#because i want to see how they portray her reacting to the initial action of the dance at least | Explore Tumblr posts and blogs

wolfnesta · 7 months ago

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I just felt like putting some of my pent up feelings into words in the most simple way I could think of on Cassian and his character because I’ve been having such a hard time staying anchored and sometimes putting it down to words helps. It’s long so, under the cut.

I feel like it is worth to start off by mentioning that blatant plot armor is a peeve of mine but I’m aware that acotar is also a series that caters to some high strung romance aspects of fantasy that would otherwise be a huge red flag in real life, example, being super aggressive and protecting of their mates, the frenzy, etc. Basically what I’m trying to explain is that while I hate some aspects in acotar (like the plot armor) I’m willing to accept others parts some might find unsavory (like the red flags behind matehood) but by all means I’m not trying to change anyone’s mind or opinion of those things rather just stating how I chose to go forth reading the series.

With this in mind I want to point out the highlight of Cassian’s relationship with Nesta at it's initial stages.

In WaE he’s basically horny for Nesta the entire time which as I said I’m okay with overlooking, even find enjoyable, because of the whole matehood concept, but what intrigued me the most was Nesta’s reaction where she feels threatened that he can ‘see’ her—

‘then it had all stopped, the eye of a storm with them in it, and there she was.

And in those blue-gray eyes, he could see the thoughts swirling in her as if they were smoke under glass.’

And everything going forward since— when Nesta shows vulnerability to the queens in her passionate bid to save the humans he seems to react to her in a way that suggest he understands her passion and promises her his protection. In front of everyone. He explains how he fought in those lands and declares he’ll do it again. For her and the humans she’s desperately trying to save. Doesn’t try to pull her into a hug or remove her from the situation he simply wipes her tear because he seems to understand her. When she agrees to scry and he offers his solid presence silently, he knows she’d never ask it of anyone, he walks up to her half wounded and places one hand on her back. That touch is enough. How he knew she would need to see her father sailing through the water, the boat at the helm having her name on it and wordlessly grabs her and lifts her so she can witness all this.

I felt like he had this understanding of Nesta that no one has likely offered to her before because of her fickle nature. I lived for the idea that no matter how unreasonable she might be, that he would allow her to be as crazy and raging as she needed to be, without being terrible to her as his brother and Mor are because it would seem he saw her. I thought it was a neat character trait to be often misconceived as the brute, all brawn’s no brain kind of guy, when these actions with Nesta portray his emotional intelligence, even with Feyre when she’s punching and punching him and he knows to let her. That he would not think of walking away or leaving.

Just for the sake of not wasting my time or others I want to mention there is a difference between allowing your S.O. to step all over you vs being supportive and understanding. Cassian and Nesta are not together at this point. They are in that will they, will they not, stage very entertaining for the reader with Nesta being the one of the two that is undergoing recovering from trauma he himself admits to have lived and healed from. So I don’t find it to be some turn off for Nesta to be snarky and rude to him for the same reasons I can forgive the whole hornyness from Cassian. I’m not going to be swayed into thinking Nesta calling him names Amren has been calling him for centuries (*cough* like dog *cough*) is enough to give Cassian any superiority over Nesta (which the story tries to imply hence the plot armor I mentioned) which is one of the many things that sort of sent the canon ship asunder for me. Which leads me to vent more on some of the rest below.

Acofas/acosf was a mixture of what could have been but just sort of trailed in bloody ribbons from the butchering of the dynamic as a whole. In the way that he was suppose to be her silent supporter as he had been up until the awful gift giving scene. It was suppose to be in the way he could’ve defended her and took up for her, yes even when he knows she's wrong. Because this is the Nessian dynamic we were set up for. I’m not arguing about wether the moral compass of the reader thinks it’s the right thing to do or not. It’s because his character had already shown traits to fulfill these unmet needs in Nesta. So much so that she felt unnerved, as most people that have never met anyone feel the want or desire to understand them because of the thick walls behind an icy bitch face have—

Perhaps that was what unnerved her, made her want to slice at him. The utter sincerity. That he honored his promises, and did not make them lightly.

But oh the butchering when the emotional intelligence he had shown since is just radically wiped off the table when he insinuates she’s not trying enough and should maybe leave then, can’t understand why her sisters love her. It’s like being thrown a bucket of ice water. Like it’s jarring— whoa wait I thought he could see through her? How can his confession— ‘ I will find you in the next life and we will have that time’ suddenly be wiped off the map when he has shown emotional intelligence towards her knowing much less. At this point in the story she is not his anything to feel any sort of entitlement of her affection either. It’s just awful all around.

It’s almost as if sjm ( because at the end of the day me being anti cassian is me being critical of how sjm chose to go forth writing him) had this rough draft idea where Cassian could handle anything Nesta threw at him but it would be oh so sexy of him to throw some back. But instead it manifested into Cassian just kicking a down person all the while losing his most cherished quality, his emotional intelligence.

It’s so difficult to watch how this carcass is dragged further in hofas. As I mentioned this is my opinion of the Nessian dynamic we had been set up for pre acofas/acosf not if you agree with me on how it should be. I had thought Cassian’s strength and intelligence would give him the opportunity to be someone that was able to withstand Nesta’s ice and fire, that he would be strong enough to not call her out about being wrong in front of other people but rather weather telling her in private. Because in public he's on her side and makes sure everyone knows it but he is not also losing his own opinions and voice, on the contrary, he explains and talks to her not to everyone else in the room. That hofas chapter gave no indication of either thing happening. Even going back to beginning with the whole matehood concept being a red flag he doesn’t show any of those ‘protective’ instincts whatsoever. Sjm critical or whatever, I guess. It’s tiresome to keep seeing it’s partly because she keeps on picking and choosing when certain concepts apply if they don’t or do serve her purpose instead of like idk consistency. She chose to keep him in this torn position of bro’s before ho’s middle school ass concept because Rhysand is his brother or whatever not the more adult idea of being husband and wife/ mates and Nesta having honest reasons, him addressing the dangerous aspects of her choice with her only all the while not allowing his bro to step all over his mate in front of him.

To conclude, Nessian to me was about Cassian being strong yet patient, firm yet supportive, to someone like Nesta. For Nesta it's about having someone being beside her when everyone else is against her, about seeing her amazing heart even when she herself does not. For him to use these traits unique to him and be able to pick her up when she can't stand. To love ALL of her. Any attempt to keep this dynamic up in acosf doesn’t even serve the purpose to show me this but rather it just seems like a way for sjm to remind the reader Cassian is the one trying oh so hard to help Nesta and Nesta is the big evil who has/is being mean to this poor male. It’s the plot armor I mention instead of a harmony of character dynamics coming together to make a wonderful relationship. The hike scene is an example of sjm poorly trying to portray this when he tells her there’s nothing broken to be fixed but only after having witnessed Nesta being okay with dying from falling off a cliff and literally croaking over from dehydration not to mention how at this point his and the rest of the IC’s intervention has so many problematic points that have changed Nesta’s character to suit the weird idea sjm has of wish fulfillment for feysand on Nesta’s ‘punishments’. It’s just a bloody trail of ribbons all of it.

Well atleast there’s enough substance left for me to play with but also at the same time it’s enough for me to mourn the loss which can get tiresome at times. But it is what it is and I choose to carry on 😊

#debated tagging this post at all since it’s just a vent post #sjm critical #anti acosf #anti cassian

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iamacolor · 6 months ago

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At the end of the day this was an epic love story and I genuinely believed that these two people would and did do anything for each other however I still felt the show focused a lot more on sunjae being in love/romantic than sol, they gave him all the clinginess (that's not a word lol)/whipped "looser" in love behavior , all the sweeping romantic speeches and declarations (just in the last 2 eps he had at least 3 and we didn't get that from Sol) and I wanted more of that more Sol because sometimes it felt like it was 80% more focused on what he was doing in that regard. Their actions were offset by each other, she traveled time to save him and he loved her for decades and died for her multiple times but otherwise I wanted her to talk about her time spanning epic love for him like he did, I wanted her to be as clingy as him and as prone to dramatics sometimes when it came to their relationship, I wanted them to give her as much as they gave him.

hi anon! that's a really good point actually and i do think some of it is in part due to this specific story (which i liked) but some of it is also due to the genre (romance/kdrama) that has its limitation in how it portrays the dynamics between men and women and often has this imbalance between the leads (that often annoys me).

kdramas often tend to portray men as more proactive in their declaration while the women (who are often supposed to be more emotional because well...they're women :))) ) are reacting to these declarations or grand gestures - it might be because romance as a genre still mostly cater to a female audience and they're trying to make it "dreamier" for the women by having men saying swoony lines etc (which is a shame because as a viewer i love seeing a woman actively in love, loud about it and proactive, it's fun, it's touching. I support women being stupid in love. and being in love isn't just about having someone tell you romantic stuffs and kiss you in the rain it's also about feeling in love and getting to share that and to love someone anyway i'm getting sidetracked) and it might also be because a lot of the times women are "used" as a plot tool to chanel a man's journey and emotions. (same with "skinship" for which a similar dynamic is mixed with how korea seems to value a certain idea of modesty for women and how most of the time the man is the one initiating it no matter who fell first and the women tend to shy away from it in a lot of dramas and don't really get to show that they're excited about it...).

in regard to that i felt that lovely runner kind of was a nice change because although you can see these patterns of writing and storytelling in it like you said and how sunjae is definitely written to be dreamy and make people go "omg what an ideal bf who wouldn't want a man who's so devoted and so overwhelmed by his feelings he acts stupid", sol gets to be a very romantic lead with her own version of several grand gestures, her own sacrifice for the good of the man she loves, her love for him is driving the plot, she defends him from bullies directly and killers more indirectly, she has much more agency than a lot of female leads from the beginning to the end (a lot of the time the female lead's storyline just gets sidetracked or forgotten around ep12 lol), she literally writes an entire movie about him and once she's free from the fear of driving sunjae to his death she is actually much more like him in her behaviour (and also more proactive with physical touches!!). and the moments when sol is like that are some of my faves! i was watching ep16 like omg i love this sol so much why didn't we get more and well the answer is because before she thought if she did something as simple as talk to him he'd die so that kind of dampens the mood.

but then i would say there is an imbalance inherent to this very specific story that i don't mind since it makes up for more angst - and i love that - because a) sol was just his fan at first so it took a while for her to even get in that mindset while he was already crushing on her hard - like when he tried to confess when inhyuk threw the petals and she was like ok maybe we can't be fan and athlete anymore but we can be friends! because in her mind she was thinking about how to stay close to him so she could save him for sure while he was like sol please be my gf b) and then sol was never free from the burden of what she saw as her duty (ie. saving him) the whole time they interacted until ep16 and so she never could let herself be too clingy (clinginess is a word i think btw and if it's not it should be!) or super romantic (although she did allow herself some very cheesy puns) because most of the time she was either trying to make big changes in his life or trying to stay away from him as much as possible and so she had to show restraint constantly (and that's actually a very common trait in a male character in romance - not just kdramas but also like romance novels which i read a lot of lol - they're always like no i have to stay away because i could bring danger to my loved one, because i have a dark past or i'm not good enough for them, too dangerous or tainted to say i love you and to shackle them to me and my fate etc gosh life is so hard when you're a romance lead) while sunjae was literally just a guy standing in front of a girl he liked and trying to make it happen most of the time, he didn't really see anything else at stake lol and even once he did you could tell he was just a 19 yo trying to cheer his girlfriend up knowing she's also trying to save him and he kind of walks into his big gesture without really planning it.

and that to me is what truly created this imbalance because she did her sacrifice but unlike his that was very visible (he literally got stabbed in front of her and still made sure to not let go until she was safe) her own sacrifice was to make sure he never saw her (which obviously plays into the less proactive type of representation because her grand gesture is to walk away but also that makes it all so tragic because she choses to endure her pain knowing it's going to last rather than risk death which stops everything ). And all of that meant also she could only say she liked him - either "too late" (but thankfully not really because he still liked her) when they were already adults or "before it's too late" when she prepares to say goodbye to him at the seaside and she doesn't want him to feel too entangled with her, she doesn't want him to be too sad this time - or when she made speeches about her love for him, how big and strong it was, how steadfast she stood in her desire to see him safe before anything else, how much she loved him...(and especially in those last 2 eps - and to me that cound as declarations) but she had to say them indirectly by pretending she was either talking about her character or someone else because she couldn't tell the truth directly to sunjae. so technically sunjae heard her say (and also read her) that she loves him very much, that she's ready to sacrifice her own hapiness for his live etc but it was all retroactively which is quite bittersweet. i do wish we could've had her say these things directly to him but at the same time i understand that once he remembers everything and understands she was talking about him and they can finally be together, they prefer to focus on their future rather than on their multiple pasts.

also i like that by the end they both waited so many years before reuniting - because when it was just sunjae who had done the yearning from afar and who still had feelings it made him stand out in a way because wow look at the sheer size of his feelings no wonder he gets a little stupid when she comes back into his life and clearly he's the big romantic once between them. and now they both did the waiting, the yearning, the let me sacrifice my life (or at least life as we know it) for you, the "omg what do i do now that they're back!!!!" and that kind of eases the differences between them.

all this to say i mostly agree but also if it brings more romantic angst i quite like it dghjdfgqsjk

#lovely runner #i hope you didn't feel like i ignored your ask after taking a while to reply - as you can see i just had a lot to say as always lmao #kdrama #i've got mail #anonymous

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siren-drawing-stuff · 1 year ago

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What would you think if Chloe and Audrey heard rumours about the way they were going to be portrayed in Astruc’s new movie, so they went back to Paris in an unsuccessful attempt to stop the movie from being completed? Then an evilized villain (maybe a wishmaker-like villain or maybe even a villain that's unrelated to the butterfly miraculous) caused Chloe and Zoe to switch bodies somehow, and nobody fully understands what's going on, so Zoe (in Chloe's body) is taken by Audrey back to New York, despite Zoe desperately trying to explain things. But Chloe enters a fugue state (heavily due to trauma caused by the neglect of her parents) and genuinely thinks she's Zoe, and is even able to recall many of the things Zoe did due to being in Zoe's body. The class thinks “Zoe's” change in behavior is due to the psychological effects of method acting, since “Zoe” is playing Chloe in Astruc's new movie, but they gradually convince “Zoe” to let them help her relearn how to be “herself” again.

Zoe is not able to gain access to Chloe's memories while in Chloe's body, because unlike Chloe, Zoe knows she's in the wrong body. In New York, Zoe is trying to get back to Paris, but when she gets there, “Zoe” thinks she’s there to try to hurt Marinette. Eventually, after listening to “Chloe”, Marinette starts to suspect that “Chloe” might be telling the truth, so she decides that she must test “Chloe” and “Zoe”. She fakes being in danger to see how they react. “Zoe” reacts slightly faster than “Chloe”, so Marinette comes to the conclusion that “Chloe” is lying and that “Chloe” has an evil and manipulative plan. Marinette thinks that “Chloe” must have picked up a few tricks from Lila, because she thinks no version of Chloe could possibly react faster than Zoe when it comes to protecting her. So Audrey takes “Zoe” back to New York again to “correct” her after “Zoe” fails to convince anyone of the truth.

10 years later, “Zoe” gets seriously injured after fighting a villain when Ladybug isn’t around, which causes “Zoe” to not have long to live. Then Ladybug accidentally stumbles upon the truth about “Zoe” while trying to help “Zoe” using magical powers. Ladybug decides that the moral thing to do is to switch Chloe and Zoe back to their original bodies. Once Zoe gets her body back, she blames Chloe for her impending death and for leaving her with 10 years of loneliness, while Chloe got off scot-free. When Lila gets defeated, Zoe steals the Butterfly Miraculous to get her hands on Ladybug and Catnoir’s miraculouses, hoping to “make things right”. Zoe gets defeated by the heroes (including Chloe, who has gotten her memories back) and Ladybug manages to cure Zoe’s injuries.

Wow…

I think this is a very interesting potential plot line, had the show gone another direction. I’d personally love to see more Chloe depth, as she’s a favourite of mine. The idea that she’d gain that character growth back, even just as the result of magic hijinks, is fun.

Chloe becoming convinced that she’s Zoe and that being the reason she turns good is maybe the only thing I would disagree with. Idk if you’re looking for plot suggestions, so if you aren’t then….🤷‍♀️. One thing I wish we had gotten to see in the show more would be Chloe keeping that humanization. She shows remorse for her actions and really does WANT to be a hero.

I think it would be fun if she was “Zoe” NOT to think she’s “Zoe,” but initially be confused as to why everyone suddenly liked her and respected her. Have her use that as her motivation to start being nice again, and then she starts to fully assume her sister’s identity. Chloe thinks this is the only way she’ll ever get that love or kindness. That could be why she takes so long to get back to Zoe/“Chloe.” She’s enjoying the attention.

Zoe/“Chloe” on the other hand I could see also having a personality 180. She begins to resent her sister, not understanding why she’s being so uncooperative. That could definitely help push her desire to swipe the butterfly miraculous and get revenge. Ahh I dunno, I’m not a huge Zoe expert, so I don’t know a lot about her in show characterization. But here, I do like your set up and it would be really interesting to see the sisters swap roles, not just in body, but in personality.

If you plan on writing something more full length with this, feel free to send it my way!! I’d love to read it!!!

#💌#siren-talking-stuff #chloe bourgeois #miraculous ladybug #not tagging Zoe or Audrey cause they get on my nerves #I apologize #also sorry this was so chloe focused but she’s my girl

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chuyinstheaterib · 2 years ago

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Week 27-29 march

One week before semana santa!!! yayy full classes and the funnest week yet :3 27: For this class I need to talk about the activity, last week we got pairs (via seeing who had the most similar shoe to ours and then standing next to them) I got paired with Ortiz :3, and together we decided to make an amazing play, we based our script on a theater piece called ¨Decir SI¨ which had a premise about power and being dominated, we played a married couple in a house, however the husband was a submissive person and the wife was dominant and angry at the husband, so a scene plays out of showing this relationship until the wife kills her husband because she's tired of his wrong doings basically.

For the actions I loved how I played my character, being upstage and setting everything up, it was like last week where I did improvisation however this time I had a plan, we had rehearsed, and we knew what we needed to do, I got up on stage and so the story began, for my character I focused on the submissive part and fear, playing someone with very telegraphed actions that were predictable with a constant shake on the legs and fingers, it showed anxiety, and it represented how common this was as the character never felt or showed fear around how he felt, it was a routine. He wiped the floor after he spilled a drink, he made two coffes for her with different ingredients couse she knew she liked many things. he was happy and tried to show affection when he thought he did the right thing but always had a sad and defeated look when he didin't. He tried to get out but died. This character I made I think was represented in a very well done manner, I think I gave the vibes of this type of relationship, however I must note that it was excessive the ticks and movements, I used the stanislavski method for this, utilizing emotions and experiences to try and portray this character however exactly due to this it's bad that I acted too much on the little details. Thing the teacher noted to me after the play where there was general intention One play I enjoyed was the one of Paola and Ana Vale, couse with the given dialoges they made a story which utilised one diaologe as one and had a very very unique story with a dead person, a sstory about grief, discovery crime and sadness with 5 lines about giving coffee, their creativity was unmatched and while I think there was a lack of stanislavski in their acting with very little emotions, it was a good play which I enjoyed. :3 I learnt a lot this class and finally got to act a scripted play in the class!!! I enjoyed it and well as you saw it was a new experience which had me put a lot of thought into it. :3

29:

We started with a very interesting activity where we used the same partners from the script, and we had to asign one person to be a and one to be B then we took turns trying to immitate each other, I was with Ortiz and well it was.... it was xD

We were laughing and laughing all the time at the beginning couse it was weird to stare at her while she stared at me, I felt a bit insecure however when we started copying each other and going into movements which required a great amount of precision that stopped. While we weren't perfect, but we did do pretty well from time to time altough we focused on doing things too quickly, at least for me, I was intrigued to see how she would react to different movements I made and see if she could keep up altought I shoul've tried to have her follow me with precision. We also had sometime where we had to not copy each other but follow a movement that felt natural, here we did horribly xd it was clear either one or the other took initiative to talk about something, so it happens, not really lletting things flow... but oh well

We then continued with the feedbakc about the plays. There was a great emphasis on simple actions to tell big stories, if you want to tell a story you must be able to justify it. Alex's Cordovas play was discussed about and asked to be replayed for the purpose of trying to make a clearer story, utilizing better props which showed the space we were working on, and also change the story and acting a bit to tell a story which was just a woman who came to the funeral of her brothers after 20 years to a woman who left her family for 20 years to pay the cancer bills of her brother because she was at work, and her brother being mad and angry she left while not understanding the reasons and being bitter in his brother's funeral as she handed him a bitter coffee. They reshot the scene and now it was longer, more emotion and the sister was clearly a familiar of the brother so that was improved, there was a shift in tones which depicted her true colors of a bad person, and the thole dissinterest of the brother. Which was the true intention of this play, to draw attention which was made possibly with the actions by changing tones changing movements and more. Theater must be always expressed in a clear demener.

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luthien-under-bough · 1 month ago

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A very late addition to this post because I've only recently seen some posts referencing the original, and completely misinterpreting it. I probably (definitely) typed this post out too hastily when the whole leaked cup scene debacle was happening, and tbh I considered deleting this post entirely, but wanted to add some clarification:

Do I understand the difference between the ep5 wedding neck grab and the ep10 choking scene? Obviously. I have eyes. The former is clearly meant to be portrayed more romantically than the latter. The point I was trying to make (however inelegantly) was that while it may not be the exact same degree of violence, it demonstrates a consistent impulse of Daemon's to react physically, to grab, to put his hands on Rhaenyra in a heated moment. That was my point - that he is a tactile, volatile person. That in the midst of an argument, angrily knocking a cup off a table and stalking toward Rhaenyra is not in any way out of character. And it certainly does not constitute "abuse" in the way that the majority of users on tumblr dot com throw the word a round.

(Also annoyed that the screenshot I've seen used to "counter" my point was a still frame of Rhaenyra looking lovingly up at Daemon as he holds her neck, without any obvious indication that they had been arguing just moments before. That removes the context of the initial grab-and-pull action - that it was impulsive, physical act that came at the apex of their confrontation on the dance floor.)

I'm sure there is much more I could say to elaborate on the argument I was trying to make - taking into account the actual events of s2 -and "proving" how, uh, I love Daemon, actually (which I would have thought was painfully obvious given the rest of my blog) BUT the original post was made in a reactive moment, against the overwhelming amount of ridiculous doomposting that was going on when that leak occurred, and that moment has passed. And I do not have the energy to do a full on analysis at present.

The only part of my original post I would potentially amend now is "And no, he does not have magical on/off switch for all these tendencies when it comes to Rhaenyra." because we do see him temper his initial impulse during their s2ep2 argument, where he seemingly goes for the choke again, stops himself, then cups her face more gently. But I'll save that for another day.

I generally do not care about how I am perceived or misinterpreted by randos on this site, but something about this particular instance really rankled me. So, ftr, I am not "Team Green." If you read this - or any of my posts - and somehow come to the conclusion that I'm a TG "stan" or a daemyra "anti" in any way then, idk, maybe take a breath first and actually read what I said.

The way some of you act like HOTD hasn't shown us exactly who Daemon is all along. He is consistently violent and impulsive. He is a physical, tactile person. And no, he does not have magical on/off switch for all these tendencies when it comes to Rhaenyra.

Episode 5, Daemon grabs Rhaenyra by the neck in an impulsive, violent way when provoked: 🥵🥵 cHokE mE dAddY

Ep 10, Daemon grabs Rhaenyra by the neck in an impulsive, violent way when provoked: OOC MONSTER ABUSER!!!

Or how about...

Ep 8, Daemon cuts off man's head when he insults Rhaenyra and her sons: Yasss slay malewife king!

Two-second preview of s2, Daemon angrily knocks a cup off a table in Rhaenyra's presence: Domestic violence, the ship is dead!!!

It's so obvious the fandom will bend over backwards to ""justify"" (which is not necessary to do to enjoy a character fyi) Daemon's violent, impulsive behavior only when it is explicitly in service to Rhaenyra or the ship.

It's fine not to like these things, but please be serious.

#daemyra #daemon targaryen #house of the dragon

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monkeymindscream · 3 years ago

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Debated whether or not to post this, decided I might as well get it off my chest: I kind of despise the delivery of the whole “Belos is Philip” -arc, particularly after Hollow Mind.

NOT because it revealed just how evil Belos really is and/or that there was no sympathetic twist, I have to clarify. Getting to see him go full-tilt bad guy was glorious. The issue I’m having is that how they’re portraying it feels extremely pointed.

It’s no secret the crew keeps tabs on the fandom. The entire b-plot of Any Sport in a Storm revolved around taking playful jabs at all the people who’d been making complicated theories about the relevance of the Good Witch Azura books on the overall plot. Which was actually very cute, and you could tell it was all meant in good fun.

But something I loathe beyond all reasonable description when a work/writer tries to tell me how to feel about a certain character. Like what they did with Toffee in SvtFoE, basically. I’m getting the exact same vibe here. The writers saw fans were getting attached to a villain and coming up with ways his motives could be sympathetic (see the large discrepancy between canon vs. fanon Philip). The writers went “oh no, we can’t be having any of that!” and then went out of their way to directly show the viewers how bad the villain was.

They had a whole extra season of material they could have made episodes about, yet they took the time to literally go back in time and show in vivid detail how horrible Philip was, “even back then.” When, if they really wanted to show how evil Belos was, they could have let his current actions speak for themselves and revealed that he’s Philip much more succinctly.

Luz finds a repeating phrase in Philip’s diary. His mantra/driving force of sorts. Towards the end of the episode, we cut to Bel working on his portal, wherein he mutters the same phrase to himself or something. Drama. During a later confrontation, he either drops the phrase around Luz, or smugly says “so you found my old journal, I see?” to her directly. Luz is left to deal with the fallout. Boom. There. Gets the exact same points across, and they could have used the time on other plot-threads they almost certainly cut out.

And y’know what else? I have slight proof this might have been what they’d initially been shooting for before they had to rework things to makes sure fan perception was what they wanted it to be: Luz’s breakdown when she learns Belos is actually Philip Wittebane.

They have her acting like this is some horrific revelation, like her world has been shaken to its very core, except... She already knew Philip was a jerk?? She already knew he was leading people to their deaths. Why is it such a terrible revelation to learn that the guy she already considered to be evil was always like that? It gets even worse when you consider the “how could people be fooled and not see how evil Belos is??” moral(?) of the episode. It’s supposed to be setting up how she was fooled, but she’d already learned that lesson several episodes ago.

I think they always wanted to have that big, emotional reveal, but they’d initially planned to have it after Luz had spent a season idolizing Philip. She’s so emotionally impacted because it had been meant to be impactful. But then they went back to rework things so nobody would be able to argue Belos was anything other than an inherently evil monster, and didn’t bother to alter their dramatic confrontation accordingly.

And because I can already hear the clacking of people furiously typing up rebuttals, some extra food for thought:

None of the genuinely bad spells Belos created as Philip make use of Luz’s light glyph. His teleportation, petrification, the weird meat-hands, none of them. Luz knows this, because she’s been studying his notes. So before anyone tries to say “she reacted the way she did because of her guilt for helping a tyrant,” we don’t have any actual proof of this, only speculation. There’s definitely nothing concrete that would suggest she’d have any reason for guilt so bad it would make her collapse to her knees in front of him, at any rate. We kind of have to take her distress as being solely over Belos being Philip as a result. Which... yeah. Doesn’t really make a lot of sense within the narrative as it is.

I dunno. Bottom line is I really can’t work out why they’d take time out of their (now severely shortened) runtime to delve into Belos’s backstory when they didn’t actually use it to do anything other than confirm what we’d already been perfectly aware of. Not unless it was literally just meant to subtly poke fun at (if not outright shame) the people who’d dared to postulate the guy might have some sympathetic qualities, even if only once upon a time. Which is kind of infuriating and insulting all at once.

#the writers saw how much the fandom liked fanon!Philip and got offended in this essay I will-#emperor belos #philip wittebane #toh #the owl house #owl house #toh spoilers #toh belos #muttering about owls #toh critical #mostly copy-pasted from a convo with Wig because she's a doll and lets me complain as much as I want

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mountain-man-cumeth · 4 years ago

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What Went Wrong: An In-Depth Analysis of Muriel's Route

*Youtuber voice*

Below are the opinions of an uneducated individual on what could’ve left the majority of The Arcana audience dissatisfied. I will explore the plot, tropes, themes and morals of the Muriel route and try to explain what may have gone wrong. I will be treating the game as a novel since it's advertised as one.

1. Consistency. If you are unfamiliar with the chekhov's gun; it's a story writing principle that dictates each element you introduce should come into play (foreshadowing). Now let's start with a few story beats that were later abandoned or concluded in an underwhelming manner:

Muriel's blanket

Muriel's magic mark (on his back)

Forest spirit (spirits in general)

Lucio's upbringing

Circumstances of MC's death

Figurines/whittling/charms

Muriel's blanket is teased to be a tapestry, which would tie in with his later fascination with them later on, as it had been the only thing he had left from his past. MC neither sees nor comments on the blanket, we only know it exists thanks to other playthroughs and short stories.

Magic marks are an important point in the game. Every main route emphasises on how it affects the chosen LI. It's reveal is important in a way that it serves as a passage to a new act where the reader explores magic and Arcana pantheon as they are a monumental part of the overall worldbuilding. This exact point applies to the Heart of the Forest and how spirits interact with the world around them as well.

Whittling and Charm making are the only hobbies we get from Muriel's isolated life, their introduction helps the reader humanise the character by giving us a crumb of his everyday life. It's never mentioned again after the scene where MC asks him what he does. He doesn't idly whittle during their journey and charms only come to play in an offhanded reference during reversed ending.

The other two are also ignored but I will touch on Lucio later on.

Why do these matter? A few abandoned plot points don't make or break the story but on a grander level it hinders the audience investment. When we read, we like to think the details we notice will come to play eventually, we like recognizing references that were introduced earlier. I'm sure I don't need to give examples on this one, I don't think anyone will disagree.

2. Themes. Thematic influences this story utilized are all over the place, and it seems to me like it stems from the improper application of certain tropes;

The Hero's Journey

Home Sweet Home

Shell-Shocked Vet

Last of His Kind

etc.

Some of these tropes tackle themes such as;

Slavery

PTSD

Survivor's Guilt

Genocide

I'm not going to try to explain How to Write any of these topics. I'm not remotely qualified. I think it's better if I just give examples from popular media because whether you know how to write it or not, you can still understand when it's written well;

AtLA deals with genocide and survivor's guilt. It's in the name; The Last Airbender. Aang is the sole survivor of a culture he'd only had an opportunity to engage in for a handful of years. He left them with a childish tantrum and now they're gone forever. I can't think of another mainstream series that shows the gruesome reality of war and genocide better than this one.

When Muriel realizes his true heritage and loses Khamgalai is the point of the story where Luke sees his family's farm burned down, Aang goes back to the air temple, Treebeard walks in on the demolished part of the forest. (The inciting incident)

(Could also have been forest spirit’s death but it was too early in the story so I don’t consider it a missed opportunity.)

Up until this point the hero has their doubts, they're going through the motions but they are either underestimating the enemy or they're a passive protagonist. Either way, this is the point where the hero has to take the reins of the story. What purpose does this serve in Muriel's route instead? It simply validates Muriel's beliefs. He's useless, he isn't strong enough. We as the reader need a point to see where the hero takes a step to drive the story forward or whoever takes that step will steal the spotlight, it will be their story. As it is, this is the point where it ceases to be Muriel’s story.

PTSD got the worst end of the deal. Since Dragon Age fandom has a huge overlap with the Arcana I will use Fenris as an example; for those who are unfamiliar with the character, Fenris is an escaped slave. After the sex scene he vividly describes an experience that most people can easily identify as a flashback. The game never tells us that he was abused, it doesn’t show us him having a panic attack but it shows us that whatever transpired between him and the player character clearly triggered an unpleasant memory.

Arcana tries and initially succeeds to do something similar. We see that the character is untrustworthy, sensitive to touch, easily agitated, can’t sleep outside of his perceived safe environment… It introduces us the cause later on and the story has two options, each will drastically change the moral of the story:

Remember these as they will be important later on

Portray Muriel fighting as a bad thing; You can’t fight violence with violence angle or the fact that the villain’s forcing him into a situation where he’ll have to fight again makes the villain all the more intimidating.

Portray Muriel fighting as a good thing; He has the means to defeat the villain and he just needs encouragement. With great power comes great responsibility. By not fighting he willingly condemns everyone to an awful fate and that he is selfish.

I’d like to take a second to explore the 1. Option, I feel like the game may have intended to implement that idea but failed because of the implementation of Morga and choices presented for the player character: Morga is an Old-Soldier, these characters are often push the hero out of their comfort zone in an aggressive way towards complacency, they are a narrative foil to the mentor. For the first option to work the story had to show Khamgalai acting as a mentor and having the protagonists challenge Morga’s teachings(see Ozai-Iroh). As it is, Morga’s actions are never put under scrutiny (narratively) and her death feels hollow as a result. She didn’t sacrifice herself for the heroes due to her guilt, she died because she felt a moment of sympathy for her son which wasn’t explored before, she showed no intention to change nor any doubt.

It is clear the game choose 2. Option, it is a controversial choice given Muriel’s mental condition and the game is acutely aware of this, which is likely why Muriel’s PTSD will get carefully scraped from the story from here on out. (I won’t address other instances where his trauma wasn’t taken into account, I feel like this explanation should cover them as well.)

3. Morals. Every story, whether the author intends it or not, has a moral. The Villain most often acts against that moral and in turn can change the hero's perspective. Morals are not ideals; the morality of Killmonger isn’t that marginalised people should fight for their rights, it is that vengeance is just. Whether it’s right or wrong can be debated but what makes an ideal the moral of the story is in the portrayal. How the narrator depicts the events, how people around the heroes react... all are a part of portrayal.

The story choosing “Muriel fighting is a good thing” earlier puts in the foundation of a moral. The story tells us Muriel has to fight, it’s the right thing to do. He has to be brave for the people he loves.

This choice affects how his past actions will be perceived; now, him escaping the arena to save himself is cowardly, abandoning Morga is cowardly.

The story tells us it wasn’t, but shows us that it was. This is the end of the midpoint of the story, at this point we need to have a good grasp on what we should perceive as wrong or right for us to feel invested. If we zig-zag between the morals we won’t know which actions we should root for. But more than that, the conclusion will not feel cathartic as it will inevitably demonstrate the opposing ideals clashing at its climax.

Villain doesn't necessarily have to be sympathetic and Muriel's route makes no effort to make him as such, but they need to be understandable. What danger does Lucio pose to the status quo, what makes him a compelling villain? Whether he conquers Vesuvia or not doesn’t drastically affect Muriel’s way of life, he’s been in hiding for years. He doesn’t threaten to steal MC’s body, Muriel is not compelled to pick up arms to save his beloved. He wants to protect the people from going through what he’s been through, right? That is what the story wants us to think. But what has he been through? Fighting was his choice, Lucio tricked him into it. Lucio later tricked Morga, his own mother, to save his own hide. This tells us that Lucio is a manipulator, but he doesn’t manipulate his way into Vesuvia, he barges in with deus ex machina monsters. He doesn’t demonstrate his skills as a tactician by making deals with neighbouring kingdoms to get their armies. We don’t know his strengths therefore we don’t know his weaknesses. If he seems to be losing he can just conjure a giant dragon to burn everything down, we just can’t know. That is why the application of deus ex machina is highly taboo, the victories don’t feel earned and defeats feel unfair.

4. Tone. Playing with the genre is not uncommon and a game such as Arcana has many opportunities to do so. It is a romance story, everything else is the back-drop. The tone works best when its overall consistent but tonal changes act as shock for the audience to keep them engaged and keeping one tone indefinitely gets us desensitized. We can’t feel constant misery if we are not made to feel tinges of hope in between. Good examples of dramatic tonal change (that I can think of): Mulan - arriving at the decimated village, La Vita e Bella - the father’s death, M*A*S*H - death of Hawkeye’s friend. Two of these examples are mostly comedy which is why this tonal shift affects us so, it was all fun and games until we are slapped in the face with the war going on. There are no one liners in those scenes, the story takes a moment to show appropriate respect to the dead, it gives its characters time to digest and come to terms with loss. Bad examples are the majority of Marvel movies.

In Muriel’s route there’s never such a thing, Muriel has a panic attack and MC kisses him. This unintentionally tells us, the genre being romance, that the panic attack only served to further MC’s advances. It tells us that he’s never had the control of his life and it’s yet again stripped from him by the decisions of player character. This is not the only instance this happens. The story shoe-horns in multiple cuddle sessions between important plot beats. And it does the exact opposite during a moment where he is having a heart-to-heart with the person he loves by having the ghost of Morga appear to give an ominous warning/advice.

When he runs off during masquerade it’s built up to be an important plot point. Muriel will finally face his past, he’s been running away from it all along, and he will have an opportunity to be accepted back in. MC is supportive but ultimately, it’s meant to be Muriel's moment. But as I mentioned above this is not his story anymore so he’s not given any time to address his problems, instead a ghost appears to tell him what he needs to do, again. Because we need to wrap the story up, we don’t have time.

Remember how I said the 2 Options will be important later on, well here we are at the very end. Upright and reversed.

“Portray Muriel fighting as a bad thing”

This suggests that the triumph of Muriel won’t be through violence. Maybe he will outsmart Lucio in a different way, he won’t play his games anymore. This option suggests that Lucio will not be beaten by his own terms.

“Portray Muriel fighting as a good thing”

This option concludes with Muriel finally overcoming his reservations on violence and doing what's right to save the people he loves. And bringing justice to people who Lucio hurt.

If you are wondering why the upright ending feels random, this is likely why. The ending plays out as if the story was building on the 1st option while we spent chapters upon chapters playing out the 2nd one. It is unearned.

(The reversed ending, being reversed, also uses Option 1 path but in which Muriel can’t achieve his narrative conclusion)

The Coliseum is filled with people who are on their side against Lucio’s shadow goons. Because we can’t have people being on Lucio’s side without addressing the duality of human nature, even though it’s an important part of Muriel’s story. The people who watched and enjoyed Lucio’s bloodsport are no more, they are all new and enlightened offscreen. We completely skipped the part where Vesuvia comes to terms with its own complacency and Muriel simply feels at ease because the crowd is cheering on him now. This is what happens when you give the character a chance to challenge those who have been complicit in his abuse (masquerade scene) and completely skip it to move the story along.

Muriel doesn't get justice, ever. The people only love him now because he's fighting for them instead of his own survival. Morga or her clan doesn't answer for the massacre of Kokhuri, Vesuvia doesn't answer for the sick entertainment they indulged in and Lucio doesn't answer for Muriel's enslavement. It is not even acknowledged, nowhere in the story (except the very end of reversed ending, and even then it almost gets him killed so its clearly the wrong thing to do on his part) is a choice presented where Muriel has an opportunity to get any sort of compensation where he instead chooses to move on.

I don’t intend to straw man anyone but this is a sentiment I’ve seen a lot; “It’s a short story, a dating-sim, what do you expect?”

I expect nothing, I’m simply explaining why some people feel how they feel. It is a short dating-sim but it seems to me like it was aiming to be something more by borrowing elements that were clearly far above their weight range to tease something more and under deliver. It is okay to feel content with the story, and it’s okay to feel let down. If we had a unanimous decision on literature we would never be inclined to write our own stories.

#personal #muriel #muriel spoilers #tw: PTSD #tw: trauma #tw: slavery #tw: genocide #karayan

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logicalbookthief · 3 years ago

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Things Left Unsaid -- An Analysis of Rei & Touya

Apparently Rei has been getting a lot of flack lately, all of it undeserved, and since I had a post analyzing her relationship with Touya in the works already, I figured no time like the present.

Disclaimer #1: There are a lot of issues with the writing for Rei’s character that have nothing to do with her and everything to do with how the storyline is using her, which I will address and examine.

Disclaimer #2: I’m someone who, while always curious as to what kind of relationship Rei had with her oldest son before he died, never thought it would be revealed that Touya was close to his mom. I don’t think you get the Dabi we see in Chapters 290-295 without him being so warped by his relationship with his father yet so dependent on his attention that he was willing to kill his brother and himself simply for his father’s acknowledgement.

But that’s what I find so interesting about Rei and Touya -- it’s a relationship that mainly consists of regrets and things left unsaid. There isn’t the anger or resentment Dabi feels for Endeavor, because that intense level of emotion sprung from the loss of the father who used to be his whole world. His feelings toward his mother seem more amicable, but also more distant.

And while she could’ve done some things differently in regards to her oldest, I want to make it clear that the distance between them was very much by design.

After all, Touya was the end goal of their marriage. It was never any secret as to why Enji wanted to marry her and to some extent Rei must’ve realized that this child was not meant to be hers: the child was the transaction, the thing she was needed to create, to give to her husband. Of course she loved Touya and was likely his primary caregiver for most of his life, but there was no doubt that once his quirk manifested and he could begin his hero training, his life would be dominated by his father. Which is what happened.

Here, I would like to point out something I noticed in the flashback chapters. We never see any panels of Enji alone with any of his children during their infancy -- even with Shouto, the perfect child he longed for, we see Rei holding Shouto, sitting by him as he sleeps. Enji is there tangentially. Once Shouto begins his training, that is when we see him with his father.

So to see Enji with Touya when he was a baby, prior to his quirk manifesting, strikes me as a big deal. But it makes sense if you remember that he’d placed all his hopes, dreams and expectations on his firstborn. Initially, it doesn’t look like he even considered the possibility that Touya wouldn’t be his successor or that his little eugenics experiment would fail; this was his first, most optimistic attempt at a masterpiece. So I don’t believe it’s far-fetched to see him spend more time with Touya right off the bat (it’s what will make the eventual abandonment all the more crushing).

However, Rei isn’t seen at all in the snippet of Touya’s infancy, despite us knowing she was relegated to the caregiver role. Rei is literally out of the picture. Compare this to how she features prominently in Shouto’s infancy or how we see her holding a baby Natsuo. You could argue that, hey, we don’t see her holding a baby Fuyumi either, but there’s other scenes where Fuyumi’s attached to her mother’s hip or crying over her being hurt. Things that suggest a closeness, when the only scene we get of just her and Touya is one where they’re at odds.

As we move further into Touya’s childhood, though, Rei becomes the only voice we hear advocate for him against his father. I’m referencing two specific instances:

When Enji coerces her into having more children to replace Touya now that his father has deemed him a failure, something she knows will hurt their son deeply.

And after Touya lashes out at Shouto, which Rei doesn’t blame on Touya, but rather on his father. She delivers such a satisfying condemnation of his actions, probably the most cutting one Endvr’s received to date, and it so accurately sums up one of his major character flaws.

How can you call yourself a hero when you can’t even face your own son?

The tragedy of it all is that Rei never said any of this in front of Touya -- it was always said in private, just to her husband. That alone took courage, yes, but it would’ve meant everything to Touya to hear her condemn his father aloud. Instead when she does speak to him, she says this:

It’s why I can’t wrap my head around that scene in Ch 302, where after Enji admits he didn’t know what to say to Touya, Rei replies, “Neither did I.”

When we’re shown in flashbacks during that same chapter that she did understand her son. “He just wants to be acknowledged by you” is quite the indication that she, at the very least, understood the cause of Touya’s turmoil even if she couldn’t fully relate to it herself. So why can’t she say any of this to him?

The answer is in the way she addresses Touya, as it is nearly identical to how Nao addresses Tenko in this scene:

Both Touya and Tenko grew up in similar households: the father had all the power, physical and financial, so the mothers were left to try and comfort their children in a way that didn’t go against their husbands’ desires -- and so, to use Tenko’s own words, they would “reject them with kindness.”

So it’s no wonder that Touya lashes out at his mother after she suggests he pursue other things. He isn’t five like Tenko was, he’s thirteen and has a much clearer understanding of why she says this and why it’s a bit hypocritical, since he’s aware of her situation, too.

Just as she was bound by her family, who wanted her to marry Endvr for the money and status, he’s bound by the expectations of his family. I’m not sure if I’ve seen anyone else touch on this detail, but when Touya states that he knows his grandparents sold his mom into marriage so his dad could have a child, we could infer that Touya knows enough to realize that his mother might not have necessarily wanted him.

Not him specifically, but any child — the story has neglected to flesh her out beyond her marriage and motherhood, so we have no idea if Rei wanted to become a mother prior to this arrangement, despite how much she loves her kids now — although it is possible that he might’ve internalized it this way.

So you have Touya, who at least knows with certainty that his father wanted him to exist, yet he comes to understand that his father only wants him if he can meet a specific set of expectations, and if he cannot, he’ll be discarded. If he can’t surpass All Might, he can’t fulfill his reason for existing and his father will have to replace him. So to have his mother urge him to follow a path other than becoming a hero would mean, to Touya, accepting that he is the mistake he fears he is. Of course he isn’t going to respond well to that.

I don’t like when people try to compare Touya’s reaction in this moment to Shouto’s when Rei tells him he isn’t bound by his father’s blood, using that to paint Shouto as the “good” child and Touya as the “bad” one. They didn’t react differently because of any innate sense of goodness or lack thereof -- they reacted differently because the situations are different.

Telling Shouto that he didn’t have to be like his father comforted Shouto, who only knew his father as the bully who hurt his mom. He associated his father, and his father’s fire, with all of that fear and pain -- and thus, he associated the part of himself that took after his father with those feelings. She wasn’t denying his dream of becoming a hero, only assuring him that when he became a hero it could be whatever kind of hero he chose to be, that he wasn’t doomed to be like his father.

Whereas what she tells Touya sounds a lot like what his father told him, which was to give up on being a hero and pursue other aspirations.

Encouraging Shouto to become his own version of a hero still falls in line with what Endvr ultimately wants, which is for Shouto to be a hero capable of surpassing All Might. Whereas this is what happens when Touya continues to train to do that against his father’s wishes:

This is where the framing begins to bother me and where Rei’s characterization becomes inconsistent.

So in this scene from Ch 302, we see Enji abusing his wife for “letting” Touya continue to train, punishing her for her “failure” to stop him. Obviously, none of that is Rei’s fault. If anything, Enji would be more responsible for preventing Touya from hurting himself since he’s the reason his son is hurting himself in the first place.

Moreover, the fact that he hits Rei over this sort of muddies the water of an previously-established narrative. Since the Sports Festival arc, we’ve known that Endvr abused his wife because she tried to interfere with Shouto’s training. It got to the point where she was terrified of her husband and it drove her to a breakdown. Why introduce this new aspect to the abuse, when it was already established that a) he was physically abusive and b) his motivations for abusing her were explicit to the audience?

I’m not saying it doesn’t make sense that a man who hits his wife for one reason could find another reason to do it and justify his actions to himself. And while the scene does portray Endvr in a bad light to show how wrong his actions are, literally draping his figure in shadow, why does it even dare to suggest the idea that Rei was remiss in her duties as a mother? Again, the scene isn’t even necessary, since the narrative has long-since showed the audience that Enji abused his wife.

By itself, the scene would read as further exploration of how Rei was victimized and how it affected her children. When you look at it with the chapter as a whole, though? Remember, this is the chapter where Rei claims that all of the family shares the blame in what happened to Touya, displacing some of the blame that rightfully rests on Enji.

But my major gripe with this scene is how it reframes the sole moment we get of Rei and Touya alone. Because we know that Rei understands Touya, based on her confrontations with her husband in Ch 301 & 302. Rather than encourage him to be what he wants or acknowledge that his father is in the wrong, however, her advice falls in line with what Enji wants -- to stop Touya from training. And this comes after a scene where we see Enji beat his wife when she doesn’t stop Touya from training.

With all that in mind, it could potentially be read as Rei trying stop Touya for the sake of protecting herself and the family -- I don’t think it’s coincidence that in the scene where he hits her that we see Shouto, Fuyumi & Natsuo all as witnesses who are very distressed by what’s happening to their mother -- at the cost of Touya’s need to be validated. And if executed well or at least better than it has here, that wouldn’t be a bad choice of narrative per se, and it would fit into the pattern where the households the villains were raised in -- notably Shigaraki, Dabi & Toga -- mimic the society they live in, just on a smaller scale.

Except. Does that sort of narrative make sense based on what we already know about Rei?

Certainly, it is natural to want to protect yourself under physical and/or emotional duress by appeasing your abuser. This sort of complicated dynamic appears in the Shimura family, too. Just like in the house that Kotaro built, the Todoroki family revolves around the desires of the abuser and is dictated by his whims.

I would argue that Nao does give us a well-written example of this narrative. From the beginning, it’s established that she loves Tenko dearly. But in the house her husband built, there’s no room to love her son as he deserves. She prioritizes the feelings of Tenko’s father for the sake of maintaining peace in the household and this is established quickly and plainly.

Early on in the flashback, Kotaro exerts his control over the house, while Nao + her parents look uncomfortable. Despite this, we watch as they comply with his rules, all at the expense of Tenko’s feelings. When she stands up to Kotaro at last, it is not where Tenko can see and already too late. It’s a painful story, full of regret and sadness, but it is consistent from start to end. Nobody feels out-of-character or there to prop up anybody else.

So why doesn’t Rei feel as consistent in this narrative?

Because it doesn’t fit with everything we knew about Rei prior to her abuser’s subpar redemption arc.

The way she interacts with Touya would make sense, if this was how she was portrayed from the start. However, her behavior in Shouto’s flashback -- where she was first introduced -- contrasts what we get in the later Todoroki flashbacks.

Let’s compare this to the scenes in Ch 302. Here, Rei interferes on Shouto’s behalf. She advocates for her son in front of Shouto where he can hear. She stands up to his bully/villain and tries to protect him, while also validating his feelings in the process. Directly after this, Enji hits her, not for failing to comply with his demands, but for defying him.

It is difficult to reconcile this Rei with the Rei we get in Ch 302. And if you try to find an in-story reason for the inconsistency, the options either do a disservice to Rei or make things even more painful for Touya. But I’m sure most of you have realized that I’m going to suggest a reason for this inconsistency that goes beyond the canon.

Because when Rei was first introduced in the story, Endvr was unequivocally the villain in the Todoroki family, not some misguided patriarch trying to atone for his “past” mistakes. Years later and in the midst of his redemption arc, the narrative seems to be intent on making this man more palatable to readers, and it’s used Rei at every opportunity to prop up his efforts to be better. Often, though, it takes some of the heat off Enji by displacing it onto other family members, most significantly Rei & Touya.

Like, you can literally see the difference in the frame from early in the manga to now:

Ch 39: Endvr trains his five-year-old to the point where he’s throwing up due overextension and being punched by a fully grown adult who is also his father. Rei tries to protect her son and gets slapped by Endvr. All the blames rests squarely on Endvr, who is clearly the aggressor and painted as the villain here.

Ch 302: Endvr hits Rei for not preventing Touya from sneaking out to train, knocking her to the ground. Again, Endvr is clearly the aggressor, but oh this time it’s not driven solely by his selfish desires it’s also cocnern for his son; Rei is the victim but oh she also should have been watching him more closely, and oh well why was Touya going out in the first place, when everyone has told him to stop and he knows his mom will get punished for it?

Honestly, I can understand where some people have mixed feelings over Rei’s character, particularly since the writing has done her such a disservice recently. With that being said, however, it takes a minimum amount of critical thinking to recognize that while you can criticize some choices she made, you cannot hold her to the same standard of accountability as Enji, it’s absurd. The power imbalance was obviously tipped in Endvr’s favor, always.

It is a shame, too, that we can’t have more discussions that don’t turn into some readers (a lot of whom are attempting to make Endvr sound less horrible than he actually was) trying to demonize her. It’s doubly a shame the story itself doesn’t bother to flesh her out as a person, instead using her as a prop, because the complex relationships she has with Touya -- with all her children, really -- has plenty of room for exploration.

Like, there was no reason to add this new dimension of resentment due to her spouting Enji’s words back at Touya, when there was already a source of tension supported by previous canon -- the neglect the Todoroki kids suffered because Rei couldn’t be the parent they needed, due to her declining mental health and eventual breakdown.

Or, if you want to complicate their dynamic further, why not add something that focuses on Rei and has nothing to do with Enji? We learn in the flashbacks that Rei agreed to the marriage more-or-less to please her family, lamenting that she “intended to smile through it to the end,” essentially admitting that her hope was she could grin and bear it. It is telling that she had this attitude before entering her marriage; evidently, she was raised with the idea that she should be acquiescent to her parents’ whims and not express herself if she was only going to be contrary. Maybe she didn’t know how to deal with Touya’s very expressive, very emotional outbursts as a result. And her inability to respond would be the exact opposite of what Touya was seeking.

Not to mention that Touya died, and for the last decade, Rei was under the impression she had lost her son forever. He died while she was hospitalized, torn up with guilt over what she did to Shouto, only to find out that her other son died in a frankly horrific manner, and she could do nothing. By the time she would’ve found out, it was too late to even try to do anything. I can’t imagine what she must’ve felt in terms of regret alone, plus her grief. And I’m still mad we were robbed of her reaction to Touya being alive, because now suddenly there is a chance to do something, to change what was once written in stone.

Or what about Touya’s feelings for his mother, that have yet to be given much depth? As the oldest and most aware of his existence, it seems like he was the first to truly understand his mother’s situation and I can’t help but wonder: If Touya knew he vessel for his father’s ambition, and his mother was sold into role of creating/caring for him, did he question her love for him? Once he found out one parent’s love was conditional, it wouldn’t be a leap for him to consider it for the other. And yet if that’s true, Dabi doesn’t appear to hold any ill-will towards her for that. He was angry at her hypocrisy, because he knows she should understand, but her words to him didn’t reflect that.

All of that is fascinating and so much better than what we got in canon, so far at least. I’m hoping for them interact in the present at least once before the end of the series, and I think they will, but as to how satisfying a reconciliation it’ll be, I guess we’ll have to wait to see how the Todoroki plotline progresses from here on out.

#bnha #touya todoroki #rei todoroki #bnha meta #bnha analysis #this took way too long because I kept having more thoughts which made it even longer lol #and it actually gave me another idea for a touya & rei meta post but this is already a monster so that'll have to be its own separate post

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impalementation · 3 years ago

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spike, angel, buffy & romanticism: part 4

part 1: “When you kiss me I want to die”: Angel and the high school seasons

part 2: “Love isn’t brains, children”: Enter Spike as the id

part 3: “Something effulgent”: Season five and the construction of Spike the romantic

“But I can’t fool myself. Or Spike, for some reason.”: Buffy and Spike as a blended self

Before I get into seasons six and seven, it’s worth asking: why would the show do all of this? Why would it spend all of this time developing a supporting villain and joke id character? Why would it give him a romantic arc? I see people say that the writers only gave Spike these storylines because he was popular or they wanted to keep him around, but even that being the case, there was no need to give him the specific arc that they did. It’s more than possible to read meaning into the story that they chose from the array of possible options.

Here is the thing about the id. It’s not actually something separate from you. It’s not a ravenous monster you can blame your weaknesses on while remaining pure and dignified. The id is part of you. The immediate and enduring appeal of Spike is, I suspect, strongly influenced by the fact that the things the id wants are so very human and sympathetic. His foibles and mistakes are often painfully familiar, even exaggerated through vampirism as they are. In fact, it’s precisely because Spike is allowed to show a full range of reactions to love, because the writing is under less pressure for him to do the “right” or dignified thing, that he can at times be compelling in ways other characters can’t. If Spike just did nasty things, his appeal wouldn’t be much more complicated than the appeal of Angelus, who people tend to like as a villain or storyline rather than as a relatable character. But Spike doesn’t want to dismember nuns or construct elaborate murder tableaux. He wants familiar things like love, identity and meaning, even if the ways he goes about getting them can reflect people’s worst impulses.

Which brings us to Buffy, and Buffy’s story about growing up. Buffy is Buffy’s show, which means that every writing choice tends to revolve around her arc in one way or another. And this goes for Spike’s storyline even more than most. In the final three seasons of the show, the writing finally engages with how inextricable the id--and all of its impulsive, inarticulate romantic desires--really is from a person’s self. So instead of keeping Spike at a comfortable distance, both Buffy and the writing begin to take him seriously. They begin to invite him in.

Starting in season five, it’s telling how frequently Buffy herself projects on Spike, rather than just the writing setting them up as mirrors. She tells him that he’s the “only one strong enough” to protect her family, and later assigns Dawn specifically to his protection. In “Spiral” she describes him as “the only one besides me that has any chance of protecting Dawn.” This is a very intimate role that she otherwise only assigns to herself (and which is not really based on pure practicality, considering that she’ll later describe Willow as her “big gun”--yet never gives Willow the task of protecting Dawn). She tells him that he cannot love, which is the thing she fears most about herself. Her protests that Spike is a vampire, and thus cannot express or want human things like love, mirror her lamentations that as the Slayer, she cannot have a normal life.

From the Gilliland Gothic double essay:

More than any of her other lovers, Buffy and Spike overlap one another so often that at times their character arcs become nearly indistinguishable. With Angel, Buffy traveled a parallel path in attempting to master self-control. With Riley, her journey ultimately took her in the opposite direction. With Spike, Buffy’s journey is most closely shadowed, in that her interactions with him in many ways can be seen as metaphors for her feelings about herself.

So now Spike is multiple things. On the one hand, he’s the soulless id he’s been since season two. His vampiric behavior represents a morally uninhibited way of reacting to romantic frustrations, among other things. But on the other hand, his vampirism now also marks him as like Buffy, not merely her opposite.* Nor is he only her mirror in the realm of romantic love. The part of him that is a vampire is the part of him that is supernatural (ie, Romantically larger-than-life), that sets him apart from regular people, and dictates how he can and cannot behave. Just like Buffy’s slayerness. His vampirism is what makes him capable of protecting Dawn, while also making him (supposedly, according to Buffy) incapable of human feeling--again, just like Buffy’s slayerness. Instead of Buffy’s Slayer side being aligned with Angelus, who was an unmitigated evil, it becomes aligned with Spike, who is something more complicated.

*(Though it must be noted that this was a process that began in season four, with the show aligning Spike with the Scoobies by making him a victim of the Initiative. Spike being supernatural suddenly marks him as non-normative, just like the Scoobies, in contrast to the institutional conformity that the Initiative represents. The evolution towards treating the Romantic supernatural as something positive and associated with identity plays a key role in transitioning the show to the more complicated attitudes of the last three seasons.)

This shift in the show’s attitudes towards the id affects how Spike is used. In “Blood Ties” for example, Spike assists Dawn in breaking into the Magic Shop and in “Forever” he helps Dawn resurrect her and Buffy’s mother. In both cases, Spike could be read as embodying impulsive behavior that Buffy is supposed to be better than. Yet both cases specifically involve Spike helping Dawn, who is repeatedly portrayed as Buffy’s human side. As Buffy says in “The Gift”: “[Dawn]’s more than [my sister]. She’s me. The monks made her out of me. [...] Dawn is a part of me. The only part that I--”. In other words, Buffy’s id becomes closely tied to her humanity, even going so far as to become its safeguard. “Blood Ties” ends with Buffy affirming her connection to Dawn, which Spike’s rule-breaking directly enabled, and “Forever” ends with Buffy acknowledging how desperately she wants her mother back too, and becoming closer to Dawn as a result. (Compare to “Lovers Walk”, where Buffy acknowledging her id results in her breaking away from Angel, not drawing closer to anyone). Or in “Intervention”, Spike building the Buffybot directly parallels Buffy’s own anxieties about what she thinks she should be. She thinks she’s losing her ability to love, and that effusive fakery is her only recourse (as she said in “I Was Made to Love You”: “Maybe I could change. [...] I could spend less time slaying, I could laugh at his jokes. I mean men like that right? The joke laughing at?”), a fear that even has some merit, given that her friends cannot tell her and the bot apart. Instead of Buffy and Spike having separate arcs in the episode, Spike learning the difference between real and fake dovetails with Buffy’s own relationship to her realness and fakeness. It turns out that neither of them want a bot version of Buffy. They want real emotion, things like sacrifice and heartfelt gratitude. If even Buffy’s id would let itself be killed for Dawn, then maybe she has nothing to fear from herself. Maybe there is some beauty in the emotional part of her nature that she thinks she must repress.

In other words, part of the writing (and Buffy) fully engaging with romanticism and the id, means engaging with the ways they can be bad and good. There’s this weird thing that happens with Spike as soon as he falls in love with Buffy, where suddenly his actions are more uncomfortable, and to many, off-putting, because their object is Buffy (instead of another vampire like Harmony or Drusilla, who either enjoy the same vampiric things he does, or the audience might be inclined to see as a moral nonentity regardless). His comic id quality becomes somewhat darker and more serious, almost like the way Angel’s early season two darkness becomes more serious after he loses his soul. But at the same time, Spike’s actions are also more intriguing, sympathetic, and even noble...because their object is Buffy. It makes no sense that a soulless vampire should not only fall in love with the Slayer, but genuinely attempt to transform himself into someone worthy of her love. And yet that’s exactly what Buffy inspires him to do. By loving Buffy Spike’s dual nature, and the dual nature of his romanticism, is thrown into relief: it’s something that can be selfish and creepy, yes, but also something that hints at the idea that real romanticism does exist. Something worth feeling romantically about does exist. Thus the writing can at once criticize, say, the way the chivalric mindset conflates love and suffering, while also suggesting that there are kinds of love it’s worth being transformed by. (Meanwhile, Spike’s fumbling bewilderment over how to love Buffy, and what the rules of loving people correctly even are, creates a human middle ground between monstrousness and heroism). By leaning into the way that Buffy and Spike have been used as mirrors for three seasons, and introducing the mythology-bending idea of Spike being in love with Buffy, the writing is able to fully engage with this complicated, contradictory nature of love and romance.

All of which is to say. Spike becomes a potential love interest, and is given a convoluted inner conflict between monstrousness, humanity and heroism, in precisely the season in which Buffy begins to reckon with her own inner conflict between her darker impulses, her human reality, and her supernatural role. It’s no coincidence that season five opens with Dracula, an icon of romantic vampire mythology, tempting Buffy with darkness and promising her insight into her nature. Or that a vampire kidnaps Dawn--again, her human half--in the next episode. Or that the season’s antagonist is a super-strong blonde woman who wants to destroy Dawn instead of protect her. Or that she says goodbye to Riley, the boyfriend who embodied her hopes for a more normative way of being (notice how Riley is progressively destabilized by everything non-normative about Buffy’s life, and provokes those anxieties Buffy expresses in “I Was Made to Love You”). Over and over in season five, Buffy fears that her Slayer half is cold, destructive, and otherwise dangerous. That these Romantic things like gods and vampires have it in for Buffy’s vulnerable humanity. Yet Buffy’s vampire id simultaneously gives lie to these fears by proving itself capable of heroism and genuine human feeling.

In other words, Spike becomes a potential love interest in a season that treats the Romantic--ie the grand and mythical--as something more than just an attractive lie to be disabused of. Rather, the question that season five seems to posit to me, and which will not be fully answered until the end of season seven, is this: once you do clear away the attractive lies, once you accept the hard realities, once you’ve seen the darkest underbellies, what are the things that are left that are truly grand and beautiful? What are the stories that are really worth telling, and the heroes that are really worth having?

And the show asks and answers these questions on both a very personal level, and a more meta, systemic level. On the personal level, Buffy and Spike are forced to confront their illusions not just about the world, but about themselves. They are made to ask themselves what constitutes a heroic role or a demonic weakness, versus basic, unromantic humanity. And on the meta level, the show asks questions about our expectations for how both love stories and chosen hero stories are supposed to go.

part 5: “Everything used to be so clear”: Season six and the agony of the real

#romanticism series #gen #s5 #buffy #spike #riley #btvs

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shihalyfie · 4 years ago

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A meta on Mimi and her character

Today’s spotlight character is Mimi! While the Adventure characters are all written to subvert character stereotypes (no, really), I feel this is particularly enhanced for Mimi, whose surface demeanor and the first impression you get from her suggest an almost opposite character to whom she actually is.

Disclaimer before we continue: While not to the same extent as Daisuke, Mimi’s disposition and personality have some significant differences in the American English dub compared to the original Japanese. As usual, this is not meant to be any particular comment about the dub’s changes, but simply that if you’ve only seen that dub, are reading this post, and are thinking “that doesn’t seem right?” that would probably be why.

Mimi’s family background and attitude prior to Adventure

Like with any of the other Adventure characters, understanding Mimi’s personality and why she acts the way she does is most easily done by starting with her family background.

We first meet Mimi’s family in Adventure episode 35.

There is a lot to unpack with only this scene alone, so let’s get started!

Mimi’s family is quite well-to-do. They’re not filthy rich or anything, but they’re well-to-do enough for Mimi’s father to work freelancer (he works in music). This means that Mimi grew up with a fairly “comfortable” life, probably getting pretty much anything she asked for -- in other words, she’s spoiled. It also explains why she’s actually pretty impeccably polite to everyone -- she adheres very firmly to honorifics when speaking to both elders and younger people, and never, ever speaks roughly or aggressively, because her parents have basically been raising her like a “lady of the house” (ojousama) or princess. (She does use casual-form Japanese, but she never lets up on the honorifics.)

They’re very open-minded. We learn in this episode that Mimi’s bizarre food tastes in liking natto on her eggs with sugar (from Adventure episode 6) most likely come from her mother, Satoe, cooking things like kimchi fried rice with whipped cream and strawberries. In other words, the family is very into the idea of “unconventional and strange” and has no qualms about it.

While Mimi in 02 is portrayed as liking practically any kind of fashion aesthetic imaginable, both her room and the overall decor of the apartment suggest that “in-your-face cute” is the generally favored one.

Mimi’s family is also extremely affectionate. They smother each other in lovey-dovey words, her father actively likes Satoe’s weird cooking ideas, and it’s a household where everyone seems to dote on and mutually love and support each other (Mimi’s parents are almost embarrassingly lovey-dovey) without restraint.

The result is that Mimi ends up “spoiled sweet” -- she’s pampered and used to a comfortable life where everyone dotes on her, but because of the family dynamic being so built on “affection” and “open-mindedness”, she also never develops a streak towards condescension or malice.

What does that mean, you might ask?

Mimi in Adventure

A lot of people remember Mimi by the fact that she was “whining a lot” in the early stages of Adventure, and the fact that she’s a “girly-girl” with some of the associated stereotypes. As a result, one may be surprised to hear that her behavior is actually supposed to be mostly representative of an average child in her situation, and she’s often described in press materials as “someone who can befriend anyone” or “someone who can get along with anyone”. Even her official website profile talks about how pretty much everyone considers her likeable.

This may seem difficult to believe at first, but you might actually notice a pattern when it comes to her “complaining” -- it pretty much always boils down to one of the following, or something along these lines:

I’m scared

I’m tired

I don’t like this/I don’t want that

I want a bath/bed/food/(some other home comfort)

I want to go home

In other words, Mimi is basically reacting like an average child would when thrown into another world out of nowhere! All of her complaints are out of low tolerance and high sensitivity -- all of these scary and uncomfortable things around her are making her feel bad, and she’s not hesitating to make that clear with her words.

However -- and this is very important -- these are all things she’s saying specifically because she’s now in a dangerous, unfamiliar situation in another world. All of these things are things she says defensively, because she’s sensitive to being uncomfortable or hurt, but she is also never aggressive towards others. In completely normal situations -- ones where all she’s doing is socializing at school -- it’s not hard to believe that she would actually be one of the nicest and most considerate people on the planet and that she would be instantly likeable to anyone she meets. Why? Because she lacks condescension or malice. She’s a very nice person who, if not for being under heavy stress, would never step on anyone’s toes. Even during those early episodes of Adventure, whenever there’s “down time” and they’re not in an uncomfortable situation or being chased by something, she goes back to being polite and respectful of others (remember: she’s one of the most adherent to honorifics among the cast), and is perfectly kind and agreeable with them.

As much as she may sometimes get demanding during the early episodes of Adventure, she also doesn’t expect her peers to cater to her nor does she look down on them. One of the biggest examples comes from the Adventure novel:

Mi–chan was pointing at the front of the bus, where a boy wearing a long–sleeved orange shirt was about to get off. Even Mimi knew who he was. They hardly ever talked together, but he was her classmate, Koushiro Izumi. Mi–chan wanted them to look at what Koushiro was carrying on his back – a wireless laptop. “Isn’t he so weird for bringing that all the way to camp?” Mi–chan sneered with mocking laughter, but Mimi didn’t laugh. She simply didn’t find any reason to.

In a situation where people are mocking this weirdo kid for bringing his laptop to camp, Mimi “sees no reason” to look down on him. To her, what’s the point? It’s not fun to be malicious towards others, and she sees no benefit in dunking on him. Hence, because she’s actually very polite and open-minded towards others, and doesn’t see any reason to be mean, she’s not mean, and so you can see why everyone would like her -- after all, she’s not only bright and cheerful, she’s also polite and kind! Who wouldn’t like such a nice person?

Mimi’s first “focus episode” is Adventure episode 6, and we already see a lot of these traits in action. Mimi gets to see the other kids making absolute fools of themselves under Monzaemon’s brainwashing, but the most she has to say is just observing that they seem to not be having fun, and being worried about their well-being. Once she finds out the truth behind what he did to them, she gets extremely angry on her friends’ behalf -- she actually calls them her “friends”, despite them barely knowing each other at this point!

And then when the Numemon step in to fight for her, despite her initially having been turned off by them (mainly because they make her uncomfortable, both by indulging in literal poop around her presence and by invading her personal space by flirting with her), she actually almost breaks down in tears over them!

What this all means is that Mimi’s “high sensitivity” also translates to something else: Mimi has extremely high empathy for others. In terms of being “sensitive”, she’s also sensitive to how other people feel. She worries about others’ welfare constantly, even when they’re poop-throwing slime monsters who had just flirted with her, or near-stranger classmates who just happen to have been thrown onto this adventure with her whom she barely knows. That’s why she’s so nice to other people -- she feels for them, and she constantly empathizes with others’ emotions, so that’s why she’s never rude to others nor does she step on their toes.

It’s also why, even after Koushirou rubs her the wrong way and momentarily causes her to lash out at him for being insensitive about her feelings in Adventure episode 10, she also never seems to hold a grudge against him thereafter (especially since, for as much as he was acting pretty frustrating, she understands he was doing it out of good intentions). In fact, Mimi is pretty much incapable of holding a grudge at all. (More on this later!)

Mimi’s most famous incident of “succumbing to her vices” is Adventure episode 25, when she ends up letting the Geckomon and Otamamon pamper her while stringing along and refusing to do the job they’d needed her for in the first place (singing to wake TonosamaGeckomon). Let’s go over what led to Mimi getting in this situation:

Mimi was basically at her limit. She had been in the Digital World for what had been implied to be months. Going that long without her bath or soft bed or comfort, it’s understandable that she finally let stress overcome her and succumbed to her vices in full. This is basically Mimi at one of her worst possible breaking points, not her most of the time.

Taichi, Jou, and their partners never gave her a very good reason why they should leave (Taichi never explained the problems going on in the real world, nor that he’d even taken a pit stop there) and now, for all she knows, they’re trapped in the Digital World forever, so when she sees an offer to make it all stop hurting, she naturally takes it -- especially when the people telling her to leave aren’t giving her any reason why except that she should.

Even despite all that, Mimi has a complete mental breakdown after her tantrum ends up throwing everyone in jail, dreaming about how everyone must hate her now and how even the Geckomon and Otamamon are tiring of her (the fact this pops up in her dream implies that she’d had a feeling this was coming for a while now). Sora comes to give her a little encouragement, but even she says that Mimi already really knows what she should be doing now. Mimi ends up bringing everyone out to apologize to them and fulfill her duty before the night is even over.

So let’s recap: Mimi is so empathetic and worried about other people’s feelings and what they think of her that, even in arguably one of the worst mental health crashes we’ve ever seen her have on screen, she still breaks down at the prospect of disappointing everyone and making them hate her to the point she immediately recognizes how far she’s fallen and takes it back before the night’s even over. That is how much other people, ranging from Taichi to a crowd of Digimon she’s only vaguely acquainted with, matter to her.

The full “payoff” for this episode in terms of the light of the Crest of Purity glowing and achieving Lilimon evolution does not happen until Adventure episode 35.

It is interesting for a lot of reasons, mainly because it involves all of the events happening in response to things that don’t sound very virtuous on their face (early in the episode, Mimi insensitively comments on Palmon being “bad taste”, and later in the episode she starts considering the Digimon tormenting others unforgivable).

The “Crest of Purity” (sometimes “Innocence”) is something that’s often been difficult to translate, mainly because the easiest words that come to mind often have other unwanted implications, but the real point of it is that, again, Mimi is lacking in malice. The way she talks to Palmon at the beginning of the episode indicates she really didn’t think Palmon would take it seriously (she even urges her to “not think too much into it”), only to find out at the end of the episode that she sort of kind of did. (Trust me, she’s very sorry about it.) The other thing is that, when she starts protesting at the Digimon at the end of the episode, she’s doing this specifically because she’s weeping on behalf of all of the tormented civilians (including her family) that are being caught in the crossfire. She’s so constantly empathetic towards other people that seeing other people hurt, regardless of how well she knows them, just eats her inside. So for her, those who cause that kind of suffering are unforgivable, because they’re inflicting that pain on others.

This is also what leads to her breakdown near the three-quarters mark of the series. Like with how she eventually came to empathize with the Numemon who fought on her behalf, Mimi holds no grudge against Scumon and Chuumon despite them having flirted with her earlier, and Chuumon taking a hit for her hurts her the deepest among all of the other kids. Because Mimi is so empathetic towards others, every death starts tearing away further until she finally can’t take it anymore.

Mimi is fundamentally the kind of person who hates fighting, and even from day one she’d never liked it -- her way of “encouraging” fighting was more like hoping that Palmon (or her evolved forms) could survive. If she wanted to win, it was in the sense of wanting everyone to Not Die; she was never belligerent. But now that the actual body count of people she considers friends is rising, she associates fighting so deeply with that body count that the pain gets to her, and the last straw breaks in Adventure episode 45 in the form of two people she considers friends, Taichi and Yamato, getting in a fight. Everyone around her is hurt. Everyone around her is pain. The naturally empathetic Mimi feels all of this, and she thus decides to pull back from the fighting.

Mimi being such a firm pacifist does have its benefits -- not only does it mean that she holds no grudge against Ogremon in Adventure episode 46 and bid for treating his wounds even though Jou (understandably!) is initially more skeptical because of how he’d initially tried to kill them, she also creates a major dent in Ogremon’s “fated rival” philosophy towards Leomon by forcing him to question: so what if you do defeat your rival? Then what? What’s the point of fighting? Does it actually make you feel better to try and prove your strength this way? (Even Leomon, for all he’s portrayed as noble, is still shown to have a petty investment in his conflict with Ogremon in the following episode.) Ogremon tries not to think too hard about it, but Mimi questioning “what he would do if Leomon were gone” becomes a question he really does have to confront when Leomon dies in the next episode...

...which is also an important learning lesson for Mimi herself as well: fighting may cause collateral damage, but not fighting doesn’t help things either, because when less-than-virtuous forces are at work, casualties will happen either way. In fact, it’s even worse to be a sitting duck, because now you’re just doing nothing when people die right in front of you. Which is a lesson that Jou had wanted to tell her earlier, but didn’t know how to describe to her in words because of his own complicated feelings:

What he wanted to tell her was this: that he didn’t see any likelihood of co-existing with the Dark Masters, and that they had no other choice but to fight them. Even a neutral country like Switzerland had a military. They would be invaded by enemy countries without one. It would be nice and ideal if they used the nonviolent resistance approach as Ghandi did. But that didn’t mean it was okay to just be killed without lifting a finger… But not even he could find a good answer.

However, Mimi is still a pacifist. Even if she finally understands that fighting is necessary, that should not mean that she should now force herself to become someone gung-ho and enthusiastic about it. This is why, in Adventure episode 50, Jou contemplates different ways they can productively contribute to the fight -- because Mimi should not be obligated to personally fight herself when it’s not in her fundamental nature, and Jou personally does not feel that he’s very good at it. But Jou, having put some thought into “one’s own path”, realizes that literal physical violence fighting isn’t the only way to be “part of the fight” -- and so while Jou starts to realize that his unique role is becoming someone who can be a capable healer and doctor for those who are wounded, Mimi has her own talents that she can use to bring Digimon and other allies together. Because Mimi is a kind and charismatic person whom everyone finds likeable and would be willing to come along with, and since she holds no grudges against anyone, nobody would hold any grudges against her, so she’s perfect for the role of “bringing people together for the sake of what they want to protect”.

And she does. Adventure being a series that respects the contributions of those who don’t necessarily participate by direct fighting, Mimi’s rallying together of the Digimon becomes key to saving everyone in Adventure episode 52, and the fact that everyone’s together in the end makes for a great group photo.

Speaking of the final episode, in case the point hadn’t been driven home enough that Mimi’s the most empathetic and emotionally sensitive of the entire cast, the series famously ends on her very emotionally compromised farewell with Palmon. Of course, Palmon’s the one who kind of initiated it (she’s the one who initially refuses to see Mimi because she’s too emotionally compromised), but, after all, the series ends on Mimi being so frazzled about it that she loses her hat.

Mimi in 02 and beyond

As with the other Adventure kids, Mimi’s character arc continues in 02, and we learn a lot about her before she even makes her first personal appearance!

Firstly, we learn that Mimi’s moved to America. The in-universe reason is that it’s for her father’s work...or, at least, ostensibly so, because 02 episode 40 implies that the actual reason was that her parents wanted them to be away from Digimon incidents. (Which, of course, didn’t last very long.) The meta reason for Mimi moving, however, very likely has to do with the fact that 02 involves a subplot of Chosen Children appearing all over the world, and Mimi’s character involves an innate talent for bringing people together.

We learn in Two-and-a-Half Year Break that Mimi moved in 2001, only one year before 02′s events, and eventually got caught in the 9/11 incident -- where she met a number of other American Chosen Children in New York and, now much stronger of heart since the events of Adventure, was able to help them in the recovery efforts, despite there being a language barrier. With this, and the fact she’s shown at a huge party in 02 episode 14: they’re not kidding when they say Mimi can become friends with pretty much anyone. Even going to an entirely different country and dealing with a language and cultural barrier, Mimi is such a naturally kind and compassionate person that she immediately doesn’t have any problem fitting in. (Because, really, someone that level of kind and friendly is hard to dislike.) And in a world where international solidarity between Chosen Children is getting more and more important, that is a very valuable role to have.

The other thing we find out early about Mimi in 02 episode 2 is that Sora catches on that Miyako is a lot like Mimi, based on the fact that Miyako also is empathetic and has an aversion to fighting. And Sora’s completely right, because when Mimi does come into the picture, the similarities -- and differences -- between her and Miyako say a lot about both characters.

When Mimi arrives in Japan in 02 episode 6 (for her cousin’s wedding), she and Miyako immediately get along with each other, and Miyako instantly role-models her, to the point of claiming her as an honorary older sister (despite already having older sisters herself!). It’s not surprising; Mimi and Miyako are both very bright and cheerful people, and Miyako even shares the background of being slightly pampered by her family (although presumably more due to her being the youngest of several siblings). Mimi, for her part, continues her trend of being likeable and fond of pretty much everything (including even her beloved tuna-mayo onigiri that she hadn’t had for so long), and is perfectly happy to be tight with Miyako.

The Digitamamon incident in 02 episode 14, however, adds an extra layer into why Miyako idolizes Mimi so much besides Mimi just being cool in general: Mimi is kind, forgiving, mature, and incapable of holding a grudge -- to the point her pacifistic tendencies kick in even when Digitamamon gets hit by a Evil Spiral and she refuses to fight him, despite him literally starting to beat her up. Again, Mimi came to understand the inevitability of having to fight back in Adventure, but Digitamamon is, to her, a friend who was trying his hardest to turn over a new leaf -- so, naturally, she tries to see if she can appeal to his heart instead. Miyako, on the other hand, is on the opposite extreme -- she’s so judgmental about her poor first impression with Digitamamon that, despite fully knowing well that Evil Spirals cause their victims to lose their ability to have reason, keeps trying to use it as evidence that Digitamamon was a traitor from the get-go.

Considering that the “secondary Digimentals” arc is largely about Daisuke, Miyako, and Iori coming to terms with their deficiencies in their respective traits and aspiring to do better, Miyako unfavorably compares herself to Mimi because Mimi is everything she wants to be and currently isn’t. Unlike Mimi, Miyako is aggressive, in-your-face, occasionally judgmental, belligerent, sometimes insensitive (not by choice), and often shallow, which she fully admits to in this episode. Of course, the reason Miyako gets the Digimental of Purity (Mimi’s trait) is because she hates this about herself -- even in 02 episode 31, she gives herself no shortage of grief for her foot-in-mouth syndrome and the fact she’s not as “kind” of a person she wants to be, and she herself is also fundamentally devoid of malice, just quick to jump to conclusions and a bit sidetracked by first impressions. (After all, Mimi was guilty of being accidentally insensitive when she called Palmon lacking in taste back in Adventure; the point is that when both of them do it, they really don’t mean badly, and end up sorry for it later.)

But that’s a story for another post about Miyako; more importantly, the reason Miyako is harsh on herself about this in this episode is that, in many ways, she’s everything Mimi is not, because Mimi is empathetic and mature and polite and never steps on anyone’s toes.

02 episode 25 gives us more to work with; first of all, she’s depicted in yet another completely different hair and fashion style (which she brings up another of during the winter season), and her drastic shifts in style indicate more of her “open-mindedness”; she’s open to trying out tons of new things and is willing to like just about anything. More importantly, however, she turns out to be completely open-minded about recruiting Ken to help out, even though she’s well aware of what he’d done as the Kaiser (and, again, Miyako sees her ability to be forgiving as something to look up to). Because, again, Mimi doesn’t hold a grudge; she doesn’t send anything accusatory or forceful to Ken, but simply believes that he should be given the chance to know what’s going on and help out if he so chooses, which becomes key to Miyako herself also choosing to accept Ken at the end of the episode.

Given that Mimi is portrayed as so open-minded towards trying all sorts of things, it’s probably no surprise that her “career” in Kizuna is so different from what we eventually know she’ll be doing in the epilogue -- instead of her cooking show, we see her running an online shopping business. After all, with her being so open-minded about wanting to do potentially anything, it’s very like her to "dabble” in a few different experimental things before (or perhaps “without”!) settling for something. What we know about this business is also quite on brand for her; her business specializes in “cute” (her preferred aesthetic, which she also shamelessly dresses in), and she’s established as setting up business all over the world to the point she has to constantly travel. Presumably, her natural charisma made it easy for her to set up connections.

Interestingly, her website profile also omits any discussion of any kind of university or other post-secondary education, implying that, unlike the others, she chose to dive directly into her career after high school. Again, it’s quite like her to find something she wanted to do and pursue it the moment it was in front of her -- no matter what it is, as long as it’s interesting.

Mimi’s largest amount of focus in regards to the movie is in To Sora, where she’s seen checking in on Sora after noticing she hasn’t been in the group chat in a while -- again, as someone constantly empathetic to how her friends are doing, it’s natural that she’s the one who catches on and decides she needs to check in. As someone who loves uplifting and supporting her friends first and foremost, she happens to be fully aware of what everyone’s currently up to (compare how Taichi had to be actively updated on Sora and Takeru’s status from Yamato in the movie proper), and also provides nothing but positive supportiveness to Sora’s troubles during their conversation -- as usual, always respectful and polite, and never condescending.

And, of course, she naturally empathizes with Sora having hesitation about fighting -- both because she’s been busy herself, but also because she, of course, understands exactly how it feels for fighting to be emotionally taxing -- and declares that she’ll support Sora with whatever she does, just like how she found her own path back in Adventure by choosing to contribute by bringing people together instead of fighting. She makes do on this promise as well, considering that she keeps up with supporting Sora during her exhibition.

By the time of the 02 epilogue, Mimi has decided to change tracks entirely and go for cooking, which, while being very different, is also very on-brand. This time, the part about “cooking” is something that comes from her family, since, after all, experimental cooking (...of some kind) was something Satoe got the whole family to embrace. The exact nature of her job is literally “culinary researcher”, which is a Japanese catch-all to refer to the sort of “food critic” who experiments with food and writes extensively (or, in this case, runs a TV show) about different ways you can enjoy and put together food, which also goes in mind with her streak of “open-mindedness”. The common point is, really, that everything Mimi does comes out of positivity, supportiveness, and love.

#digimon #digimon adventure #digimon adventure 02 #digimon adventure last evolution kizuna #tachikawa mimi #mimi tachikawa #kizuna spoilers #shihameta

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streetlight11 · 3 years ago

Text

Dystopia pt 8 (FINALE)

Summary: You were an Amity born. You were taught to value kindness and harmony. But you also valued bravery and knowledge. After the test to see which faction best suited you, you were given the choice to either stay in your faction or leave. When you chose to leave your faction for another, your whole life changed and you wondered if it was the right decision. You pondered over it at first, all until you met him.

Theme: Divergent au, strangers to lovers

Genre: mild action [I tried], angst, fluff, slowburn

Warnings: mentions of blood and violence

WC: 3.6k

Pairing: Trainer!Jungkook x Initiate!FemReader

Tips: In this whole series, Y/N is a few years younger than JK. Those who were initiates like Y/N that just ended the Choosing Ceremony, are all the same age. None of these characters portray who the mentioned people are in real life whatsoever! It's just a fictional character!

a/n: Hello! Guess what? You made it to the end! I know this is a short series but I'm more than thankful if you have made it this far. Although it's quite short for a finale, I hope I didn't disappoint you too much! But anyways, here's the final part for this series :) Enjoyyy

~~~

With hurried steps, all three of them quickly hollered their way through the facility in hopes that they would reach the dorms in time. Jungkook’s heart was beating so fast against his chest, unsure if he could even calm himself down knowing something bad had happened to you. That was the last thing he wanted. From the day he saw you a few weeks back, he knew he would like you.

He knew there was something about you that leaves him being all clammy and nervous despite his amazing skill at hiding his emotions. Jungkook never knew he would manage to get close to you, thinking it was impossible considering he was a trainer and you were an initiate.

However, it looks like fate has a different plan for you and him when he saw you training by yourself in the middle of the night. That was when he first got to have a close interaction with you.

Even though it was just him teaching you basic tips on how to improve your skills for each of the different skill sets, he still got to talk to you and also earn your trust after a while. And as the days gradually went by, it was needless to say that Jungkook had grown so fond of you and even had a crush on you.

Yes, a Dauntless Trainer having a crush on a Dauntless Initiate.

How cute.

Ultimately, it all goes downhill for him as he finally arrives at the shared dormitory, only to find the rest of the initiates crowding around at one spot. The minute Jungkook and Changkyun pushed through the crowd, their hearts stopped for a millisecond upon seeing what the fuss was about.

There you were, cradled in Hyunjae’s arms as Gahyeon was crying with her hands desperately pressing what looks to be a completely blood soaked towel against your throat.

Your throat has been slit, not too deep to kill you but just enough to render you voiceless.

You were just turning around on your bed when you peeked your eyes open out of instinct, feeling as though you were being watched. Except, you weren’t expecting for it to be legit. Because the minute you opened your eyes, there was a hooded figure looming over you with a hand raised to their head level with what looks to be a knife from the Training Room.

Fuck!

Before your mind could react, your body seemed to move faster as your arms swiveled to a cross position over your face right when the person launched his attack to your head.

With the tip of its blade just barely missing your right eye socket.

You used all your energy to shove their hand away using your arms, only to kick their stomach harshly. They stumbled back a little before lunging back at you. However, you quickly rolled out of bed to your left, falling to the ground with a soft thud just as they plunged the blade into the mattress right where your chest would’ve been.

You rushed to your feet, making a break for it to the open toilet but your steps faltered when you felt a sharp stab to your calf.

“Ah! Fuck!” You loudly hissed to yourself.

The blade got pulled out of your leg harshly, only for you to flip around on the ground.

The person kneeled over you as they tried to stab you in the face again but you managed to grab their wrist with both hands. They were strong. A little too strong if you say so yourself. However, for some reason, you felt like you knew this person.

You were struggling. You were struggling hard to push their hand away. Mustering whatever strength you had left, you used all your power to push them back.

For a moment, you were glad that they nearly fell off you.

However, you weren’t mentally and physically ready for what he was about to do next. And that was for him to make one swift swing of his arm. It all happened so fast, you didn’t even realize what he did until you felt something wet trickle down your neck. You tried to curse at them but instead you were shocked when nothing came out of your mouth.

That wasn’t until one of your hands reached up for your throat and you felt it.

The open slit, the feeling of wet liquid, your nostrils filling with the strong smell of copper, and finally, bringing your fingers up to see your fingers coated in your own red crimson blood.

Your mouth hung agape as you tried to speak but there was nothing. Tears welled up in your eyes as the person got up and smirked down at you.

“Goodnight loser. I hope you rot in hell.”

They soon took off running, leaving you there helpless with no voice to scream for help, to tell people who did it. But of course, you weren’t stupid. Despite the lack of light, only an idiot couldn’t catch on easily. For there is only one person who calls you ‘Loser’ right from the start. Your doubts were confirmed the minute that nickname left their lips.

Dumb move Yeonjun.

Since you couldn’t scream for help, you slowly began to drag yourself across the room, leaving a long trail of blood behind your leg where you got stabbed only to reach the end of Gahyeon’s bed.

With one swift grasp, you managed to hold onto her shirt and that was enough to wake her.

It took her a second to realize what happened until she saw the trail of blood on the floor and your bleeding throat that you were desperately putting pressure on. She let out a shrilling scream before yelling for help from the others. Everyone began to panic at the gruesome scene, making Hyunjae cradle you while Yunho rushed out to get help.

Jungkook carried you to the hospital wing, with Gahyeon, Hyunjae, Yunho and Changkyun tagging along. One of the nurses inspected your injury, seeing that you’ve lost quite a bit of blood. She mentioned that they had to give you some blood in order to save you and they have to be the same blood type as yours. After much inspection, it was clear that only Jungkook and Hyunjae shared the same blood type as you.

Both of them offered to donate some of their blood to you to save your life. While the two were being drawn of their blood, Changkyun went ahead and brought the other two back to their dormitory to rest. You were already laying there on the medical bed unconscious which means you couldn’t feel the way Gahyeon gently gave your blood coated hands a small squeeze.

“Please be okay, Y/N.” She whispered as a tear rolled down her cheek. Yunho comforted the girl before they both left with Changkyun.

A few minutes later, the nurse managed to collect as much blood as you probably needed after losing them quite a bit. She placed a bandaid over the spots where she injected the tube in their arms. After she was done, she dismissed the two boys but Jungkook asked if he could stay.

She nodded, setting up the equipment so that the blood she collected from the two gentlemen could be transferred into your body through the IV in your hand.

Hyunjae left after caressing the top of your head, wishing you a speedy recovery.

The nurse went ahead and disinfected your wounds before suturing the open cuts and wrapping them with bandages. Once she was done, she excused herself, leaving you alone with Jungkook as the male went over to scoot his chair closer to your side. Jungkook carefully reaches for your hand that didn’t have the needle attached. He brings it up to his lips, kissing your knuckles softly.

“I’m so sorry… I’m so sorry I couldn’t protect you. I’m sorry this happened to you Y/N. You truly don’t deserve this…” Jungkook whispered as he stood up to plant a gentle kiss on your forehead.

He felt sorry. He felt sick. He felt confused. But more importantly, he felt furious at whoever did this to you. Of course he didn’t know who but you knew.

You woke up to a sharp pain in your throat, feeling it get itchy like an unusual sore throat. The prickling pain in your right calf made your leg jolt as you shot your tired eyes open. The morning sun filled the room. You carefully looked around to find you alone in the room which looks to be the hospital wing.

Memories from last night suddenly came flashing into your mind like a tsunami, and yet, you still couldn’t wrap your mind around it.

Did that really happen?

Was it all a dream?

You almost didn’t want to believe it until your hands reached up to your throat and you felt the soft material of the bandage taped onto your neck. Of course, your stubbornness was trying to make you think otherwise so you opened your mouth to speak.

Truth be told, nothing comes out of your mouth. Absolutely nothing. Not even a sound.

Your thoughts were swirling, a million things running across your head at that very moment. From the incident last night to the final evaluation test you were supposed to have today. The test was supposed to determine your final results of your initiation. It was supposed to determine whether you get to stay in Dauntless or you get kicked out and become Factionless.

Of course, there are two ways of getting that second option. First is by failing Stage 3, and second is of course by not attending the final test at all.

How wonderful.

As your mind was swirling with these complications, you completely missed the figure that was making their way to you. It wasn’t until they were a few feet from you that you looked up only to lock eyes with Jungkook.

Immediately, a whole swarm of emotions came rushing through you as you began to cry. Jungkook rushed over to you, only to hush you.

“Shh… Shh… Don’t cry. It’s okay. I’m here. You’re fine. I’m here.” Jungkook cooed as he held you in his arms, feeling the way your arms wrapped around his waist tightly like you were afraid he might disappear if you let go. His heart swelled upon feeling his shirt get soaked from your tears.

Your silent cries only made his heart drop even more. Jungkook caressed the back of your head lovingly, making sure to give you small reassuring kisses to the side of your head as a way to hopefully calm you down.

You both stayed like that for a bit before he sang you a sweet song in your ear.

Jungkook felt your body relax in his touch, happy that his singing made you calmer. After a while, he pulled away slowly to look you in the eye. How is it possible that you are just sitting there crying your eyes out and yet you still looked beautiful? Or maybe it’s just him.

Who knows.

Nevertheless, he wipes your tears with his thumbs and soon smiles down at you.

“You’re so strong. You’re a strong girl Y/N. And I really admire you for that.” He whispered. You couldn’t help but crack a tiny smile when you felt him boop your nose with his own. You had so much to say to him. So much you wanted to share with him. Unfortunately, luck wasn’t on your side today. Just then, Jungkook’s smile faltered and it made you curious.

You reached for his wrist where his hand was just cupping your face softly, to catch his attention. You silently asked him what’s wrong through your worried eyes, hoping he could read your mind.

Thankfully, he did.

“The final stage… It starts in 5 minutes. I talked to the leaders about your current condition. I tried my best to change their mind, Changkyun did try too… Unfortunately, the leaders made an agreement to… disqualify you, which means… y-you…” Jungkook paused as he struggled to convey the message to you but you already knew what it meant.

You violently shook your head at him. You had to redeem yourself. You didn’t plan for this to happen. You were forced to be in this damn medical bed out of your own will. Oh if only they saw who did this to you, would they gladly throw him to the Factionless.

“Decision has been made. Since you can’t physically be there, you’re immediately disqualified.” Jungkook said as you shook your head again. There must be something about the way you were staring at him because at that very moment, it was as though you sent him a message through telepathy.

“Wait a minute… For the final test, you don’t need to talk. You… just need to be physically there for the simulation.” Jungkook said in realization as your eyes lit up.

“Does that mean… she’s immediately disqualified?” Gahyeon asked sadly, only for Hyunjae to nod.

“I mean, technically according to the rules, you are supposed to be here physically for the final test… So, I guess that’s true then…” Hyunjae said.

The rest of them who were gathered by the side of the hall where the final stage would take place, shared mostly the same emotions about you not being able to join them which would render you as Factionless by default even after all your hard work.

However, it looks like someone couldn’t care less about you not making it.

“Who cares? She doesn't belong in Dauntless anyway.” Yeonjun rolls his eyes as he walks to the front, leaning against one of the pillars. Your friends exchanged a few glances to one another, not feeling good about the way he said that. A few minutes passed, and they had just finished the test with the third person on the list. All the initiates were anxious as they waited for their turn. Soon enough, the Dauntless leader calls out the next name to be on stage.

“Y/F/N.”

With that, the room fell silent as the initiates looked at each other with deep frowns on their faces. A few beats of silences went by, not a single sign of you anywhere. Meanwhile, Yeonjun had that devilish smirk on his face as he felt satisfied with your lack of presence.

Unfortunately, just as the leader was about to call out the next person on the list, Jungkook’s voice echoed around the hall from the opposite end of where the initiates were gathered. That’s when Jungkook emerged through the double doors with you beside him.

He had one arm wrapped around your waist as you limped your way to the platform where the chair was waiting for you. Your friends cheered for your arrival as they shouted a string of goodlucks to you. Yeonjun growled, totally not expecting to find you still alive.

Maybe he didn’t cut you deep enough.

You immediately recognized the lady who was prepping the tools to put you into simulation, to be the same lady you met on your Initiation test.

After you sat down, Jungkook gave your waist a little squeeze before he smiled down at you and whispered, “Goodluck.”

He soon left your side as the lady asked you if you were ready. You gave her a small nod, letting her inject the needle into your neck right below your ear.

Once the serum had been injected into your system, it took effect right away, bringing you to your first simulation. It was the same simulations you went through during your Stage 2. They were all of your fears connecting one simulation to the other. You managed to remember what Jungkook taught you during the past few weeks and how to properly handle each situation like a fellow Dauntless.

The minute your last simulation ended, you woke up calmly only for the lady to smile.

“You did well.” She complimented you as she helped you sit up. Jungkook came to your side and very gently led you off the platform.

“Good job. Looks like my tips worked huh?” Jungkook asked, to which you smiled, feeling shy all of a sudden. He guided you to the side only for your friends to rush over to you.

“Sweetie! You’re okay! How are you?” Gahyeon asked as she hugged you, making you return her hug. You showed an ‘okay’ sign with your hand before Yunho ruffled your hair. “Of course you are, you’re a beast Y/N.” His comment made some of them laugh, including you. Just then, your eyes drifted to your left only to meet Yeonjun’s fiery eyes.

All you wanted to do was throw him in The Pit. The last thing you wanted was to see his competitive ass everyday from now on.

However, you weren’t going to kill him despite all the pain he’s caused you.

After letting you meet up with your friends, Jungkook brought you back to his penthouse to let you rest. He carefully laid you down on his bed, pulling his blanket up to your chest while you snuggled into his side with your head resting on his chest. Jungkook chuckled as he caressed your hair, tucking them behind your ear, making sure to let his fingers softly trace the side of your face as he did so.

“No matter what the results are, I’m never leaving your side. That, I can promise you.” Jungkook said softly as you tilted your head up to look at him. You wished you could speak. You wished you could verbally say this to him outloud. Unfortunately you couldn’t.

In the end, you opted for the saying ‘Actions speak louder than words’ and so, with that being said, you lifted your head up and used your left elbow to prop your body up on the mattress.

Jungkook watched you carefully as you slowly leaned in only to press your lips softly on his. Almost instantly, he wrapped one arm around your waist while the other allowed his fingers to tangle into your soft locks. You reached a hand up to cup his cheek, letting your thumb trace the scar he had on his left cheekbone. You felt him smile against your lips as he pulled away for a breath.

His eyes fluttered open to find your cute ones staring back at him. Jungkook couldn’t help but chuckle as he gently massaged your scalp in a calming manner.

“If that is your way of telling me what I think it is, then I’ll be the one to confirm verbally that I feel the same way too…” Jungkook’s voice was smooth and sultry in your ears, it almost made you melt into a puddle. Almost.

So with one more kiss from him, your heart raced in your chest as he pulled away to let his lips hover over yours before he said the words you’ve been meaning to tell him.

“I love you Y/N.”

Prologue

6 months had passed, you ended up staying in Dauntless together with Gahyeon, Hyunjae and Yunho. Right after the final stage, you gave Jungkook the weapon Yeonjun used to attack you the night before the final stage. After investigating the weapon and finding evidence that confirms Yeonjun was indeed the attacker, he was immediately thrown out of Dauntless. Rendering him Factionless.

Yes, that jerk deserved it.

Yunho was given the role of a guard due to his unfortunate ranking but hey, at least he wasn’t Factionless.

Gahyeon was a trainer for Dauntless-born initiates while you and Hyunjae were trainers for faction transfers. Although, you only started becoming one after the 3rd month when you were starting to be able to talk again.

And how was your relationship with Jungkook, might I ask?

Well, just splendid.

Your relationship with him only grew stronger each day as he took care of you during the first few months when you still had difficulties to talk. He was always there for you when you needed someone to back you up in heated arguments.

Jungkook took you to visit your parents the day after the final stage. No doubt your parents got upset over what happened to their daughter, they were more than thankful that you were still alive and that Jungkook was there to keep you sane. As the months go by, Jungkook’s feelings for you bloomed.

Today was another day of training for you and your initiates where you managed to guide the new initiates along with Hyunjae’s help.

You were just standing off to the side, letting Hyunjae take over for the knife throwing session when you suddenly felt a pair of strong arms wrapping itself around your waist. You giggled as you turned your head to find Jungkook’s face just mere inches away from yours.

“Not here, love… We’re in the middle of training.” You whispered, earning a soft chuckle from him before he peppered your cheek with kisses.

“Can’t I just give my beautiful girlfriend some loving kisses before I go to my meeting?” Jungkook teased, making you giggle.

“Aren’t you being needy?” You laughed.

“Only when I miss you…”

“We literally saw each other an hour ago, Kook.”

“I know.” Jungkook grinned cutely at you only for you to push his face away gently while you laughed.

“Hmm, needy indeed.”

“Hey…” He pouted at you. Of course your heart couldn’t bear to see his sad pout so you turned to face him completely. Reaching up with both hands to hold his face, you pressed your lips on his before pulling away to see his silly smile on his face.

“I love you.” You whispered as you felt him hug you.

“I love you more.”

That was the last thing you heard as Changkyun’s voice beckons your boyfriend over from a few feet behind Jungkook. “Come on lovebird, we gotta go… See you later Y/N.” Changkyun chuckled as he wiggled his index finger towards Jungkook. Your boyfriend gives you one last kiss before he jogs over to his older friend.

Maybe joining Dauntless wasn’t as bad as you thought after all.

~~~

a/n: Thank you for reading this series! Do check out my other fics if you're interested to read more of my writings! ❤️

Main Masterlist

Taglist: @moonchild1 @danyxthirstae01 @helenazbmrskai @jenna-posts @pimentelssmile

#bts scenarios #bts imagines #bts jk #bts jungkook #bts jeon jungkook #bts fluff #bts jk fluff #bts jungkook angst #bts jungkook fluff #jeon jungkook #jungkook x reader #dystopia series #bts x reader #bts divergent au

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popurikat · 4 years ago

Note

Newtmas essay when?

Finally getting to this, thanks for waiting, I needed to go over a few bookmarks. (Warning, this post contains spoilers from the MAZE RUNNER book and FEVER CODE book, so if you haven’t read either or yet and want the jist of my analysis; just know that in general the fandom interpreting Newt as gay before it was revealed on a twitter post was not just a random headcanon and that Thomas in general is portrayed to have very strong unconditional love for Newt throughout the series; and it shows. To the point that even the director for the movie has stated that Newt and Thomas have a strong bond and portrays that in the movies. I will also preface that I am NOT adding personal opinion anywhere here, these are just backings from quotes and how they are thus meant to be taken/read as. My words are taken as a reader who is currently reading Scorch Trials has yet to fully read Death Cure or Crank Palace.) Anways, without further ado at 3AM today, I’ll try my best to explain how even though Dashner tries his best to make Thomas have other, female love interests; he creates a not so subtle gay subtext for Tommy boy here when in the context of interacting with Newt throughout the lore. Apologies beforehand for any grammar mistakes along the way.

To commence, I am going to start with FEVER CODE, as its supposed to act as the story’s preface to the actual events that play out later. Newt and Thomas upon meeting each other describe their presence as “familiar” and or as a “long lost friend” and they genuinely hit it off from the start to the point that Newt is okay with having Thomas see him cry over the fact that he and his sister are separated since he is doomed to be WCKD’s control analysis as he’s the only one lacking immunity from the flare itself. Once Newt is done being emotionally vulnerable we get our first instance of his personal nickname for Thomas: “That’s the way things are Tommy,’ he said his voice not quite steady. ‘The world outside’s gone to hell. Why should we expect any different here? [...] He said it as if they’d been friends for years” (ch. 14). An interesting note here is that Thomas doesn’t bother to correct him or stifle the moment by feeling that all this information was too much, he genuinely wanted to hear Newt out and is fine with seeing this side of him; if not slightly taken aback by how natural it is that they can converse about such aspects of their lives. In fact, Newt makes such an impact on Thomas that Thomas ends up that same night dreaming of him: “Throughout his shortened night, he dreamed of Newt and Sonya. Of Newt and Lizzy“(Ch. 14). The thing with Thomas though is that the idea of comfort and connection is very foreign to him as he’s been basically isolated all his life with only the adults like Ava to talk to and the one exception being Teresa as his only kid companion. So Thomas didn’t even think he could make others like him for being himself unless they were vital to the overall production of WCKD. Seeing this portion right before the end of chapter 14: “Alby, Minho, Newt, Teresa. Thomas had friends.” shows that Thomas really had to deep dive to see how he deals with personal connections and why he was excited about the notion of friendship. He could’ve been happy with just Teresa, but only fully cemented her bond to him as “friend” when his circle grew and these kids he got to hang with taught him he can be himself, a concept he didn’t realize was possible when all his life was dictated on what he was supposed to learn or do. It becomes especially clear just how controlled his life is with the aspect of sentiment when later on Teresa’s mental communication evokes physcial pain and fear in Thomas. I’ll get back to that later as its more of a small tid bit of Thomas’ view on his forced love interest, Teresa. And yes, I say forced because multiple sentences with Thomas have him even wish he could cease all communication with her. Moving on, let’s talk about mimicking for a second. As humans, we mimic as a behavioral response to become closer to the person we care about. It’s the reason why yawning or laughter is contagious and or why we copy the posture of the person we converse with face to face. Thomas is seen to do this the most with Newt’s quirks. I’ll give the example in chapter 15: “Newt has been promising them that he was saving something special, and he did that annoying zipped-lipped sign every time [...] the little light in his eyes showed he enjoyed every second of their torture” versus Thomas: “Thomas did Newt’s zipped-lipped gesture, and that got him a sharp poke in the ribs”. So, we know enough that Thomas’ mannerisms are developing as a sign that he wants to be closer to Newt and to continue this sense of playfulness they both enjoy from the other. This is the start of their budding bond and a clear indication that they hold each other at greater fondness than the rest through this unconscious copying. Through this copying, they also pick up on emotional cues the other lets up on. Newt is especially good at noticing small things like when Thomas is anxious or overthinking: “He was just shocked that with all their exploring, the others hadn’t already discovered it on their own. And there were supposed to be TWO mazes. How had Newt and his friends not stumbled upon either one of them? ‘Tommy?’ Thomas realized Newt was staring straight at him, eyebrows raised. ‘Sorry,’ he said embarrassed, ‘wandered off for a second there what did you say?’ Newt shook his head in admonishment. ‘Try to keep up, Tommy Are you ready to see the grat outdoors?” (ch. 15). Also in chapter 23: “Tommy?’ It was Newt, breaking him out of his thoughts. ‘I can see your wheels spinnin’ up there.’ He tapped the side of his head”. This furthers Newts perceptiveness on his friend and Thomas’ ability to pick out when he is being looked after. And they bounce off each other really well in that aspect. To the point that Newt can crack a joke he knows will land right on Thomas’ sense of humor: “Newt waggled his fingers in front of Thomas’ face [...] A laugh exploded out of Thomas’ mouth that sent a spray everywhere. ‘Sorry’ he said, wiping his lips on his sleeve” (ch.15). It’s enjoyable to know that at least at a surface level, they have fun together and can cheer the other up if needed or know when to ground the other to reality. It is also through these instances that as a reader I pick up that Thomas’ nervous ticks perhaps allude to an anxiety disorder he has; of which Newt is aware of and never puts Thomas down on for exhibiting. He in fact understands it and deals with it accordingly as he himself has a similar circumstance. SO, what does all this paying attention lead to? Thomas’ devotion to protect Newt. Yeah, thats right I said devotion. Thomas’ actions are influenced by his developed instinct to protect Newt at all costs. Here is the biggest example that comes to mind: “What in the world happened to Newt? -- Less then two hours later, Thomas had spliced together a series of camera clips [...] Thomas turned off the feed. He couldn’t take it anymore...Newt, Newt, Newt, Thomas thought, feeling as if the very air around him were turning black.”(ch.52). Essentially, Thomas seeing Newt plummet to his near death by falling from the maze wall as a result of Newt’s ongoing depressive state, this is the moment that makes Thomas realize WICKD isn’t as good as they seem and that he is going into the maze to save Newt. Its admirable how much self sacrifice Thomas does for someone he cares so much about, to the point that their name is like a mantra. Thats a sensible area of passion and fighting spirit for someone who is “just a friend”. Oh and, the feeling of fondness is mutual mind you if I haven’t been clear. After experiencing the horrors of cranks for the first time, realizing Newt was not immune, and watching Newt until they entered the pits it has been months since they last interacted; this is their first reunion: “What’s up Tommy?’ Newt exclaimed, his face filled with genuine happiness at the pleasant surprise that’s been sprung on him. Thomas couldn’t remember exactly how long it’d been since he’d seen Newt. ‘You look bloody fantastic for three in the morning” (ch. 23). I need to preface this that Newt DOES NOT mean that sarcastically and that out of all the people in the room (Minho, Chuck and Teresa are there in this scene), Thomas only reacts this way specifically toward seeing Newt is okay and back. The characters are also not afraid of being physically close. “Well, look who the bloody copper dragged in,’ Newt said, pulling Thomas into a big hug” (ch.31), “They shook hands, and then the two of them set off...” (ch. 31), and my favorite: “Thomas jumped at the sound, then stumbled. Newt tripped over him, and then they were both laughing, legs and arms tangled in a pile on the ground”(ch.32). I don’t think this far in the novel, Thomas has been AS (emphasis on as) comfortable with touch with anyone else other than Newt. And thats a big step forward on the aspect of trust in a relationship, being able to be comfortable with the presence of another person enough to be as intimate with them as shown here. And all this, is just fever code itself. Mind you this is not the MEAT of the novels as it came out later. But even without it, lets look at Thomas in Maze now, I’ll try to keep this segment a lot more brief. Here’s Thomas looking respectively at boys his age: “A tall kid with blond hair and a square jaw...a thick, heavy muscled Asian kid folded his arms as he studied Thomas, his tight shirtsleeves rolled up to show off his biceps [...] Newt was taller than Alby too, but looked to be a year or so younger, His hair was blond and cut long, cascading over his T-shirt. Veins stuck out of his muscled arms”(ch. 2). Thomas’ initial reaction to being surrounded by boys is to deeply analyze their rugged good looks and heavily emphasize their best physical traits. When reading this the first time, my mind immediately thought this boy at the very least is supposed to be portrayed as bi, especially when later down the line Teresa gets a similar descriptor: “...despite her paleness, she was really pretty...silky hair, flawless skin, perfect lips, long legs.” So right off the bat, we know that be it boy or girl, Thomas emphasizes how attractive someone looks in his eyes when he truly does have a sense of attraction to them. Case closed. Within the same chapter we get Thomas also immediately clinging onto Newt for a sense of grounding, it is now ingrained in him at this point that the boy is his lifeline, a person to rely on. “Thomas looked over at Newt, hoping for help.” And help he does, Newt in this chapter helps ease his worries, explain a general idea of what the glade is and even pats him on the shoulder a bit to ease tension. And Thomas doesn’t bat an eye in the same way he’s weary of literally everyone else. In fact, he’s eager to stay put with him as shown with; “If Newt went up there, then I wanna talk to him.” And if none of that seals the deal, we got early bird Newt being so touch starved he flattens himself next to Thomas to wake him up at the crack of Dawn in chapter 6: “Someone shook Thomas awake. His eyes snapped open to see a too-close face staring down at him, everything around them still shadowed by the darkness of early morning...’Shh, Greenie. Don’t wanna be waking up Chuckie, now, do we?’ It was Newt --the guy who seemed second in command; the air reeked of his morning breath. Though Thomas was surprised, any alarm melted away immediately”. This whole scene follows firstly by Thomas once again impressed by how strong Newt is and then Newt giving him a rundown of what everyone else was too afraid to show Thomas, the grievers. And you know, this scene could’ve ended well and everything as totally platonic, but then we have “Newt turned to look at him dead in the eye. The first traces of dawn had crept up on them, and Thomas could see EVERY DETAIL OF NEWT’S FACE, HIS SKIN TIGHT, HIS BROW CREASED.” Now, look me in the eye and tell me there is a hetero explanation on looking at your best bro like they are the sun reincarnated themselves. But let’s not hog all the homosexual undertones with Thomas here. Wanna know what Newt’s initial reaction to having a girl in the glade was? “It’s a girl,’ he said [...] Newt shushed them again. ‘That’s not bloody half of it,’ he said, then pointed down into the box. ‘I think she’s dead” (ch.8). It’s actually a stark contrast to the other gladers eagerly wanting to know her age, how pretty she looked, and calling dibs to date her; Newt isn’t interested in any of that, he’s more perplexed on her status and not even bothering to remark on her looks, he was the only one not to and even remarks a few other instances that girls are more Thomas’ domain. For instance, he makes a joke in fever code when Thomas remarks that the girls in the institution were going to tackle him down, Newt proceeds to point out sarcastically something along the lines of “wait, isn’t that YOUR dream though?” So Newt is pretty out spoken of his disinterest in girls, and his full admiration and attention on Thomas. Oh, and yes, Newt immediately switches over to “Tommy” the moment Thomas mentions he hates being called greenie, and once again it just becomes a thing between only the two of them. Newt is also the one to be straight forward about the whole Runners business. He warns Thomas about the dangers and doesn’t necessarily turn him down on his desire to be one, he in fact encouraged him to just wait until the right moment. “No one said you couldn’t, but give it a rest for now”(ch. 15). So once again, Newt is the voice of confidence and reason for Thomas to prosper. In turn, this time around Thomas is the one to catch when something is bothering Newt. For instance, “Newt chewed his fingernails, something he hadn’t seen the older boy do before...he was genuinely concerned -- Newt was one of the few people in the Glade he actually liked ”(ch.16). Interesting how we went from fever code “friend” to “like”. And also, when Newt explains his concern about the runners not coming back yet, Thomas pieces together how scared Newt is of the Maze without being told and goes to stand next to him as a physical presence to ground Newt as they wait near the entrance. In fact, this piece is trivial to understand why Thomas does what he does next. When everyone else had given up on the Runners still outside with 2 minutes left til closing, and Newt was escorted away from the entrance, Thomas waited. And when Thomas saw them, he yells to Newt, realizes he’s too far to do anything, and makes a decision himself. He KNEW how much Newt cared about his fellow Gladers, they were like family or “kin” as its said in the book, so what does he do? “Don’t do it Tommy! Don’t you bloody do it!’ ... Thomas knew he had no choice. He moved. Forward. He squeezed past the connecting rods at the last second and stepped into the maze”(ch.16). Yes, Thomas does this because of his empathy for the Gladers, but the chain reaction of Newt’s concern is what sets his decision in stone. And yet again, Thomas enters the maze for Newt. And that’s pretty much the constant for the rest of Maze Runner the book, Newt just sticking up for Thomas and Thomas in turn just being happy that: “He was at least relieved that Newt was there” (ch.17). And thats basically their entire dynamic. Newt just going: “If you really did help design the maze Tommy, it’s not your fault. You‘re a kid -- you can’t help what they forced you to do” to ease the survivor’s trauma Thomas has, as well as saying “I actually believe you. You just don’t have an ounce of lying in those eyes of yours. And I can’t bloody believe I’m about to say this...but I’m going back in there to convince those shanks we should go through the griever hole, just like you said”(ch.51); and I think thats the most romantic thing to hear from him. Just right out being all for supporting Thomas no matter what happens as long as he stays alive and continues to fight, he doesn’t care about what happened before. And Thomas eats that up because it fuels him even more to seek out a means to escape for the people (Newt) that deserve a life outside of running from monsters forever. So essentially, I’ll state again, it’s always been Newt the catalyst for Thomas to run head first into the Maze and seek freedom. And with all this I can clear that these two are shown to if not be romantically involved, at least have unconditional love for the other that transcends the author’s original intention. And with that in mind, here’s the thing with Teresa as a love interest. I can list here quotes of every time she mind speaks to Thomas and how that affects him, but then this would be too long. And this is a newtmas post gosh darn it. Teresa is gleeful to humiliate, control, hurt, and force Thomas to believe they’re in love. In multiple instances we get her barging into his mind unwarranted making him understand that she has full access to his inner most thoughts. Theres nothing romantic about that, and I think its why Thomas ends up being so perceptive to the smallest of gestures that allow him to think on his own and feel like his own person. Something I’ve seen Brenda do later in scorch, and something I’ve seen Newt do since the very beginning is that they allow Thomas to come to his own conclusions in order to create his own opinions on the matters at hand. Thomas’ love language revolves around words of affirmation. He likes it when people confirm his thoughts are valid and that remind him that WICKD can’t hurt him anymore now that he has the power to be his own person. This is where Newt comes in very handy. He allows Thomas to grow in ways his female love interests have yet to show, sorry Brenda but I’ve heard you were trying to unite all immunes together to the safe haven by the end and in a sense still only using Thomas to get by; I still think she was the better call than teresa of course and I have no remorse for Teresa getting smushed by a boulder. But essentially my point here is that, how do you fail to make your initial love interests clash so badly where one has no real care about the others well being so long as everything goes according to WCKD by using a form of gaslighting and manipulation? AND THOMAS HAS STATED HIS DISCOMFORT ON THIS MULTIPLE TIMES, but the narrative always erases these instances from his mind in place of pity for Teresa’s well being (as you can tell, Teresa through this becomes my least favorite character, I can rant about her some othe time though with proper backing). The narrative in turn treats it all like a joke. I understand there are scenes where Thomas is worried about her and looks out to make sure shes ok, but even then he doesn’t know how to react with mental images of her kissing his cheek or when she screams the next minute that she doesn’t know who he is or how hes speaking into her mind. And thats because they can’t properly communicate their emotions to the other, not even in fever code could Thomas give a forward answer if he loved Teresa or not, she just assumed. Come to think of it, Thomas really doesn’t show much affection to Teresa of his own accord. So then, how DOES Thomas show his affection? Thomas provides acts of service as his love language, if he cares about you enough he will risk his life for you. Why? Because Thomas values putting the people he loves foremost knowing full well they are what help him have purpose and succeed in continuing on. In a way, Newt and Thomas’ dynamic works in this instance because they balance the other out and because they have seen each other at their worst and at their best. In a way, that's why knowing the ending of the books makes it harder to accept that Thomas would just easily take the shot...when all his life clung to Newt’s survival. But that’s a story for another time where I compare the movies (of which let me make that clear, yes I prefer) over the books. For now just know that the book may have done this by accident, maybe not, but at the end of the day theres solid proof that Thomas and Newt care about each other in a way that is separately portrayed from their connection to the other glade members, and have this consistency of soft moments running through the entirety of the series. In conclusion; newtmas. Newtmas. NEWTMAS, etc.

#Newtmas #long post #Skquill #ask #The ending gets a bit ranty with Teresa I must admit #but for the most part its just me recalling the best newtmas moments from the novels I've currently read #Please add on more newtmas proof to the thread

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battletrio · 3 years ago

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i hate to have to respond to anons being nasty and insulting on my blog about john (and me for rping him) so i’m not gonna post the anon comment, but i am going to address the claim that “john working for the government and not being sympathetic to the flag smashers’ cause shows that he’s a bad person and villain” because i think it’s a good way to explore more perspectives and headcanons regarding john as a person.

yes, john does work for the government and no, he isn’t exactly on the flag smashers’ side, but those things alone doesn’t determine if someone is good or bad or a villain or not. now does this show that he is privileged in some ways? yes, it does. he has a job, he’s in a happy marriage, he’s not struggling the way karli and the other refugees are. but being unaware of someone else’s struggles doesn’t make one evil, and for john, people like karli are causing damage and disruptions to other people’s lives. this viewpoint becomes especially prominent once karli blew up a building with people in it, then in his eyes, the flag smashers have become terrorists. john is a soldier who’s been fighting terrorism since basically his entire adult life, his sympathy or even indifference would have evaporated at that point and only saw her as a threat. this is not some sign of being evil, it’s a very logical progression of john’s view of a group of people that let’s be clear here, nearly killed him and lemar from their first encounter.

and if working for the government makes one “bad”, then are sam and rhodey bad? rhodey is still working with the military as a high ranking officer and sam opened the show still doing jobs for the military and taking out targets for them, yet both of these characters are portrayed as heroic.

and if not being sympathetic to the flag smashers’ cause makes one “bad”, then is bucky bad? numerous times, we see bucky expressing opposing opinions to sam wanting to achieve a peaceful resolution with karli. sure bucky follows sam’s play and ultimately doesn’t present an obstacle to sam’s wishes, but he is no more sympathetic to karli and her cause than john is. in fact, on two separate occasions, bucky expresses the exact same sentiments about the flag smashers as john does. bucky went to follow sam because he was at first mad at sam for giving up the shield and inserted himself into the whole thing maybe to annoy sam, but he never expressed any real sympathy to the flag smashers, he’s basically there as a formality yet we do not call him a villain or not heroic and bucky ultimately carries the same white privilege that john has.

john’s privilege might initially have made him unaware and unable to consider the struggles of the refugees like karli and her group, but his later attitudes towards karli are tied directly to her actions of violence and murder. we the audience get to see karli’s side of the story and how she cares about people, and sam’s own struggles might allow him to relate to karli, but john doesn’t get karli’s backstory, the only context he has is that she tied up a bunch of people and blew up the building with them inside and killed some of them and injured many others. at that point, he could only see her as a threat and thus treated her as one.

that’s not villainy.

the only reason john ever killed one of the flag smashers is because they are responsible for getting lemar killed and john reacted out of grief and trauma. which again, does not equal villainy or being a bad person. it’s a very human reaction. you can’t convince me that if it had been steve or sarah in lemar’s place, that bucky or sam wouldn’t have reacted like john did. and as wrong as john’s actions ultimately were, i refuse to call that being evil or villainous.

#i feel like this needed to be said #gonna tag it as headcanons bc this is an important understanding of john's perspective #looking too closely (headcanons)

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twentiethcenturymoviesandtv · 4 years ago

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The Princess Bride: The Characters, Part 2: The Sicilian Crowd, the Villains, and Conclusion

When we are first introduced to Inigo, he’s not exactly a glowing example of heroism. A former alcoholic, Inigo is a Master Swordsman, working as a mercenary, he is one of the trio who first kidnaps Buttercup (under Humperdinck’s orders). He’s fine with the abduction itself, but shows a few of his true colors when he objects to murdering her, already proving himself a little more decent than Vizzini, the leader of the band.

A little later, during the duel with Westley, much is revealed about Inigo, more in fact than you ever learn about the backstories of either Westley or Buttercup: the story of his father’s murder and his own desire for revenge, so strong that it has encouraged him to dedicate his life to mastering the art of fencing. The duel, exciting enough from an action and comedy standpoint, also clues the audience in on a few other key details: Inigo isn’t really all that bad of a guy, just a man on a Roaring Rampage of Revenge, again demonstrating the same duality (just reversed) that Westley does.

Despite not having as much screen time and focus as Buttercup and Westley, Inigo is the Breakout Character of The Princess Bride, a Determinator, the Lancer of the film. As I mentioned, he’s also the character we receive the most information about, learning that he is a man of honor, good hearted, and loyal through his interactions with other characters, notably Westley and Fezzik. Thanks to his sympathetic backstory and one-track mind, he’s understandable to the audience: we know everything about him and why he is doing everything. He’s totally transparent in the best way, he makes sense, and the audience roots for him. They care about him, even when he’s initially introduced as a more villainous character (albeit one with truly hilarious lines). The audience arguably has a stronger attachment to him than they do to Westley and Buttercup, which is very unusual, especially when Inigo disappears for a while after Westley defeats him in battle.

In a way, Inigo would seem to have the qualities very necessary to carry a film: tragic backstory, sympathetic motivation, understandable actions rooted in very clear character traits, and indeed, a lot of elements that put him in the Hero camp. And yet, like Buttercup and Westley, while some things fit him into this mold, others don’t.

Although he doesn’t have a connection to Humperdinck (aside from him being a distant employer), he does have a very strong tie to the main villains of the story in Count Rugen.

Rugen is, of course, the six-fingered man who murdered Inigo’s father so many years ago, and scarred Inigo himself. It is he that Inigo is out to get throughout the entire film (and his entire life), a much stronger tie to an individual character in a personal way than Westley’s nemesis: Humperdinck. Rugen is much more of an arch-nemesis, representing a very personal loss to Inigo, something that cuts much deeper, even, than true love. While Westley never seems particularly worried about himself or Buttercup because he just knows that True Love will keep them together, Inigo reacts very strongly to Rugen and his own emotional journey, traits more typically associated with a protagonist than a cool confidence in how everything will turn out.

As a direct result to this personal stake in the story, Inigo, being at full strength and in full health, is the one who is given the final climactic battle at the end of the movie.

Where Westley has a rather anticlimactic confrontation with Humperdinck, Inigo gets a huge duel with Rugen, the climax centerpiece, the scene most memorable and most quoted in the entire film, ending in Inigo actually achieving his goal: getting revenge. Afterwards, he even muses that after having gotten his revenge, now he no longer knows what to do with his life, with the film implying that he will become the next Dread Pirate Roberts in Westley’s place.

Unlike Westley, and even unlike Buttercup, Inigo has an arc, pursuing what he wants actively, achieving it, and moving on. He makes choices that have huge consequences in the plot: pursuing revenge, leaving Vizzini, finding Westley and bringing him to Miracle Max. In a way, a huge part of the story is Inigo’s, just as much as it is Buttercup and Westley’s.

Westley has the Heroic qualities, Buttercup has most of the focus (and her title in the movie’s name), and Inigo has the dramatic arc and climactic battle. On their own, no one character manages to pull off the full requirements for being a fantasy protagonist, or even a protagonist at all, but together, they manage to make one complete protagonist between them. While the story of The Princess Bride, in plot beats and story elements, seems very much like your very traditional fairy-tale story, in terms of protagonist, the execution is actually very complex. By taking the traits of a protagonist and dividing them equally between three characters with varying levels of screen-time and activism within a story (not always at the same time), the story manages to get the audience’s interest invested in not one, but three characters equally, weaving the major threads for each of their stories in amongst each other to keep it all tied together. And in the end, both the characters and the audience (even the Grandson!) feel closure and satisfaction.

But Inigo, Westley and Buttercup aren’t the only characters in the film. Every story needs their supporting cast, and none are quite as supportive as Fezzik.

Fezzik is a Gentle Giant. He’s big and strong, for sure, but he’s also very kind, the Big Guy with a heart of gold who, while not exactly being a pushover, isn’t out to hurt anybody who doesn’t deserve it. He’s the Brute of Vizzini’s Beauty, Brains, and Brawn trio, and manages to subvert the Dumb Muscle stereotype. He’s not terribly clever, but he does have a wit and intelligence to him that isn’t typical of most fairy-tale giants.

He and Inigo are borderline inseparable, and much like Inigo, Fezzik is somewhat okay with kidnapping Buttercup for money, but he’s considerably less approving of killing her. Like Inigo, he is a man of honor, preferring to fight Westley in a ‘sportsmanlike’ way instead of clubbing him over the head with a rock like Vizzini first suggests. He’s a good, loyal friend, rescuing Inigo from the palace guards, sobering him up, and then accompanying him throughout the rest of the story in finding and reviving Westley and then storming the castle.

Unlike Inigo, Westley and Buttercup, Fezzik has no stake in this story. He has no goal to achieve here, no personal mission. After Vizzini, his ‘boss’, is killed, there’s nothing keeping Fezzik in the story except his own will, like the Chewbacca to Inigo’s Han Solo. He’s here because of his loyalty and concern for his friends. He just wants to help, and help he does, turning his back on his mercenary ways pretty easily and without any real convincing. He’s along for the ride, a supporting character that manages to be more than just ‘the comic relief’. (In a way, one of the smartest things The Princess Bride did in terms of its characters was to make everyone funny, so no one is relegated to ‘just’ the comic relief.)

With that said, Fezzik still remains an active character in the story, helping with the storming of the castle and providing the Muscle (and the heart!) for the mission, and providing the escape by finding Humperdinck’s four white horses in his stable.

Starting out as a Minion with an F in Evil, Fezzik ends The Princess Bride as one of its most memorable and loved heroes, a kindly figure of support who’s anything but minor.

Which is more than we can say for the deceased leader of the trio of kidnappers: Vizzini.

Vizzini is the smartest of the trio sent to abduct Buttercup, but despite his bragging, he demonstrates hints that he’s not half as smart as he thinks he is. The brains to Inigo’s beauty and Fezzik’s brawn, Vizzini is merely a Big Bad Wannabe, the final obstacle for Westley’s initial reunion with Buttercup, a Disk One Final Boss before the plot kicks off with portraying Humperdinck as the real villain. However, while the film points out that Fezzik and Inigo fight Westley with honor, and he leaves them respectful of their talents (defeating them in the process), Westley shows no such respect for Vizzini’s ‘talents’, and simply Out-Gambits him, despite Vizzini’s Poisoned Chalice Switcheroo. In the end, Vizzini is Too Clever by Half, and is the only one of the Sicilian Crowd to be killed, most likely due to his arrogance.

Despite his death being one of the most memorable scenes in the entire film, Vizzini doesn’t receive much screen time, or even narrative weight, in comparison to the true villains of the movie. After all, Vizzini is only a hired stooge, a pawn in Humperdinck’s evil plan.

Humperdinck, as far as fairy-tale villains go, isn’t terribly impressive. He’s no great dragon or emperor, or evil wizard. He’s just a prince, a man with a lot of power who’s used to getting his own way. He does plenty of rotten things along the way (torture Westley and kill him, order Buttercup’s kidnapping, attempt to kill her) but in the end, his goal isn’t world-domination, or wealth, or anything like that: he’s just after an excuse to go to war with the neighboring country. He’s not after Buttercup for her beauty, like many other fairy-tale villains before him, he’s just after her to use as a political figure, aiming to kill her after their wedding night and pin it on Guilder.

Arguably, this makes him worse.

There’s no great, over-the-top explanation for his villany. He’s not cartoonish or after traditional fairy-tale things, he’s actually after something that we’d see in the real world. He is the true Big Bad, the Chessmaster, The Evil Prince obsessed with war, who, ironically, happens to be a Dirty Coward.

Oddly enough, throughout the film, although Humperdinck is presented as the Archenemy of Westley, there’s no real personal connection between them. This isn’t like Beauty and the Beast, where both men are vying (in their own way) for Buttercup’s affection. Humperdinck honestly couldn’t care less about Buttercup, viewing her as a tool to get what he really wants. In the end, he rushes through a marriage ceremony in order to murder Buttercup after the wedding, again, nothing personal, just business. His only connection to Westley is happening to choose the wrong girl to murder.

As such, as opposed to Count Rugen’s thematically resonant demise, Humperdinck is actually allowed to live, and go free at the end of the story, which seems to be a big-time rule-breaker in terms of fairy-tale storytelling. The Grandson himself expresses irritation and disbelief at this fact, after all, villains should be punished, not sternly talked-down by a paralyzed hero.

Yet, that’s what happens. Considering that the most Humperdinck managed to do was temporarily kill Westley, he gets very little ‘revenge’ in return. Like I said in the Story article:

Westley couldn’t care less about Humperdinck other than the fact that he’s getting in the way of his and Buttercup’s storybook love. Humperdinck is an obstacle to his true goal and drive, and he’s not worth the killing. Once he’s out of the way and Westley and Buttercup are reunited, Humperdinck ceases to matter to Westley. If the story had been from Miracle Max’s point of view, Humperdinck would have died or at least, have something more horrible happen to him, but since Humperdinck never really succeeded in doing much of anything throughout the story, he’s actually so pathetic that he’s not worth Westley’s time.

So, yeah, Humperdinck is left to live with his cowardice because his death wouldn’t have provided the characters anything except maybe catharsis, and honestly, that’s not really a good enough reason to off your villain

He’s such a coward, he doesn’t even have a chance to take part in a climatic duel. He’s so unimpressive as a fantasy villain that he even strips the audience of their chance to see another sword fight, without diminishing his hatefulness and narrative weight as a villain.

Thankfully, the audience does get their climactic battle: thanks to Count Rugen.

Rugen is Inigo’s archenemy, rather than Westley’s, and unlike the rivalry between the main protagonist and antagonist, Rugen’s relationship with Inigo is very personal indeed. Rugen, the six-fingered man that Inigo wants to hunt down and kill so badly, is the man who killed Inigo’s father, and left him scarred as a little boy. Rugen is the Dragon, a Soft-Spoken Sadist who serves as Humperdinck’s Right Hand Man and Torture Technician. He is the inventor of the torture machine that ends up taking Westley’s life, and throughout the film, serves as co-conspirator to Humperdinck.

He’s pretty rotten, and just like Humperdinck, proves himself to be a Dirty Coward too.

However, while Westley let Humperdinck live with that knowledge, Inigo offers Rugen no such mercy.

The final duel between Inigo and Rugen is one of the show-stopping setpieces of the film, paying off a considerable amount of buildup foreshadowed with much of Inigo’s dialogue and character. Like I said in the ‘Story’ article:

On the other hand, Inigo’s villain, Count Rugen, is killed, for a very simple reason: that’s the logical end to fulfill Inigo’s story.

In order for Inigo to feel fulfilled and gain satisfaction, to lay his father’s spirit to rest, Rugen has to die, knowing why he’s dying, and who it is who killed him. In a sense, the antagonists fit the ‘antagonist’ bill much the same way the protagonists do: by splitting the roles, from Humperdinck having the main plot being responsible for most of the obstacles, where Rugen fills in for the emotional punch instead.

There are other characters too, of course: Miracle Max and his wife Valerie, offering a comedic look at a few other residents of Florin, The Albino, Rugen’s assistant, The Impressive Clergyman, and even Yellin, the captain of the guard, but for the most part, these characters (aside from Miracle Max and Valerie being responsible for resurrecting Westley) serve as comedic filler, without much actual narrative weight.

As fairy-tale archetypes with surprising amounts of dimension, the characters of The Princess Bride all do their jobs with ease, falling into natural roles in an organic fashion, despite the unconventional structuring of the characters’ parts to play.

The beauty of all of these characters is that none of them are in the slightest bit realistic. These are very clearly ‘fairy-tale’ characters, who don’t think about things in the way that we do, and yet, the audience still relates to them, is entertained by them, is concerned for them. Even though characters don’t act in terribly realistic ways, they are motivated by things that we understand: love, revenge, etc. The audience feels and understands their emotions, and therefore understands where characters are coming from, even if the actions taken by the characters are primarily ‘fantasy based’, superhuman, incredibly skilled and heroic or villainous in the context of the story that the Grandfather is reading to the Grandson.

The Princess Bride’s characters are not portrayed as ‘people’, instead being played as simple characters typical of traditional ‘fairy-tale’ stories. Each character, whether hero or villain, behaves almost as though they know what part they inhabit, playing the ‘fairy-tale’ aspect straight, with a comedic edge to the archetypes found in a book, a familiar-feeling, simple, but emotional story that people have loved and laughed with for decades.

The characters of The Princess Bride serve their purpose incredibly well: making the audience care about what happens to them. Every role is memorable, unique, distinct, with plenty of quotes and character tics to be referenced and replicated decades later. They perfectly match the film they belong to: a fantasy classic that has finally been Vindicated by History, gaining it’s rightful place among fantasy greats.

Thank you guys so much for reading! If you have something you’d like to add or say, don’t forget that the ask box is always open! I hope to see you all in the next article.

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