#at least i guess it's meta/analysis

[pesky--dust]

I feel like it's harder for me to express my thoughts lately, but I've been thinking a lot about Beverly Katz and I cannot stand being alone with my thoughts anymore, so I’m sorry. 

When Will was in Baltimore State Hospital for the Criminally Insane, Beverly was one of the few people who visited him there. She needed his help at work, but at the same time, we know that even before, without any hidden motives, she genuinely cared about his life. We also know she's the oldest child in the family. It is very common for the oldest children to feel responsible for their younger siblings.

I believe she feels the same sense of responsibility towards Will, like if he is her younger brother, which is why she tries to be there for him when he needs comfort. 

Beverly is in a few episodes, but I won’t write about every single of them. I'm going to focus on the things that support my thesis about her perceiving Will as her younger sibling.

In Amuse Bouche she asks him about his well-being, tries to joke with him (he had just killed a man, to protect an innocent person and himself!), teaches him how to hold a gun properly. 

In Coquilles she again shows concern about his condition and I have the impression that in this dialogue she speaks to him like to a child she doesn’t want to frighten:

In Buffet froid there is a lot of interactions between them. First, when panicked Will races out into the hallway, she stares at him and asks with a hint of concern “Will?”. When Will tries to reassure himself he didn’t kill Beth LeBeau, he calls Beverly and when she hears he called her,  because he is not entirely sure what he saw was real, the script says “That admission almost breaks her heart, but it doesn't show.”. She tells him that he is the subject of a lot of speculation at the bureau, since people speculating that Jack pushed him right up to the edge and now he is pushing himself over. Later in the same episode she checks Will for evidence that would tell he killed Dr. Sutcliffe and reassures him that there's nothing that would indicate he is the person responsible for killing Dr. Sutcliffe.

When Will is arrested for evidence suggesting he killed Abigail Hobbs, Beverly is unable to maintain complete professionalism and talks to him while collecting evidence from his body. She tells him she didn't want to find anything on him, but since Will always says he's interpreting evidence, he should do it now. She is angry, disappointed and she says, “You should have recused yourself from any investigation. (...) However far over the edge you were leaning, I was hoping that you wouldn’t fall.”

As I have written already — when Will is in Baltimore State Hospital for the Criminally Insane, Beverly is one of the few people who visits him there. They make a deal — he helps her with work, she tries to prove he is innocent and she is going to check Hannibal Lecter. We know how it ends for her — Hannibal kills her and Will is needed to resolve this case. Here is a piece of the script from this scene:

Later Will tries to kill Hannibal Lecter by proxy, because he is mad about everything Hannibal caused in his life; he knew about Will’s encephalitis, framed him for his crimes, killed Abigail Hobbs and Beverly, Will's only friend. 

However it turns out Will has to change tactic and he ends up falling in love with Hannibal, they are known as murder husbands! On the one hand, I imagine that because of that Beverly has to turn in her grave because she died trying to prove that Hannibal was guilty of crimes Will was accused of, and on the other hand, Will and Beverly really liked each other, and in my opinion, Beverly felt like his older sister, so I feel torn because I think she would, to some extent, enjoy Will's happiness anyway. One way or another, man, this whole situation is sick, especially if you look at it from Beverly's perspective.

[dreamytfw]

Not liking Cas because he let Sam out of the panic room in s4 and no one ever found out sure is... a choice. For a few of reasons.

a) Cas was under direct orders from Heaven at the time. He hadn't fully rebelled yet. And it was either carry out orders or be killed. Cas really didn't have a choice. And after he'd rebelled in s5, he didn't let Sam out of the panic room

b) Dean said he'd let Sam die in that panic room. He let Sam's hallucinations torture him. The detox Dean tried to do was cruel and inhumane, and can very easily be read as retaliation for Sam "choosing" Ruby over Dean (note: this does not mean it is the ONLY reading. And regardless of if you subscribe to the retaliation reading, the conditions Dean put Sam in were still cruel and inhumane). Hating Cas for letting Sam out of abusive, cruel, and inhumane conditions, but not hating Dean for doing that to Sam in the first place. Hm. Interesting.

c) This is a Doyalist reason rather than a Watsonian one, but it's still worth bringing up imo. From a writing perspective, I'm not sure who else was going to let Sam out. Demons can't open the door, so Ruby or even Lilith aren't options. iirc Dean and Bobby are the only humans that know Sam is in there, and they're not going to let him out because they've convinced themselves this is the right thing to do. Uriel's dead, and Anna's off doing her own thing. There literally was not another character who could have let Sam out. And the writers had to let Sam out to let the plot move forward. Like, if anyone can think of another character that was available, let me know. But just from a writing stand point, I literally cannot think of who else would have been able to let Sam out.

d) Blood freak Sam is extremely hot, so really, we should be thanking Cas for letting him be a feral little guy.

If people want to be mad at Cas, I can't stop them. But hating him for letting Sam out of the panic room in s4 is, imo, one of the dumbest and most inconsistent reasons. Dean was literally torturing Sam to death, but sure, yeah, let's be mad at the guy who was being forced under penalty of death to let Sam out. Like what kind of logic??

[xelasrecords]

Interpreter Richter's Tragic Endings

I find Vyn's character to be the most tragic in most endings (Artem's is a close runner-up) because no matter the outcome, he cannot win. He loses his freedom for Rosa or loses her for power or simply dies to protect her. What Interpreter Richter truly wants is the freedom that one can only have with power, so he accumulates it at all costs without moral scruples.

These are all from different endings:

This one hurts the most though, because he knew he'd be forever chained to the gang that he wanted to be free from if he helped Rosa, yet he did it anyway. All for her. And she didn't even realise.

[boypussydilf]

What do I think of the idea that Betty reincarnated at the end of F&C - as in, do I think it’s plausible? Yeah, absolutely. They include plenty of references & symbolism that are either already linked to the cycle of reincarnation in Adventure Time or have similar meaning/connections in general, and it would fit with the general feeling of finality in all her last scenes. It’s something we already know about, something we already have reference for - it’s not 100% unambiguously definitely what happened, but it does seem likely.

What do I think about the idea of that happening? Oh my God, that sucks so bad. You can hear how “Betty shows up just to explain things to Simon and then dies” sounds, right?

I think some people are calling it Betty getting a “fresh start”, kind of, but… That’s not a continuation of Betty’s life. That’s not Betty getting to move on with her life and do new things. Think about Shoko. There’s something poetic in Shoko struggling with whether to do the right thing or the wrong thing, choosing the wrong thing in the end, and becoming a hero in her next life, but Finn is not a direct continuation of Shoko. Shoko didn’t get to change as a person, Shoko didn’t get to do new things with herself after realizing she wishes she’d made a different choice, Shoko is dead. Betty herself doesn’t get a second chance if she reincarnates, Betty herself is just dead.

On the other hand, I’ve also seen someone say they didn’t like that theory… because they liked the tragedy of Betty being stuck as GOLB forever. And I guess… preferred that as an ending. Which is also. What?

From early in the show, I thought - well, if things are going the way I think they’re going, they just about have to give Betty some kind of happy ending or better situation, because it’s just plain messed up if Simon gets to keep going and move on and change and get better and Betty just… doesn’t. Guess what seems to have happened. And I’m really not against the idea of an unhappy ending, for either of them, but this does not feel like the way to do it at all!

At this point, Betty and Simon have both done kind of the same thing: got Really Weird and either hurt or killed people in a relentless and potentially pointless quest to save the other. Why does Betty get either “death” or “eternal suffering” for that while Simon gets to just keep going like basically nothing happened? Why is Betty too far gone to do anything about it and Simon isn’t?

[iwritenarrativesandstuff]

Ok so I already think this is probably/definitely wrong but I wanted to expand on it a little because I guess it made me think of something.

There’s a game I started replaying, and a moment in it was kind of the impetus for me to start creating this post in the first place. In it, a character who has lost all the people dear to him expresses that he can no longer bring himself to love another, and instead, takes his strong capacity for love and extends it to all the people around him in a kind of shallow, evenly-split kindness without connection. He can’t open up, so he gives what he can to keep everyone around him a little bit happier and safer - because this is an acceptable form of love. His refusal to open up again isn’t solely out of the fear of more loss, but also because his love and grief has twisted and been tangled up with uglier feelings, like resentment and anger and hate. It would all come spilling out if he were to open up again, and that wouldn’t be fair to the person he, hypothetically, could love. Better to keep at a distance, he says. And while replaying, I thought, hey that. Kind of sounds a bit like Vash to me. (Now, the character has little else in common with him asides from this, but I digress. It also sounds a little like me but let’s not get into that.)

Vash’s entire personality and purpose of being revolves around him being helpful and compassionate and good. By contrast, his reputation and biggest fears are wrapped up in tragedy and destruction that he feels responsible for, and this is already with him constantly tamping down and trying to mitigate the more dangerous parts of himself.

When I say that Vash may fear wanting, I don’t necessarily mean the act of wanting itself, but more like - if I let myself open up, even that little crack, what else comes flooding out with it? All these things I might hunger for that I could never have. That I could never let myself have. What else comes seeping through the cracks with it?

Because right now, the love Vash has is of the distant, selfless kind. It fits snugly with the person he decides to be, the person he’d want to be if he actually, truly had a choice in the matter. It’s an even-split kind of love; a compassion he allots to everyone. But then there is the personal kind of love - the kind of love he had for Rem, and that is far more complex and messy than clean simple good will. It’s both the most selfless thing and also selfish. To love is to prioritize; to place certain people above others because they are special to your heart. Along with that kind of love comes powerful emotion - both positive and negative. Constructive and destructive. It’s wrapped and tangled with grief and guilt and rage and all the complex things he’s pushed down inside of him and probably hasn’t spent any time attempting to pull apart.

And there is undoubtedly some ugliness there that he does not want to let spill out. Any love he has for his brother is tainted by resentment for Rem’s death. He has a sense of retribution which fights in his head with the concept of second chances he wants to give everyone. His anger is terrifying. Moreover, he’s a big ball of rarely expressed pain, trauma, and messy mixed feelings that probably not even he fully understands - after all, a pretty significant part of his character is that there are things he does not actually know about himself. This is more in keeping with his being a plant and his unknown powers but I see no reason it wouldn’t also encapsulate the more human side of things too. If he lets himself want things, I wonder, is he scared of what might come out? What other ugly things might lie within? He’s spent his whole life being treated as a threat; he regards himself as a threat! If he opens those floodgates, do you think he fears releasing even more destructive and unknown parts of himself that would have remained dormant if he just pushed it all down a little further? Pushed a little further away?

Truthfully, if this really is a fear of Vash’s, I think it’d be pretty unfounded. I can’t see him honestly wanting much more than peace and comfort - lots of affection, probably; some nice food. Any “ugliness” would reveal itself over time and would be no less the end of the world than anyone else’s ugliness that he’s seen and exposed himself to for as long as he has. Importantly, it wouldn’t detract from the person he chooses to be - Vash is not a weapon by choice; he’s always forced into that role. Vash might not be human, but the emotions wrapped up inside him are painfully, recognizably so, and they can be handled with the same compassion he allots to others. People have hands made to handle such delicate, tangled things. They cannot do what he does for everyone on the planet, but they can handle him. He is not too much to bear, and sharing the load with another is not selfish. That’s the grief and guilt talking, bud.

But then again, that’s the nature of fears like this; many times they are somewhat unfounded, or snowballed from the context they originated from. Wanting is scary when your entire being revolves around not that. Opening up is unacceptable when you are not sure what might spill out with it.

Anyways. Please don’t take this as serious analysis. I can do a lot better than this usually and truthfully, I’m also doing some mad self-projecting here, which I am of the mind reduces my credibility as an analyst but oh well. Consider this as an interesting potential to think on. Maybe.

I've been thinking about how Vash always seems to be hungry. Or at least, that he's shown eating quite often in the manga. Happily having his salmon sandwiches. Eating an entire box of donuts in the side car. Knowing the conversion rate of bullets to pizza. Seeing a flower and immediately wondering if it's edible. Pondering his life over breakfast. It's a really cute little character detail about him - he likes food.

But then I kind of started to think about the angel arm and its specific brand of destruction. How there were no bodies to be recovered. Nothing but a crater left of July, left on the Fifth Moon. It's all been incinerated. Devoured, even. Tristamp takes it even a step further and makes the power something akin to a black hole - a yawning drain; a constant destructive hunger.

Vash is clearly terrified of this potential for destruction, and for very good reason. But it's not separate from him as some kind of "power he can't control" - it's his arm. It's literally his arm. It is him. Vash is scared of himself, scared of losing control. He does what he can to repress it, even subconsciously (the gaps in his memory whenever it activates). He can't control it in the moment, so he takes steps to preemptively push it down, to avoid the use of his abilities entirely, to hide himself away.

I talked a bit in a previous post about how there are probably several interrelated reasons for Vash's chronically avoidant behaviour, but I'd like to throw one more into the ring and suggest that it's not just a matter of not deserving to want things, but maybe also that he's afraid of wanting. That if he allows himself to even think about what he wants personally that he'll want too much, take too much, and that the only cure in his mind for this is to give and give repeatedly.

I wonder how starved he is for love. Vash loves hard, after all. Once he loves (and I’m not talking about the broad, distant love/compassion he has in general), for better or worse, he carries them around with him forever, long after they've passed. Does he feel like it'd be selfish to admit this kind of want? His love isn't really a passive thing after all - it's the drive at his very core; a mournful inferno he is just barely suppressing. Does he remember how to love in a way that doesn't consume him entirely?

Is that part of the reason he checks out at signs of intimacy? Diverts gifts towards others? Tends to accept kind gestures only when under an assumed name? Intentionally starves himself in Tristamp? Runs and runs and runs? Is he afraid he won't be able to stop hungering? That allowing himself to want means his want will become insatiable?

I just have to wonder how much of his avoidance of connection is being scared that he will cause more destruction (to them? or to him?) by trying to take far too much into his hands than he ever caused by turning his back and running.

...of course I may just be entirely deranged here sorry.

[scrawlingskribbles]

3am now & i am literally nauseous with how tired i am but my STUPID BRAIN will not SHUT UP abt ashen nonsense just absolutely RACING with ridiculous crap and c3< ideas & i am soooo tireddddddd fr TTwTT

[befuddledcinnamonroll]

Top 10 Things I Love About the QL Tumblr Community 2023

I'm loving everyone's end of year lists, and decided to make up one of my own.

I haven't been on Tumblr for very long and was originally just lurking. 2023 marks the year where I finally started posting, after I read a take that made me feel compelled to come to a fictional character's defense. (Saengtai, my poor little blorbo).

So in commemoration of my first proper year of active tumblring, I present what I love about this community (in no particular order).

(Side note - Technically I know this is still primarily a BL community, but I like to say QL because I am trying to manifest more lesbians for us.)

1) The Gifmakers

Y'all are a good 70% of the reason I joined Tumblr in the first place. There are so many show moments that I want to relive, but without having to search through videos. Sometimes I want to appreciate the aesthetics. Sometimes I want to remember adorable or goofy moments. Sometimes I just want to see cute boys eating each other's faces. Our gifmakers give all of that to us, with the addition of so much creativity and style.

There's too many amazing ones to mention everyone, but I have to shout out @sparklyeyedhimbo, because the way your brain works makes me so happy.

2) The expertise

The other part of why I joined Tumblr was to learn more about what BLs were out there and what I might be missing. And holy hell. Y'all are putting in the work. Not only lists and resources for finding all kinds of QLs, like these fabulous monthly breakdowns by @gunsatthaphan, but also amazing posts that add additional context, like @absolutebl's incredibly helpful breakdown of Asian honorifics. There is so much research people do, for fun! And then they share it!

3) The meta analysis

I frickin love reading people's takes and analyses on series. I love learning, I love seeing perspectives from people with different cultural backgrounds to my own, it's all so fascinating! There's so much context we can miss due to our own privileges, or lack of knowing about various cultures, or due to whatever bubbles we've been living in. People here are just so smart, and nuanced, and willing to reflect and think about things, and also push back at each other, but generally with respect (except when you call out the dumb shit you see, usually on Twitter or TikTok, where people are being reductive and dumb about gender and sexuality).

And I've seen a few takes where people complain about analyses, and say that the director/production doesn't do everything deliberately, and we're all reading too much into it. To which I say, eh, lighten up. How people connect to and relate to media has relevance beyond what was intended. The point is we get to think and discuss and learn and grow. That doesn't happen if we don't analyze.

Special shout out here to @respectthepetty because colors mean things!

4) The wild theories

The other side of the analysis coin, the clown cars y'all drive around in with the wildest of theories. I have happily climbed into an occasional clown car, and usually I am utterly wrong (*cough* Saifah *cough*). But it's a super fun ride. I love seeing how people's brains work. I love it when y'all are wrong. I love it when y'all are right. It's beautiful.

5) Immediate acceptance

I am one of those people who knows that I have a lot of good qualities, and also, always kind of expect rejection. Blame the childhood bullies, I guess. Anyway, whenever I delve into a new space, I still feel like a total dork that no one will want to talk to. It's kind of a fraught way to move through the world, but I manage.

Anyway, I started posting my thoughts as they came up, and people are just totally cool with it. People even follow me sometimes. Even my silliest thoughts and dumbest jokes get at least a couple likes. It's so validating.

And my very silly joke about gay mafia in Kiseki has over 800 likes. I feel very seen.

6) Mutuals

I still kind of can't believe I have any. This ties in to the dork feeling above, but seriously - they are soooo cooooool. They're smart and awesome and funny, and they somehow find me worth following back, which is baffling yet wonderful. I want to squish their faces and give them many kisses (if they're into that kind of thing).

7) The self-exploration

I really appreciate how it's become more talked about how a lot of people are discovering queerness through BL, because that is so the case for me. I think it's both that I was in a bit of a hetero bubble before, and also that I'm evolving a bit as I age. I had figured out I was demi, and maybe a little bit gay, before getting in to BL, but being in this community, and seeing so many of you share so openly and freely, has made me realize it might be more than a little bit.

Either it was a new realization, or being around y'all has made me more gay. Win win, either way.

8) The weirdness

I'm weird. Y'all are weird. I love it.

9) The thirst

So many in this community are thirsty as fuck, and as someone who is in that same condition, I love that it's not just me. There are not many places where I can freely admit how horny I am as a part of my general existence.

Here? I could post about wanting to lick some random BL actor's face, and it would get a bunch of likes and some tags like #lickable, and it's just not remotely a big deal.

Also the gifmakers understand this, and give us beautiful cuts of our spicy scenes. They are genuinely too good for us.

10) The communal watching experience

There is absolutely nothing like watching along with people in the community. It is so worth the torture of having to wait week to week for new episodes. Seeing the show trend, watching the theories fly fast and furious, or the way everyone collectively loses their minds over particular moments. In a world that can feel very isolating, it's a very warm experience.

So there you go. Thank you all for being you. Here's to another year of QL shenanigans and losing our collective minds!

[note-boom]

@shot-tothestars Thank you for your reply and so sorry that I completely forgot to reply to it...! (And for those of you who need it slight tw for euthanasia mention)

But onto my response.

I definitely agree that what Mushitarou did was framed as a sort of act of service. But I think just like some acts you do out of love, it CAN hurt you terribly to do them. Mushitarou's tears I think were proof enough that it grieved him to do it. But he wants to respect his friend's wishes and so there's like...many different conflicts I guess. The moral one (he himself killed his friend. Killing is bad. But killing him is something Yokomizo wanted) and the emotional one (grieving and being desperate to keep his friend's secret even if he wanted to respect it).

Truth be told, I do think I'll change my mind slightly as we see more of Mushitarou. But I do think he was coping as you said with the stress of the whole dilemma, but I don't know if that means he wasn't grieving.

But YES, there is definitely a difference between Yokomizo's desire to die, given that his death date was in fact set in stone. It could be a parallel to euthanasia but I won't get into it as I definitely don't have the knowledge to discuss it. However, I don't know if I'd call Mushitarou wanting his friend to live out the rest of those six months selfishness if it comes down to it...or at least not a bad selfishness. Nor do I think this was juuuust about Yokomizo taking control of his own death?

It's....

Hmmm....it's hard to word this out but ignoring my previous statements, I think one of the most interesting things BSD does about this analysis between life and death, selflessness and selfishness, and agency and control is that it questions each one depending on the situation.

Like some questions I can think that this arc asks is how do you deal with the knowledge of your day of death? Is it okay to take control of it and go out earlier or should I just let nature run its course? Does me wanting to die before everything on my own terms mean there's something wrong with me or am I doing this purely for myself for non-mental-illness-related reasons? Even if I was doing it purely for myself, do people have a right to over their own deaths as they do over their own lives? Is it selfish to want someone to stay on this earth longer? And how do you cope with factors that drive you to death (including life itself) when there is so much screaming about how life is better?

Anyway, that was pretty much a nonanswer because I can't really make up my mind if I agree or disagree. Still, being honest, I think I'm slowly starting to get convinced that bsd is manga that, if sometimes spitefully, goes "it's better to live no matter what. Even if your control is wrestled away from you, even when you lose it all, even if you think your life has no meaning, even if everything seems against you" etc. BUT it is very sympathetic and does not vilify or victimise people who want to die either (and might even go so far as to romanticise it).

I am very sad that I couldn't give you a more satisfactory response, OP (I open this to anyone who has a better response) :(. But thank you for responding to my incoherent rambling!!

Okay some Mushitarou thoughts. BIG manga spoilers so you have been warned....

But as much as I like to bully Mushitarou, I can't help but just KEEP THINKING about the fact that he's, well, kind of grieving throughout this whole arc - meaning the DoA arc, not Perfect Crime.

It's made pretty evident and spotlighted enough times, I think (or perhaps it's a result of me skimming through other scenes and fixating on the mystery squad), that I just have to wonder....

Yokomizo wanted to die. He specifically requested Mushitarou to kill him. And Mushitarou did exactly that and is suffering from, if not guilt, then definitely grief.

But here's the thing. Yokomizo wanted to die. Mushitarou was just doing what Yokomizo wanted, and if Mushi really didn't want to do that, then why did he? What right does he have to grieve when he killed Yokomizo, even if it was his friend's desire?

Who knows...I certainly don't. But it really got me wondering about the symbolism of it all. How this arc speaks a little to the suicidal characters in BSD, how Yosano and Kunikida - two people who fight for the act of living for themselves and for others - take some of the center stage.

It's how that maybe some of the characters want to die, and the world decides to go ahead and respect their wish and let them die. In essence, their harsh reality killed them and they killed themselves. But if the world that kills suicidals is represented by Mushitarou, to an extent, then doesn't that mean the world will grieve at their deaths despite having been the ones to kill them?

I don't know. I tend to like seeing connections where there are none. But let's give it up for our favourite pathetic evidence eraser.

ALSO edit: Have not read the manga properly (as in chronological order with coherence to the story in mind), so I may be missing a larger point. Someone pointed out that there is a slight difference between Yokomizo's desire to die based on an illness vs the others....may have more thoughts on this later but we will see

[retributory]

Thank you for the post saying Binghe wouldn't care if he found out Shen Yuan replaced Shen Jiu, I saw a post on that danmei confessions blog that was something like "Shen Yuan being compared to Helen of Troy is accurate bc they both bring ruin to those around them, since if people found out about Shen Yuan then Cang Diong would want Shen Jiu's body back for a burial (so they would basically exorcise Shen Yuan out of it I guess and he'd die again) and Luo Binghe would break up with him for not being able to trust him anymore" and that pissed me off so much bc like. Worstie how can you read the novel and be this wrong about everything in it. Personally I don't think people know Shen Yuan replaced Shen Jiu (except maybe Binghe) but if they found out about how he was forced to due to the System, like he was a hostage and cursed by some entity, they certainly wouldn't blame him or force him to leave. I mean literally the only person who would mourn Shen Jiu is Yue Qingyuan, and he likes the current Shen Yuan too! He wouldn't want him dead either. Idk how some people can misinterpret a novel's point this bad but I wish they'd stop talking about it as if they're facts

yeah idk the average user on that blog appears to be reading entirely different novels and you go in the notes and people are nodding sagely as if the posts make sense. like if the actual text of the novel disagrees with you i think you're just wrong lol.

and yeah they . . . pretty much have already guessed it isn't shen jiu anyways. like they don't know who it IS, or what exactly the truth of the situation is, because the system and such are out of their scope of knowledge, but they're quite confident in running theories like "qi deviation-induced amnesia and personality change," so they don't consider him the same guy anyways. they were actively shocked it WASN'T possession (though the possession theory is kind of correct. lol). it's also so weird to think that cqms would (for lack of nicer terms) give a fuck at all if sy DID maliciously possess sj. in the original timeline it's made pretty clear no one comes to sj's defense except yqy, because sj specifically desires that outcome. sj isn't some helpless baby at the whims of everyone around him - he specifically and intentionally seeks to ruin his own life and the lives of everyone around him, or at the very least make them as miserable around him as possible. thus, no one else likes or misses him at all, and in fact every peak lord at that meeting was jumping for joy that they got Other Guy instead of sj, which is a contributing factor to why they just decide to simply not call him out on it.

i also think (says guy who posts about svsss 3 times a day) people are like. taking it too serious. you're not supposed to be seriously considering lines of thought like that because svsss is a transmigration parody novel of xianxia power fantasies - whatever exists in the background exists purely to support the world of this satire. and while that certainly is a fun topic for meta - i enjoy reading posts like that! - it becomes irritating when the meta is framed as if somehow you are in the wrong for enjoying a novel the way it was intended to be enjoyed by the author, and that the only True way to enjoy it is through enlightened meta-contextual analysis that assumes all the characters are actually different people.

someone on that blog was like "why doesn't svsss expand on the lore and fights and characters!!!" because they don't matter to the story my friend. not every novel is lord of the rings. this is xianxia transmigration parody novel my friend. just read . . . an actual stallion novel. actually really do that because then you'll form a connection with sy because these things are written SO bad and then you'll understand him LMFAO

[sunderingstars]

☆━━━━━ ⋆⁺｡˚⋆˙‧₊☾ ◯ ☽₊‧˙⋆˚｡⁺⋆ ━━━━━━☆

✩ ‧₊˚ ⌞ CHARACTER LINES ⌝

sampo analysis m.list

— what the stars reveal: interpretative analysis, somewhat a character study, elation!sampo

— word count: 4.6k (oh my god i am insane. he makes me insane)

— overview: (as of 2.4) an analysis of sampo’s character dialogue outside of quests!

☆━━━━━ ⋆⁺｡˚⋆˙‧₊☾ ◯ ☽₊‧˙⋆˚｡⁺⋆ ━━━━━━☆

✩ ‧₊˚ ⌞ INTRO ⌝

I’m putting this here because I wasn’t sure where else to put it, I just wanted to point out that his character intro describes him as someone who “travels freely” between two places (in this case, the Overworld and Underworld, but could also apply to multiple states of being) as well as saying he “acts” like he is everyone’s friend (performance) and is “enthusiastically humorous” (very similar to “infectious enthusiasm”). Being good at bantering also seems very Elation-aligned. That’s all!

✩ ‧₊˚ ⌞ FIRST MEETING ⌝

Each character’s “first meeting” line is arguably one of their most important lines. Not only does it give you a baseline introduction to them and their personality, but it shows you how they present themselves to others (i.e. the aspects of themselves they choose to consciously, or unconsciously, emphasize when meeting someone). For Sampo, this includes all of the “perks” that come with knowing him. Business, chaperoning, conversation — these are all part of a “deal” to him, a transaction of knowing and being known.

I haven’t talked about this much in my previous analyses, but Sampo has a very specific mindset of viewing friendship as a commodity. This could easily be chalked up to his idea of business and transaction rubbing off on other parts of his life, but given the strange emphasis he places on “being friends” throughout his dialogue, I’m suspicious it might be more than that. It seems he either isn’t willing to or isn’t capable of seeing genuine human connection as any more than another deal, another façade to do business with. It may be his way of keeping people at arm’s length, or perhaps the Elation won’t let him view people as anything more than another joke, another transaction of language and Laughter to make at another’s expense. Whatever the case, he seems dead-set on including “friendship” in his package deal when doing business.

I also find it interesting how he isn’t wrong. For someone who has a penchant for distorting the truth on a whim, Sampo is, in fact, a “chaperone” and “problem-solving conversationalist.” (“Businessman” is a given, we all know how well that’s going for him given that he literally has an idle where he counts his big stacks of money.) Despite not really having to, Sampo goes out of his way on Penacony to take the Trailblazer around and show us the dream bubble — even if it’s not a “traditional” chaperone role, it’s clear he was trying to look out for us in his own way (same thing on Belobog with the smoke bombs). Additionally, he’s very adept at solving problems by sheer virtue of talking, as shown by being the archetype that’s able to talk himself out of a myriad of situations. So at the end of the day, I guess I’d have to agree with him: it is a pretty sweet deal.

However, arguably the most intriguing thing about this line is the meta aspect of it — the big picture of his selling point being multiple things “rolled into one.” I don’t want to read too much into it, but I can’t help but wonder if this “three-in-one” phrase refers to more than just his skills. After all, if a running theme of his character is being a businessman and a chaperone and a problem-solving conversationalist, who’s to say it doesn’t apply to him being a Masked Fool and an Emanator and an Aeon (or a part of one, or a creation of one, or an avatar of one — honestly, at this point I feel like we can mix and match). At the very least, it would match up with the rule of three. Food for thought!

✩ ‧₊˚ ⌞ GREETING & PARTING ⌝

The greeting here seems pretty standard — going into it assuming he’ll get paid, then waffling and thinking about backing out when he realizes he won’t. What’s notable here, however, is that he covers it up by stumbling out a “Not a problem!” and continuing on with us. I feel like this partially shows how much he values friendship (despite clearly still wanting a payout) while also not quite having enough spine to straight up say “no” to us. The only thing I’m not sure about is if the Trailblazer is special in this regard, or if Sampo would keep going with anyone else.

The parting is a bit more notable, especially the idea of “I’m not going anywhere.” It seems half-comforting, half-threat, like he’ll always be a constant in our lives, for better or for worse. In a way, he may be like a never-ending joke we just can’t get rid of no matter how hard we try. (Don’t worry Sampo, I would never think of getting rid of you 😌.)

✩ ‧₊˚ ⌞ ABOUT SELF ⌝

This line, despite at first seeming like a joke, feels more personal the longer it goes on. The first “I’m an easygoing fella” seems like exactly the kind of thing a shady businessman would say when trying to drum up clients: “I’m personable,” “I look out for people,” “I’m a community man,” etc. However, by the time the line ends, it very much sounds like he’s referring to something specific. The idea of getting “pulled into everyone else’s business with nothing to show for it” sounds like a passive aggressive dig at something or someone we don’t have the specifics for. Especially with the “tsk” at the end and the repetition of “easygoing,” it almost seems like he’s trying to vent his frustration about being constantly pulled into things he doesn’t want to be a part of.

Now that we know he’s an “old timer” within the Masked Fools, this line of thinking makes sense — he’s left behind his mask, meaning he may have gotten tired and fed up with getting roped into the Fools’ shenanigans. With how exasperated he sounds in much of his Penacony dialogue, I’m not surprised he said something like this.

Going a step further, this could even apply to an Emanator being burnt out at having to deal with the Elation, or even Aha Themself feeling the constraints of a compulsory existence. I feel like Emanator or Silhouette theories would work better for this particular line, although it’s possible that Aha could achieve this level of genuine exasperation through split/dual/separate consciousness.

✩ ‧₊˚ ⌞ CHAT: INTEL ⌝

Once again, Sampo shows how smart he is. He may be shady, yes, but he does know how to “maximize profit.” After hearing of Boothill’s run in with an Elation Emanator in 2.2, I can’t help but wonder if it was Sampo playing into this idea of selling information to multiple people — I definitely don’t think Boothill learning of the Emanator’s status was a coincidence, even if he says it was because he got it drunk. To me, this definitely reads as Sampo parceling out information in the right doses to the right people, “packaging” it in such a way that that person is none the wiser.

✩ ‧₊˚ ⌞ HOBBIES, ANNOYANCES, & SOMETHING TO SHARE ⌝

Despite only being one line, “hobbies” sticks out to me as a potential revelation. First, there’s no mention of the passion or creativity often associated with hobbies, it’s just him stating what he believes — there’s no indication he actually enjoys it deep down (compulsory existence mayhaps). Secondly, “small talk brings big clients” shows how he focuses on the details and minutiae of the larger picture; he may not be one for flashy entrances like Sparkle (hell, his big entrance in Belobog was when he was literally surrounded by smoke) but he does know how to manipulate the odds to be in his favor. I also find “big clients” interesting. While it could just be a reference to his dealings on Belobog, I can’t help but wonder just how far this might extend. What kind of “big clients” has he brought in? Is he neglecting to mention that he’s a “big client” himself? Is he used to shmoozing in the big leagues? Only time will tell.

In comparison, the annoyance line is fairly standard. It’s a link to his shady side, the idea that he’s just a poor businessman, *sniffle,* and how could someone be so mean to such a nice fella? He’s operating in technicalities here, full well knowing why he’s considered a con-man but intentionally being obtuse about it. It is very endearing to me.

“Something to share” almost seems Robin-Hood-esque. At first, I thought he was talking about more “business” stuff, the idea of “sharing is caring, so you should share your money with me,” but the more I re-read the more I realized he’s probably getting at the wealth inequality in Belobog. He’s technically affiliated with the Underworld, after all, and his closest friends seem to be there too. Behind the fixation on profit and only doing things if it benefits him materially, there seems to also be a genuine want to share himself, to “make up the shortfall.” Even if the “sharing” isn’t coming from his own possessions, he still wants to get the Underworld the supplies and means to live comfortably, which is a surprisingly sweet sentiment. He has a heart in there, I swear.

✩ ‧₊˚ ⌞ KNOWLEDGE ⌝

I feel like this line speaks for itself — the man is omniscient and he is toying with us. He knows way more than he’s letting on, even referencing the Astral Express as a “train” for shits and giggles. Your Elation is showing, king.

✩ ‧₊˚ ⌞ ABOUT SVAROG & CLARA ⌝

I don’t know what’s funnier: the implication that Sampo has tried to strike a deal with Svarog before, or the implication that he, Sampo “I can talk my way into and out of anything” Koski, failed. He was probably aware his conversationalism wouldn’t work on a machine like Svarog, but damn if he didn’t want to try anyways. I would pay good money to see that go down. Too bad Sampo exists in another universe and can’t haggle it out of me.

Alternatively, his line about Clara is pretty sweet. Referring to her as “our little girl” shows how he views himself as part of the Underworld — even if he came from beyond the sky, even if he integrated himself into Belobog for a larger purpose, he still cares. He sees himself as one of them. Behind the gaud and the glamor, we can begin to see that silhouette, that want for connection in the periphery, staying in the shadows because it’s afraid to step into the light. Yet, despite him even realizing it, he’s begun to integrate himself. Begun to see himself as more than just a means to an end, an instigator or a jokester or a clown. He has, in a sense, become part of the collective — a healthy collective, one big found family, and Clara is just one part of it. Beyond his knowing, he’s gone from “I” and “them” to “us.” To “we.” To “our.” (And he is also still eternally confused over how the hell to communicate with Svarog.)

✩ ‧₊˚ ⌞ ABOUT NATASHA ⌝

I like how naturally he describes the progression of their relationship here. While it may not be entirely truthful or accurate (who knows with Sampo), it at least seems like he views his and Natasha’s friendship as an easy progression from one stage to the next. Despite it being transactional, it doesn’t really feel like a transaction, just an evolution of something whose seeds were already planted. It’s also notable that he started with medicine — not intel, not materialistic wealth like relics or Shield, but medicine. His first establishing relationship with Natasha was literally bringing her life-saving medicine. It really reminds me of how he saved the Trailblazer’s life in The Moles’ hide-and-seek daily mission; it’s the things he does in the shadows that really count, really show that he does, in fact, care. Despite what he tells you, he still wants to help. “You know how these things work” is also so funny because it’s like… no, no the Trailbalzer does not know how these things work. (Also, “arrived” in the Underworld? Interesting word choice, bestie.)

✩ ‧₊˚ ⌞ ABOUT SEELE ⌝

I just think it’s really funny to imagine Sampo, either an Emanator or an Aeon or both, being constantly told off by some resistance fighter on a random snow planet. Like, Seele is really out here doing what 99% of beings can’t. (With Doll Theory, however, this is a bit… heartbreaking, especially “Can someone explain what I did to deserve her?” potentially hiding the deeper, more agonizing question of “Can someone explain what I did to deserve this?”. But I am choosing not to think about that right now for my own sanity.)

✩ ‧₊˚ ⌞ ABOUT BRONYA ⌝

He really has no self-preservation when it comes to scoring big, does he? Despite how carefully methodical his endgame plans seem to be, his omniscience doesn’t stop him from throwing himself out there when he feels there’s something to be gained. It’s okay, Sampo, she’s nice. You don’t need to risk getting beat up just to talk to her, I’m sure you can arrange a meeting. (Also, I feel like this mirrors his “painful introduction” to the Trailbalzer at the beginning of the Belobog storyline — sure, Sampo had to put up with Dan Heng’s prodding and Gepard’s arrival, but he made the biggest score of all: getting to meet us. So, maybe it’s not just “throwing himself out there.” Maybe it’s all one big calculation on his part.)

✩ ‧₊˚ ⌞ ABOUT THE LANDAUS ⌝

Gepard potentially triggering Sampo’s Elation instincts is hilarious to me. I’ll expand on it in a dedicated Sampard post, but it’s so in line with the Elation for Sampo, most likely a god in his own right, to find such catharsis in, what? Being chased around in the snow by a hot blonde guard? In terms of the wider universe, Gepard is literally just some guy. And yet here Sampo is, doing a little heehee haha and having the time of his life. It’s the little things, you know?

(On a more serious note, if we’re dealing with a Sampo who’s constantly felt like he has no control over his “enjoyment” of Elation — even a Silhouette or Doll Theory Sampo who is actively being harmed by “the joke” — then him gradually warming up to Gepard is surprisingly wholesome. Here he is, someone who has always found himself subject to Elation rather than naturally falling into it, finding a way to reclaim that enjoyment and find a genuine place for it within himself. Some sort of reconciliation, perhaps, a bit of happiness that’s his own and no one else’s, some part of a situation that he can control. The elation he feels here is not Elation, but rather a genuine feeling of connection, one not brought on suddenly by the punchline of a joke, but one that has gradually grown over time, matured, blossomed into something warm and real and comforting. Gepard has no idea, but he’s slowly mellowing out the “compulsory” of compulsory existence until it becomes nothing but a fading whisper. Anyways can you tell I love Sampard?)

I’m also interested in how Serval and Sampo used to be “good pals.” While Sampo’s idea of a “good pal” could be wildly off-base from what Serval experienced — with the likelihood that Sampo’s “we were besties” was Serval’s “he was an annoying guy who kept asking me for deals” — it makes sense to me that they might’ve gotten along at some point. Serval is a fairly casual and accepting person, so I could see her and Sampo being friends (although I don’t think she would have fallen for many of his scams). However, I definitely don’t think she’d agree with Sampo’s shady business dealings, so finding out from Gepard just how much of a criminal he is would definitely sour things. She would believe in giving the Underworlders the resources they need, for sure, but definitely not Sampo pocketing money for himself or scamming random people who’ve done nothing wrong. “Gepard’s bad word” probably wasn’t even that malicious, just a statement of fact.

(I, however, like to think that Gepard opened up about his crush on Sampo to Serval and her protective older sister genes kicked in. What Sampo is really registering is the change from “oh, you’re a chill guy” to “if you hurt my baby brother so help me god I will end your entire existence.” It is canon in my heart.)

✩ ‧₊˚ ⌞ ABOUT LUKA ⌝

This one is another tie-in to Sampo’s fixation on business and profit. I do wonder why and how Sampo missed out on making money here, though. Perhaps the timing was off, or he had bigger things to deal with, or Luka just didn’t want to work with him for whatever reason. Either way, it’s kinda funny that he knows Luka as “that kid I could’ve made money off of but didn’t”. I can just see him hanging his head dejectedly in my mind. It’s okay, Sampo, you’ll get ‘em next time.

✩ ‧₊˚ ⌞ ABOUT SPARKLE ⌝

Sparkle is a unique case, being the only other playable Masked Fool and having a direct connection with Sampo through the organization. He seems to have a pretty good read on her, which would make sense if his status as an “old timer” includes having a lot of experience dealing with specific members of the Fools. He’s basically reading her like a book, saying: She’s all over the place, and you never have anything truly figured out. There’s also the meta commentary of “outwit herself,” referencing the events of Black Swan’s companion quest and an Inception-like folding in of all her personas. It also seems like it might be a bit of a projection: “Think you’ve got her all figured out, don’t you?” I didn’t say anything Sampo, but if this “you” is in the room with us right now, it’s okay, you can just say it. Perhaps he tried to understand her at some point in the past and it fucked him over. (Just speculation!)

✩ ‧₊˚ ⌞ ASCENSION & ACTIVATION ⌝

Whoo boy, this eidolon activation. It’s definitely suspicious, to say the least. There’s a reason I chose it as my quote for my Elation!Sampo masterlist, and that’s because it encapsulates so much about his potential identity. There’s the fact he’s not being direct about it, phrasing it as a question where he speaks in second person, trailing off at the end; even now, he seems unwilling or unable to face the truth with his full chest. There’s also the phrase “colorful past,” which just makes me ask: How much of a colorful past are we talking? This could range anywhere from Masked Fools shenanigans to “oh yeah, I used to be an Aeon.” The fact he’s so indirect about it makes me more suspicious — it’s an extremely leading question, very smug and taunting, which makes my mind just go up and up and up the power scale list, much like “old timer” caused me to do the same. There’s just a quality to this line that basically screams, “There is something large and powerful and dormant inside of him! Be careful!”.

The ascension once again links back to money, and his trace activation is about the transactional “business” of friendship. The last notable thing here is his “max level reached,” where he expresses disappointment over… hitting max level? “That’s it? *sigh* I was just getting started,” is not the kind of thing even a regular Masked Fool would say. Again, we’re given a hint of almost incomprehensible power, the idea that the limit of the game, of the universe, isn’t enough for him. In a strikingly eldritch way, our “max” is simply a small drop in his bucket, an ant he barely even notices. He really isn’t beating the Elation allegations, is he?

✩ ‧₊˚ ⌞ TEAMS ⌝

Since there’s five different ones here, I’ll go through them fairly quickly:

Natasha — Reminds me of Natasha’s own voiceline where she says Sampo doesn’t like owing people things. It shows that he really does try to pay favors back as soon as possible, keeping them present in his mind so they don’t go unresolved for too long.

Hook — It’s interesting how he reacts to her in a similar way he does the Masked Fools: exasperation, but still a little fond. There’s some care, some nostalgia mixed in there, but at the end of the day he still knows that something is getting blown to smithereens.

Seele — On his best behavior. He really doesn’t want her to get angry at him, does he? 

Trailblazer — Interesting how he laughs at the beginning here. Interesting how he says, “Ha!” Interesting how this is only with the Trailblazer. Hm. That is all.

Sparkle — “Same rule as always” establishes a long-form relationship; it’s likely they’ve known each other for a long time, or at least long enough to have established “rules” for each time they fight or work together. The fact that the rule is “no backstabbing” is also fitting, seeing as Sparkle (and by proxy, the Masked Fools) are definitely the type to backstab at any given moment. The real question is: Is this rule simply a surface-level attempt by Sampo to stop from getting messed with, or does Sparkle actually listen to him?

It also sets up Sampo as at least pretending to be on the same power level as Sparkle — he’s in a position where he feels the need to be wary and on-guard around her despite occupying a potentially higher status.

✩ ‧₊˚ ⌞ COMBAT & MISC. ⌝

Reading through these, I just felt like I was getting smacked over the head with theories. It’s like he was repeatedly hitting me on the back of the head with a baseball bat or something. Having each line side by side really makes certain patterns become apparent. Since there’s so many, I’ll go through them fairly quickly (feel free to ask me to expand on any of these if you want!):

Battle Begins: Weakness Break: “Fun” links to Elation. “Just” is downplaying the severity of a Weakness Break, reducing pain/danger to yet another joke. A somewhat callous view of life, similar to the Worm Fiasco.

Battle Begins: Danger Alert: Endless pursuit of entertainment and Elation — “the stronger the better.” Like Aha, it’s less about winning or losing, but rather the challenge and thrill of the fight itself.

Turn Begins: Line 1 — The idea of “friends” again, showing physical protection and aid to be part of the “transaction”; however “takes care of” seems less transactional and more genuine. Line 2 — More transactional with the idea of “business”; perhaps refers to violence as “doing business” with enemies, or helping the trailblazer as “doing business.”

Turn Idling: “Bring out” and “big guns” links to hidden or increased power, something that needs to be revealed. Since this is his turn idle, it gives the implication that he is “waiting” to bring out this power until the right time (though he is impatient about it).

Skill: Argument One — Silly goofy behavior. Argument Two (Delusional) — “Size” alludes to the physical changing of size between mortal and Emanator/Aeonic form.

Hit by Light Attack: Seems somewhat performative.

Hit by Heavy Attack: Seems to be overly protective of his “face” — or rather, the potential physical facade he puts up to hide his true identity from others. Doll Sampo may be overly concerned with “breaking,” while other theories may be worried about something being “revealed” if too much of his physical form is chipped away. (In a way, the avatar of “Sampo Koski” may be a mask in and of itself, able to be broken.)

Ultimate: Activate: Again with the idea of “waiting,” man is impatient.

Ultimate: Unleash: If we’re going with an Elation!Sampo theory, it seems like he may almost be alluding to Aha as “king” here, which would center themes of betrayal and switching sides. It doesn’t seem personal in this case, but rather a power/money/profit-oriented standpoint.

Downed: *Puts on tinfoil hat* Sampo could actually be referencing a “loophole payment” here; as shown in the Curio Hacker Occurrence, one of the curios given to us by the blue-haired man is “Organic Heart,” a curio that removes the golden (powerful) dice face for four turns, destroys itself, then grants two cheat attempts — if we take this as an allegory for Sampo’s existence, then he may be paying a “price” as an Emanator or Aeon to escape an unfortunate fate later on (or accomplish something impossible). In this way, “This price was too steep…” may refer to Sampo being trapped in mortal form (a more vulnerable state) and realizing the “price” he paid upfront for those cheat attempts isn’t worth it if he never gets to see the fruits of his labor.

Return to Battle: This may also link to the Curio Hacker dice faces, as a combat “turn” could also stand-in for a dice “roll” — he has been brought back to fight, and so he will continue to participate in the cycle until his cheat attempts are granted. (Also, it links to the cyclical nature of the snakes, going from one turn to the next, never able to truly die.)

Health Recovery: Another mention of transactions, debt, and “owing” — according to Natasha’s voice line about him, this is not a phrase he says lightly.

Technique: Laughter, plan and simple. The Laugher, even, if we’re feeling frisky.

Battle Won: Probably one of the biggest clues in his voicelines. “How’re you gonna win if you don’t take any risks?” directly implies a “risk” at the core of his being, some dangerous change he is making to make sure he gets what he wants. May somewhat detract from Aha theories in that Aha doesn’t seem to care about “winning,” however who knows if that mindset has changed or if Sampo simply thinks that because he is currently in mortal form. Either way, it once again links to him paying a “cost” for those later cheat attempts.

Treasure Opening 1: Good old cash reference.

Treasure Opening 2: Kinda sweet that he lets us keep it, even though it’s only because he doesn’t have any use for it.

Precious Treasure Opening: … And of course he immediately shoves us aside when it’s something he’s actually interested in.

Successful Puzzle-Solving: 1: Pretty generic.

Successful Puzzle-Solving 2: Reference to his businessman persona and how he’s made a career out of “solving others’ problems.” It may be that he’s trying to solve a problem for either himself or Aha as an outside entity (or perhaps even a different Aeon of Emanator, who knows).

Enemy Target Found: Sounds almost taunting; there’s no vocal recording in this post, but if you listen to his English voice acting it sounds goading, almost like he’s daring you to start the fight. “I dunno” is a bit more reserved, like he’s hesitating a bit, but I’m definitely on the side of “he can handle this, he’s just fucking with us.”

Returning to Town: Another third person reference! Obligatory business reference.

And whew, that’s all of it! Every single Sampo character screen voice line as of 2.4! My main takeaways are definitely the third-person references, as well as the fixation on business and profit. The lines linking to Curio Hacker especially stand out to me — “risks” and “prices” remind me a lot of Organic Heart. But I’ll save that for its own analysis! As for now, I hope this was a comprehensive-enough coverage of Sampo’s voicelines. In my opinion, this man definitely has some Elation-related shenanigans going on.

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.𖥔 ݁ ˖ જ⁀➴ thank you for reading to the end!

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© analysis by sunderingstars. do not copy, repost, translate, modify, or claim my work as your own.

[let-us-cultivate-our-garden]

What's yout opinion on these two Owl House analysis posts (sending them in another ask)

Thank you for the links. Just for future reference though, that blog blocked me awhile back for reasons I can only guess at so I had to find another way to read the posts.

My biggest issue with these kinds of analyses is how it really has to ignore how toh executes its themes and rely on historical and political realities and awkwardly tie it to the show.

Belos may be a metaphor for colonization and oppression but good luck finding anything consistent in the show to actually demonstrate that. Belos may have been inspired by fundamentalists conservatives and he may speak like one, but on a societal level, the Boiling Isles is not a good representation of a world run by a religious zealot.

There are no wild witches that are routinely persecuted; Eda is able to walk around openly (save for one episode) with no fear of being arrested, Luz is able to multi-track despite Bump's initial misgivings about the EC potentially withdrawing funding from the school (something that never happens) no one actually treats the Titan like a divine entity despite Belos' reign being founded on that very premise, and the citizens are allowed to openly defy the emperor's potential execution of Eda--despite being the living embodiment of everything the people of the Boiling Isles are taught to fear.

There is one rule in the isles: no wild magic.

Outside of that, witches are free to live as they wish. Joining a coven is seen more like choosing a career path and not something one must do or risk ostracization. Eda doesn't suffer because she's a wild witch. Not really. The narrative focuses more on her curse and how she isolated herself because of that and had to turn to crime to make ends' meet.

Because of this, it's difficult to really discuss Belos as a metaphor for colonization when the islands don't suffer or at least the show doesn't demonstrate why joining a coven is bad outside it being a requirement. So really the theme is freedom of choice rather than "the oppressed must overthrow the oppressor."

It's Belos' status as a Puritan that's doing the heavy-lifting in any kind of post that makes the claim that toh is about colonization. Which is why so many of these posts fall back on meta-analysis and tossing in historical references rather than what actually happens in the show.

As for Luz being an immigrant to the Boiling Isles....I mean I guess? The problem is that Luz never learns to appreciate the BI on its own terms because everything is handed to her; the issue of humans not being able to eat the BI's food is dropped early and the only threats she faces are scammers. A better depiction of a girl-going-to-a-fantasy world-as-an-immigrant metaphor is Amphibia, in which Anne learns the culture and customs of Wartwood and even earns the title of Frog of the Year because of her progress and growth. We never get anything like that with Luz because Bonesborough doesn't have a distinct identity like Wartwood does. We don't get to know recurring side characters outside of Luz's clique at Hexside. Luz doesn't even work as an immigrant in Gravesfield because her problem isn't framed due to her heritage, the focus is on her overenthusiasm for Azura. Camila doesn't struggle fitting in because she's Dominican (and no, letting her hair get curly again is weak because it's literally the only example of her possibly changing herself to fit in). Her struggle is tied to her daughter and the grief they share over Manny's passing. So there's no evidence of the Nocedas having to "submit" to the dominant culture of Gravesfield because we don't know what Gravesfield's culture is. There's no oppression and Vee gets along fine despite coming from another dimension.

Finally, as for Luz's angst over being like Belos--that her anger makes her like him. Yeah no, this is weak. First of all, this is the first time that she expresses concern over being like him due to her anger. In the previous two episodes, the concern was that she "helped" Belos find the Collector and is therefore responsible for his rise and the subsequent centuries of suffering. Then, she's worried about always making mistakes and how that leads to more people being hurt. Next, in her nightmare sequence, she fears her friends secretly hate her because she helped Belos and is the cause of all this suffering so she might as well be him.

But now, her fear is being like him because she wanted the Collector to blast him and that Belos' desire to save humanity is uncomfortably close to her own.

Sorry what?

Luz previously rejected Belos's stated goal of saving humanity in King's Tide when she called him out on his hypocrisy. At every encounter, Luz calls Belos out on his bullshit, why is it now does she seriously consider that his goals are similar to her own?

Oh, so the Titan can alleviate her fears, validate her by calling her a "good witch," and throw out all the recent development of Belos' character and motivations because don't worry, he's not genuine. He's just a Symbol so we can ignore the hints of his backstory making him a more complicated character. (And believe me, Belos' story is just vague enough that you could interpret him in any number of ways).

To conclude, I've noticed a trend in fan posts that develop a conclusion and work backwards from there, taking what they want from the show that fits to support their idea and ignore everything else. It's terrible analysis even if some good points are made.

[silicon-tmblr]

[Reposting this because I'm dumb stupid and don't know how reblogs work! This was supposed to be a reblog of this post by @g0nta-g0kuhara, a multi-part analysis of Kokichi Oma in Chapter 4]

Ooh a meta post! Sends me back to when I was first researching the DRV3 fandom before playing the game (I'm a little backwards, I know...). I only read the one part, but I wanted to chime in with some additions on top of the existing analysis.

Interestingly, the "neutral Kokichi face" that's highlighted in this post is one of two "neutral faces" that Kokichi makes throughout the game. That would be stand_005_037, or Kokichi's 37th sprite.

The other "neutral face" is the next sprite over, stand_005_038, which appears in a different context from the previous sprite. The difference between the two is really not terribly noticeable at a glance, so here's a visual.

Up to now, I've considered sprite 37 to be Kokichi's "unserious neutral", as his expression appears more relaxed than that of sprite 38, what I've thought to be his "serious neutral".

You know he's not serious when he's agreeing with Maki.

With the information from this analysis, though, it might be more accurate to call it his "masking neutral". Kokichi will use sprite 38 in low-emotion situations when he has a point to get across, like here in the Chapter 3 post-trial.

However, in high-emotion situations, as said in the initial analysis post, Kokichi is likely trying to hold himself back. That's when sprite 37 comes in.

Bro is either stifling a laugh or seething with anger in there

Regarding Kokichi's sprite 38, there's some stuff I've come across which loosely implies that it initially had a different design. When Kaito recaps his conversation with Kokichi in the hangar in the Chapter 5 post-trial, the conversation is portrayed with a sepia tone. The sprites for this conversation aren't really "sprites", per-se -- the entire scenario is actually stored as a series of background images in the game files.

One image that caught my attention, however, was bg_201_11:

On my first playthrough of the game, I dubbed this sprite "Kokichi angy"

This image stands out at a glance because of the Kokichi sprite, which isn't seen anywhere else in the entire game. Compared to the other images in the set, this image actually seems to be from an older build of the game, as the shadows in the background, shading on the sprites, and position of Kokichi's arm-belt-things are different.

bg_201_11 vs bg_201_01

My guess is that this unused sprite was an older version of sprite 38, especially since the current sprite 38 has similar errors as the older sprite.

Personally, I'm glad "Kokichi angy" wasn't actually used in the final game. He looks a little too much like a wet cat.

On another topic, also related to the linked analysis: let's talk about the ever controversial whiteboard note written by Kokichi under Shuichi's photo which, in the English localization, reads "trustworthy?"

As many people have pointed out, both now and in the past, this note was translated oddly and the original text was 「油断ならない？」 (yudan naranai?).

Though it's often translated by fans as “sneaky or cunning”, the literal translation is actually “don't be careless”, with “yudan” meaning “careless” and “naranai” meaning “must not (be)”. This is translateable in most situations as “dangerous”, hence that being the stock translation supplied by Jisho.org.

After all, "don't be careless" has essentially the same meaning as "this is dangerous", in most situations at least (think mountain climbing, or traveling through a dark alley; you wouldn't want to be careless because it is dangerous, you don't know what to expect so it's treacherous and sneaky).

When translating a note regarding a person, though, I would think "don't be careless" would be more appropriate, especially considering Shuichi isn't particularly dangerous compared to some other people in the academy whose dangers are well known (*cough cough* Maki)

You can find the independent translated meanings of yudan and naranai on Jisho as well as on Wikitionary (yudan, naranai).

So, Kokichi is essentially telling himself to stay on his guard around Shuichi, since he doesn't know what to expect from him. His attempt to team up with Shuichi in Chapter 4 was probably his confirmation that Shuichi wanted nothing to do with him, and that he should formulate his plans accordingly. It would probably have been ideal for him to have Shuichi on his side, as he saw Shuichi as a wild card (rather ironically; I'd imagine the group perceives Kokichi as the wild card of the group). So despite the translation error, the points made by the linked analysis still hold decent ground.

All in all, despite my belief that Chapter 4 is absolutely ridiculous, the linked analysis is quite good when one assumes Chapter 4 is logically sound (it's not), and still holds up even to someone like me who really dislikes Chapter 4 for its severe logical fallacies (my suspension of disbelief was absolutely thrown out the window when I played it... but maybe that's a matter for another day)

[bidisaster-peanut-romano]

soo hi everyone!! i'm back on my bully essay/meta/something writing!! sort of. i did this.

anyways anyone who's been on this page for some time know how from time to time i have insistently mentioned the parallels between lola and peanut, right?

welp! that was a joke but the time has finally come!! a super-pretentious essay just for the fun of it!! (and also bc i haven't been writing actually argumentative texts in like months perhaps a year, so. yikes, i really need to practice again)

word count: 2.2k WOAH. IM SORRY

i, in my corner, with my monstrous needs. — susan sontag, as consciousness is harnessed to flesh

take this quote both as a title and an anticipation of what is to come. the essay will be distributed analyzing first the dependence of each of them on johnny, to then draw comparisons. i'll make sure to steer as away from headcanons as possible, sticking closely to the source text. obviously, some things' interpretation might be ambiguous, but, you know. your usual occupation hazard.

also, a disclaimer before we start: while they are psychologically complex and there is always a mimetic intention in developing them, these are fictional characters, and, as such, their primary function is to be vessels for different themes, questions and so forth. therefore, i will prioritize meaning and themes over moral implications and similar elements.

i. peanut

for how much i can adore talking about him, the way peanut depends on johnny is very much on the nose; worn on his sleeve, even. in 11:11 minutes of voice lines, he mentions johnny 30 times.

many interpret this as the caricature of a boy crush, but i have reasons to believe it is much less cute than that.

the problem is that, really, more than trying to identify specific situations... peanut seems to rely on johnny for a significant part of what he does. when he does good at dodgeball:

Look at me, Johnny, look at me!

almost like a child calling for his parent's attention to be praised. he calls johnny's name when he's going through hardships, when he's scared or when he's sad.

more than someone he just loves, johnny is a point of reference. whenever there's something going on, whenever he does or has to do something, his first thought goes to johnny; vice versa, what johnny asks of him is his priority.

I gotta tell Johnny! No time. I gotta see Johnny now. Gotta help Johnny. What can I do next to please Johnny? I mean Lola! I mean…

(this also goes in a "negative" direction, envy being the other side of the medal to adoration. especially because, in some way, this reliance on johnny might be felt by him as emasculating, and, being johnny his model of masculinity, adding it to the napoleon complex thing, it's not hard to guess why it can be so unpleasant. we can see this manifest through some of the things he expresses in regards to lola- not as much an interest he has towards her, but the interest he wishes to have from her- which are a bit more different than it might seem at a first glance. but this is a mouseketool we'll need later. still:

Last time I saw her, Lola made eyes at me, not Johnny!

do we really need this part? heh. i'm not sure, but it's always good to point out)

(also, just because, for the purpose of this analysis, it might be useful to specify: while these sentiments are very much implied in peanut's canon quotes, we have no evidence in canon in what measure they are reciprocated by johnny. the fandom has universally agreed that johnny also views peanut as his Best Friend In The World; while in some measure, they must be at least a bit close, i think it is even safe to say, given the caricaturist nature of bully's characterizations, that johnny holds peanut in less consideration that peanut deludes himself into believing. quoting another post of mine, the kids who show some level of obsession towards their leader mention him on average ten or less times (gord mentions derby eight times, parker six times, kirby mentions ted five times). the leaders don't usually make names at all, that much is true; however, peanut mentions johnny 30 times, and, even in front of this proportion, johnny mentions peanut 0 times. just to make that clear)

overall, what undeniably shines through his voice lines is a feeling of general inadequacy, whether about his height, or his strength in front of a bigger adversary. the audios in which he tries to show off range from being disingenuous, to straight up improbable.

crossing what we have until now said, it is not hard to come to the conclusion that he really tries to make up, to fill this empty feeling of inadequacy by taking pride in his role as johnny's second in command.

while i am a big fan of bully's characteristic of having left much content out of the main game, leaving the gamers to dig it up for themselves, i do believe that scrapping some of the stuff that was prepared for peanut is a loss. we have a number of voice lines coming from chapter 3, in which it was heavily implied how important peanut's role as johnny's right hand man was.

for example, much like... all other seconds in command, really, he was to be followed and then fought in the rumble, before you could get to johnny, with the specific duty to cover his back. even his very first scene, the opening cutscene of chapter 3, i believe, is not to be underestimated. most of the other people, as far as i recall, call you when they need it in person; johnny, however, sends peanut. making him, de facto, an extension of himself, almost.

again, you choose the motivation. what is important, from a narrative point of view, is that peanut clings to johnny through these acts of service, almost making it the foundation of his personhood.

basically, he makes it so that, if he can't be of help to johnny, his whole self is fundamentally annihilated, giving himself completely to johnny.

ii. lola

with lola, reading between the lines gets a bit more difficult; first of all, because lola is much less transparent than peanut, her insincerity being a supporting beam of the whole chapter 3. secondly, whether she was done dirty by the creators or not, it is undoubted that being the perspective that of a teenage boy (namely, jimmy, but we certainly, as viewers, are brought to sympathize more with johnny than with lola) with all the prejudices it can bring with itself.

however, it doesn't mean that there isn't anything to work with- quite the contrary, actually. the issue with lola is that there is a certain amount of layers to get through before gaining a satisfying perception of her as a character. still, we're here to try our best, aren't we!

even behind the muddiness of her intentions and the manipulation she shows herself a master at, it is clear from the second we first meet her that what she does is in function of johnny.

to get through this mess with order, we'll start from an easy, measurable numeric information: lola mentions johnny in her audio files 19 times. which, we're assessed, IS a considerable amount.

we have extensively talked about the way her cheating patterns are a strategy not to succumb to the passive role of the girl in the heteronormative, patriarchal prototypical couple (there's a post here breaking down a lot of this stuff, if any of you is interested!!), so, instead of this, i want to focus on what lies beneath that behavior.

ultimately, the whole point is that lola expects and wants johnny to fight for her. whether is it because she feels taken for granted, or just because he can't perceive it if not through grandiose gestures like the rumble- your interpretation will work; she wants to see johnny fighting nail and teeth not to lose her, she wants him to show her that he wants her.

she's all about that attention, and she knows exactly what and how to do to get it. and i think this is especially clear when you compare the moments in which she knows there's no advantage she could go for; when she has understood that jimmy won't fall for her manipulation, when algie and chad leave her unsatisfied, when norton openly accuses her and antagonizes her - she loses her temper, lets go of that sweetened and/or flirtatious voice tone, abandons that specific kind of gesturing. she doesn't care anymore about obtaining something. she was actually angry, and she was actually upset that johnny had disappeared.

in some of her audios, she references johnny with some amount of fondness, as well:

Johnny and I were on the best date ever.

(there is also a voice line in which she says "He told me he likes me because of my personality. Isn't that sweet?"; due to it being a general chatter and not exclusive to one chapter, i assume it is relatively safe to assume she is quoting johnny. however, as i said at the beginning, we're trying to stay as close to canon material as possible, so, do your thing- and i'm open to arguments!!)

a considerable amount of audio files, however (which will lead us to our final point) is about her... calling for help for johnny, or stating, confidently, that he will come save her, or avenge her later.

Someone get Johnny! Johnny's gonna get you for this. Johnny is gonna kill you!

but wait... i have some sense of déjà vu...

You're gonna be sorry when Johnny finds out!

iii. two faces of the same medal

if i had to pick an effective image for a metaphor, i'd say that the thing about lola and peanut is that they are both dogs looking for someone to take their leash; we’re talking here about an exclusive relationship with someone they can rely totally on, someone we’ll call the Other (with a capital o, distinguished from just other. yes it is unnecessarily complicated i’m sorry).

for what my professor would call accidents of history, it happened that both of them found that Other in johnny.

each of them attempts at creating an exclusive relationship with the Other, one foolproof and fundamentally… perfect. perfect in the way that everything works like oiled gears, in the way that every next move is predictable, in the way that any accident will not break the created equilibrium. (even if, in the general sense of the term, lola and johnny's relationship is everything but perfect, it is in the connotation that we have established here. lola is aware that, no matter what she does, johnny will come back around. hell, the very thing that she does is aimed at keeping that balance; specifically, keeping him a bit on the edge, pushing him into a corner where he has to actively make an effort to keep her close.)

they both hide something they are ashamed of, regulating not only their actions and reactions but their very way of existing in the world, in order to keep that gear working, in order to remain in johnny's hand. lola hides that craving for a genuine and stable affection, dissimulating it with the cheating and the fatuous physical demonstrations of closeness; peanut hides his sense of inadequacy and complex of inferiority, by being the tough and reliable second in command.

basically, what they mean to achieve is a sense of security, the safety of not really being the one to lead but, at the same time, finding a purpose, other than a shield from the outside world that they are not willing to concede themselves to. like a... symbiotic relationship?? i was going to say parasitic, but, yknow. the Other does get some advantages, which are, respectively, peanut's acts of service and lola's capacity to boost johnny's pride.

now, of course, johnny is not aware of either of their play. which makes it even better, since, as we already said, both of their approach to the relationship needs some degree of insincerity.

like, i don't deny that johnny might be a good friend, or a loyal one. but he is an oblivious, prideful fuck who can't see past his own nose; he's got a tendency to make it all about himself - which of course goes perfectly with what we said about both peanut and lola making the Other their center, taking up, in a certain way, a passive role in the relationship.

this way, both of them aim at creating with johnny a relationship that is, in a way, codependant and conditional, in which the do ut des (their respective "service" ↔ johnny's guarantee of stability) creates the foundation of the very relationship.

this, of course, brings up the problem of exclusivity; on which, however, i prefer not to delve into too much, as this would bring us to the topic of their antagonism which... isn't really what i wanted to go for, at least not here. (it would risk bringing us a bit too close to my subjective interpretation and too far away from the canon, which i PROMISED i wouldn't do. however, someday i might elaborate on that??? idk , please do lmk if someone's interested around here)

i will, however, show you a diagram (it looks like a triangle- i guess it is, but it is VERY important that it is a pyramid, with a top and a larger foundation) and a quote, to wrap this up bc i think it is already WAY too long and ramble-y lmao. let me know what you think anyway, my ask box is always open <3

it almost feels like a joke to play out a part when you are not the starring role in someone else's heart you know i'd rather walk alone (i'd rather walk alone) than play a supporting role if i can't get the starring role -- starring role, marina and the diamonds

[charlottesbookclub]

should we talk about the interlace on gwayne's horse's armor?

since I spend altogether too much time looking at stills and gifs of gwayne anyway, I figured I might as well share some observations I have about the really interesting visuals that are happening with his horse's armor

this is part art historical analysis, part gwayne meta, and part "let's look at some gorgeous images under the guise of doing visual analysis" so if that's your thing, please read on! if not, that's also totally fine – I get that this is hyperspecific and also a symptom of my very serious gwayne brainrot, so I'm putting everything else below the cut! 💚💚 (also it's quite long – sorry! 😅)

okay I want to be upfront about my qualifications and my shortfalls here: I'm an art history phd student and so basically all I do is visual analysis of objects. I've studied a number of medieval manuscripts that feature interlace (which is where I'm going to draw most of my knowledge from here), and I've taken a seminar (an advanced graduate course) specifically on medieval manuscripts, for which I wrote a research paper entitled "From Kells to Celtic: The Aesthetics of the Book of Kells Illuminations as a Marker of Irish Identity." HOWEVER I am NOT a historian of armor, so I will be taking my knowledge of interlace on other objects and applying it to the armor we see in the show

a short intro

so, the first thing that struck me about gwayne's horse's armor is that it's really different than the other equestrian armor we see, even amongst the other men who came with him from oldtown. to be honest, my guess is that this was likely done in the show to help him stand out and also show that he is a special and precious princess (which he is btw 😌😌) who needs fancy armor for his horse. I'm not sure if further thought went into it than that (but maybe it did! I'm happy to stand corrected here!)

however, the catastrophic levels of brainrot I've developed over this man have compelled me to read much further into it than that, which I shall now proceed to do with great enthusiasm! ☺️

first, let's look at the armor:

it's hard to find really detailed close-ups, but it's clear that the armor is incredibly intricate. not only do we have this very complex interlacing, but certain designs are marked out with different colors and internal patterning, making the whole thing even more visually interesting and complex

while interlacing is used across a vast range of time, cultures, geographical regions, and artistic mediums, given both the visuality of this armor in particular and knowing that westeros is based on medieval europe, seeing this interlace instantly called to mind a style that we today call "insular fusion" (I'm not going to go into all the specifics of it here because that's a post all its own lol 😅). it's a style perhaps most famously exemplified by The Book of Kells, but it is found throughout many different objects of the same period (ca. 700-900 CE)

now let's look at some fucking interlace hell yeah!!!!!!

from The Book of Kells (ca. 750-810 CE)

from The Lindisfarne Gospels (ca. 698-721 CE)

and two non-manuscript examples:

Animal Head Post from a Viking Ship Burial (ca. 825 CE)

and a later example, but one of my favorites:

Wooden Portal of the Urnes Stave Church (ca. 1050-1070 CE)

do we see the vision??? are y'all picking up what I'm putting down???

"okay, charlotte, I see the similarities, but why does this matter?" you may be asking yourself (or maybe you aren't idk), and the answer is: this type of interlacing had some super fascinating meanings and uses, some of which I think we can apply to gwayne! 💚💚

let me break it down from least to most potentially related to gwayne:

the aesthetics of interlace as an identity marker

use of interlace in a religious context

interlace as a status symbol

the protective potential of interlace

and now let's go into detailllllllll!!!!!

the aesthetics of interlace as an identity marker

I bring this one up because it's what I focused on in my personal research on the topic of interlace, but I also think it's the least relevant to gwayne. my argument in my paper was that the aesthetics of the interlace in the Book of Kells have been thoughtfully and intentionally re-used throughout history and into the present as a clear visual marker of identity that draws a narrative back to the production of the Book of Kells. however, in terms of the show, we have very little indication that the particular style of interlacing we see on gwayne's horse is associated with any larger identity concepts. it doesn't seem to be associated with house hightower, as none of the other men with gwayne seem to borrow this motif, nor do we see it associated with alicent (as far as I can tell from the little looking I've done, but I'm more than happy to revise this!). for it to make sense as some form of identity marker, it would have to be clear what identity he's visually referencing, and since his use of interlace seems unique, I think it's doubtful that it's part of a larger visual invocation of identity

use of interlace in a religious context

part of what makes insular fusion so interesting as a style is that it is indeed a fusion of a number of different regional styles, including vine scrolls from the mediterranean, triskeles from the northern british isles, and zoomorphic (meaning "in the form of animals") interlace from northwestern mainland europe. although insular fusion is used to decorate christian objects (like gospel books and churches), its component parts are much much older and have connections to various pagan religions that significantly pre-date christianity. obviously it's impossible to be 100% certain of the exact significance of interlace in any of these religious contexts (there are no written records explaining it), but scholars have a few guesses

one suggestion is that interlace in some way represented the spirit world/the world of the gods, or perhaps even a point of connection between the human world and the world beyond. although the religion of westeros is obviously different than any of the real-world religions that used interlace in this manner, I do still wonder if there could be a religious connection here. it's pretty clear that gwayne's mother was quite religious, and alicent is as well. although we don't totally know gwayne's relationship with religion, we could certainly guess that it's at least a little bit important to him, given the beliefs of the women in his life. I know that the most common religious symbol in westeros tends to be the seven-pointed star, which is not something I see on the interlace on the armor, so I'm not sure how far I would want to take this hypothesis, but I did want to put it out there for anyone who might have further thoughts!

interlace as a status symbol

as I mentioned to in the beginning, I do think it's likely that this particular type of armor was chosen for gwayne's horse because it does come off as a bit ostentatious. the manuscripts with interlace that I mentioned above were hugely expensive and time-consuming projects, and only the most affluent religious communities could afford such luxurious gospel books. given the level of detail on the armor, I have to imagine that the same is true in the world of the show. in some ways, it's a mode of conspicuous consumption; a demonstration of the hightowers' wealth and influence. there's a reason gwayne's horse's armor stands out: because it's meant to. it's meant to set him apart, even from the other soldiers who came with him from oldtown

now this next part is just my own conjecture, but I also wonder if the armor is meant to speak to a more artistic sensibility on gwayne's part. after all, equestrian armor is a very functional object with a very clear goal: to protect the horse. from a purely functional standpoint, the interlace does nothing to serve this purpose (and may actually hinder it a little??), it simply adds a complex visuality to the armor. aside from just flaunting the wealth that must have been expended to commission such a piece, it also suggests that it was crafted by artisans who had both functional and aesthetic goals in mind while creating it. whether it was gwayne himself who directed the commission or not, it seems significant that he chose to use this armor that doubles as a kind of art piece. he does seem to be someone who enjoys the finer things in life, so it wouldn't surprise me if he had an artistic appreciation too, and was using this armor as a way to demonstrate that (or perhaps even just as a way to show his own personal artistic taste/preferences)

the protective potential of interlace

technically, I think "interlace as a status symbol" is the most likely reason for the armor being the way it is, but this one is my favorite theory, so I'm putting it at the top. circling back to the religious uses of interlace, another theory of its religious significance is as a mode of protection. some scholars think that its creators believed that the weaving, intertwined lines of the interlace would confuse and trap evil spirits. building on this theory is the fact that complex interlacing was often used at transitional or liminal points, such as the beginning pages of a gospel book or on the doors of churches. the idea here is that the interlace wields its protective powers at these key entry points against any evil entities that might try to enter sacred or protected spaces

interlace as apotropaic (a fancy technical term meaning "protective," often used in reference to magic or magical practices) seems particularly poignant for an object that was literally going to be worn into battle. now, I admit once again that there is little canon evidence to suggest that interlace is thought of in this way in the world of the show, so I'm running with this theory more because I like it rather than because I think it's legitimately based in canon. but I just think it's very sweet that gwayne's horse would be adorned with this complex interlace that seems to be woven with protective powers. even if gwayne (or others) didn't literally believe that interlace had those kind of powers, the fact that he still made the choice to invoke the idea of protection against harm and evil is a lovely thought. (it makes me think of how people today still might carry a rabbit's foot or have charms against the evil eye, even if they don't actually place stock in the beliefs surrounding those objects. I just think it's cool that generations of cultural belief still imbue these objects with a kind of magical aura). I just like the idea that he (or someone else?? otto? alicent? his mother?) chose armor that might have been associated with protection against harm

and now I'll finally wrap up!!

whew that was a lot! if you've read this far – thank you so much!! I'm honestly not even sure if these thoughts were coherent, but I kept thinking about this when I looked at that interlaced armor, and I just had to get the ideas out of my head lol

but I'd love to hear what others think about this topic! I'm certainly not an expert on the matter, and I'd be super open to hearing if others have different interpretations!

if nothing else, I hope you learned something cool about interlace! (and also just how far I have descended into madness over this man that I am writing pages-long analyses of his horse's armor 😅🤪)

[the-cat-and-the-birdie]

'You're reading too much into ATSV.'

[aka meta analysis is good for the soul]

I often get told on this blog that I'm reading too much into plots or scenes or things in general.

And honestly, fair point. I do the most.

And as a writer, I will say that I do it out of pure respect.

[actual photo of me reading the script and going for my 'reading too hard at ATSV notebook']

Movies take years to write.

People spend months of their lives genuinely toiling over these characters, often times creating more work than what can ever be reasonably used. Months of revisions and scraping work.

For weeks, about a dozen people probably went to sleep dreaming or thinking up what Hobie would wear, what Gwen would say, what emotional cues Jess will have.

A lot of people dedicated years of their lives and creative labor into that story.

To me, it isn't at all bizarre to take an hour out of my day to sit and consider the story they spend a lot of time trying to tell.

Compared to the labor they have given me, multiple 40+ hour work weeks for years - an hour or two is literally nothing lol

It's literally the least I can do.

As a writer, I feel like its only right to sit back and look deeper into a story.

To analyze the writer's intentions, or examine their storytelling tactics and abilities.

We are taught to consume media so quickly and rapidly that to offer time to critically analyze a piece of work is considered bizarre, too much work, or pointless.

As if there's nothing to read into. Or as if speculation and meta analysis is helpful to no one.

If someone spends five hours drawing fanart that is accepted. If someone spends two hours writing fanfic, this is expectable behavior.

But I spend the same amount of time to look deeper into the work of the writers, and often times I'm met with surprise or treated as if I'm overly uptight.

It's like snickering at a person who asked there was deeper meaning behind a painting. While standing in an art gallery.

When streaming shows drop all in one day, it becomes about the Easter eggs and watching it as fast as possible as not to be spoiled.

Then at the end of it, you wash your hands of it and wait for the next big release.

People spend years, decades of their writing career trying to write realistic characters with layered motives. Or stories with complex themes.

Comic Book and Screenwriters included.

I myself try very very hard to do so - to provide foreshadowing, and emotional insight into the characters, their motives, their faults.

If I heard someone say that the piece is not worth looking that far into, all the work I've done as a writer gets overlooked.

Writers cannot grow if people are consuming their media without caring enough to look critically at it as the work of a storyteller.

So yes, I'm looking too far into it. Cause writers can write that far into it. And that deserves to be examined, acknowledged, and praised.

To assume less is too assume lesser of the writers who put everything into the media you enjoy.

This year of all years, we should be appreciating the work Screenwriters put in.

I guess what I'm trying to say is - I'm not being an asshole (well, not trying to be).

I'm looking at writers as vital parts of a movies production. Because they are.

We look deeply at the art style, or the animation, or the music. Writers are not shadow figures. They're people with careers. And them and their work deserve to be spoken about and acknowledged as a work of effort just the same as CGI artists or editors, or directors.

I implore you - Read more into it.

If you're a writer yourself, doubly so.

Read FAR into it. Build your analyzation skills, come to your own conclusions. Break the story down every which way and look at the characters from every angle.

It's fun, it's free, it makes the characters so much more real.

So many people on this website hope to one day become published writers. One thing they do to help you achieve that in college, is by racing things like scripts, and looking critically.

Meta analysis is good for you as much as it is the writers.

If you don't think you're cut out for it, or would have nothing to add, still try. Not for the brownie points, but to feel closer to the characters and the story.

If you've seen ATSV (or any Fandom media) and haven't ever really sat and thought about it - everyone's moral stances, why they want what they want, why they've made the mistakes they've had, where you stand on it all - I highly recommend it.

You might come away with some surprising conclusions about characters or even yourself.

Think about your favorite characters, and what might happen to them in the next movie.

There's really nothing wrong with reading that far into it.

Fifteen minutes of thinking, or an hour of writing is nothing compared to the months of work that went into this absolute masterpiece.

Trust me, the first time you catch some shit that makes you go

ITS LIKE A HIGH I TELL YOU.

Touch grass? Nah bro, touch your local library card. Go there right now. Take out this book.

There's gonna be a discussion tomorrow in class.

If you read this far heyhello I think you're rad as hell.

Here's a Hobie for the road because he's a great companion.

Bye.

[accio-victuuri]

Sugar Rush : October CPNs

This was an insane month to say the least, I’m not even exaggerating. Things happened that will go down in fandom history. Our detective skills in looking for places and trying to piece a story was tested and the clowning was at it’s peak. I would have to say that by far, this year, it’s this month that generated lots of noise. Both sides were just throwing sweets at us and we can’t even keep up.

It also proved once more the charm of turtle cpns and why context, history and time is important to fully enjoy a candy:

“The charm of turtle candy is that it is incomplete. It is not a one-time solution. You feel suspicious at the beginning, but you are more sure later, and then at some unknown moment in the future, you suddenly get it. The correct answer, everything forms a closed loop, it's so cool”

• YH poster for WYB is from a BJYX fansite

• On 10/1, there has been some talk about WYB’s hair hiding beneath his beanie when he arrived at the airport to Paris. People’s guess is that he is blonde. Some people are connecting it to the blonde character in the XZS vlog.

People are free to interpret this however they want, as a candy, it appears to ZZ giving us a clue as to WYB dyeing his hair. Personally tho, this person is a member of GG’s staff & his friend who also takes part in putting out the amazing materials we get. People particularly remembered one of them had blonde hair during MFW. Anyway, I understand why people are so happy about this & interpreting it the way they do and go ahead and it this if you want 🍭

It also doesn’t help that the character kinda looks like WYB in Paris which is some next level coincidence. I can’t even with this fandom.

• I’m adding this beautiful analysis of Pie @potteresque-ire about the Mid Autumn festival photos posted by our boys. It’s technically from last month but i already published it before I read this meta. It just gives more weight to the meaning of it aside from how it matches 🌙

• Mengniu exhibit with zz and wyb standees

• Camera/Leica CPN : This has actually become everyone’s favorite candy of the year. It started out so simple and almost like a galaxy brain sort of clowning but both sides ended up “confirming” what we speculated. I have talked about this at length and in different parts below :

Part One / Part Two / Part Three / Part Four / Part Five

10/6, WYB continues to show off his camera. Almost all the photos in the set released by YBO, he is holding it, and there are falling cameras on Weibo in that post!!!! 📸

There is also this CPN on what WYB is taking a photo of and with people using google earth and comparing, they found out it’s the number 23. What a beautiful number. He really loves it! ♥️

• Same place, different times. This is so bittersweet to me. One day, they will get that Romantic Paris getaway together 🖤

• XZ 1005 birthday CPNs : one // two 🎂

• A photography studio shared a shot of GG for his bday and the kadian is 18:23. This same company also released a bday photo for WYB’s. They have worked with the boys a couple of time.

• The same description of something being like a film

• Glasswork art piece from France that could have been a gift and souvenir for GG

• Camping site and it’s connection to WYB selfie - At this point, there’s been so many “evidence” collected by bxgs and the most accurate date is really 8/14-8/15 that this “celebration” was done. There are also posts from people who visited the place and a motorcycle “parade” took place, so we know it’s a popular place to ride your moto. It’s one of the “services” they provide and looks like something that WYB took advantage of.

• Is one of the photographers yibo? 📸

• GG’s rope necklace and it’s meaning

• XZS birthday video taking some inspiration from a queer themed short film “we are animals”

• The camping trip was a team building of XZS and YBO?

• Both of them so sexy 🔥🔥🔥🔥

• 10/12 ZSWW rumor house & fake story content 🤍

• WYB’s 10/13 Selfie : part one / part two

• A galaxy brain cpn of XZS 10/13 post’s caption

• On 10/16, XZ released a tribute song which is government sponsored of course. In the past months, the go-to person we usually see singing for these causes is WYB and now it’s XZ. This is not exactly CPN, but i like the way that they are both people seen as positive influences and may be used to sing for certain events. Maybe one day they can do a duet? LOL.

• This one is so funny, there is an interview in a Taiwan TV show i guess. and the question was, “Talk about the general interests of gay men in Taiwan” ; the person answering is also gay and he said it’s : fitness, mountain climbing, raising cats, and Shiba Inu. 😂😂😂😂

LOL. Why does it remind us of two people? It’s so specific. Who have always wanted to raise both a car and a dog (shiba inu) and is currently loving fitness and mountain climbing. They might as well add camping on there 🤪🤪🤪

I don’t really believe in stereotypes and that there is a certain “checklist” that makes you gay or whatever— your interests are personal and what you enjoy. maybe you will be influenced by your environment but just do what you want. Tho I understand why this was so amusing to c-turtles cause they immediately thought of ZZ & WYB when they saw this.

• Even holding the camera is the same 😂✌🏼like a true photographer. Not acting all cute and using a camera to “pose” but actually using it.

• Updated mole signature by XZS

• XZS video x Bottled Joy Parallel. 🫶🏼 ; and the fact that Bobo’s is by Bottled Joy, a brand who is known to be BJYX bias ( allegedly ) . Tho this was most likely filmed before that XZS video. A happy coincidence. && This is the renewal we have been waiting for.

• Luoyang Tourism video uses a BGM of a song by ZZ

• BJYX and Skydiving 🪂

• 130 fake rumors compilation

• Wuzhen Day 3 Yibo shirt CPN ⛳️

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See you all next month for another round up! 💛

Previous Posts: Jan-June 2023 / July / August / September