme Court did in Roe v. Wade, France is the first to explicitly codify in its constitution that abortion rights are protected. France is not interpreting its constitution; it is changing its constitution. The outcome was “also a promise for all women who fight all over the world for the right to have autonomy over their bodies — in Argentina, in the United States, in Andorra, in Italy, in Hungary, in Poland,” said lawmaker Mathilde Panot, who had introduced the bill in the National Assembly. “This vote today tells them: your struggle is ours, this victory is yours.” People gather near the Eiffel Tower during the broadcast of the special session of Parliament, in Paris on Monday.
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marzipanandminutiae · 5 days ago
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Eggers confirmed in interview that Ellen wasn't a child, she was teenager at the start of the film. You can probably say there's case of ephebophilia. But there is no CSA there. Also Eggers absolutely saw it as Dark romance and ships it himself. He wouldn't be doing it if there was CSA.
And that's fine, but not everyone accepts Word of God as canon
My thoughts on Eggers' interview statements are that he should have made his intentions clearer if that's what he was going for, because a huge portion of the audience came away with the impression that it was about someone's stalker/rapist coming back to jeopardize the life she'd made for herself out from under his thumb. And like...if he wanted people to not think that, he should have made directing choices that made the onscreen story match his vision better.
You're free to interpret it however you want. What I take issue with is people saying that there's One True Interpretation and no viable way to see it in any other light. There's one interpretation that the director intended, but the movie he actually made leaves holes to interpret it a different way. He shouldn't have made it that way if he had a very specific story to tell.
How can I see it as CSA? Simple. She said she was "a child" when it started and even if she was a young teenager, it being the early 1830s (assuming she's like 20-23 at time of canon, based on statistical age at first marriage for women back then) doesn't magically make 15-year-olds adults. 15 back then was about like 17 now- not a Tiny Baby, but decidedly not a Full Grown-Up either. "Child" CAN be a euphemistic term for a naive or inexperienced adult, but it's not always
And maybe if he wanted people to not interpret her as a literal child...he shouldn't have had her characterize herself that way in the dialogue, talking about when all of this started? "I was so young," "I didn't know better," "I was a fool," "I was naive," etc. SO MANY clearer wordings there. They already didn't get a child actress to play her in the opening scene; without that line, I'd assume it had been like. A few years before her marriage, when she was maybe 17-18, and just seen it as abuse rather than arguable CSA. It's a weird dialogue choice if he wanted to convey "the vampire sex started when she was young but not unacceptably young," like many other weird choices that I felt were counterproductive to his stated narrative aims.
Doesn't mean my interpretation is objectively correct either! But you don't see me going around saying that there's No Way Anyone Could See It As Consensual And That's Wrong And Bad.
I have both been there and done that before, coming from a fandom (Crimson Peak) where there's no way to interpret a central relationship as peer CSA/COCSA if you go by Word of God, but there's absolutely space for that based on what ended up in the actual movie. And I've had to make peace with it, even though I ship that couple to the moon and back.
You like these fake people kissing in this way, and other people don't. And that's fine! You don't need a big moral justification for it, or to have the Single Correct Interpretation!
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deadnametrading · 9 months ago
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I've been reading people's interpretations of this scene, and while I agree with the substance of the take that "Laios is quite isolated and his party often don't understand him", it's not the reading I get from this scene in either the manga or the anime.
So let's review the board, spoilers for episode 18 of the anime, obviously
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Senshi's Laios: very cute, a reflection of his standards of masculinity. Possibly influenced by him being older, by Dwarven ageing, and the fact Laios is clean shaven. He projects similar notions on Chilchuck, and other biases onto Marcille. I feel this can mostly be chalked up to how brief his time with the party currently has been (1-2 weeks).
Chilchuck's Laios: Dangerous, unreasonable, unhinged, and coloured by his long time experience of Laios.
At this point in the story Chil's perception of Laios has changed rapidly due to both the reveal of his monster obsession (back in episode 1, previously suppressed) and the confrontation with Shuro, among other things. As seen in episode 13, he think's Laios is going to suicidally chase Falin to his death. He also thinks his monster obsession is a sign of a disturbed mind (not a suprise given his own experiences of the dungeon).
Marcille's Laios: Quite the opposite of Senshi, Laios' masculinity is exaggerated, which does reflect her Elf beauty standards (male and female Elves are often similarly feminine ).
Specifically for Marcille, she was told Laios looked a lot like Falin, and before meeting him, her opinion of him was really low (see the Falin makeup extras and her retelling the story of being alone after Laios left home, to Marcille).
Now, I've hated people in my lifetime, there's an inclination to be more critical of them than you would other people. Marcille didn't like the comparisons between the two siblings, and so fixated on their differences.
For review, here is there first meeting:
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Marcille came for a fight, clearly her letters didn't tell Falin the whole story. She HATED Laios in this scene. Everything in the three years after was clawing back from this mess.
Look at Laios, not a button a stubble, and neither person got any short or taller in the intervening years. When she gets irate over people saying Falin and Laios look similar, it's because of that mental image broadcasted by the Shapeshifter. That's how she sees him in her mind, the man who took Falin away from her, who made Falin unhappy, and who others have the gall to compare to her dearest friend Falin.
Conclusion: Laios and Falin, their emotional and social alienation, and how they each influence others like Marcille and Kabru; these things are central to the story, and to Laios as a protagonist. The last thing I want it people thinking I'm dismissing that.
But at this point in the story, focusing on that narrative, it's proverbially putting the cart in front of the horse. Structurally, this encounter is a review of party stability moving forward. The previous battle with Chimera Falin put everyone on edge, made them uncertain of their future, and distrustful of Laios.
Laios came out of his fight with Shuro (Toshiro) appearing unobservant to people's appearances and feelings. Marcille and Chilchuck recognise Kabru and Laios didn't. They're suspicious of his abilities. Laios, in turn, knows he has the chance to win them back, knows he fucked up with Shuro (Toshiro) and ruined their friendship.
This encounter is about Laios' shortcomings, reflective of his neurodivergence, the doubts of his party, and how Laios uses his strengths to compensate, and even solve problems his party members can't. Ultimately, this chapter is saying, Laios is different, but he is not lesser, and in a battle against monsters he excels.
The others can point out differences in clothing and speech easily, but those were the tools the shape shifter easily used against them. Laios succeeds precisely because he's focusing on the things others don't pick up on.
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yupuffin · 2 months ago
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On Dan Heng and Draconic Transformations
(Honkai: Star Rail ❗ SPOILER WARNING! ��)
Dan Heng is an captivating conundrum, a character with a convoluted past shrouded in mystery, and it often seems that finding answers to our questions about him only leads us to further questions.
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We know he's the reincarnation of Dan Feng, the previous High Elder of the Xianzhou Luofu's Vidyadhara, and we know multiple forms of interference in the reincarnation process led to an unusual outcome in which Dan Feng's power was transferred imperfectly.
In the Xianzhou Luofu chapter of Honkai: Star Rail's main story, we observe Dan Heng wielding Dan Feng's residual power to change into his more draconic Imbibitor Lunae form, in which he physically resembles his previous incarnation, and command the Vidyadhara's cloudhymn magic for combat as well as for parting the seas of Scalegorge Waterscape. As spectacular and enlightening as this portion of the story is, the audience can't help but ponder further unanswered questions about Dan Heng's identity and capabilities.
From my experience, there are two prominent questions in the Honkai: Star Rail fandom concerning Dan Heng and his transformation abilities:
1. Whether his transformation is voluntary, and 2. Whether he can transform fully into a dragon.
Neither question seems to have been directly answered in canon thus far; the most we've gotten as the audience is hints at potential answers in the form of canon (e.g. character backstories and voicelines) and extra-canon (e.g. character trailers) material -- and some of these hints are delivered much more enigmatically than others (as in the former case). Many players utilize various headcanons to fill in the gaps, leading to a number of different potential interpretations. I'll attempt to address all of these aspects in my analysis of these questions.
Let's start with the first question, since, logically and chronologically speaking, it's relevant before the second.
While Dan Heng's transformation sequence is shown canonically, it's not immediately clear whether the transformation is fully voluntary.
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In the Imbibitor Lunae "reveal" scene, when Dan Heng is first shown changing into his Imbibitor Lunae form, said transformation immediately follows Blade running him through with his sword, suggesting a direct connection between the two events. The nature of said connection, however, is canonically ambiguous.
I've seen a common headcanon that Blade stabbing Dan Heng is the sole, direct trigger for this transformation, which would thereby be involuntary. Personally, I think this is a plausible conclusion with intriguing narrative implications worth investigating. After all, Dan Heng's disgruntled expression upon the transformation's conclusion and his delay in reverting to his humanoid form do seem to indicate that changing forms, even if deliberate, was at the very least not a decision he made willingly.
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Later in this portion of the main story, Dan Heng is again shown in his humanoid form, indicating that he changed back "off-screen" at some point while returning from Scalegorge Waterscape to Central Starskiff Haven, with the exact mechanism remaining unclear. Then, following this quest, Dan Heng's companion quest "The Dragon Returns Home" becomes available; upon its initiation, Dan Heng has returned to his Imbibitor Lunae form, again with the transformation itself not shown.
This back-and-forth switch does seem to indicate that Dan Heng's transformation is indeed a voluntary process. That said, Honkai: Star Rail's side quests are presented with obscure enough chronology (as in. you can literally do them completely out of order, based on when they unlock and whether you do them immediately or wait months to even start them -- I'm the latter) that I think you could logically support a reading either way.
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As far as extra-canon material goes, the most plausible evidence for Dan Heng's transformation being fully volitional is the Dan Heng Imbibitor Lunae trailer "The Prodigal's Return." The video opens with Dan Heng facing Phantylia calmly, Blade absent, as his transformation begins, suggesting that the process is a deliberate "power-up," for which healing mortal wounds, like the one he received from Blade, is a secondary function.
(Granted, from a story standpoint, this is not actually how the fight with Phantylia occurred, so one could argue that this scene is solely for aesthetic/presentation purposes, leaving its canonical significance questionable.)
Lastly, there's the scene in Penacony's dreamscape where Dan Heng appears in his Imbibitor Lunae form alongside Jing Yuan, but it's later revealed that this scene is a mere figment of the Trailblazer's imagination, so as far as canon implications go, it's inconclusive.
So, to summarize our answer for question one: personally I think it's more logically supported that Dan Heng does transform voluntarily. However, given the lack of conclusive evidence, I also think one could make a plausible argument either way, depending on their preferred interpretation.
Which brings us to question two: if Dan Heng, wielding a significant portion of the High Elder's powers, can switch between his humanoid and Imbibitor Lunae forms, does that mean he can also transform fully into a dragon?
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While he hasn't done so yet in the story, it does seem entirely possible. Indeed, the game's lore indicates that the High Elder is capable of changing into a fully draconic form, and that Dan Feng previously did so.
However, so far, beyond his Imbibitor Lunae transformation, Dan Heng is only shown, in his technique and idle animations, performing a partial transformation at the very most -- with his horns growing longer and a translucent, semi-present dragon tail extending from the base of his spine -- serving as a mere suggestion of the possibility of him being capable of transforming further.
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Assuming this is an ability he possesses, canonically speaking, it's entirely possible that Dan Heng can perform a full dragon transformation, and hasn't yet simply because he doesn't want to. Several of his Imbibitor Lunae character stories and voicelines, as well as his reluctance to address his past prior to the "reveal," indicate that his draconic identity is a source of deep emotional hardship for him and that he resents his connection to his previous incarnation.
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This attitude also explains why, in the "reveal" scene, Dan Heng's change into his Imbibitor Lunae form may have been, even if deliberate, not fully voluntary per se (in other words, he had no other choice).
Hence, at this point, the answers to these two questions can presently be only speculated at best, with ample evidence to support a "yes" response to both, but enough ambiguity that a "no" to either is also plausible.
Of course, with inconclusive evidence contrary to either viewpoint, this means the potential answers to both questions are rewarding to investigate via headcanons. I've seen fans speculate that Dan Heng's Imbibitor Lunae form is his "default" state -- i.e. his "true form" as it is typically referred to in the game's lore -- in that maintaining his humanoid form requires conscious effort, perhaps in the form of the same cloudhymn magic his previous incarnations commanded. This could certainly explain why receiving a mortal wound in his humanoid form would cause him to revert to his more invulnerable Imbibitor Lunae form.
Personally, I think you could also argue the reverse. In his Imbibitor Lunae self-introduction voice-over, Dan Heng refers to his Imbibitor Lunae form as his "original" appearance rather than his "true form," and he appears in his humanoid form in every other part of the story aside from the ones I've mentioned here -- even when he's asleep in his room or otherwise not fully conscious.
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Granted, given his feelings on his previous incarnation, these points could simply be a consequence of individual interpretation and willingness (or rather, lack thereof) on his part.
Additionally, in Chinese mythology, the orb held by dragons seems to signify wisdom, prosperity, and spirituality. Therefore, I'm personally inclined to interpret his Imbibitor Lunae idle animation as him deliberately entering a sort of meditative state, and the resulting extensions of his horns and tail as a conscious choice that he "turns off" upon the conclusion of the animation.
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But again, this is straying decidedly into headcanon territory, which is fully up to individual interpretation.
So, again, as a fan of dragons, I like to think, based on canon evidence, that Dan Heng indeed transforms voluntarily and could potentially further change into a fully draconic form at some point, but I suppose, story-wise, it remains to be seen!
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tikitania · 3 months ago
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Did anyone see the Paris Opera Ballet’s Swan Lake on IMAX this weekend?
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Nureyev’s libretto….lots to unpack. Rothbart is such a central character in this version pulling the narrative strings in overt and dark ways both inside the court and on the mystical lake. He’s not just evil wizard who has trapped Odette, he’s a dark force within the very halls of power who seems to have everyone hoodwinked — this fully registers with me after the recent US election.
It seems the capture of Odette and turning her into a swan was some sort of long game to destroy Siegfried, who stands in the way of power. But Rothbart also seems to have some masochistic, sexual feelings for the young prince, too. The homoeroticism was off the charts — I’ve never seen the crossbow gifted to the price so seductively! One interpretation could be that this version of Swan Lake is about doomed sexual longing because it’s Siegfried who dies in the end. Odette is forever trapped as a swan, and Rothbart’s dominance is complete.
In the sequel, Rothbart marries the Queen and rules with total power because she’s lost in grief after the death of her only son. Odile is his mistress. But the Prince’s Friends with the help of the swans come to the rescue and defeat Rothbart, returning the balance of power of good over evil. You’re welcome!
Park delightfully surprised me. I had never seen her dance before beyond short clips online. She exceeded my expectations, especially as Odile. Marque is really exquisite. He’s an expressive dancer with beautiful jumps and soft landings. But Pablo Lagasa, as Rothbart, stole the show with his technical prowess and smoldering deep-set eyes.
Seeing this in IMAX is incredible. Would love more of these, please! Love the bird’s eye views of the corps….I don’t care for a lot of Nureyev’s choreographic choices, but I did love seeing the corps formations, especially in Act 3. Normally, I like the set design and costumes at the POB, but the Easter egg hues for the court scenes didn’t work for me. The fuchsia gowns for the brides with those tiny fans were downright garish.
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immortalthunderstorm · 1 year ago
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Criston Cole and Fandom Perception
There seems to be this idea that Criston's character and motivation solely revolves around Rhaenyra, which seems to be a fandom-wide belief. I won't deny that she plays a part on his development, but even that is more about who he is than what she means to him.
I'll provide my personal interpretation.
The overarching theme for Criston, something that was deeply explored by Jaime as well (who in the books refers to Criston as a man of duality), is that the idea of knightly valour in theory is rarely applicable in practice. A knight in theory is meant to be honour-bound, fearless, principled and chivalrous, obey each of their vows. Their name and the Ser they have earned is a badge of prowess and honour.
Especially the Kingsguard, having sworn off all "earthly" pleasures in order to serve their monarch for life, have a deep sense of focus on this as their duty is a singular one, while also having sworn their knightly vows before their Kingsguard ones. The Kingsguard is seen as this incorruptible, elite force of the very best of knights, a high office to have and the dream of even many of the highborn knights. The societal regard for this office is also very high.
Criston is not highborn. He's the son of a steward, Dornish, and unlike many highborn sons who are trained and fostered to rise the ranks and bring glory to their already established name at tourneys, he had to get there the hard way. The show makes this explicitly clear in the scene where Otto suggests choosing a knight with a good name to the Kingsguard, and Rhaenyra chooses Criston for his real experience (points can be made that she's also attracted to him, or impressed by his tourney feats, but she is not in the wrong here. Most knights at this time have never seen real battle, as Rhaenys says to Corlys)
His vows represent everything he has accomplished for himself "all that [he] has to [his] name" - his entire self worth.
Criston's speech on the boat is not about him being in love with Rhaenyra. He explicitly says he thinks it's the only way to wash the stain off his honour and name. He's desperate and of course it's a bad plan, but it's the only way out he sees with the prospect of death and torture now looming over his head in ever waking hour (see Ser Lucamore the Lusty). That's why he's so jumpy the whole episode and the next. He's paranoid about being exposed, and that's why he's so angry that Rhaenyra simply wants him to be her "whore". She's not in love with him either, it's all just about sex for her while it's a life or death situation for him. That's why he breaks down to Alicent so quickly and almost unprovoked, and confesses and asks for a swift death.
"I took an oath. As a knight of your Kingsguard. An oath of chastity. I've broken it. I've soiled my white cloak. And it's the only thing I have to my fսcking name! I thought if we were married, I might be able to restore it."
His devotion for Alicent also isn't primarily motivated by his dislike for Rhaenyra. To him, she's his second chance to live up to his ideals. She's his "Lady of Honour", the person he sees as the perfect example of a dutiful woman (as fostered by the society they live in) . Her he can chain his own sense of honour to, safely devote himself to without conflicting feelings, and be his idealistic version of what a white knight should be.
I'm not saying his behaviour is logical, knightly hypocrisy is one of the central themes across GRRM's work, but it's a lot more complex than what a lot of people make it out to be (everything is about Rhaenyra)
I'm also tired of this situation being simplified to "he's just an angry Incel" by this fandom. It's much deeper than that and I don't get the absolute demonisation of Criston who's a very complex character.
People just love to look for some ulterior reasons to justify their hatred for a him. It's absolutely fine to dislike Criston if they want, but applying these pseudo-psychological frameworks to him is getting old very quickly.
He is not an incel, he pretty much tells Rhaenyra he's been with at least a couple women before joining the Kingsguard, and it's not like he's angry at her because she doesn't want to sleep with him, on the contrary she pretty much offers him to be his 'paramour' and he gets upset because he doesn't want to be used for sex at the risk of his life. The whole point is his extreme sense of honour and paranoia of breaking his vows.
Similarly the Madonna-Whore complex doesn't check out because this only applies to his dislike for Rhaenyra, not sexually active women in general. Criston hates one (1) woman and that's more for personal reasons than religious extremism - he's very respectful and polite to the prostitute in ep 9, does not treat her as someone lesser or sullied or sinful despite being religious. He pretty much says to Aemond that all women should be treated with respect.
This man insults one woman (who he has personal beef with) once, and immediately apologises for it, yet the fandom seems hellbent on him being some raging misogynistic incel.
(If we want to start throwing stones, Daemon calls people bitches, whores and cunts in almost every episode lol.)
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mayabruhbruh · 5 months ago
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What do you think of the possibility of Will and Chance happening? I feel like it would be really poor writing tbh but I feel like they will give Will a different love interest because they’ll try to make all of the audience „happy“ But that would just truly not align with the writing so far I feel like.
Love your analyses btw<3
THANK YOUU! That's so kind :) And great ask! This is definitely a topic that the ST fandom needs to discuss.
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The default question when people have little to no hope in Byler is, well, who the hell is Will going to end up with? Because it’s become increasingly evident that they’re trying to set him up for a romance. The “im not gonna fall in love”, the “it’s not my fault you don’t like girls”, even the gif shown above. It all can be interpreted to mean that Will is going to find his person soon.
So... to be completely honest, I had no idea who Chance was until this ask popped up and I had to look him up💀. It’s been a while since I’ve been on here, so I’m a little rusty on the deep lore lmao. So, in the off chance that others might also be confused, here’s a (rare) gif of him I found.
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I think that’s him with the Hawkins cap on the right. Correct me if I’m wrong.
I’m not sure where the rumors that this guy was going to become a bigger part of the show came from, but that seems highly unlikely to me. I feel like they would have either hinted at it in the fourth season (like how they’re giving Patrick here quite a sizeable role so that he’ll be memorable to us later when he gets vecnafied) or they would have announced him as a more prominent character already like how they did for s5 with Holly, that one new kid character, and also how they did Amybeth for s4. Idk, maybe it’s unreasonable to think they would have to do that, but it feels quite too out-of-the-blue. Especially for a character that would take on the role of becoming our central character’s love interest, which is a BIG DEAL. Especially if it’s queer lol.
Secondly, I firmly believe that it would be a disservice to Will’s own desires to meet someone new.
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Will said this explicitly in the van scene, and as of now, we’re still under the impression that Mike is his person. Forget about Mike’s issues and feelings for a second, and think about what Will is saying here. He feels like a mistake for being different, but Mike makes him feel like he’s not a mistake at all, that he’s better for being different. Mike gives him courage to fight on. Fuck. Tbh, it makes me wonder how long he’d felt this way. As a byler, you might be inclined to think his feelings have been on for forever, but narratively, he could have easily just realized his own feelings very recently, most likely sometime between season 3 and 4. It doesn’t mean the feelings weren’t there before, but realistically neither Will nor the general audience were aware of it before now.
Moving on.
Has anyone heard of the rule of Chekhov’s gun? It’s an incredibly clever and widely-used tool in screenwriting and storytelling in general that helps to clue the watchers in for what’s to come next.
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Think of Lucas’ wrist rocket in season 1. When they introduced it as a flimsy-looking, no-good weapon that he’d put too much pride in at first, it gives us a good laugh and we move on. But really, it very meticulously set us up to subconsciously anticipate to see it again later. That’s what Chekhov’s gun is all about. Set-ups, foreshadowing, hidden treasures.
Another great example would be the painting reveal of s4. Obviously, after finding out that Will was painting something, bylers immediately figured it was for Mike and BEGGED and HOPED and PLEADED that we’d be able to finally see it, but to the general audience it was just another something that they’d have to pick apart and realize was actually of importance as the season progressed. (It’s also a good way of showing that the writers are fully capable of engrossing the entire fan base and general audience in his and Mike’s story. Just knowing Will had painted something and that it was for Mike created this sense of PLEASE TELL ME WHAT IT IS AND WJATS GOING ON and whatnot that watchers are simply so susceptible to it’s insane.)
Okay, back to the van scene. Will’s confession.
Now, I’m not saying that the writers intentionally used this foreshadowing tool for us to find and understand immediately. There are plenty, plenty of instances where writers use Chekhov’s gun principle and it flies over peoples heads purposefully. What I’m trying to say is that, thematically and narratively, they would never have introduced Wills feelings for Mike if not for it to have importance to the story, or for nothing to happen with it at all. It’s a set up. And a maddeningly good one, at that. Because queer stories already do tend to fly over people’s heads, and also because there’s the added drama between Mike and Eleven that makes it seem quite impossible for any of these feelings to be addressed in the midst of such emotional chaos. But whatever. I think I’m rambling.
Basically, whether they end up together or not, whether Mike reciprocates these feelings, Will is forever established to be in love with Mike. The confession was simply too grand and emotional and earnest for him to just switch up abruptly next season when he meets someone new that he might have a better chance with. Even if there were to be a whole new arc for him where he learns to let go of Mike or something crappy like that, it would be terrible writing on their end and poor use of a well-set-up Chekhov’s gun reference. It would be like introducing the gun in the display case in scene one, then two scenes later just tucking it away into a storage closet for the remainder of the story. Like… what?
And plus, it’s HIGHLY unlikely that Will would end up with that sort of storyline next season when he’s literally WITH Mike for presumably a majority of the time (based on the set pics so far).
So that’s my debunking of the Chance rumors :) and I didn’t even get to mention how incompatible they’d be just naturally as characters. Chance, a Jason-following jock that hates Dungeons and Dragons, fantasy and nerdy things, and willingly assisted in beating up the Hellfire Club when they were trying to find Eddie. What about that at all screams Will’s type? And if you’re thinking “unconventional couple enemies to lovers”, just don’t. This isn’t a rom-com, especially for a queer plot line lol. I think it’s safe to say there’s no “chance”😉 that they will ever happen. And either way, it’d be a bummer if they did. Cus it would just be Will defeatedly settling for someone that isn’t Mike.
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UGH! It makes me sad that the one thing that is firmly being teased by the writers (Will’s love playing a major role in the plot to come) is constantly being questioned and framed as different questions. “Will Mike reciprocate?” “Does this mean Mike and Eleven break up?” “Who will end up with who?” SHHH Frankly, to me this is already a win. It’s become obvious that Will having feelings for him will come up again soon, and the rest of the evidence that accounts for Mike’s end already speaks for itself, so I prefer to just sit back and watch it all unfold.
Again, thanks so much for the ask!! This was so fun to dissect and feel free to keep sending questions into my inbox. It might take me a second to post my response but I’m determined to get through all of them. Love you guys!! <3
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neyafromfrance95 · 4 months ago
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you said that as a shipper, you don't care if galadriel and sauron have romantic moments, can you elaborate?
sure. what i mean is "traditionally" romantic, their dynamic can be essentially romantic/soulmatistic without a traditional romance formula.
i love haladriel for their push and pull dynamic bc as a metaphor it explores the dark vs. the light, and subtextually it is about destined enemies x doomed lovers.
i don't mind galadriel not ever giving in and succumbing to sauron bc for me, the most important thing is her inner conflict, and subtextually, galadriel being tempted by having power in the middle-earth and being pulled under by the darkness will always be interconnected with her being tempted by sauron's proposal and imply her heart desiring the taboo (in trop continuity). u would just have to read between the lines.
i don't care that she outwardly rejects sauron even after seeing him as halbrand in the finale, bc the scene confirms that she has feelings for the latter. her willpower and pride are simply strong. and i like these traits of hers, i don't want them subdued, i don't want her to ever submit.
as for sauron, his love may not be explicitly stated either, but rather communicated through his delusional and obsessive yearning. every time he mentions "light" it will signify galadriel in some sense, nenya will still symbolize galadriel for him. and if the one ring is inspired by gal, well, that will be insane.
i personally love their sexually-charged push and pull dynamic of the cosmic scales. they can be lovey-dovey in valinor in the 7th age (in our fanon), but now i want galadriel's devotion to opposing/slaying sauron to be so strong it crosses the line of a simple hate and becomes an intrinsic part of her identity. i want sauron's worship of her light to turn into him obsessively coveting her, desiring to posses her like silmarils.
their battle in the finale is brutal, but it's as if they're dancing at the same time, it's a form of storytelling. him stabbing her is a symbolically sexual, ravishing act that can be read as a metaphor for gazing into an abyss for so long, the abyss gazes back into you! there is a thin line between hate and love, as those can be two sides of the same coin, and when u let one in, the other may follow as well.
galadriel's outward relationship with sauron and her inward relationship with halbrand is how her relationship with the darkness, power and ambition is explored through a more tangible narrative.
like, the story itself shows and tells you, and everyone working on the show say that sauron and galadriel are intertwined in a way that places their connection above every other relationship they have, and ultimately, that's what makes for a good ship.
my only concern moving forward is that their interactions won't be central. this is why im holding onto the hope for the mind-palace communications. but there are many other ways to either make them interact or show that they are thinking about one another.
i still am delusional and wish for a kiss tho. it can be done without gal "joining" sauron if the writers want it done. and i guess i have to bring this topic up as well, since anons have asked me this a few times before but i once gave my "unpopular" opinion about it at length and prefer to leave it at that. but in short, i don't really care if celebrian is sauron's daughter or not. would be great if they leave some space for allowing "sauron is the father" interpretation, and i would be equally ok with them making it clear that she is celeborn's daughter. i prefer her to not be introduced at all in trop, tbh. what i love about sauron and galadriel's relationship is that cosmic connection between them, not who may or may not be related to them as a third party.
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anodymalion · 9 months ago
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ok I am in fact using this as an excuse to make a long post about this thank you thank you asjksdjfaljdf
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Interpreting Yuri as asexual is my very very favorite type of headcanon, which is one that 1. is compellingly coded in the source material (even if that wasn't the creator's intent), 2. is thematically relevant to what the piece of media is Trying To Do as a whole, and 3. just means a lot to me, personally, because I said so.
Coded in the source material
Yuri’s short program is “eros”, aka desire (you can interpret what “eros” means in various ways, but YOI itself explicitly refers to sexual love, at least in the English translations). Yuri struggles with this. Hard. He can’t come up with an answer when asked what eros means to him. His big revelatory moment about desire is that it’s how he feels about wanting to eat his favorite food (omg… boy). Even as the season goes on and the way he views the Eros program changes, the program doesn’t ever really embody the idea of eros as sexuality or romance (which was how the other characters expect him to interpret it) but rather as a desire to keep Victor in his life.
Like look. I’m obviously not going to say that the creator intended any kind of ace subtext to be there. I kind of doubt it was her intent. But goddamn is the subtext there.
2. Thematic relevance
The central theme throughout YOI is “love”, and especially loving people in a way that inspires you both to be your best selves: Yuri learning that the people in his life truly love and support him; Victor finding someone who makes him feel joy about skating again.
Like, Yuri’s whole skating theme for the Grand Prix is literally about him exploring what love looks like to him, even when it takes a form that other people don’t totally understand. Viewing all this through a lens of him being ace is really compelling. It adds depth to the idea of learning how to express the way you feel love even when it looks different than what other people expect. I think it’s a really delicious layer that adds even more nuance to what the show is getting at.
Besides, it’s an interesting way of viewing the criticism of the show that occurred for it not being 100% explicit about them being a couple (aka people getting mad because the kiss in ep 7 is blocked by Victor’s arm lmaooo). Like, ok, did you see the ending scene of ep 9? Did you see ep 10??? They definitely, definitely love each other, in whatever way that means for them. Their relationship takes a form that’s pretty different than the other way people in the show are going about romantic relationships, but that doesn’t mean it isn’t real for them. That is very much in line with the main themes of the show.
3. Means a lot to me
In the final scene of the penultimate episode, Yuri tells Victor that they should end their coaching relationship after the Grand Prix ends. This is because he thinks he’s holding Victor back, that Victor would be happier being free to go back to skating on his own instead of being Yuri’s coach. When I watched this (and, I’ll be honest, this is completely me projecting here) I REALLY interpreted this as an ace thing. I think it’s pretty easy to internalize the idea when you’re asexual that you just won’t be… enough, for other people. In my case I ended up a strong impulse to self-sabotage relationships because I would rather be the one to end things than to let someone else tell me that who I am as a person is fundamentally lacking. Yuri destroying a connection he desperately wants because he thinks there’s something about him that is holding Victor back from a life he’d be truly happy with? Oh yeah. I can fucking relate to that.
Also: YOI came out in 2016, which was the absolute peak of hostility to ace people I was seeing on this site. It was bad here. At the same time Tumblr was going wild over this show. Everyone was watching it. Seeing a whole site of people absolutely adore a character I very deeply in my heart believed to be ace? Extremely vindicating.
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In conclusion Yuri is asexual because it is fun and interesting that way, and also because of this:
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adozentothedawn · 5 months ago
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Life and Death of a Saint Pt. 1 -Dispersion Relation, unknown artist c. 2809. Forgotten Sanctum, Central Stacks.
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Commentary under the cut.
This thing is an interpretation of the first memory scene of Waidwen in Bridge Ablaze. I'm intending to do all of them eventually but it'll take a bit.
Alright, I am kinda torn. On the one hand yes it is cool and I did a thing! This is my first embroidery project of the sort! It took me more than a month to get done but I did get it done. On the other hand, it doesn't quite live up my expectations. The borders aren't quite as neat as I would like, and of course making good pictures of my work has always been an impossible task. For the next one I'll also try to plan out the colour scheme a bit better. The placement in the frame is uznfortunately a bit off because i cut the fabric too small since I didn't know I would have a frame yet. Still, I did a thing! And it looks kinda good!
Special thanks to @stylishanachronism who really helped me put it together!
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danceofthephilos · 9 months ago
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"Repent and Make Efforts"
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Kaoru's calligraphy display in episode 5 is very obviously targeted, but between natural difficulties in translating idioms, changes made in the English dub, and misunderstandings of the general meaning of "repentance", exactly what he's communicating often gets lost in translation - which is a shame, because it's not only a very telling moment about Kaoru's own feelings about Adam, but one that ends up being very important to the themes of the entire show and many of the central character arcs.
To give some quick establishing information, what Kaoru is writing in this scene is a called a yojijukugo (四字熟語), or four-character idiom - set idiomatic phrases that are very similar to (and originate from) Chinese chengyu (成语), which you may be familiar with if you've read any linguistic analysis of danmei. Four-character idioms are very common subjects for calligraphers like Kaoru, and the ways they can be used in speech make them very difficult to translate concisely. The particular idiom Kaoru has written here, read from right to left, is 悔悟奮發, a real four-character idiom (though usually written 悔悟憤発 in modern Japanese - Kaoru is using the Chinese hanzi.)
Read kaigo funpatsu, both the Crunchyroll subs and the dub translate this as "repent and make efforts", which is... fine enough given the complexity of translating yojijukugo. It's quite a literal translation, looking at the phrase broken down into its components - 悔悟 can indeed be translated to "repentance", and 奮發 means "to exert oneself." As an idiom, it means "to regret one's mistakes, and work hard to recover." It generally refers to remorse, but can also mean coming back from a loss. In this exchange from a Japanese website explaining the use of the idiom, it's used to describe recovering after a loss in a competition:
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Tomoko: You must be in high spirits, to be practicing on your day off. Kenta: Everyone was shocked when I was eliminated in the first round of that tournament the other day. Next time I'll get my revenge. Tomoko: Oh, so you're trying to make a comeback*, good luck!
(*in a perfect example of how difficult yojijukugo can be to translate when used in regular speech, a translation as literal as "repent and make efforts" would sound very silly in English here.)
And this idiomatic meaning is how Kaoru explains it - and where I believe some misunderstandings are originating from, both due to the overall interpretation of the word "repent", as well as changes in nuance in the explanation given in the dub. To begin with, let's look at Kaoru's dialog in Japanese. (Due to him immediately explaining the meaning, I chose to leave kaigo funpatsu untranslated, unlike the official subs.)
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And the same dialog in the dub:
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It should be apparent just from this that Kaoru in the original and Kaoru in the dub are saying completely different things. Originally, Kaoru makes no mention of making peace with people that have been hurt, because that isn't what kaigo funpatsu is referring to. Kaigo is personal, internal regret - kaigo funpatsu is about self-reflection, recognizing one's mistakes and striving to do better, considering your past in order to take your next steps in the future. That could involve making amends with wronged parties, but it's not part of it inherently - Kaoru's original dialog doesn't even allude to people being hurt at all, because it's not relevant to the idiom.
It's here that I believe the word "repent" is causing some trip-ups: it's being taken in the Christian sense of atonement or penance, an action done to achieve forgiveness from others or redeem oneself for sinning, but Kaoru is simply talking about realizing you've done something wrong and feeling remorse for it. (Or, specifically, about Adam realizing he's done something wrong and feeling remorse for it.)
And while his last line in the dub is at least a bit more in the spirit of kaigo funpatsu, it's still missing what is at the heart of Kaoru's feelings about this idiom, and about the man it's clearly targeted at - the idea of coming back from one's mistakes, something that does not come up in the dub at all. The first word Kaoru uses, bankai (挽回), does mean "to recover", but also "to regain what was lost" or "to return to the original state." Torimodosu (取り戻す), as well, specifically means to regain something that was lost - in fact, it's the very same word Tadashi uses when speaking of Adam "regaining his love."
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Kaoru is not asking Adam to personally make things up to him, or to anyone - Kaoru, at heart, believes in Adam, and believes that he can, and should, still come back from everything. Even in the finale - after the Full Swing Kiss, after his naive hopes of simply returning to how things were in high school are shattered - his first concern is still for Langa to make Adam understand that.
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Like with Kenta in the example exchange above, kaigo funpatsu isn't about Adam atoning for his sins - it's a call for him to recognize he screwed up and move forward without making the same mistakes.
And he does, or at least he's beginning to take those steps. He recognizes the mistake that matters most to the themes of the story, and that led to everything that happened in his life since - that he lost sight of the innocent love for skating he had as a child.
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He finally admits what Tadashi meant to him;
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he directly defies his abusive family's wishes by working against Takano rather than throwing Tadashi under the bus;
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and he finally shows up as Adam in daylight, on someone else's "turf", to celebrate his own defeat - reaching out to his former friends and gracefully accepting loss, things he refused to do even an episode prior.
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He may not be begging for forgiveness, and with this coming at the very end of the series there's a long road still ahead of him, but he's recognizing that he did things wrong and he's making an effort to move forward in a better way - and in doing that he's regained the most important thing he lost, his love of skating.
And Adam isn't the only one whose character arc kaigo funpatsu describes, either. Reki regrets his mistakes...
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...and comes back from them.
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Langa recognizes his mistakes and comes back from them - and is even able to help Adam do the same.
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Tadashi, more clearly spelled out than anyone, recognizes his mistakes...
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...and he's able to come back from them, too.
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None of these resolutions involve big direct apologies, or any kind of penance to earn forgiveness. (Personal forgiveness isn't something SK8 takes much interest in dwelling on or making characters earn in the first place, and its approach to forgiveness could easily be a whole other meta in and of itself.) They don't have to, because in the end, Kaoru's idiom is not only a message to Adam - one that he ultimately does receive, if a bit later than Kaoru hoped - but a moment that spells out a big part of the show's thesis.
Everyone is going to do things wrong in their life, one way or another - but anyone who regrets their mistakes and makes an effort to do better should be able to recover from them and regain what they lost.
Only season 2 can show us what moving forward is going to look like, but when it comes to what counts to the core narrative, everyone's taken the first steps.
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glorious-sunset · 10 months ago
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LBFAD Opening Artwork – Hidden Meanings
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The created artworks used for the opening scenes of LBFAD (Love Between Fairy and Devil) are unique and have many hidden layers of meaning! Sheer genius on the part of the artists and designers :D Here are my interpretations of these stunning works of art.
Image 1: Bone Orchid (image above)
Although I’ve posted stills, each image actually moves. Here, flowers bloom on the Bone Orchid and leaves grow on previously bare branches around the sides. This is the original form of the Bone Orchid prior to DongFang QingCang (DFQC) transforming it into a bracelet for Xiao Lanhua (XLH) in ep. 9.
The two parts of the Bone Orchid, the crescent-moon-shaped bone and the vine of the orchid plant wrapped around it, each represent DFQC (the Moon Supreme) and XLH (who was disguised as an Orchid), and their close bond. This is a new magical artefact that DFQC created from his blood in ep. 9 (similar to Lady Yan creating the Heart-hiding hairpin). That he chose to give it a form symbolising a bond between himself and XLH is deeply significant! Consciously, he may have meant their connection through the one-heart curse, but subconsciously he already had deep affection for her by this time.
Orchid flowers blooming on the previously bare vines of the Bone Orchid represent the blooming of their love for each other. (As their love blooms, XLH bonds with the Bone Orchid to the extent that removing it would end her life by ep. 29). It also refers to the many times that XLH makes flowers bloom when DFQC does something to make her happy :D The leaves growing on the bare branches around the sides of the image symbolise XLH’s resurrection of DFQC’s Tree of Emotions and his healing process. The Bone Orchid represents the love between our Fairy and Devil which is the central theme of LBFAD, so no wonder it is the first image we see!
Image 2: Xiao Lanhua
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Here XLH first transforms from an orchid flower tethered to its stem, into human form as a young and innocent girl. The white swirls around her represent her usual spiritual powers (not her green Goddess powers). When she uses her powers to repair destiny leaves, etc., her energy appears as white light (important note - we see a different type of energy later in the opening artwork!) The pink tinge to some swirls represent her femininity and affection. XLH appears weak and vulnerable but her love and tenderness are the most transformative force in the series. Her reflection in the water below shows an orchid plant only, not a girl – this symbolises the illusion of her orchid form in hiding her true identity.
Image 3: Haishi Rescue
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In this scene from ep. 3, initial obstacles to their love are presented including their power differential (symbolised by her small size within his giant hands), his view of her as an object and his underlying lack of emotions. The city of Haishi is below, the giant Sun made of DFQC’s formidable Hellfire is to the left, and the floating debris represents the destruction DFQC has wrought and is trained to continue to wreak. His mission is to destroy Shuiyuntian and conquer the three realms.
XLH looks vulnerable, her cloak resembles an orchid petal, and white/pink swirls of feminine energy again surround her. However, DFQC has just saved her life and continues to shield her within a protective bubble – an important ongoing dynamic of their relationship.
Images 4-7: Flashback
Images 4-7 are artistically presented as a series of opening doors, like opening the pages of a history book. They are a flashback to events 30,000 years ago and set the scene for current events and obstacles to the love between the OTP.
Image 4: The Two Tribes
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The two different tribes that our OTP belong to are presented. Shuiyuntian is light and airy, and floats above the clouds with dozens of golden birds flying in the sky. They are the emblem of Shuiyuntian (as the crescent moon is for the Moon tribe) as shown by the golden bird brooches worn by celestials. Similar to Shangque transforming into a black dragon, the true form of some celestials may also be of golden birds and they can transform into this form. The position of Cangyan Sea below Shuiyuntian, the darkness in which their people live and their comparative lack of manpower (there is only one black dragon in the image) suggests that they are oppressed by Shuiyuntian.
Image 5: Battle of Two Tribes
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Prior to Lady Chidi’s sacrifice, the people of Shuiyuntian and Cangyan Sea fight each other, their forces coordinated by Lord Dong and DFQC. This is the culmination of a hundred millenia of warfare between their tribes. Again there is only one dragon, and Lady Chidi in the forefront leaps into Cangyan Sea territory to confront it. Her red cape traces her active path through the battlefield. White and red swirls of energy (+/- blood) emanate from her.
Image 6: Lady Chidi’s Sacrifice
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After invading Xuanxu realm of Cangyan Sea, this is the pivotal moment where Lady Chidi explodes her spirit to seal the 100,000 soldiers of the Moon tribe. Red blood sprays from her body and her earth magic envelops the Moon Tribe soldiers, sealing them within the earth. Her sacrifice foreshadows XLH’s own sacrifice in ep. 31.
Image 7: The Capture of DFQC
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After the sealing of his soldiers, a weakened DFQC with white hair is suspended within the circular Haotian tower, his arms and legs magically bound. Magical glyphs surround him to seal him in place, representing the magical seal of the Haotian matrix.
Image 8: Xiao Lanhua of Arbiter Hall
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Back to the present - the series opens by introducing us to XLH of Siming Dian (Arbiter Hall). The archways in this image are similar to the archways in the lower level of Arbiter Hall. Vines grow around the pillars, symbolising that XLH’s primordial spirit is connected to the plants at Arbiter Hall. The trees behind her may represent the nearby Shuyu Forest that she frequently visits. As XLH moves to the right, new white trees start to grow in front of the black trees, demonstrating her ability to create new life and make plants grow. White swirls of her spiritual energy again surround her.
In line with her selfless and giving nature, XLH offers up her spirit! She does this four times in the series: 1) In ep. 1, she offers up her life and spirit to protect Changheng, whose destiny leaf had changed and was destined to have his body and spirit destroyed (more detail here). 2) Also in ep. 1, she fuses part of her spirit to DFQC’s, restoring his spirit and body and giving him a part of her spirit (which he later extracts in ep. 33 to resurrect her). 3) In ep. 31, she sacrifices her life and spirit to protect DFQC’s life, to resurrect everyone that died on the battlefield and free the 100,000 sealed soldiers of the Moon Tribe. 4) She promises the Great Turtle in ep. 33 that she will sacrifice her spirit to defeat Taisui and bless the Three Realms. XLH’s fate to sacrifice herself is another obstacle to her and DFQC’s love for each other :(
Image 9: DFQC’s Tree of Emotions
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Thanks to XLH’s resurrection of his Tree of Emotions in ep. 1, DFQC begins to grow beautiful glowing golden leaves on its previously bare branches, symbolising his breathtaking transformation.
Image 10: The Great Turtle
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I believe this is another flashback. At the end of XLH’s first life in Xishan, her parents disguised her as an orchid plant with no human form. At this time between her first and second lives, she meets the Great Turtle. The orchid flower sprouting from her hand is the new form she transforms into, and orchid petals float around her during her transformation. The Great Turtle calls XLH an old friend in ep. 9 as they have met before – in this scene.
To the left of the image is a crescent moon with a dead tree growing on it. This symbolises DFQC (the Moon Supreme) and his Tree of Emotions which was dead at that time 30,000 years ago. There is a wisp of haze around the tree indicating that it has the potential to regrow. Despite XLH’s destiny to sacrifice herself for the Three Realms (which she might have discussed with the Great Turtle here), DFQC is waiting in the wings to change her destiny!
Image 11: Our Fairy and Devil
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XLH gazes upward in hope, while DFQC’s eyes are closed and his head bowed, portraying both his reserved nature and that initially he was emotionally closed off, aloof and distant. The asymmetric gold crown that DFQC wears indicates that this scene is from after their return from the mortal realm back to Cangyan Sea – XLH also wears Moon Tribe attire.
On the Bone Orchid between them are flowers in full bloom, representing their love, which is now in full bloom :D Also between them is DFQC’s Tree of Emotions, now fully regrown with gorgeous white blossoms similar to the scene where he sits beneath his tree in ep. 24.
Despite the beautiful development of their love and of their characters, war between their two tribes is imminent. The image of Shuiyuntian between them sports a red flag, indicating their impending invasion of Cangyan Sea. Cangyan Sea is outnumbered, represented by one dragon vs. dozens of golden birds, and they face annihilation at the hands of Shuiyuntian D: Another reason for DFQC to bow his head, as he faces both the destruction of his realm and the loss of his love at this time.
Image 12: Peace Reigns
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Just look at the swirls of energy emanating from XLH and DFQC as they float in a boat along the Oblivion River! There are again white swirls for XLH, but DFQC has red and gold swirls for Glazed Fire!! This scene occurs after DFQC’s return at the end of the series! :D The red belt around XLH’s waist is reminiscent of blood pooling from her wound in ep. 31 when she stabs herself with the Zhengying sword. This image (and the opening theme song Jue Ai, “Farewell Love”) pays homage to both her sacrifice, and DFQC’s sacrifice in ep. 36 which produced his Glazed Fire. Only through both of their sacrifices, were they able to bring about first a ceasefire to war, then lasting peace between Shuiyuntian and Cangyan Sea, breaking through a hundred millenia of unending conflict!
Only by creating peace are they finally able to be together happily. The boat is deeply significant for our OTP - there are three situations where they are alone together in a boat during the series. XLH reminisces fondly about this in ep. 24, and Siming sends a boat for DFQC (and fireflies for Changheng!) as a sign that she knows their most significant connections to XLH. To the bottom right are the peaceful waters of Cangyan Sea with the watchful eye of a black dragon at rest. To the top left is a peaceful Shuiyuntian with Yunzhong’s watchful “Eye of Heaven” (seen in ep. 14) accompanied by a flower in bloom, symbolising peace and prosperity. The positions of each are in poetic parallel to image 4 which showed conflict – the defensive black dragon in image 4 is now restful, and the golden birds also seem to be resting :)
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Here is a link to my article: How Immortals age in cdramas – clues from LBFAD
All of my LBFAD articles can be viewed with the tag #lbfad reflections (hyperlinked) and the table of contents to these is here.
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