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kujainvidiata · 1 month ago

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„Risotto Nero Observes“ - English Translation

(and my long thought session about it)

Thanks to a kind person, I finally have a link to an English Translation of the recently released short novel about Risotto Nero, called „Risotto Nero Observes“, written by Ayato Toya and translated by Hudgyn Sasdarl. It was published in the official JOJO SUMMER Magazine 2025 along with other short novels, also some festuring La Squadra members. But this one here is focusing on Risotto Nero and it is honestly a fantastic read. I would appreciate if you also share it around, so more people learn about more about Risotto Nero, since he is a beloved character of the JJBA fandom.

⚠️TW for: Canon typical violence (also involving children), murder and the whole mafia stuff you should be familiar with.

Below the cut, I will talk about my own thoughts about the short novel of my favorite character in fiction. It is just yapping in the end I needed to write down, but I also tried to analyze some stuff. I am not a native English speaker, so I am sorry for my mistakes in language. I did also not proof read it, so I am sorry for missing words or typos.

I am also adding some art I made of him because why not ✂️

First of all. Hi, my name is Kuja. I am a dedicated Risotto Nero centric artist and also a yumejoshi of him. Maybe you saw my art before if you like this character. If you do, maybe you also know how much this character means to me since he basically changed my life and brought me back into art and is the reason I found a wonderful community. Which is the reason I want to take my time and talk about this novel in my own interpretations and observations.

In short, this novel is exactly what I wanted to read about regarding to Risotto Nero.

It features no romance, introduces all of the members of La Squadra Esecuzioni and their steuggles, new characters and mostly is focusing on Risotto and his thought process, aka. his „observations“ which will be a reoccuring theme in this novel, which makes it a joy to read.

The short novel is timeline wise in the time around Christmas playing shortly after the murder of Gelato and Sorbet, which will also be a central theme.

Chapter 0:

A short scene where we witness Risotto Nero committing another successful assassination. As imagined, he is mostly using the camouflage abilities of Metallica to hunt down his targets. The kind of k1llingd he does keep being brutal and bloody, as we know later on also often to send an example and message from the highest of Passione.

It is interesting how peaceful the scene was written with the festive christmas music in the background which slowly fades into horror as the corpse is getting discovered by the passengers on that festive day.

Highlight of this chapter is for sure the absolutely high contrast of Risotto's deeds. On the one hand taking a life in a cold way, as expected from the leader of a hitman team. On the other we are experiencing a softer side on him, which many fans often speculated about. The target of Risotto's mission was just kicking a young pickpocketing girl away, making her almost fall to the ground and hurting her while Risotto, still invisible, catching her hand. Her only seeing iron powder on her small hands, probably wondering what just happened.

Seriously guys, this scene alone made me as a die hard Risotto Yume tremble in joy since it confirmed a lot of my own interpretations and headcanons about him, like having a soft spot for the younger generation. He did NOT have to help the girl, but he did, without ever getting anything in return since the girl could not even see him.

Risotto then sends a message of the confirmation of the hit to the boss who interestingly immediatly answers. Diavolo, are you camping your phone and computer all day?

Chapter 1:

One of the most interesting chapters for me personally because of the amount we learn about the hitman team again by observing how they interact with each other.

It is early in the morning and the hitman team is interacting not in person, but in a computer group chat, their personalities shining through.

We learn that Risotto Nero is currently residing inside a room which is part of a cheap apartment inside the outskirts of Naples. So is this only a temporary spot? It is written that Risotto brought his computer so it seems like he is only for a brief time living there. Do they have actual homes? Or do the members rather travel between short lived hideout spots from Passione? In the end, it is no luxury how they live. And this story often reminds us about this fact.

The hitman team is discussing about the most recent news recieved from the boss himself, about a new hit of a man called Rossi who plans to flee real soon and that Passione is entering the business of waste disposal. And two of their members should forcefully (a no won’t get accepted) transferred into this new branch: Formaggio and Illuso. Which causes a big uproar in the chat. Not gonna lie, it is very charming how they all are interacting and even throwing jokes in between. You see once again they all seem to have close bonds to each other. The typical duos are interacting, Pesci with his anniki, Illuso and Formaggio and once again Melone and Ghiaccio who really seem to get each other well, how they interact with each other really tells a lot about their dynamic.

Only one is not fully participating and rather „observing“, Risotto Nero, who tries to read in between the messages and how his subordinates are really feeling in this moment.

Also because of the most recent trauma they endured, the brutal loss of Sorbet and Gelato, two members who were tired of being treated like dirt and dismissively by the whole organization. Not respected, awful pay and the high risk of losing their lives on the daily. It is always interesting how sympatheticly La Squadra Esecuzioni is written, sure, they are assassins for the most dangerous Italian mafia but you can still emphazise with them. Many of us probably can relate to these feelings, not being treated and paid properly for the hard work we do and wanting to get their deserved amount. Their coworkers and close friends being sent to another occupation without their consent. Their capabilities not respected. Who wants to be treated like this? Sure, the motives are mostly motivated in an egoistical sense compared to an altruistic like some members of Bruno‘s gang do, which is one of the main differences of these gangs. But this is also why the hitman team feels more close, since they operate and think as a group, they want the best for themselves, the others coming afterwards, contrary to wanting to stop entire branches of their business for a better cause as a whole.

Even the boss is sending them more and more not so subtile threats how they have to submit and be obedient to his will. Like Pesci realizes, the messages are hidden in numbers. „Smorfia napoletana“ as it is called and we learn about which is a very clever stylistic choice of this novel which are basically numbers with meaning. And the boss knows very well what he wants to communicate to his hitman team, that he has the sole power over them.

And then we have Risotto Nero again. Who is, like I mentioned before, rarely participating in the talk and more inside his head and thoughts, trying to form plans, trying to see patterns and things. Now even more than before.

Because he feels guilty. Because he feels responsible for the death of two of his subordinates. He is angry at himself to not catching on clues of their planned rebellion against the organization. For not preventing them. For not hinder their deaths. In the end, he has to grief again. Something Risotto Nero always has trouble to deal and process. Once again there were people close to him taken away from him. By death. Something he now himself is known for. He, as the jet-black executioner of Passione. It is quite ironic.

Risotto really can’t let these thoughts of guilt go, he constantly is tormening himself about his and now decided to be even more keen on his men. To analyze, to think about their next steps, to prevent such a mistake. To observe.

It is not only that Risotto Nero is „surface“ level invested in his men. No, he „couldn't“ lose anyone else. He is responsible, as their leader. But why he can’t lose them?

Is it just because of the team itself? Do endure even more consequences by the boss and being dissolved by being useless? Is it because of the team spirit? Is it because he needs them for being able to work in the first place? Or is it actually because he can’t stomach any more losses? We don’t know anything about the lives of the hitman team outside their job. Do they have friends? Family? Or only each other? It seems they go around quite a lot, and being gangsters is not easy forming honest relationships between them and civilians. And even other teams inside Passione seem to be cautious, even hateful towards them. They don’t seem trustworthy for anyone else outside the team.

Also, this novel also confirms that Risotto truly cares about his subordinates since he is absolutely trying to analyze and insight for their mental states. He knows his team is processing trauma. They are still human. Luckily he knows as well how many of his members can deal with the stress or who of them is capable protecting themselves most efficiently. He thinks a lot, analyzes a lot and tries how to make a change and impact for their benefit and therefore a raise of the group morale. The mention that Risotto is thinking about giving Formaggio missons with a high chance of succeeding, just to improve his mental wellbeing because he alone found the corpse of Gelato…it tells so much about him. Risotto is absolutely observant and does not tolerate his own mistakes and puts on actual effort of being a good leader for his men. He does not want to any bad causality ever happen again between them. And losing them. As their leader, he needs to look out for the hitman team, they only have themselves.

After the team points out how quiet Risotto is the whole time, he tells them to take on this assassination by himself alone. He really is losing himself a lot inside his analytical thoughts.

Chapter 2:

This chapter is more revolving about the setting itself. We get to know the urgent this assassination is, putting pressure onto Risotto who usually keeps a cool head. Risotto will take out this murder of the soon trying to flee Rossi in a very crowded place, directly inside the mansion of this man who is tainted by very crude and unethical businesses himself. To put an example. Don’t mess with Passione. A job suited for Risotto’s brutal Stand capabilities.

The party being thrown in the luxurious mansion was right before Christmas, Rossi is intending to show his new adoptive son, Gennaro, another central character in this story.

This decadent luxury is a nice way to show again the difference of the worlds they live in.

By the way, it is very cute to imagine Risotto Nero inside a proper elegant suit he is wearing for this event. Sorry, needed to let this out.

In the next scene, an elderly couple speaks to Risotto about the over the top interior of the mansion. It made me actually laugh that Risotto was seriously being called „a wallflower“. I seriously can see this, he does not seem like the center of attention of a party. He also doesn't need to, he is supposed to be blending into the scene after all.

Afterwards Rossi appears into the spotlight and talking about the mystery of the „unopenable door“ and also just spewing out some meaningless anecdotes.

Also a rising and uncomfortable heat is described by the pair which is unsually also affecting Risotto Nero himself, which is surprising him. But it the reason is a sense of unease he tries to pinpoint to, until he realizes it is actually Metallica wriggling and moving inside his body and not actual nervousness about the mission itself. They are reaction to something inside this mansion which also is affecting Risotto‘s body. All this while he is planning how to cover the walls in red real soon.

Later on the party, Gennaro, a 14 year old boy is finally introduced to the story and guests, seemingly innocent and youthful, full of enthiusiasm.

Then the party guests were starting a tombola game, an Italian tradition, where we also get to know about the smorfia napoletana again and get introduced to new numbers and their meanings.

While Rossi and Gennaro are playing a farce in front of the crowd, Risotto thinks about the numbers and their meanings, as well as getting further affected by the temperature and discomfort inside his body.

The numbers are really dire and somewhat ironic when we take Risotto‘s backstory into account. 14 and 18, which are ages which his life turned around. 14 meaning „drunk“ and „18“ blood-stained. It is incredibly ironic just how these numbers describe his past, while the 90, before in his apartment room poster, is also appearing on his tombola card as well. His reaction and realizing these numbers was followed by a snort of him.

It really is amazing how much the author of this novel is taking Risotto‘s backstory into account and building onto that or referencing it. He constantly gets reminded of the cruel acts he decided to do many years ago which led him chose a path without any redemption.

Right after this, when the party and speech of Rossi is reaching its climax, Risotto plans to kill him, approaching him to close the Stand distance. It is interesting how he also is pointing on the target. It seems a bit suspicious, but the whole story is constantly describing that the others are not paying any attention towards Risotto Nero anways, he mostly blends in.

Also, Risotto seems to view himself as a „professional“ regarding his job as a hitman, not doing these murders for the fun of it. As long as they are paid and not caused by his own Vendetta. It seems like it is thrilling for him to catch up the ideal chance to carry out the murder for the most dramatic moment for reaching the biggest impact.

But right before Risotto could activate his Stand, the light faded, panic invokes between the guests and he lost track of his target who completely vanished after the lights come back to, the family of Rossi, his wife and Gennaro, worried about his absence and calling the police. But Risotto does not give up yet, further being suspicious of the unopenable door which not even the police who arrived could open.

After many unsuccessful attempts of opening the door and getting a new signal of Rossi outside the mansion, the police leaves again, making the party end.

It is very fascinating to witness Risotto Nero using his brain power to connect the dots and uncovering the secret of this unopenable door, using Metallica again to form objects like forks to the keyhole, which is also fake and therefore detecting a lie of Rossi losing its key. Risotto Nero has such an analytical and smart way to approach matters, trying to stay calm and composed. He knows this mission can't fail, the stakes are high.

Still, he fails to control his feelings once again, as stone faced as he is, a remark even his team mates are using towards him, which is truly sweet in a weird way, how they joke about this with their leader. He got a new message from the boss, who revealed how poorly Illuso and Formaggio will get paid and basically disrespected on the waste disposal branch. Succumbing to his anger, Risotto Nero breaks his phone, not realizing it until he hears the cracking sounds of the broken phone and through his Stand again inside his bloody hand, who seem to express his true thoughts and burning anger, screaming in their usual noises ordinary people can’t hear.

Metallica here in this novel acts very metaphorical as they really seem to be a vessle for his true feelings at times he has trouble expressing at the exterior. Be it the need of a leader of a hitman team, his past trauma or other reasons, but Risotto Nero often seems not in tune about his own feelings until later on. It is heartbreaking in my eyes that the unfair treatment of his men causes such reactions inside him. He does not want such a reality for them, he as a leader can’t allow to fail them again. And he is so sick of getting treated like this by the boss, his resentment growing stronger as well as his own rebellious spirit he tried to bury to protect his team, despite being treated worse every day. It is an endless circle of torment these hitmen need to endure. The boss basically told them to put their lives on the line, it is understable how enraged Risotto gets by that remark.

Risotto‘s appearance also gets briefly mentioned. He seems to have scarred lips, afding to his very rough a gruff apperance. Are these scars because of a neglect of himself of are these results of his past encounters?

But there was an even stronger reason making Metallica roar, the door seems to be connected and controlled with magnetism, also being most likely the reason for his own permanent discomfort on this place, which only faded within the power outage, which he now realized, the dots are connected now inside his head.

Chapter 3

In the end, the police did throw everyone outside before leaving but knowing Risotto and his Stand, He camouflages himself yet again and enters the mansion once more, iron will determonstion to uncover the secret and to carry out his bloody mission.

Inside he not only realizes all the stolen and proudly displayed good from Rossi, but also meets the adoptive son, Gennaro, once again, who detects the presence of Risotto despite not being able to see him. All while Rossi knocks and screams behind the unopenable door.

The mystery as Risotto figured out was an electromagnet inside the door, which is also the cause of his Stand reacting before.

Interestingly this novel confirms another headcanon I had about Risotto since a long time, as he tells Gennaro about the mechanism of the electomagnet which he read inside a book about waste disposal. He really seems like an intellectual and sophisticated person, reason he seems to be naturally curious about a lot of the world and its functions around him.

Gennaro lies about his reason being here, but the knife in his hand reveals his true intention, as Risotto observes, seeing the boy as a hindrance and thinking about peacefully assassinating him as well if he keeps being an obstacle of his urgent mission. Seeing that Risotto thinks about this dark act but not carrying out this murder of a young man, shows his hestitation despite him being a ruthless and experienced hitman. But, he is also seemingly intruiged by him, curious about his motives and the plan of the boy and realizing the benefit of unrevealing the crime of the young man. Also we can see that Risotto very well decides how „brutally“ he will take out a murder of a person.

Risotto lays out his own observations and detective work how the disappearance of Rossi was made possible during the power outage, which was caused by the extreme indoor heating and the lights of the christmas tree.

Quite funny how Risotto also uses his Stand powers to make a metal Tombola piece float in the air, it must have confused the boy to no end, not knowing about the supernatural Stands. He reveals another meaning of the numbers, 77, the devil, which was Gennaro‘s own remark against his new father. The man the young boy planned to kill himself, just like Risotto Nero.

Risotto is seemingly impressed how well crafted Gennaro is in planning his own assassination, but even the boy begins to flinch by the ghostly presence of Risotto, being called a grim reaper, which was also always part of his overall design.

He is curious about the motives of the boy, who wants to reveal the secret in front of Rossi himself, so they release him, with ordering the boy to drop the knife.

Rossi, completely out of breath, storms out of the room behind the door, questioning his son about the reasons of his hostile acts.

Then Gennaro revealed it all, how much Rossi has tormented him all these years after making him witness the torturing and murder of his own mother, just to get adopted by him again, probably making him suffer even more behind the disguise of a noble man, a habit of Rossi‘s twisted games. He even underestimated the boy to remember him after all these years, showing his arrogance and belittlement of others. All while the boy suffered in silcence and played an act, until now the time for his own assassination and revenge has come.

A motive and reason we all know defines Risotto all to well, his whole life. We get a glimpse of a backflash inside Risotto‘s head of the funeral of his cousin, many years ago. His mind turning dark just like his clothes. Full of rage and seeking justice of losing someone caused by another person. A person who will soon endure the same cruel fate, to make up for it again. But at what cost?

Risotto sees himself inside the boy. He was in he same situation many years ago, being 14 as well, his mind and spirit not able to process the loss of a family member. But choosing revenge led Risotto to a path of no redemption, a path of endless crime, just to get disrespected at the daily and putting his own life at risk, just to witness his loved ones getting erased from life again, not being able to counter the perpetrator this time and to submit.

No, this is a scenario Risotto experienced himself, he knows what this path will involve. I am very sure Risotto wants another fate for this boy, despite knowing the cathartic feeling of getting the revenge one seeked out for many years. Would Risotto chose this path himself again when he was reliving time? A scenario we will never know an answer of but here we see him protecting the boy for basically ruining his future life, a life without a real future, filled with crime, surrounded by mostly mean spirited people despite the closest ones.

So he tells the boy leave, threathening him to kill him if he refuses. He will carry out the mission, not only for the job, but also to spare the boy a life full of darkness.

But Gennaro does not accept, he suffered way too much from what Rossi has done, sleepless nights, trauma, feeling helpless, he only wants the release of revenge. The boy shows a strong will of resolve. And Risoto can relate so much, he truly understand what the boy is feeling. He knows these moments, this burning hatred and just bringing justice to end this once and for all. This is affecting Risotto even in such a way, that he lets his guard down, revealing his appearance, making the boy gasp in surprise by his dark and ghostly presence.

The moment of tension and two spitits connecting only got suddenly interrupted by the police forces, not hestitating to shoot on Risotto Nero as a quick act to save Rossi. The leader shortly needed a moment to process what just happened but decided to remove enough iron from the bodies of the officers to make them unconscious - a fairly peaceful decision for a hitman. But is it because he does not want to harm people who are not involved in his job or is it rather to spare the uproar of the corpses of police workers? Maybe a mix, still, it shows quite a new light of Risotto, being surrounded by members of his team who do not spare the lives of people close to their target mission. At least sometimes. Even tho, these hitmen seem all to have their own moral codex they act on.

After all, Risotto Nero is still cruel and cold enough to traumatize the people around his targets with his brutal and merciless killings, like he just wanted to do some hours ago with all the guests and family Rossi. I really enjoy how morally grey Risotto is written which really makes him an appealing and interesting character, and I try to say this as unbiased as possible.

While this short moment of being focused on the police, Rossi takes action and stabs Gennaro with his own knife he dropped earlier, directly into the stomach of the young man.

Now it was finally the time Risotto needed to act, bringing a gruesome end and torturing Rossi with nails made from Metallica‘s powers, making him suffer a long time before he finishes finally his assassination.

It is very symbolic that Risotto basically crucifies Rossi with the way he pierced iron nails through hus hands, it is very symbolic for a multitude of reasons and made me think.

If we think about Christian Religion, the punishment of being cruzified was reserved for the sinners. A way to show dominance and control by the upper hand instances, which is Passione.

It was often used for „low-life“ criminals and slaves back then, basically mocking the luxurious life of Rossi.

The dramatic display of the corpse for everyone to see to give off a warning: do not act like this sinner. It is an open display of Rossi‘s long life of wrongdoings and crime and how he now must suffer the consequences, caused by his sins. Since it is also a tool of enforcing and showing social control, it also fits the method of Passione scaring other gangsters and enemies. They are in control and on the top. They are showing psychological warfare and invoking public fear.

But also, does this act also is an act of mercy to bring salvation to Gennaro? Making Rossi die for his cruel sins to release the darkened spirit of the young man? It is quite interesting to think about this potential interpretation.

Risotto then rushed to Gennaro, picking him up, telling him that Rossi will now suffer for his sins. As Gennaro is seemingly dying in Risotto‘s arms, smiling, he found finally peace of his mind. His last act is showing the tombola card with the number 90 again, and we finally get know its meaning.

Fear.

This is what Gennaro wanted to overcome, feared and suffering by his past, not being able to act, not knowing if the feel of being haunted by Rossi will ever fleet away, now that the boy was adopted by him, probably even abused by new methods of Rossi‘s twisted mind.

Fear is what is haunting Risotto Nero and his team since weeks, enforced by the boss, treating them like dogs, making with the hitman team whatever he feels to, not respecting them, humiliating them. No regard for their talents, always reminding Risotto of his failure as a leader he cannot stop feeling guilty for. He needs to act. He can’t let this continue. But it is fear he also feels, not wanting to lose more of his men. But what is the other path? An endless cycle of ridicule? Risotto has enough. In this moment the brave acts of Gennaro must have inspired him to also put a stop onto all this. He can’t let fear to keep controlling him and his men.

And then, while Risotto is scolding Gennaro in an endearing way, talking to him like as if he was scolding one of his subordinates, like a mentor, he transforms the iron tile inside the boys hand and forms a staple.

Chapter 4

A short time skip. The news were talking about the gruesome murder of Rossi by a gangster and how this gangster also tortured a young boy was saved by a „skilled police officer with a stapler“

…a story wirhout any sense. Only Risotto Nero, Gennaro and the reader know the truth about what happened. Risotto did an heroic act, no one will ever know about, probably not even Gennaro himself, since he was barely left conscious when Risotto stapled his wounds with Metallica.

It is unbelievably tragic but also needed, as Risotto Nero has a reputation to hold. On this day, he took a life but he also saved another. And not only in a physical way, Risotto prevented Gennaro, who returned into a orphanage, to chose the same path as him many years ago. He brought salvation to his tormented and young spirit, finally removing his tantalizer from life. The boy has now again a chance of a normal life, a life, Risotto does not have himself.

Once again, Risotto brought success to Passione, without ever getting properly rewarded, payment as low as ever. Nothing changed. Only Risotto‘s resolve has.

He gathered his men again, this time in person, inside their usual hiding spot we know of. Which seems to be a rare occurance as the hitman team remarks, last time being the day they got these dreadful horrible packages of thin pieces of one of their members.

The waste disposal transfer seems to be on hold, Illuso and Formaggio being spared from changing teams this time, and they begin bantering again. Knowing they are essential to the team and valueing being among them.

This scene also confirms the basically fanon of the fandom that Prosciutto is a smoker - he indeed does.

Suddenly Risotto began to talk, he is resolved. The boss won’t continue to play with them like cheap and disposable puppets. The incident with the determined Gennaro and collecting his strength depsite still being scared, made him realize to act as well. Or else he and his men will keep this vicious cycle of being a team of assassins who despite carrying out the missions with success, still are only good enough to get potentially transferred to deal with garbage. It is a clear message, like the boss always does.

It is finally enough, time to free themselves from the chains.

He swears to overthrow the boss and organization. His will and decision strong as iron. Wanting to claim what has been taken from „HIM“.

This remark seems to be a direct hint on his pride, how much he personally has lost in his life and how sick he is of all this, fighting for a better future, for himself. But also for his team. To avenge the deaths of Sorbet and Gelato, to make their loss not being unresolved.

His subordinates being in silence, making Risotto questioning how they will decide, will they stay loyal to the team or to the organization of Passione? By now, they can only hold themselves only the little clues and whereabouts of the boss, events which unfold in the storyline of Vento Aureo.

Until then, Risotto Nero will continue to observe, to catch every clue to fulfill his revenge and bring dark glory and a better future for his team, them alone, against the remaining world. The stakes are high, him being the leader is responsible for the outcome of this resolve. Unfortunately, we know how this decision will turn out in the end. They were so close but it still was all for nothing, the mostly self motivated team of assassins' fate has already decided and it will lose against the altruistic motives of the gang of Bruno Bucciarati.

Okay, this was long. I don’t know how many of you really did read this. If you did,

Thank you.

As a summary, this short novel is a fantasticly written story about Risotto Nero and his team of hitmen, also shining with hints of fanservice, as confirming many ideas the fans had about them, and letting them all stay in character without ever breaking depsite all the bantery conversations, how close these men are. In the end, they are all they have.

This story really did Risotto Nero justice as a character, not once ever conflicting with the hints we knew about his personality but also expanding on them.

He is ruthless, cold and stone-faced, as we witnessed already in the original source material. But what we learned in this novel about him throws a new light on him, showing also his softer side.

He IS concerned about his teammates, he feels guilty about his failures as a leader, he can absolutely not cope with grief and has trouble managing his outbursts of anger - even targeting against himself and hurting himself. He looks after the wellbeing if his men, concerned about their mental health and respecting their trauma, not ever ridiculing them and their feelings. Risotto Nero is absolutely not emotionless, his inner world and thoughts are rich, which he just isn’t able to express for probably a multitude of reasons. He even shows compassion for strangers. There was no reason to save the girl from falling harshly to the ground, there was no reason to spare Gennaro, he even knows Risotto‘s face and could be therefore a danger in the future.

But he did help them. And the most cruel fact about this is, no one of them or the others, probably not even his men, will know about these acts and truths (only if they will maybe figure it out by themselves by the staples).

He is not a person who wants to be a hero, he knows he isn’t and he will never be, too many lives did he take by now. But, these little deeds to mercy and kindness are probably a secret of him, no one ever needs to know about. He has his own reasons to act, his own way. His own moral code and his own way to act.

This all makes Risotto Nero such a very well written character in my eyes, combining some of the worst human sins but also showing signs of compassion and protectiveness, like preventing others from a path full of pain or wanting to fight for his men, to finally get what they deserve.

I thank the author of this story, Ayato Toya, by a lot. This novel was a joy to read, which I already did by a couple of times. Also thanks to Hudgyn for the wonderful translation, which is very well and clearly written.

This novel probably strenghtened my own feelings for this character by a lot. I can’t express how happy I am this was written at all, if now this story gets and animated adaptation, my life will be complete. Come on, who does not want to see Risotto inside a suit?

Thank you for reading.

Oh yeah, here is my artwork of him again I made for this novel, I did imagine how he might look with a suit.

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nagaytoe · 9 months ago

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THE KID AT THE BACK

-theories

(- Posted before the new version of day 1 and day 2 -)

Did i sit down and analyze this game for 3 hours straight because I'm hyperfixated on it? Yes, yes i did.

This isnt proof-read and long as hell so buckle up for a joyride, y'all (by the way, there's another TKATB fanfic in the works as we speak and also some fanart, though I'm not sure wether to post it or not... well, we'll see!)

Some of these might not seem all too thought through (??) Since i was kind of grasping at straws here (and it was like 2 a.m. lmao), so if y'all have questions/need me to elaborate or have theories of your own feel free to share!

(There's some inspiration here from other people in the Fandom, most of them from the community section on itch.io which isnt available any more)

Sol knows the player longer than we think

My theory ->

-Fantasia stated that one of her 3 biggest inspirations was the game AMNESIA

-In amnesia the mc loses her memory in an accident. One of the love interests is her childhood friend and also the only yandere in the game (at least from what i could find out)

-She already drew Sol with Forget-me-nots and in the valentines day special the boquet sol gave us also contained Forget-me-nots

-In the book (this gallery thing with all the cutscene images) on the top of sols page is written 'Remember Me' which implies we forgot about him

-Annabel Lee Poem:

+The poem contains the line 'I was a child, she was a child' which furthermore implies that Sol and MC knew each other as kids

+Except for the last two paragraphs the poem is written in past tense, which could be talking about sols POV with us

Perhaps MC had an accident, as mentioned above, and MCs father (highborn kinsmen) tore MC away from Sol to the countryside

+The poem mentions angels killing annabel lee which could also mean something like this: MC doesnt die but, however, gets amnesia. That way, the MC sol knows and loves is dead because MC no longer exists the way MC did before (also the fact that she forgot him)

Some people theorize MCs farm is near the sea and that is the reason why sol hates the sea (i believe the city is near the sea and that's where MC 'died' (maybe MC almost drowned and got Amnesia that way?(apparently its possible for people who almost drowned to get amnesia)))

+"The speaker loves annabel lee to the point of death and even after death" (MCs view how to interpret the poem) (-> Sol loves MC to 'death' (the day they got amnesia) and even after 'death' (after MC got amnesia and 'died' in a sense, as a person))

-sol says he thinks death is beautiful, i didn't really know what to make of that, the only conclusion i came to would be: If MC actually did drown and lose their memories due to that, sol might have been involved in MC drowning (or at least blames himself for that) but viewed MC losing their memories as a 'second chance' with them, since they can start from anew (perhaps he made some mistakes with MC in the past which all eventually built up to MC drowning (it could be that we were already teens at that point)

-sol states afterwards: "But people refused them to let them be together, as if fate refuses them to die together" which supports my theory that MC was taken from Sol by someone (most likely the father after he witnessed Sols behaviour and his final straw was MC drowning because of him) the 'let them die together' could mean something like their relationship 'dying' and then starting over again or perhaps he tried to die with them, who knows (all this is really far fetched i am grasping at straws here lmao)

-in a really quick scene right after he mutters "I'm won't let it happen to me... not again" (some people view this as Sol already lost someone he loved dearly but it could also be the MC who was taken from him

ANOTHER THING I COULD IMAGINE -ABOUT DYING TOGETHER COULD BE:

MC almost died, Sol went after them but they were already saved, Sol just didnt witness that and almost died himself/wanted to die but was saved from that by someone (maybe hyugo? Though, he is an exchange student)

-Another theory on hyugo. It's canon that he is an exchange student, however i do believe he is from this city (since he knows about the hierarchy and his brother Geo apparently is no exchange student), moved away and is now back for business (relating to his 'mafia schemes' but under the disguise of being an exchange student)

Maybe he moved around the same time MC left or some time after that

-Hyugo mentions on the rooftop that we remind him of someone and the pronoun of the person he refers to changes based on the one the player picked for the MC in the beginning. It could mean we remind him of someone else entirely, someone maybe not even related to sol (though i doubt that) or to the MC and he knows them from back then but maybe thought MC died as well and cant believe they actually survived (maybe he want to spike MCs memory by doing that)

-A dream within a dream: MC mentions that this poem, at least to them, talks about the uncertainty about something, like life (which could also imply that they might be uncertain about some things in their mife because they simply forgot them due to amnesia)

-THE SECOND DAY 'THE KINGDOM'

+some people think the kingdom (by the sea) refers to MCs farm and implies its near the sea, however in day 2 we find out about the hierarchy in the city and considering my theory that MC actually is from the city and almost drowned there, i believe the kingdom by the sea is the city. MC does mention in the beginning that they lived on the farm ever since they were a child, however, it could very well be that we moved there right after the incident that caused MCs amnesia (if MC was akid when it happened it would really matter because then it would still fit with the fact that they lived there since theyre a child, however if they were already a teen, perhaps the father moved there immediately to cut off all ties to Sol and told us we have always lived there on top of that (considering the previous theories)

The father also didnt seem fond of the idea that we go to the city (the fact that he is is indebted to someone from high class could imply he might be from there), that could be because he knows how dangerous the city is (and how we could potentially meet sol again)

-maybe the reason for the debt is that MCs father suddenly bought the farm land to get us away from the city as soon as possible and had to take on a loan from one of his contacts in the city

-we know that this is MCs last year at the university, if we say shes minimum 22, and was already in the school for 4 years that would mean she got there at 18. If the 'drowning theory' events took place when MC was a teen (like 16 maybe) it would explain why the father was indebted (i also think 2 years is an believable timeframe a higher class person would give someone to pay off their debt)

-at the end of day 2 sol says he's sorry for leaving us and "i dont know what I'll do if..." which supports my theory that he lost us once (and he blames himself as the reason (again, MC drowning?))

-inspirations:

+ https://www.tumblr.com/sweet-herbal-peach-tea/746168072919023616/tkatb-theories?source=share

+ https://itch.io/t/3749638/whats-the-secret-between-hyugo-and-sol

Another theory:

Sleepy Hollow and The kid at the back

-In the nicknames the boys have for MC (fantasia released that on twitter and tumblr) sol calls MC pumpkin (like the pumpkin of the headless horseman (also in the gallery there is a pumpkin above the book)) and Crowe calls them '(star-crossed) lover'

Star-crossed lovers are people who love each other but can't be together

I believe this might imply that, even though Crowe is the second romance option, MC can't be with him no matter what they do

I also found out that the nickname is a phrase from romeo and juliet (which furthermore implies crowe will die)

We know what romeo and juliet is about: romeo and juliet cant be together because their families are enemies (some people believe Crowes father might be them man MCs father owes money to(i personally doubt thah though but it would support this romeo and juliet situation)) and at the end romeo thinks that juliet died, kills himself and then juliet turns out to not be dead but kills herself after seeing romeo dead

-Jericho Ichabod is a character from Sleepy Hollow, along Katrina (the FMC who owns a farm (what a coincidence)) and Brom Bones (its implied he is the headless horseman). In the story, jericho courts Katrina at a party, she rejects him and on his way home the headless horseman kills him (in the scene where Sol accompanies MC to class he says 'it's always been you ichabod' which could furthermore imply that crowe or his family have something do to with the fact that Sol and MC arent together)

In the library scene with Crowe he asks MC about their opinion on marie Antoinette and when MC says something negative about her, his reaction seems kind of strange. MC also brought a book about torture devices and execution methods and in that book is a picture of 'The Executioner' and he has scars on his arms, wears a mask and a chained collar. This correlates with some of sols features. He has scars on his arms (as seen in one of fantasias drawings), wears a chocker (he also wears a mask when he breaks into MCs room but that's really something anyone who does that would do). This implies even more that he will kill crowe.

#tkatb sol #tkatb vn #the kid at the back #solivan brugmansia #Crowe #jericho ichabod #Crowe ichabod #sol brugmansia #yandere visual novel #yandere #yandere vn #tkatb #tkatb theory #tkatb crowe

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caligvlasaqvarivm · 5 months ago

Text

Original Sin: The Failure of the Dancestors

Establishing an Eden-like paradise from which there is some departure through sin is sort of the boilerplate basis for religious lore. [...] The failed players from peaceful Alternia made a classic "deal with the devil" move by causing the scratch after being given a choice by the mother of all monsters. (Echidna. Hey, she's a big snake!) By doing so they brought Scratch into their universe, and therefore all the things you'd expect that comes with summoning the devil.

Andrew Hussie, Formspring, Aug. 12, 2011.

Warnings for: Mostly? I'm going to be really mean to the dancestors, so if you aren't here for a thorough (and I mean thorough) dancestor takedown, please do not read this. Ableism, questionable consent and outright non-consent, horrific interpersonal relationships, and Cronus ahead.

Overview

I hesitated to write this because I know there will be some really controversial interpretations in here. Many of the circumstances I bring up as failures on the Dancestors' part are interpreted by the fandom as positive things. A common one I've run into before is Latula x Mituna, where I maintain it's bad, but the fandom often sees them as cute. I'll also be condemning things like Horuss's plurality, or Cronus's kinning, not because I have any beef towards this stuff IRL, but because they're framed as failings on the characters' part within the context of the comic, and I'm analyzing the characters within the context of the comic. I'm not asking anyone to agree with me, but I am asking that you approach this essay with an open mind, and not send death threats over a silly webcomic from the early 2010's. I would not be asking for this if it hadn't already happened, which was embarrassing for all of us TBH.

The Dancestors, as made clear from the Hussie quote, are the story's original sin - the initial failure point from which all the comic's problems stem. Their role in the story is antagonistic - with very little exception, the Dancestors are not meant to be sympathetic, and/or their flaws outweigh their sympathetic qualities. Every single one of them succumbed to some major failure (some their own fault, some brought on by others on the team), and practically only Porrim showed any improvement after death.

There's another really important thematic shadow hanging over them: if Homestuck is a coming-of-age, then the Dancestors represent a prior generation that reached physical maturity, but failed to grow up.

[The dancestors' choices] resulted not only turning Alternia into a planet full of violent murderers, but it only technically granted them what they wanted with a huge caveat, as is the case with such ill-advised bargains. The players were strong enough to win, but made a terminal universe, were barred from entry, hunted by a demon, and then started killing each other.

They're an older generation defined by how entitled and immature they are, who invited terrible forces into society and allowed the perpetuation of cruelty to continue after them. In other words, theyre boomers. It's important to note that they literally had the choice, before their Scratch, to prevent the birth of LE by simply choosing to let their species die with them - but they made the selfish choice of what was, functionally, having kids:

The heroes could either accept their defeat along with the extinction of their race, and put no others at risk. Or, [Echidna] could show them a path to a second chance, to a reality in which the chosen heroes of their race would be strong enough to succeed with ease, and claim the reward.

For more on Homestuck's coming-of-age, anti-fascist, and feminist themes, please see my essay on the Alpha Timeline. Note that I have an updated opinion: the ending was, in fact, bad on purpose, because it was a continuation of the theme of narration needing to be refuted - "who's telling the story, and why are we listening to them?" You can read more about that here. Sorry to have to link two long essays at the beginning of a really long essay, but these are the backing arguments to many of the claims I'm about to make.

I also want to refute a common fandom belief. A take I commonly see is "the dancestors are one-dimensional assholes as a snub to the fandom" - this is not true, at least to any extent moreso than the Alternian trolls.

Yes, the dancestors are riffs of Common Fandom Types of Guy, especially Types of Guy on Tumblr while the comic was being written. However, the beta trolls/kids are ALSO Internet Types of Guy - the reason the trolls are named "trolls" is because part of their original conception was that they each represented a common type of forum troll. The dancestors aren't making fun of the audience any more than the Alternian trolls are, since Hussie got his start on fora.

Moreover, they aren't actually one-dimensional, or at least not in a way meant to be a snub to people. In fact, I find the entire attitude people have that they're somehow owed the dancestors being "good" or "likable" weird. The dancestors, as I said before, are antagonistic - if not at times outright villainous. They're the story's cautionary tale, a look at what happens when a session fails and the kids in it don't grow up.

On the whole, they simply don't need a bigger role in the story than just existing, as their past actions are what spurred the plot into action, and their narrative utility now is as a window into those. Moreover, if you read between the lines and analyze them a little beyond the surface, there's actually a lot going on, which I hope to uncover in this essay.

On the Topic of Kid-Kissing

It needs to be addressed now and needs to be addressed early. The dancestors are physically 19, and the beta/alpha kids are 16 at the oldest and 13 at the youngest. Lots of the dancestors are uncomfortably okay with pursuing romantic relationships or performing romantic acts with these actual children. Cronus gets the most flak for it, but the list includes:

Cronus, who asks Eridan on a date,

Meenah, who has a "manic obsession" with Karkat, and later dates Vriska,

Meulin, who eagerly offers to ship Meenah with Karkat in red, and gets really excited about shipping the children in general, calling them her "gay babies",

Aranea, who's willing to smooch Jake in a sexy way as part of healing his brain because she thinks he's attracted to her.

Now, as gross as this all is, I do think it serves a narrative purpose. One can debate whether that narrative purpose was worth its inclusion at all, but I'm personally going to bypass this discussion since this damn essay is long enough. At least I'll clarify what I believe the narrative purpose is:

It was an extant trope at the time of the comic's writing (which has thankfully fallen out of favor) that an adult character would date a highschooler in order to show how immature, and not suited for adulthood, the adult was. One of the most famous examples of this is Scott Pilgrim's relationship with a high schooler in Scott Pilgrim, something other characters call him out on constantly.

Given that basically none of these dancestor/child relationships are intended to be read as comfortable, pleasant, or even good (I'll get more into this later), I fully believe that this is the reason for their inclusion in the story: a demonstration of the dancestors' immaturity and failure to grow up, such to the point that they see actual children as viable dating partners.

Finally, while most of the dancestors have very limited screentime, one thing we DO have is all their classpects. I'll be using my definitions, which you can find here. Please note that, while that essay does not have any textual evidence (as it was already 10k words long without any), I'm willing to back up every claim in there with textual evidence upon request.

The TL;DR is that class is correlated with character arc and starting circumstances, while aspect is correlated with base personality traits, and what qualities would make the character a successful (and unsuccessful) hero of said aspect.

I firmly believe that, given what's in the comic, it's entirely possible to deduce what each class and aspect actually do, so being provided with every Dancestor's classpect means that we have a very powerful vector by which we can understand how their tragedy unfurled.

So please join me as we turn over this big rock and take a peek at all the skeletons living in the dancestors' closets. There are a lot of them, and they are rancid, but the complex ways they interlock are endlessly fascinating, and I hope you walk away from this with some new insight, or at least a new perspective.

Establishing a Baseline

First and foremost, let's factually review the events leading up to the dancestors' Scratch, organized in the way that makes the most sense to me. Many of these events don't have any set timelines, and aren't even described in relation to each other, but by going over them in general, we can get a big picture overview of the tragedies, and it helps to make sense of the interlocking nature of their failure.

Pre-Game

The dancestors grow up in a version of troll society as designed by Feferi Peixes, where the main difference between the two is that "culling" means "coddling excessively" rather than killing. Therefore, casteism still exists, but usually does not have as life-threatening effects. Characters who would've been culled on Alternia are likewise targets for culling on Beforus - this is most relevant to Mituna and Kankri.

Meenah finds the idea of becoming the next empress so distasteful that she flees to the pink moon, where she finds and transcribes the code for SGRUB and bothers her friends into playing it with her, in large part because it promises an escape from her responsibilities.

Cronus believes he's a chosen one destined to defeat an evil wizard, who tried to kill him when he was a wiggler. The story is one part Harry Potter and Voldemort, and one part Definitely About Lord English.

Kurloz and Meulin are probably dating in red, and Kurloz and Mituna are probably dating in pale.

Latula suffers an injury that leaves her unable to smell, something she remains insecure about for the rest of her existence. Communing with her lusus à la Terezi teaches her "new ways to smell".

Damara and Rufioh are dating in red.

Kankri was likely culled on sight, while Mituna was destined for one of the highest/"cushiest'" degrees of culling possible, echoing Karkat's and Sollux's relationships with culling.

Porrim is being trained for the breeding caverns as a jade-blood, and is not happy about it. It's likely that jades are the caste with the least privileges and freedoms, given the culling system (yes, I know culling is still a form of oppression, but it's still a cushy position to be in, compared to jades being forced to work breeding duties by birth).

During the Game

All of this happens over the course of six years.

Mituna spends the whole game attempting to warn his team to stop being such assholes or else something really bad is going to happen to them, using the prophetic insight he has as a Doom player.

Meenah starts cruelly bullying Damara, under the supposed motivation of "trying to galvanize the team into action".

Porrim outright ignores frog breeding, opting instead to go on a bra-burning rampage across her session.

Meulin is shipping her friends. Due to her Mage powers and predilections, not only do these ships come true, but they're really unhealthy and toxic as a rule.

Horuss begins an affair with Rufioh.

Kankri argues with himself nonstop, rendering most memos pointless.

Kurloz has a terrible nightmare and accidentally deafens Meulin, an act he finds so shameful that he stitches his own mouth shut. The two break up, but are still "very close friends"/in a situationship.

Someone talks Cronus out of his wizard beliefs, likely Kankri, and Cronus completely loses faith in magic, as well as a sense of identity. This is really bad, given what Hope does.

Meenah finds out about Rufioh and Horuss's affair and uses it as bullying fodder.

Damara snaps, kills Meenah, renders Rufioh a quadruplegic, and begins to perform acts of "timeline sabotage," which are even more impactful given her Witch class. It's heavily implied that Damara is the cause of the dancestors not performing their own ectobiology, the glitch that rendered their game unwinnable and serves as a "calling card" for LE.

Mituna tries to divert a terrible tragedy, something "only Kurloz was witness to". Said tragedy is implied to be Kurloz's Prince meltdown, and Mituna fails, rendering him brain damaged to the extent that he can no longer think or speak coherently. The team does NOT heal him or even reference TRYING to heal him, as it's implied they're more comfortable with him like this than they were with him telling them they were all doomed assholes.

Kurloz fully commits to his doomsday clown religion and begins using Meulin and Mituna as hynopuppets/conduits to bring about the end. It's likely that they rope Damara into their religion at this time.

Latula and Mituna start dating in red. For various reasons I'll get into later, this relationship seems to have started AFTER Mituna's injury.

Meenah bakes a cake. Isn't that nice.

It's never made very clear how long it took for all of this to go down, but the way it's framed is that everything major happened fairly early on, before the Reckoning, and they spent the rest of their session faffing around. While the beta kids have a nonstandard-ly short session, the beta trolls have what seems to be a more standard timeframe of about 612 hours, or several weeks. Again... SIX YEARS elapse. The dancestors reach the age of physical adulthood within the game.

Finally, seeing no way out, Aranea goes to Echidna for her quills in order to initiate the Scratch. The Choice that she's given is to immediately stymie the harm the dancestors' actions will bring (LE) by letting their species die with them, or to try again by passing the buck onto the next generation of heroes. The pick is obvious.

Damara, who's been uncooperative since she snapped, chooses to help out with the Scratch, muttering that everyone will "get what they deserve".

Meenah uses a tumor-like bomb to kill them all just before the Scratch goes off, in the window where god tier immortality pauses before bringing them back. This allows them to exist in the afterlife with memories fully intact. It's not fully clear how many of them achieved god tier before dying.

Afterlife

Meenah stays in her castle, echoing the way she fled responsibility to the pink moon, for the millenia that her friends have been mingling in the afterlife. Her descent from her castle after LE starts popping bubbles is the first time she's interacted with her team since she died.

Porrim is the ONLY dancestor that shows improvement or reflection, coming to view her frog breeding duties as something she probably should have paid more attention to, and toning down her feminism to thoughtful, reasonable critiques. This still doesn't excuse her total bystander nature while everything else was happening, which continues into the afterlife, but it's nice to see that she's doing better, since that's so rare in this team.

Kurloz starts readying for Lord English's birth, building labyrinths in the afterlife and using Meulin and Mituna as mind-controlled helpers (and possibly Damara as well).

Meulin and Horuss start dating in pale after Horuss is inspired by the meowrails. Despite Horuss's internal anguish and anger, he's been told by Meulin to cover it up with forced positivity no matter what.

Cronus is kinning a 1950's human greaser, an act which he himself admits is probably just a cry for attention, and a greater symptom of his struggles with personal identity in the wake of losing interest in magic and wizardry.

Rufioh wants to break up with Horuss, but doesn't have the backbone to to get pushy with these requests. Horuss has difficulty hearing what he doesn't want to hear, so Rufioh winds up wilting and agreeing to continue dating him every time he tries breaking up with him.

Aranea... does all that, spurred on by a desire to be important.

Meenah decides to encourage Vriska to shirk responsibility, running off with her and starting a romantic relationship with her.

Woof, that's a lot! So, now that we've established an overview of what went wrong, something I should probably note:

It's not JUST that Damara caused the timeline glitch that retroactively summoned LE, or JUST that Meenah bullied her. When I say that the dancestors' failure is multivalent and interlocking, I mean it - especially once you get into the implications of their classpects. Cronus being a Bard of Hope - Hope being the aspect of making fake things real - losing faith in his own destiny of defeating an evil wizard likely had some karmic contribution to the first half of that destiny - the existence of the evil wizard in the first place - coming true. So on and so on. So the rest of this essay will be a deeper look into each individual dancestor, and the contributions they made towards the ultimate blowout.

Porrim Maryam: The Ultimate Bystander

Porrim's drama is the least connected to the various conflicts suffered by everyone else, though it's one of the most consequential.

The Maid of Space was of course our all-important Space player and Stoker of the Forge, 8ut as you know, we never made much progress on the frog 8reeding front, or really any aspect of the game 8efore the reckoning. [...] She challenged these roles wherever they existed in 8eforan society, as well as where she found them woven into our session, in kingdoms, class assignments, consort culture and the like.

While she is pretty much the only dancestor that reflected on her failures - having come to a realization after her game's Reckoning that she probably should've paid attention to frog breeding - the fact remains that she totally ignored this duty in favor of going on a feminist rampage.

I do actually believe there is merit to her viewpoint, something Hussie appears to agree with:

HUSSIE: Porrim is better at social justice than Kankri because she isn't a boring asshole. [...] Porrim wants there to be equality for ladies. Not everybody cares about that though, which makes it hard for people like Porrim. That's the way it is in the real world. CHALLENGES.

Note that while Hussie is a deeply unreliable narrator (he describes his own self-insert as "oafish" and "buffoonish" in the book commentary, and his narration being biased and full of holes is a very deliberate choice), there is still meaning to be gleaned from his words, especially once you identify what biases he's performing. In this case, I think he's being genuine, as Homestuck has a deeply feminist and anti-patriarchy message overall, which I touch on in my essay about the Alpha Timeline.

However, Porrim's failure is that, as correctly as she identified sexism as being an issue, she became tunnel-visioned on it to the point that she failed to do anything useful at all. Frog breeding, AKA creating a new universe, is practically the entire point of SGRUB, and though her energies could've been focused on creating a new world free of sexism, she prioritized nitpicking it in session constructs.

Her other big failure is that of being a total bystander. In her conversations with Latula and Meenah, Porrim doesn't make any references at all to the bullying Meenah perpetrated, and otherwise seems surprised at the Redglare/Mindfang situation. She's also known as promiscuous, willing to sleep around with nearly anyone, tacitly approving of her teams' actions. Much of her feminist rhetoric is undercut by the fact that she has no comment to make on the way Meenah - the team's rich fuchsia - was primarily targetting a rustblood immigrant. It's implied her constant bickering with Kankri was in part due to her complete lack of intersectionality (with the other, more major part being Kankri's misogyny, but we'll get to that).

Interestingly enough, these three failures - poor prioritization, tunnel vision, and bystanderism - are failures of Space. There are two ways for an aspect (which is associated with base personality) to fail - the first is a toxic overabundance of the aspect's natural worst traits, and the second is a dearth of its positive qualities, to the point of resembling its counterpart. Space is associated with cycles and interconnectivity, patience and passivity. Its players are distractible and frivolous, but kind and permissive. However, it's easy for Space players to become so distracted that they lose sight of the bigger picture - we see this in Porrim's poor prioritization, and the tunnel vision she incurs in pursuit. It's also easy for them to become so passive that bad actors take advantage, and this, too, is present in Porrim's complete failure to grasp her team's cruelties.

Maids, meanwhile, are victims of oppression, and start the game under some form of control. Jane's been bombarded with hypnotic subliminals her entire life, and is ultimately directly controlled hy the Condesce; Aradia is killed so as to be Doc Scratch's servant via the Handmaid, and Hussie even outright calls her a slave in his book commentary. Porrim is not an exception to this:

On 8eforus, well 8efore her drinker a8ilities had awakened, she grew up in the caste almost solely devoted to tending to the mother gru8, hatching the young and proliferating the 8rood. The jade 8loods were also an almost exclusively female caste, and she 8egan to resent the roles she was hatched into, designated for 8oth her class and gender.

Ultimately, Maids can't shake off their oppressors alone, and outside intervention is needed to rid them of their shackles. Nobody on Porrim's team seemed to give a shit about what she had to say, however, nor did they attempt to relieve her of frog breeding or attempt to alleviate her workload - leaving her ultimately shackled to frog breeding, which, aside from the final frog (usually implied to be long in the Space player's past), did not HAVE to be conducted by her. In fact, Echidna being Aranea's denizen, when she's normally associated with the frog-breeding Space player, further implies that it didn't necessarily need to be up to Porrim - perhaps the team could've come together to take up frog breeding, splitting the duties equally, freeing Porrim from oppression.

But that didn't happen, and thus, our Maid of Space is disconnected from everything but the breeding duties that bound her so.

Kankri Vantas: The Hemocaste's Number One Fan

Kankri is a casteist, ableist, slut-shaming misogynistic bootlicker.

I'm going to go a bit lighter on the citations, because he uses a hundred words where ten will do, but if you actually bother to read his diatribes, he's all-in on perpetuating oppression. Here's a quick rundown of some of the awful shit he's said:

He tells Mituna that Mituna is bad representation for disabled people, and basically tells him to his face that he wishes everything about him was different, likely as displaced jealousy that Mituna is dating Latula. This shows that his rhetoric is actually just a mask, a tool he uses to disguise his actual intentions.

He complains about how burgundies have to "check their privilege" because they don't know how good they have it compared to off-spectrums, showing that he resents it when others attempt to address their oppression.

He tells Porrim that he thinks misogyny isn't real, and then slut shames her by insinuating that she's even willing to go for the Mayor. Once more, a display of how he resents when others challenge his points, or try to take away attention from his causes.

He calls Horuss and Cronus's beliefs fake even as he's defending their right to believe in them, revealing that it's not about justice for him, but about whatever puts him in a position of power over the situation, as the quote-unquote "spiritual leader".

Kankri was very likely culled on sight for his mutant blood color, mirroring how Karkat would've been. He clearly has complicated feelings about this, as he reacts very poorly to Porrim's mothering, but it's also the source of his deep-seated casteism, and the favor he shows towards the two sea dwellers on the team. While it IS a form of oppression, those culled on Beforus ARE provided extremely comfortable lifestyles, and Kankri would've been subjected to an intense amount of pampering, being a mutant.

In other words, he's been taught his whole life that he's a very special little boy, and he both feels entitled to the emotional energies of others, and gets upset when he isn't the center of attention. In contrast to Porrim, who had valid points but prioritized poorly, for Kankri, "social justice" is just a smokescreen he uses as he verbally browbeats his team into falling into line. Any valid points he makes are twisted to suit his personal agenda of being the loudest voice in the room, and he hides behind them so nobody can properly challenge his position. The actual oppression he did face, and a genuine desire buried deep down to make the world a better place (which I do believe exists), are ultimately undercut by his willingness to play victim in order to sate his own desire for attention and control.

Kankri himself didn't contribute as directly to the team's failure, but he was, overall, a binding force of stasis - perpetuating societal prejudices, fixing them in place. It should be no surprise that the two who find Kankri the most tolerable - Horuss and Cronus - are the two biggest casteists on the team.

Blood is about bonds - familial, platonic, romantic, and societal. It governs oaths, promises, compatability, and all interpersonal relationships. Its players, in contrast to Breath's free-spirited youthfulness, tend to be neurotic and controlling. At their best, they're mature, empathetic, and responsible, and indeed Karkat is one of the most level-headed and generally correct members of his team when he's not flying off the handle, but at toxic overabundance, they become iron-fisted dictators, "my way or the highway" types - to the point of shirking their innate sense of empathy and natural compulsion to be helpful to others.

Seers, meanwhile, struggle with blindness - either by hubris and ego, or else by shame-induced self-infliction. Rose's ego prevented her from bonding with her mother, and her need to be the smartest person in the room let Doc Scratch manipulate her; she later copes with her grief by drinking herself stupid, opposite Light's association with knowledge and insight. Terezi boldly painted herself into a corner where the only option left was killing Vriska, and coped with the guilt by throwing herself into a toxic relationship with Gamzee, a Gamzee victory that triumphed over Mind's sense of justice and karma.

Kankri is so moved by ego - his selfish desires for a society that works best for him personally, and his confidence that he knows better than the rest of his team - that he's blind to how harmful his rhetoric is. He damages their ability to move forward by chaining them in place, an ultimate failure of Blood.

Moreover, he's also inflicted a "blindness" upon himself - due to his staunch celibacy, he doesn't seem to notice that he has clear red feelings for Latula and pale feelings for Cronus - and this is to disastrous effect. The motivator behind his cruelty to Mituna appears to be jealousy, and he interrupts a conversation Cronus is having with Meenah, where she's about to make him reflect on choices that are harming him, just in time to prevent Cronus from reaching his epiphany. In fact, it's implied that Kankri is the one who talked Cronus out of his wizard faith in the first place, which we'll get into later (this is the most direct contribution Kankri made to the dancestor's failure).

As such, our Seer of Blood is sightless, and through blindness both based in ego and self-inflicted, he can't see the damage he's dealing.

Cronus Ampora: Hopeless - And That's Everyone's Problem Now

Cronus is a nasty casteist fuckboy who's greatly disliked by his team, and also everyone else, for good reason. He's mostly irrelevant to everyone and failed to do anything of worth. The problem is, he's a Bard of Hope, and thus, was one of the greatest contributors to the creation of LE.

Cronus as we see him is easy to explain. He's fundamentally a directionless, shitty rich kid, who's never had real problems before, and thus, never had the kinds of formative experiences that would've built him a personal identity. In an effort to find something to give his directionless (after)life some meaning, he's decided that he's humankin, specifically a 1950's greaser. He's also trying to get laid for similar reasons. What else is there to do when you don't feel like you have a real personality, and thus, don't really know how to open up to others or connect on a deeper level, but still crave an intimate relationship of some sort?

The thing is, Cronus wasn't always this way, and in fact, started out his game quite different:

[H]e once had a deeply a8iding faith in magic, and dedicated himself to 8ecoming a great wizard. He 8ecame convinced he was hatched to defeat an extraordinarily evil magician, one he swore the angels foretold of. Though when pressed for the name of the man, he would not say it, claiming it was too dangerous to even enunciate. Part of his self-aggrandizing mythos was that this magician once somehow from afar tried to strike him down at a young age, so he would never have to face him. 8ut the evil spell was deflected, sealing the magician's spirit away in a series of unassuming vessels until he could find some other cunning way to enter our universe. The attack supposedly left him with his distinctive scar, which he was not reluctant to point out when trying to hit on me.

Now, while this is definitely Harry Potter, it's also worded so as to resemble Lord English, and this is not a coincidence. You see, Hope is a power that makes fake things real.

Believing in things reduces their fakeness attribute. It's the force that shapes your reality, used to snatch personal meaning from the jaws of a cynical and nihilistic environment. Could this be why Hope is framed as the most fundamentally powerful aspect?

Ultimately, it didn't matter if Cronus's stupid wizard faith (and it is framed as a faith, a religious belief - put a pin in this) was real or not. In fact, the more credible journey for a Hope player would be if his personal mythos were fake - because Hope would've made it real.

However...

8ut at some point he 8ecame disillusioned with magic. [...] Perhaps someone talked him out of his 8eliefs. May8e a friend close to him. Or, if one is to 8elieve his fantasy held any water, perhaps someone who was in league with the evil magician.

As all Bards do, he suffered a crisis of faith, and he was never able to recover. Now, the identity of the person who talked him out of his religion is never made explicit, but I'm firmly convinced it was Kankri. First of all, who else on the team would qualify as a "friend close to him"? While "someone in league with the evil magician" might refer to Kurloz, Meulin, or Damara, Cronus seems wholly unrelated to the latter two, never mentioning them once, and while he's "scared" by Kurloz, it's not enough to not hit on him.

However, "in league with the evil magician" can also be interpreted metaphorically - someone who represents the same values as Lord English does, especially those of misogyny, fascism, and oppression. Which, again, points to Kankri. In fact, the main interaction Cronus has with Kankri illustrates the harm Kankri is doing to him: right as Cronus is about to have a personal epiphany that his humankin schtick is doing him more harm than good, Kankri jumps in to guilt-trip him until he continues with the act.

CRONUS: to be honest, she might be right. sometimes i think i might only be saying im a human to get attention. maybe i should givwe it up. KANKRI: I'd 6e extremely disapp9inted t9 hear that, if it were true. That w9uld 6e such a slap in the face t9 all th9se wh9 kn9w themselves t9 6e an alien while trapped in the pedestrian 69dy 9f their 9wn race. It w9uld 6e unspeaka6ly invalidating 9f their struggles and massively triggering t9 their em9ti9ns. #TW #invalidated struggles #triggered em9ti9ns KANKRI: 6ut f9rtunately, I kn9w y9u w9uld never st99p as l9w as that. Y9u understanda6ly have d9u6ts a69ut y9ur feelings and pr96a6ly d9wnplay them as a defense mechanism, since s9 few are prepared t9 rec9gnize the legitimacy 9f y9ur plight. 6ut I am, and I just wanted y9u t9 kn9w that I'm here f9r y9u, and am prepared t9 lecture t9 y9u extensively, I mean, listen t9 y9u extensively, a69ut y9ur ultra-imp9rtant pr96lem.

Fucking Kankri! He doesn't even believe in Cronus's act himself (calling it a "fantasy versi9n 9f [him]self"), but Cronus's conversation with Meenah is pale-coded, with Cronus being the only person on the team able to make Meenah have doubts about how awesome the Condesce (and by extension, her own worst qualities) are, with her able to pierce through Cronus's bullshit and make him rethink his choices. But Kankri has a palecrush on Cronus, so he cannot abide by Cronus having a pale interaction with anyone else.

KANKRI: Listen, I was d9ing y9u a fav9r. Y9u d9n't need t9 6e dating any9ne wh9 can't appreciate y9u f9r wh9 y9u really are[.]

But his interruption of Cronus's character development, and also his breaking of Cronus's faith, aren't just disastrous for Cronus's ability to self-actualize - remember, Cronus is a Bard of Hope.

UU: while the more passive bard coUld be seen as "one who allows x to be destroyed, or invites destrUction throUgh x," as if by the will of the aspect. TT: I'm obviously no expert, but that sounds like a pretty odd thing for a Bard to do. UU: maybe! it's a qUirky class. UU: somewhat like a wildcard role for a hero. very Unpredictable. UU: they are typically known for their spontaneoUs and dramatic story-altering inflUence on the fate of a party. UU: some of the more remarkable tales involve sUch parties, where the bard is single handedly responsible for their spectacUlar downfall or improbable victory. or both!

Bards act as a conduit by which their Aspect dramatically alters fate, for better or for worse, and Hope is a power that makes fake things real. Cronus had a Bard crisis of faith, never recovered, and, in his failure to do so, began to exhibit his aspect at its nadir - where Hope players should be idealists, dreaming up better futures with a naive and shameless sincerity, Cronus has become self-conscious, frustrated with himself and magic, and utterly materialistic, seeking only immediate physical gratification. Hope, at its worst, picks out such bleak possibilities to invest its incredible, reality-altering power into, that it actually serves to close possibilities and ruin everything - mirroring Rage's ability to tear down false truths.

It is, therefore, incredibly likely that the direct manifestation of his Bard of Hope abilities is the materialization of the first half of Cronus's faith - the existence of the evil wizard - and not the second - that he would become a wizard to defeat him. This is one of the single greatest karmic contributions to LE's improbable existence. Perhaps this is the source of Kurloz's pivotal nightmare, which would've sprung out of nowhere, given LE doesn't exist until after the Scratch? We can only speculate, but this seems to me the most likely source of Lord English worship within the dancestors - Hope made him real.

And so, our Bard of Hope is faithless, and by extension, hopeless - in such a way that he breathes active calamity into existence.

Mituna Captor: Tried to Warn Them, but Nobody Wanted to Listen

I'm going to preface this section with a small list of what we will NOT be discussing, not because the conversations aren't important to have, but because they are not relevant to his essay. First of all, I will not be litigating the issue of whether or not Mituna's portrayal of TBIs/neurodivergence/etc. is problematic. I will also not be discussing the greater conversation surrounding those with such conditions to consent romantically or sexually. These are important topics to talk about, but they're just not in the scope of this essay (it's long enough as it is!).

As a break from form, I'm going to discuss his classpect first. This is because the implications of his classpect provide vital context for how we are meant to interpret and understand Mituna's arc.

Doom is the aspect presiding death, sleep, the future, and endings. It sits opposite Life, as Life's equal-and-opposite, which helps shed some light on Doom-specific qualities, as we have little exploration into Doom itself. Most notably, our three Life players are stubborn optimists, and our two Doom players are mutable pessimists. Sollux is literally introduced by changing his mind about being introduced, before changing his mind a second time, while Cronus notes that Mituna has a long-running schtick of being wildly offensive, and then pathetically contrite. Mituna is stated to have visions of the future even without being one of the two future-sighted classes (Mage and Seer), making some degree of prophetic insight a part of Doom.

I'm also firmly convinced that it's Doom, and not being a Captor, that makes both Sollux and Mituna dual-dreamers. Most non-Seer/non-Mage players' main interaction with prophecy will be the clouds of Skaia or the whispers of the Horrorterrors while they're asleep, and being a dual-dreamer gives Doom access to both, as well as an extra "death" to spare - which Sollux makes great use of, as he arrives to his session dead. Moreover, being a dual dreamer allowed Sollux to be "half-dead" in the afterlife, granting him the special ability to leave - and navigate - the dream bubbles. This influence over the realm of the dead is notable, so please put a pin in it.

Heirs, meanwhile, bear a character arc of defecting from decadence. They're born into positions of wealth and comfort relative to their societies - John enjoys an upper-middle class lifestyle, with a supportive and loving father, and Equius enjoys being high enough nobility not to worry about culling, but low enough not to bear any pressing responsibilities, and has a supportive and loving lusus. Mituna, similarly, was born to a supportive and caring bicyclopsdad (as opposed to Sollux's, who was a big terrible idiot), with an eventual fate of being culled for his powerful psionic brain.

Before anyone protests that culling on Beforus is still a form of oppression - it's "a position of wealth and comfort relative to their society." Ultimately, being a stuffy capitalist isn't exactly a great destiny, and being a noble on Alternia still means being subject to a horrific system of murdering and being murdered. In a similar vein, Mituna's inheritance is a wolf in sheep's clothing. In fact, this exact wolf-in-sheep's-clothing nature of inheritance factors into the Heir's arc.

Heirs are on a ticking clock. Their aspects are powerful, but they struggle to control them. After all, they're a passive class:

He is the Heir of Breath after all. It's a passive class, and he's a passive guy. An heir, literally speaking, is one who inherits stuff.

And passive classes work best when they're allowing their aspect to be used for others:

UU: the +/- distinction can mean many things, bUt coUld be qUite roUghly sUmmed Up in this way: active classes exploit their aspect to benefit themselves, while passive classes allow their aspect to benefit others.

We see this with John, who gains the incredible power to retcon the story, unsticking it from the alpha timeline, but doesn't know how to effect useful change without guidance from others. Even Equius's first chronological expression of Void is his mere presence providing a shield for Vriska from Doc Scratch's omniscience.

But because of their privileged upbringings, it's difficult for them to know how to help others, or even that they should. John is goofy and friendly, but doesn't seem to notice that Dave is being constantly abused, and doesn't question the horrific violence of troll culture when Vriska tells him about it (something which Hussie chastises him for in the book commentary), while Equius's blind spots are even more glaring, given his casteism and complete obliviousness regarding his own fetishes.

Thus, like wealthy inheritors in real life, an Heir that fails to interrogate the systemic injustices of the system they were born into becomes swallowed up by their inheritance, another brick in the wall, rendering their aspect out of reach. John's retcon powers, before he gains control over them, nearly take him out of the story entirely (Breath and its associations with freedom and independence), while Equius succumbs to his fetish for submission and allows Gamzee to strangle him to death (Void and its associations with vice and sexual pleasure - Hussie notes on multiple fronts that Equius could've escaped at any point just by flexing his neck muscles, but chose not to because horny).

While we don't have very much information about Mituna before his injury, the dancestors' failure is a foregone conclusion; therefore, we can conclude that Mituna's current state is a reflection of his failure as an Heir, and subsequently being "swallowing up" by Doom. Mituna's injury is, within the context of the story, therefore a bad thing that happened to him, and thus, it reflects poorly on every other player who not only didn't heal him, but never mentions ever trying to.

It's here that I want to point out something odd about the dancestors as a group. Isn't it strange that they retained many of their injuries even into death?

Injuries don't need to carry into the afterlife - here Tavros is with his legs fully intact. Even if you assume that characters who consider their injury to be part of their identity, like Terezi and her blindness, therefore get to keep their body in that state after death, Latula clearly has insecurities about her sense of smell, Meulin was so disheartened by her deafness that she broke up with Kurloz over it, and there's no way that Mituna is happy about the fact that he can hardly string together a coherent thought anymore.

But remember, Heirs are experts at leveraging their aspects on others' behalf, and Doom has influence and sway over death and the dead. And so, on that note, let's actually begin analyzing Mituna himself.

The primary description we have of Mituna before his injury is this:

The Heir of Doom was once a powerful psionic. He was gifted with vision twofold, and had strong prophetic insights wherever a 8leak future was concerned. He had much to say when it came to warning us a8out the path of doom and destruction we were all headed for, 8ut no one took him very seriously. 8ut one day he lost all those a8ilities when he 8adly overexerted himself. It's hard to get any specifics from him, 8ut indications are that he applied every last 8it of energy he had toward some great act of heroism, saving us all from some looming threat. Not only did his exertion permanently 8urn out his psychic a8ilities, 8ut it left him somewhat... er. Incoherent.

Doom players tend to stagnate and stay in place. Their mutability, ironically, means they have a tendency to go nowhere. However, their pessimism can cause them to become fixated on these nowheres - to become so certain of an unhappy ending that they can become energized by the notion, steamrolling over others, which can resemble Life's stubborn optimism. It seems this may have been what happened with Mituna - though it appears to be far and away aggravated by his injury, there's an implication when he's talking with Meenah and Cronus that he was already prone to being wildly offensive and aggressive even before it:

CRONUS: your vwhole bifurcated demeanor is such an act. half the time you are noxious and incomprehensible, and the other half you are mild and contrite? sure, "PAL." CRONUS: as if im not SO on to you. you only pretend to say youre sorry to get girls to like you more. sure seems like pyropes a sucker for the ruse. like im not familiar vwith THOSE tactics. vwho do you think vwrote the book on that??

MITUNA: 817H1CH WH4Y D0N7 Y0U 5H00V3 M0Y R4D 1NJURJY P4N3L 1N7H0 URR N457H7Y 53XXXU4L3 PR1V457 P4R7H 0RF P3R3RF3R3R4NC3 MEENAH: thank fuck you were never a major playa at least from my personal vantage over the course a this ridicu huge narrative #way minor character yo MEENAH: probably woulda offed my shellf even schooner if i had to hear you talk much #really too bad since you got the bestest fishiest name of anyone #38( MITUNA: ..,.,..,,...,..,.,. MITUNA: 50RRY

What's worse, remember how I said earlier that it's implied that all the major problems occurred before their reckoning (which was likely on a timeframe of weeks or months), and then they spent six years faffing around in their session besides? This means that Mituna was left injured for six years, and not a single time does anyone mention even attempting to heal him. Even if you subscribe to the idea that their Life player's class precluded her from healing people (and it doesn't; the Helmsman's lifespan is explicitly extended by the Condesce's powers), Aranea's powerset is explicitly geared toward healing injuries of the mind:

ARANEA: I can see every fault and fissure in your mind. My vision 8-fold sheds light on every injury you have ever suffered, whether emotional or physical. ARANEA: I can repair it all for you, Jake. JAKE: (Oh no...) ARANEA: I can heal your mind. JAKE: (Oh n-n-n-) ARANEA: I can heal your soul. JAKE: N-n-n-n-n-n-n-nooooOOOOOOOOOOOOOOOOO!

... So why doesn't she? Why doesn't anyone? Well, the implication is... that he was annoying! He was the only member of the team who was trying to tell them to stop being such assholes, or else they would be hurtling themselves face-first into a catastrophe, and this was such a bummer and so unpleasant to hear (likely not helped by his aggressive and offensive way of wording things) that his team actually prefers him injured. At least this way, he isn't constantly calling them out for the horrible shit that they do to each other on a regular basis. Doom players are commiserators, not a healers, and their power lies in their ability to empathize and relate, opposite Life's tendency to charge forward, not caring who they trample on the way. Mituna was never able to tap into these powers of empathy enough to get people to listen to him, and he paid for this with his injury - the version of him his teammates prefer, because now they can take advantage of him.

Cronus does so most obviously, with his unwanted advances that Mituna sits there and takes because he can't reason well enough to escape of his own volition, but I posit - and will stand by this claim - that Latula and Kurloz, his two romantic partners, are taking advantage of him, too. Kurloz is implied to be directly puppeting him the way he puppets Meulin, the source of the "rumor" Cronus heard that Mituna is "lucid" when he's around Kurloz - in fact, it's implied that Mituna's injury was directly caused by Kurloz, as part of his Prince meltdown, something we'll get into more when we discuss Kurloz. I believe this is why several of the dancestors retain major injuries into the afterlife - in a dark reflection of how an Heir is supposed to operate, Kurloz is using Mituna as a conduit to exert influence over the afterlife, rendering Doom and death an oppressive force rather than peaceful resting place. I think there's a reason that Meenah questions the fact that some people have stayed injured when talking to Mituna. It should be his area of expertise, after all!

Now, while we are sidestepping the greater discussion overall of the consent of those with TBIs, I want to state that Mituna specifically, post-injury, cannot be considered fully consenting.

Cronus says the quiet part out loud:

CRONUS: i really feel like youre one of the only people i can open up to about my feelings. i guess it really does help to confide in someone vwho basically lacks the ability to repeat vwhat you say vwith any clarity or coherence, or evwen understand vwhat you said in the first place.

And unfortunately, this is pretty true: Mituna is impaired to the point where he:

Can't answer yes or no to whether he's god tier, because he doesn't know/can't remember/doesn't fully seem to understand the question.

Can't seem to understand that Meenah's asking him to strip because she's trying to check if he has god tier wings, instead enthusiastically assuming that she's asking to have sex with him.

Forgets how to take his own shirt off.

Doesn't understand that Cronus is touching him as a prelude to sexual intentions, just that he doesn't like it.

As is often the case with TBIs, he does have glimpses of clarity, but - whether this portrayal is offensive or not - the clear indication to me is that, within the context of the comic, we should come away with the understanding that Mituna can barely register what's going on, can barely understand what others are trying to communicate to him, and can barely voice what few thoughts he is able to string together. And I think it would also be one thing if he was simply born this way, but again, this is the result of an injury that is portrayed as a terrible thing that happened to him, and his injured state is not a reflection of who he was, and what decisions he would've made, before it happened.

[EDIT (March 02): This keeps being a contentious opinion that overshadows the entire rest of Mituna's section of the essay, so let me clarify.

The through-line of Mituna's entire character is that people are taking advantage of him. Whether or not he is, in fact, fully capable of consent (and this is dubious since it's dubious whether or not he's even fully capable of understanding what's going on around him - please note again that I am NOT saying people with TBIs/neurodivergence IN GENERAL can't consent, I am saying that IN MITUNA'S SPECIFIC CASE it's DUBIOUS), people are still using whatever impairment he has to take advantage of him.

I am also going to state again that whether or not it is depicted well, the comic has also chosen to portray Mituna's injury as one of genuine cognitive impairment. Sollux feeds his lusus mind honey in order to "[help] him not be such a complete idiot all the time. Merely most of the time, instead." The clear implication of Mituna begging for mind honey from his lusus is that it helps him think clearer and more lucidly, because his injury has left him cognitively impaired. Not only that, but this is a healable injury, given that Aranea stresses so strongly that she's capable of literally healing minds (not to mention alternate methods of healing available, such as Life powers or killing/god tiering him). There's a reason that Kurloz is capable of using Mituna as a hypnopuppet after the injury, but doesn't ever have seemed to before.

Because his condition is cognitive impairment that could be considered temporary, and because every single person pursuing him romantically is taking advantage of him, and because the team as a whole appears to have left him deliberately unhealed so that they can take advantage of him, and that's the POINT OF THE CHARACTER - to illustrate how shitty his team is by showing how many of them are willing to take advantage of him - I personally find it more thematically coherent if he cannot, in fact, be considered fully consenting, or at the very least for it to be intentionally uncomfortable that so many people in his team have romantic interest in him only now that he's cognitively impaired, because he's easier to take advantage of like this. It completely tracks with how many of them are also perfectly content to pursue literal children romantically.

Feel free to disagree on this specific issue, but please don't let that disagreement overshadow the greater point that I'm making, which is that Mituna is being taken advantage of. Whether or not he's capable of consent, his party is exploiting his injury-induced impairments - which could have been healed - for their own comfort and benefit. That's the point I'm trying to make here.]

And thus the Heir of Doom has inherited Doom in the worst way, becoming Doom as a force of oppression, bereft of empathy, understanding, or peace.

Latula Pyrope: Insecure Poser, Derelict Duty

Latula is a rad gamer girl... not! This is an act, and she even admits that it's an act.

PORRIM: I just think yo+u sho+uld be yo+urself mo+re o+ften. We already kno+w yo+u are stro+ng and go+o+d at games and all that. Yo+u have no+thing to+ pro+ve. LATULA: y34h. your3 prob4bly r1ght. LATULA: 1ts k1nd of str3ssful som3t1m3s, k33p1ng 1t up! som3t1m3s 1 forg3t to put z33s on th3 3nd of words, 4nd 1 r34lly str3ss out 4bout 1t. #sp3c14lly wh3n 1m off my m3ds

So what's Latula's actual deal? Well, we get a really good glimpse of it here:

LATULA: for most of th3 t1m3 w3 kn3w 34ch oth3r, 1 w4s 4ll l1k3, WHY SHOULD TH3R3 B3 TWO B4D4SS, 1N-YOUR-F4C3 GRLZ 1N TH3 GROUP??? LATULA: sort of ov3rk1ll, r1ght? MEENAH: mehhh #u searious? LATULA: 1 w4s k1nd of v13w1ng you 4s 4 comp3t1tor, 1n l1k3 4 two grl RAD-OFF. 1 w4s w1nn1ng 1n my m1nd, of cours3. but s33, 1 h4d 1t 4ll wrong!!!! MEENAH: did you LATULA: Y3AH! s33, 1m th3 t34mz R4D GRL, wh3r34s YOUR3 th3 t34mz B4D GRL!!!! 1t 4ll m4k3s p3rf3ct s3ns3! do3snt th4t m4k3 SO MUCH S3NS3??? MEENAH: that MEENAH: is the stupidest glubbin thing to require any sorta rationalization i ever heard #p lame tules LATULA: s33 p4ych3ck? 1 kn3w 1 could count on you to b3 just1f14bly cyn1c4l 4bout my n3urot1c bullsh1t. you RUL3!!!

Latula is another character we get little direct development of, so I'll head into classpect analysis early, as she's much easier to understand once we have the context of Knights and Mind players.

Mind governs logic, rationality, justice, karma, behaviors, and consequences. The justice and karma associations are explained as a Mindy Thing by Latula herself:

PORRIM: Did yo+u no+t kno+w that? #Mindfang gave yo+u five #Then left yo+u hanging LATULA: n3v3r r34lly thought 4bout 1t. but now th4t you m3nt1on 1t, th4t outcom3 m4k3s 4ll sorts of s3ns3 to m3. PORRIM: It do+es? Ho+w? LATULA: just do3s, b4b3z. PORRIM: I do+n't really understand karma. LATULA: th4ts c4us3 your3 not 4 m1nd pl4y3r.

Mind players tend to be cunning and manipulative. As the aspect presiding over the "effect" of cause-and-effect, they're finely attuned to the various webs of actions and consequences, but not so much to the inner workings of emotions and identity, which are Heart's domain, Mind's equal-and-opposite. As such, Mind players have a tendency to deemphasize their own emotions, substituting systems of karma, justice, societal attitudes, etc. to make decisions instead. We see this in Terezi's primary character struggle, the way she painted herself into a corner where the only viable outcome was killing Vriska, which happened because she consistently prioritized what Vriska karmically deserved over her own desire to maintain their friendship. In the worst case, their own identity and sense of self can become so confused that they seek out unhealthy relationships with others, in an attempt to supplement their poor sense of personal identity with some sort of external validation - you can see this in Terezi's toxic relationship with Gamzee, or, indeed, with Latula's relationship with Mituna (more on this later).

Knights, meanwhile, struggle with great insecurity. Often provided a significant role by the forces of fate and prophecy, they suffer deeply from imposter syndrome and/or self-loathing, and to help them cope with these feelings, they effect a facade that distances them from their aspect. Karkat, whose aspect presides over bonds and relationships, insists he's a big bad leader who doesn't give a shit about other people, and this breakdown of Blood's bonds culminated in Murderstuck. Dave, whose aspect presides over minutiae, goal-orientedness, and struggle, pretends to be a disaffected cool guy. In the worst case, their insecurity can become so intense that they invest completely into their facades, laying down their weapons and refusing the call entirely. Dave, at the belly of his whale, declares that he won't fight LE, as he "doesn't even think he did anything directly bad to them" - despite Dave literally being haunted by LE for his entire childhood under the guise of Lil' Cal, a detail he'd normally notice, given how often he secretly pays attention (which is a Timey Thing).

Latula struggles greatly with her own personal identity, her anxiety surrounding not having anything unique or standout about her in her friend group. To cope with this, she projects a facade that practically screams its "personality" from the rooftops - she's a dumb but radical "gamer girl". In doing so, she distances herself from her actual aspect - gone are Mind's cunning and intellect, which even Porrim calls her out on:

PORRIM: Yo+u can pretend to+ misunderstand all yo+u want, but we've talked abo+ut this befo+re and I kno+w yo+u're smarter abo+ut this than yo+u let o+n.

But, crucially, it also distances her from Mind's ties with karma and justice. Latula states that, not only does she dislike Aranea, but she can also absolutely understand the chains of karma and destiny that would've led to Mindfang and Redglare having such a contentious relationship that it led to them killing each other.

What else is Latula aware of, that she's completely chosen to ignore, out of desperate fear that it wouldn't suit her image, would make her seem less "r4d"?

Well... let's talk about Mituna. As we've already covered in his section, his ability to consent to this relationship is dubious, and the fact that it's dubious at all is already not a great sign. But I also want to bring up a couple other things. Did you know that, throughout all of Mituna's dialogue - including when he's enthusiastically trying to strip to have sex with Meenah - he doesn't mention dating Latula even one time?

Other characters will bring it up, but Mituna himself doesn't say anything about it. And, again, given that he's enthusiastically ready to get nasty with Meenah... one wonders if he's even lucid enough to know that he and Latula are dating.

MEENAH: look take off your rad shirt deal and lemme see if you got wings MITUNA: 3H3HH3H7H37H37H3 YY35 MITUNA: 7H0NGH7 Y0DU N3V3R 45K MITUNA: 817HCH 4C4M3 4R0UN57 70 MY W1L135 MU7H4FUCK5! #W1L135 #MUH #FUX MITUNA: W417 H3LUP #!!!!!!!!!! MITUNA: H3LP H0W D01 74K3 0FF MY CL07H37H 4G41N? #8( MEENAH: yeah keep your shirt on you made that exchange beyond awful

Hey, maybe he does. He does get sad when Cronus tells him that Latula's only dating him out of pity. But still, the fact that it's in question at all - and also the fact that he's totally up for cheating with Meenah - are bad signs!

But even putting that to the side for a second... what does Latula even see in him? He's constantly saying slurs, he's down to cheat at the first opportunity, he's questionably capable of stringing a coherent thought together... well, good news! It comes up in conversation.

MEENAH: mother glubber MEENAH: seriously didnt think T)(ATD last LATULA: 1dk, th3r3z w4y mor3 to h1m th4n. w3ll, 4ll th3 t3rr1bl3 4nd stup1d sh1t h3 s4ys 4ll th3 t1m3. LATULA: 4nd 1ts 4lw4yz f3lt l1k3 h3 n33ds m3 1f th4t m4k3s s3ns3, 3v3n 4ft3r dy1ng. so th3r3z th4t!!!!

So, let's actually break down what she's saying here.

She feels the need to insult him while she's trying to come up with something nice to say.

She can't actually name anything specific that she likes about him...

Except that he's dependent on her. She likes him because he can't reliably function away from her. Woof.

But I also want to turn your attention to the phrase "way more to him". What does she mean by this, exactly? Does she mean some of the traits he had before his injury? If so, how come it never comes up that Latula wanted to heal him, or tried to heal him? In fact, Aranea - who, again, has a powerset specifically suited for healing minds - comes up in conversation between Porrim and Latula, and Latula doesn't mention ANYTHING about Mituna. She's even on friendly terms with Aranea.

PORRIM: Like, as far as I kno+w, yo+u and Aranea always go+t alo+ng. Didn't yo+u? #Radglare #Kindfang LATULA: 3h 1 gu3ss. n3v3r sp3nt much t1m3 th1nk1ng 4bout s3rk3t, tbh. LATULA: 4lw4ys thought sh3 w4s 4 s3lf 4bsorb3d snooz3, 1f you r34lly w4nt to know. #zzzz #not 3v3n th3 r4d k1nd of z33s

The only other possible indication that they might secretly have a good relationship is that she threatens that if Damara touches Mituna, she'll kill Damara. Now, we'll have to save a lot of this for the Damara part of the essay, but I'll note here that Damara is perfectly pleasant and kind to people she doesn't have any personal beef with, with the example being the human kids. However, since the bulk of her team were complicit bystanders (and even Meenah's friends) in her horrific bullying, she obviously has great anger at all of them. However... if there's any exception to the bystander disease that plagued her team, it would've been Mituna, the only one trying to warn them they were headed for a terrible, bleak ending. Wouldn't he, out of everyone on the team, be someone Damara is fond of?

So, there are several options here... but they ALL make Latula look bad to varying degrees.

Damara really IS a threat to Mituna.

This still makes Latula a bystander in Damara's abuse, and a terrible hypocrite, as Kankri says one of the things he likes about her is her egalitarian, non-casteist demeanor, but she totally let a fuchsia bullying a burgundy slide, but I suppose it's the option that makes her look the least bad otherwise. Again, it seems unlikely, given the way Damara operates, but it's technically possible.

Damara is on friendly terms with Mituna, but Latula doesn't know this, and thinks she's protecting him.

This means she's still a bystander, as described above, but ALSO seems unlikely given we know Latula has Mind insight into webs of karma, and is a lot smarter than she lets on, which brings us to:

Damara is on friendly terms with Mituna, and Latula is keeping them apart deliberately.

Unfortunately, it's possible... she's dating Mituna at all, meaning she's already taking advantage of him. Ultimately, we can't say for sure what's going on there, but I don't think it's as fully innocent as it seems, especially when so much of the rest of her and Mituna's relationship is cast in such a worrying light.

Knights are tasked with leadership positions, and their failures to live up to them result in the breakdowns of their teams. Karkat's failure to manage his team's interpersonal relationships blew up into Murderstuck, Dave's refusal to keep working towards their goals means the bad guys win, and Latula's refusal to engage with the lattices of karma within her team, or deal directly with her own insecurities, means that none of these injustices ever get addressed. Even though Latula isn't a casteists, casteists are allowed to continue on being castests; even though Latula has insecurities about her own disability, those who take advantage of disabilities proliferate; even though Latula commands great respect and admiration from her team, she never comes down with the hammer - and passively allowing evil to exist is the same as picking evil's side.

And so our Knight of Mind is too busy pretending to be something she's not, cutting off her intellect, cunning and acumen, rendering justice a non-entity.

Aranea Serket: Enabled Too Close to the Sun

Aranea's another one of those characters that doesn't really directly seem to contribute to the team's problems as much, and ironically, because we have so much more of her available to peruse, there's a lot less that I need to say. It's pretty obvious what happened - she was always secretly pretty selfish and cruel, and ended up desiring the spotlight so hard that she went power-mad, challenged the Condy, and GAME OVER'd herself.

As a result, I'm instead going to do a classpect read on her, so we can better understand what she contributed to her team before her death. Which was mostly nothing good!

Light is, fittingly, one of the most well-explored aspects in the story. Governing the realm of knowledge, fortune, and vision, its players are erudite, learned, and guiding stars. Light players tend to love the spotlight, to be important, to be acknowledged - this is the crux of both Vriska's and Aranea's respective arcs, but Rose also has a flair for the dramatic, and writes her long-winded Gamespot guide as a form of one-upsmanship to the other extant guides. This desire for external validation, however, means that they're always playing to an imaginary crowd, and they don't deal very well with having that attention taken away from them. Light players are volatile and complicated, attention hogs and drama queens, and they deal poorly with embarrassment, shame, and failure.

But we already know about Light. Light players won't shut up about Light. Let's talk about something a bit more enigmatic: Sylphs.

Aranea presents Sylphs as healers and nurturers, but she's hardly an unbiased source. In fact, bias happens to be a common thread linking Sylphs, and their active counterpart, Witches, together. The struggle at the core of being a Sylph is that Sylphs are enablers.

"Enabler" is the single most consistent word Hussie uses to describe Kanaya, and I don't think it's just her Space aspect at play. Even Kanaya herself discusses how one of her major personal problems is a fascination, an attraction, with "dangerous" people. We see this exact tendency mirrored in Aranea, who has a fascination with her team's resident Thief, too.

In fact, one of the most notable things about Aranea's little expositional blurbs is the way she downplays the cruelty of her teammates, especially Meenah. Meenah's bullying was horrific, constant, and had major undertones of racism/casteism, and here's how Aranea describes it:

ARANEA: So you did your 8est to rile up the crew any way you could. Appealing to peoples insecurities, 8uried hostilities, 8rewing rivalries... needling anyone you could into confrontation with others. Your theory was that increasing everyone's state of aggression would make them 8etter equipped to play the game. And you were sort of right a8out that! 8ut the Alternians would prove it. Not our group, sadly. ARANEA: The poor girl who took the 8runt of your 8ullying tactics was Damara Megido. You talked up her matesprit's 8etrayal making her feel even more dreadful, while pushing him further into the arms of her rival, until she simply snapped. She attacked him, paralyzing him from the neck down. You finally got the aggressive confrontation you were looking for. Unfortunately, you unleashed something even you weren't prepared for, and you had to deal with her yourself. After a long 8loody duel, she killed you. And you would have stayed dead if not for me! ARANEA: You never listened to me. You just kept needling and fussing and meddling until eventually you paid the price, and I had to 8ail you out.

Let's notice where Aranea chooses to put the focus: not on the cruelty of the bully's actions, not on the horrific pain and suffering that Damara must've endured, but on how ARANEA had to save poor Meenah.

In fact, this shocking callousness is a constant fixture of Aranea's exposition. It mirrors Kanaya at her worst, as they both pick and choose their favorites in the team to lavish with kindness and attention, and treat others like objects of ridicule - Kanaya mocks Eridan to his face, and Aranea:

Mocks Latula's inability to smell.

ARANEA: She was truly an inspiration, and proved 8eyond a shadow of a dou8t that any handicap can 8e overcome, and doesn't have to stop you from 8eing as rad as you can truly 8e. MEENAH: wuuut MEENAH: serket are you whistlin through my blowhole with his idiotic shit ARANEA: Yes, that last part was a joke. Lighten up, Peixes!

Mocks Cronus's wizard faith (his one redeeming quality).

ARANEA: Whatever the case, it was pro8a8ly for the 8est, since pretty much everyone who had half a think pan thought it was all a 8unch of ridiculous nonsense. MEENAH: serket why do you got to hate on other peoples religions MEENAH: dont you kno they just as much a load of crackpotty bunk as all your spiritual bullfuck ARANEA: 8ut I........ ARANEA: Yes, I guess I was out of line. ARANEA: Sorry, I was just trying to riff with you little on a mutually disliked acquaintance. Is that really so 8ad? Why do you have to take every opportunity to knock my personal 8eliefs? ARANEA: You can really 8e so mean sometimes.

And says this incredibly out-of-pocket thing:

And says this incredibly out-of-pocket thing: ARANEA: It was almost a little eerie how happily she complied with our plan. What did Rufioh say she said? Something a8out how we would all finally get what we deserved... ARANEA: Which at the time, I thought sounded chilling. 8ut there's really two ways of looking at it. One is how the Scratch re8ooted our world into a state of pure chaos, culminating in the annihilation of our universe. 8ut on the other hand, we all got the chance to live out our wildest fantasies as adults on Alternia! ARANEA: At least you and I sure did. And I wouldn't dou8t she feels the same way.

Yeah, it sure was Damara's wildest fantasy to be abused by Doc Scratch to the point of making actual suicide attempts to escape him... and Kankri's wildest fantasy to be troll crucified, and all his friends' wildest fantasies to be hunted down for their association with him and turned into slaves, exiles, or worse... or Porrim's wildest fantasy to be raped by Mindfang.

But apparently that's part of Aranea's wildest fantasies, huh?

We also see from the Terezi situation - where Aranea first frames her abilities as "healing" and "nurturing," and makes an offer to heal Terezi's eyes as an attempt to help her "heal" from her emotional wounds - that Aranea has no idea what healing is at all. Rather, she helps people avoid (Void) what they're hurting from, what they should confront, grapple with, and accept, in order to truly move on. Knowing that Void is associated with sexual pleasure and vice, and that an Aspect often resembles its counterpart when its player is at their worst, what does this say about Actual Rapist Marquise Spinneret Mindfang, or the Jake-kissing Aranea?

Light players have an innate sense of the spotlight, and an understanding that, for it to shine on one person, it must necessarily be taken from another. Aranea enabled the two Thieves in her (after)life until they chummed up so much that they didn't give a shit about her anymore, at which point she decided to enable the one bastard she could count on - herself. And in attempting to hog that spotlight all by herself, she cosigned the entire timeline to obscurity.

And so our Sylph of Light leaves a legacy of cruelty, toxicity, suffering, pain, and oblivion, her light a poison, not a salve.

Kurloz Makara: Gave Up On "Better"

I do want to go through some Kurloz stuff before I launch into the classpect things, most notably that he's really utterly vile by the time we see him. Before his Prince meltdown, which we'll get to, perhaps there was something redeeming about him, but by the time we get to see him in the comic, he's lost any respectable qualities.

Kurloz is an adherent of the same religion as Gamzee, although, somehow, he carries even less hope than Gamzee does. Let's note the basic tenents of their faith:

You belong to a RATHER OBSCURE CULT, which foretells of a BAND OF ROWDY AND CAPRICIOUS MINSTRELS which will rise one day on a MYTHICAL PARADISE PLANET that does not exist yet.

Now, exploring this faith, and the way its interpretation changes throughout the comic, could be an essay of its own, but what's important to note here is that Kurloz will never see its fruition. He's dead, and neither has the ability to revive himself, nor the desire to do so. Thus, it follows that his personal interpretation of their faith must be darker than Gamzee's - Kurloz has so utterly given up on himself and his team that being cosigned to utter oblivion, destined to double-die by their godhead's rainbow breath, seems like a totally great outcome that Kurloz both wants and is working toward. The paradise planet doesn't actually matter to him - the act of betraying his friends, and getting everyone killed (and double-killed), seems reward enough.

KURLOZ: WE SHALL NOW BUST OPEN THESE BITCHIN ELIXIR FORTIES KURLOZ: AND POUR SOME SWEET SWILL OUT FOR THE SOULS WHO SOON WONT BE NO MORE #:o)

To that end, he's willing to lie to his teammates, and use the two people closest to him - Mituna and Meulin - as literal slaves, furthering LE's goals and pushing for LE's existence, making him one of the most direct forces acting against the dancestors.

But, as I said earlier, he didn't start out this way - so how did he get to this point of utter clowny despair? Well, let's take a look at what it means to be a Prince of Rage.

Princes have a fairly simple arc to discuss, though actually dealing with a Prince is arduous and difficult. Princes are, in a very masculine way, driven by an anxious forward momentum, by feelings of duty, by a masculine need to appear strong and take on burdens. Dirk is the most anxious of his team about their fate to sit around and wait, and Eridan's entire character has been shaped by the duty he had to keep Feferi's lusus placated.

However, these driving forces tend to make Princes controlling, aggressive, volatile, and nasty, and it's difficult to even be near one, let alone help them deal with their emotional problems. Thus are princes on a marching path to self-destruction, overtaxing their engines, burning themselves out. And given that one's "self" is tied inextricably to their aspect, this means that they take their aspect with them.

Thus are Princes on a ticking timer, and left untreated, they'll suffer a spectacular meltdown, which removes from play themselves, their aspect, and whoever is unlucky enough to be in the same room. We see it with Murderstuck, where Eridan goes on a Hope-crushing murder spree, and we see it when Dirk's trickster tirade utterly shatters Jake's self-confidence and self-worth.

But before that meltdown occurs, Princes suffer from an overburdening of their aspect - Eridan is a hipster (Hope and conviction), and burdened by several layers of political beliefs and societally-imposed duties. Dirk is solipsistic (Heart and the self), and is burdened by self-loathing, amplified by all his splinters and Hal staring back at him.

Kurloz's aspect is Rage, one of the most enigmatic, but I'll do my best here. Hope is, after all, fairly well-defined - a transformative force that imposes a new reality onto the old. Rage, its equal and opposite, is similarly a force that defines reality - but it does so by striking things from the record (something both Gamzee and Kurloz are noted to do, the former removing references to himself from recountings of his team's story, the latter creating intricate labyrinths within the bubbles to hide their clowny conspiracy with). Rage encompasses anger, but also the emotions of fear and shame - transformative energies that are the core of great acts of revolution, but also volatile, and prone to great destructiveness. Rage players "tear down false truths" - meaning, they define reality by closing possibilities, crafting meaning from the past by the power of interpretation. Hope is fanfiction, and Rage is literary criticism. Hope pens in something new, and Rage strikes out what it deems unacceptible.

Kurloz, before his turn, is characterized primarily through a single major incident - having a dream so terrifying that he screamed loud enough to deafen his matesprit, and feeling so ashamed of himself (shame being a Rage-associated emotion) that he sewed his own mouth shut in penitance. Given the way Princes are overtaxed by their aspect, it's likely that this isn't the only great shame he was bearing.

He and Damara appear to be on secretly decent terms - she is, after all, a Lord English believer, and who else would she have gotten that religious leaning from? Moreover, Kurloz and Mituna were close, if not actively dating, and Mituna was the one member of the team who seemed to give a shit that they were hurtling themselves towards oblivion.

This means that Kurloz, in all likelihood, was actually on Damara's side, and aware that his team was being shitheads - but he never said anything, later because of his vow of silence, but earlier, because it was himself he was most ashamed of. It's unclear what the inciting incident of his final meltdown was, but given the far-reaching consequences when a Prince does have their meltdown, this is likely the "disaster" that Mituna was attempting to stop - a situation that echoes how Feferi, Eridan's ex-moirail, turning on him to kill him was what finally pushed Eridan over the edge into full-blown murder. Kurloz is likely both the disaster Mituna was trying to avert and the source of Mituna's injury; subsequently, his team was dealing with a post-meltdown Prince and the destruction of Rage.

As I mentioned before, Rage is a revolutionary force, a force of upheaval and change. It's likely that the Mituna injury happened fairly late in the game, concurrent to or shortly following Damara's rampage, because the lack of Rage is starkly present in the six years following the Reckoning, where the dancestors did fuckall. But there's one other place where the dancestors' lack of Rage is present: ever notice how they don't have a single blackrom?

We'll get more into that when we talk about Meulin, but for now, I'll just say that this is directly Kurloz's fault. No blackroms, no conflicts, no change... Kurloz's meltdown was allowed to happen with no one the wiser. Rage, at its nadir, begins to resemble Hope - it gains a steadfast, religious conviction to the belief that nothing matters and everything must be torn down. We see this in Kurloz, whose spiritual belief is, functionally, that all that he and everyone else deserves is utter oblivion.

And so our Prince of Rage can no longer be swayed, a force of religious inertia, directing all beings headlong into oblivion.

Meulin Leijon: Healthy Relationship? IDK Her

Meulin Leijon's ships are all rancid. Unfortunately, they also all come true. This makes Meulin one of the most direct and overwhelming contributors to the dancestors' extant emotional problems, and why every single one of their established romances is a dumpster fire (and, conversely, why none of the healthy ships hinted at - pale Latula/Porrim, for example - are never established).

But to explain that, we have to back up and explain how Mages work. But I'm a bit tired of typing, so I'll just let Terezi and Sollux explain it instead:

TA: 2o yeah. TA: we wiill all diie but mo2t e2peciially me, end of 2tory. GC: BUT GC: DONT T4K3 TH1S TH3 WRONG W4Y BUT HOW C4N YOU B3 TOT4LLY SUR3 4BOUT 4LL TH4T? GC: HOW DO YOU KNOW SOM3 OF TH3 R34L V1S1ONS YOUR3 H4V1NG 4R3NT G3TT1NG K1ND OF T4NGL3D UP W1TH UHHH GC: SORT OF TH3 W4Y YOU 4R3 4BOUT YOURS3LF TA: what do you mean. GC: HOW YOU G3T MOP3Y 4ND YOUR3 4LW4YS TH3 V1CT1M OF SOM3TH1NG 4ND HOW SOM3T1M3S YOU TH1NK YOU SUCK WH3N YOU R34LLY DONT GC: M4YB3 TH4T 1S CLOUD1NG YOUR V1S1ON?

Mages are the active counterpart to Seers, as they're both classes concerned with glimpsing the future. Sollux is most obviously a prophet, gifted with vision twofold and Doom's natural prophetic insight, and at first this doesn't seem to suit Meulin... until you realize that matchmaking is commonly considered a form of divination, and "matchmaker" is Meulin's signature profession.

However, unlike a Seer, who's privy to all the myriad branching paths the future can take, Mages seem to know which of these futures will definitely happen for sure. This seems to be contradictory - how can multiple branching paths and set-in-stone futures coexist, when the comic - and Hussie - explicitly tend to frame even the Alpha Timeline as a result of player choices, and not predestination?

But it makes sense if you turn it around - it's not that Mages are privy to a set-in-stone future... it's that the Mage powerset allows the Mage to set a future in stone. They aren't PREDICTING the future, they're PREDETERMINING it.

This is an incredibly powerful ability, and to balance it out, Mages start out sad, and this sadness and pessimism colors their visions and causes the futures they pick out to be shitty. Terezi directly calls out Sollux's chosen future for being a reflection of his self-loathing and victimization, but wait, isn't Meulin super cheerful?

No. Actually, she's fucking miserable.

HORUSS: 8=D < She's taught me to get in touch with my anger. Through a moderately discernible series of enthusiastic mimes, she has made it clear that it is much healthier to crush all negative emotions beneath a stampede of positivity, and to always be cheerful and upbeat no matter what, even if projecting that facade is at times physically painful. #Such as #All times.

Vriska also later makes mention of how Meulin seems to have a "fascin8tingly dark history", further driving home the point that Meulin's hyperactive, friendly demeanor is a front for some really deep sadness on her part.

Heart is the aspect of the soul and the self. Its players are preoccupied with identity, and naturally talented at sussing out motivations, emotions, intentions, and desires. Nepeta's ships are usually wrong, but she clocks romantic interest correctly - she's able to pick up on Gamzee's palecrush toward Karkat, and Tavros's something-something towards Dave. Dirk, too, has an arc defined by romantic interest, feelings that ultimately don't pan out.

Moreover, Heart players are very vulnerable and sincere, and can't really help it. Divesting Dirk from Hal (whom I'm personally convinced is both his own separate entity and not even a Heart player), Dirk is incredibly straightforward. His idea of manipulating Jane is to directly tell her he's manipulating her. Nepeta's sincerity probably doesn't even need to be said.

But the flipside of this sensitivity towards the emotions of others is that Heart players are often doormats. They tend to prioritize the desires of others - Nepeta being bent to Equius's whims, and Dirk's neediness towards Jake manifesting as some embarrasing "forget how I feel, tell me what YOU want" texts. Their vulnerability also makes them easily hurt, and they tend to retreat into themselves out of fear of pain - Dirk outright states that his aloof demeanor hides the feelings his team has been trampling, while Nepeta expresses that she's afraid to engage too much with others because she's scared they'll mock her for being silly and stupid.

Thus, Meulin's situationship with Kurloz is cast into a much more uncomfortable light - and it was already pretty damn uncomfortable. Being deafened clearly hurt her emotionally, to the point she formally broke up with him, but he is still basically dating her, practically holding her hostage between her natural doormat tendencies and the actual mind control he's using on her. Her relationship with Horuss isn't much better, given the breathtakingly awful way he speaks about her:

HORUSS: 8=D < E%actly. Whoof would have thought? If you a%ed me before we all died whether I would consider romantically pairing with a r*d*culous midb100d, let alone Ms. Leijon of all people, I'd probably have died regardless, due to laughter-induced asphy%iation.

Yikes. Yikes all around. Welcome to yikes town.

Thus, Meulin is miserable, and has never been within ten miles of a healthy relationship - is it any surprise, then, that the ships she sets up for all her friends are similarly ill-fated? Let's not forget, the one ship she's actively seen making is Meenah and Karkat - an adult and an actual child.

MEULIN: (=^-ω-^=) < NOW, BEFORE I WORK MY MAGIC, WE SHOULD GET ONE THING CLEAR. IS YOUR YEARNING RED OR BLACK? MEULIN: (=ＴωＴ=) < I AM ONLY ASKING TO BE ABSOLUTELY CERTAIN, BUT METHINKS THERE IS BARELY ANY DOUBT ABOUT IT. SOMMMEONE IS WAXING SCARLET FOR A LOUD, YOUNGER KANKRI, HMMMMMMMMM?

And it's after this that Meenah develops an "increasingly manic obsession" with Karkat.

You got a CLAWSICKLE! You absolutely love this due to its nautical nature. Also, hoarding items such as this will nicely complement your increasingly manic obsession with Karkat.

This is the secret behind Meulin's abilities as a "miracle worker when it comes to match making". As a Mage of Heart, she's directly picking out futures in which certain characters develop feelings for others - and, as a result, every single existing romance within the dancestors is highly suspect.

But what's also suspect is the lack of certain romances, namely the blackroms. What's going on there? Well, as Meulin herself says:

MEULIN: ~(=^‥^)ノ < GENERALLY I STICK TO THE RED MATCHUPS WHILE HE ADVISES ON BLACK. HE'S 33RILY TALENTED AT PICKING BLACKROM PAIRS! PROBABLY EVEN BETTER THAN ME...

Like how he's exerting control over the state of their death by using Mituna as a puppet, Kurloz is exerting control over their relationships via Meulin, killing their rage - their ability to effect change and grow - at the source.

And so our Mage of Heart has had hers trampled over so many times that she's unable to conceive of a future where lovers are supportive and kind, not destructive and cruel.

Horuss Zahhak: Albatross with the Gravitational Pull of a Black Hole

Finally, we're getting to the biggest Mess of all: the Damara situation. Horuss is our starting point here, as he's the eye of the storm - while he's the least directly culpable for Damara's rampage, he's the inciting incident, as Pages often are.

Horuss's flaws are glaringly obvious - he's a virulent casteist, he's an affair partner, he feels no guilt for the harm he caused Damara, he's really only looking to satisfy his own sexual desires, and he's too bullheaded to listen when people tell him things he doesn't want to hear.

He actually spends quite a bit of time talking about his aspect, and the journey he took to "understand" it. That saves me some time.

HORUSS: 8=D < My path was similarly governed by my aspect. For the longest time, I felt as if I was a blank sheet of paper. Like I had to make myself out of nothing. HORUSS: 8=D < And so I began to listen closely to the void within myself and corral the various personal attributes I herd calling to me. [...] HORUSS: 8=D < And in following sweeps I would keep turning my mechanically augmented, acute equine ear back to the abyss within, and continue to discover more about myself. I would learn that I was more complicated than I ever imagined. [...] HORUSS: 8=D < The second is how if you are faced with any crisis of identity whatsoever, it's really important to do your best to manufacture esoteric features of your personality and believe in them very STRONGLY and tell people about those things as frequently as possible.

Again, we aren't going to get into the plurality of real life people, this isn't the essay for that. In the context of the comic, because the failure of the dancestors is a foregone conclusion, and because Horuss is especially vile and clearly not aspirational, what he is describing is, in fact, an abject failure of Void, and a failing of his character.

To get into it, let's break down what a Page of Void is, and what arc they're "supposed" to undertake.

Pages are defined by their limitless potential.

TT: Pages have a lot of untapped potential. TT: That's practically all there is to the class, actually. TT: But when they eventually find it, look out.

AA: y0u picked a t0ugh class tavr0s! AA: n0ne 0f the really useful c0mbat abilities c0me int0 play until y0u reach a very high level AA: but i supp0se it will be rewarding when y0u get there

They're magikarps - very strong at high levels, very weak at low ones. So weak, in fact, that they're defined by a lack of their aspect when they initially start the game. Tavros, the Page of Breath - Breath governing freedom and independence - is wheelchair-bound and under Vriska's thumb. Jake, the Page of Hope - Hope dealing in conviction and belief - is constantly called "wishy-washy," and has absolutely zero standards when it comes to his taste in media (contrast Eridan, who's functioning with too much Hope as per his Prince class, who's a hipster that castigates Kanaya for liking Troll Twilight).

And Void is simplicity - its two other heroes, much more representative of the aspect, embody this well. They are what they are, they like what they like. Roxy loves wizards and, as mom, loves her daughter; Equius loves horses and archery and being STRONG. Void is also associated with sexual pleasure, vice, and taboo, with Roxy's "sauciness" being something characters often comment on and her alcoholism being so foundational to her character, while you can't talk about Equius without talking about his BDSM fetish.

In fact, we can see this interplay between Void's simplicity against Light's penchant for complexity in the introduction of Rose's mother. Rose has concocted in her mind a grand, elaborate narrative where her and her mother are locked in a deady contest of one-upsmanship, that her mother's various gifts and wizards are part of some sort of ironic or passive-aggressive mind game. The truth is, Momlonde just loves wizards and dotes on her daughter. No mind games whatsoever.

So when Horuss talks about how "complicated" he's decided he is, this is a Page's penchant for regression, for aspect deficit. Horuss refuses to be honest with himself, to deal with his actual emotions of frustration, anger, and emptiness, and instead turns to complication to try to explain them. He complexifies everything he gets involved with - his affair with Rufioh is clearly a symptom of some fetish he has for dating down the hemospectrum, but he refuses to admit to it, instead claiming at first that it was simply a "fleeting dalliance" or "exploration," and then claiming it to be true love.

The one Void trait he does seem to have in excess, however, is its tendency to get so caught up in its own personal pleasures and desires that it becomes pushy to others, drowning them out, resembling Light's spotlight hogging. Equius did this to Nepeta, and Roxy would attempt it with Dirk sometimes, aggressively flirting with him despite his homosexuality. Horuss simply talks over Rufioh, not listening to a thing he says.

Also, another point to how interwoven everyone's issues are, Kankri shows up to enable Horuss and tell him to keep being complicated. Also, Kankri doesn't comment AT ALL on Horuss's constant use of slurs and casteist language. So thanks again Kankri. For nothing.

The problem with Pages is that their failures aren't contained to themselves - their weakness becomes like a black hole, an albatross about the party's neck, and they're often right at the center of major catastrophes - maybe not the direct cause, but often an inciting incident. Tavros was ultimately at the center of the Team Charge debacle, and the Jakestakes tore apart his entire team.

HORUSS: 8=D < It was only to be a very private, fleeting dalliance with a BUOY, but the whole thing became so quickly scandalized. #A spur of the moment affair, really. HORUSS: 8=D < And soon others were whisked into it such as you and the vengeful rust b100d, and... well, imagine my embarrassment. Trust me, the last thing I wanted was for royalty such as yourself to know I was pursuing forbidden b100d. To be caught with my hoof in the chocolate jar, so to nicker.

And so our Page of Void, by dint of the complicated web he's woven about himself, has ensnared others in his orbit of total irrelevance and inability to move forward.

Rufioh Nitram: Desperately Escaping Responsibility

Let me speak for everyone when I say, "Rufioh, you cheating piece of shit!!!!!!!!!!!!!!!"

Rufioh, too, has his failures on brazen display. He's weak-willed and spineless, has been trying and failing to break up with Horuss for eons, and cheated on his girlfriend, but has the nerve to ask her for romantic advice.

However, what I want to really focus down on is that the specific flavor of his spinelessness is a refusal to take responsibility. He constantly claims that he "doesn't know" why Damara got more and more upset at him:

RUFIOH: and for some reason... st1ll don't know why... damara just started go1ng a l1ttle more nuts every day... gett1ng more and more jealous when she knew we were hang1ng out...

But clearly this isn't true, because he tells her to get over it.

RUFIOH: d*mn... so cold, g1rl. why can't you let the past go?

He also constantly calls her "crazy" and "jealous," framing the story as though she's the one who went totally nuts, and washing his hands of his involvement.

Remember how I mentioned that Blood tends to be overly responsible? All the way up there, when I was talking about Kankri. Well, meet Blood's counterpart. Breath is, at its best, a force of freedom and liberation - look no further than the Summoner, Rufioh's Alternian counterpart. But at its worst, it tends to be callous and immature, youthful but irresponsible. Rufioh does everything he can to avoid having to take responsibility, whether that's wilting from breaking up with Horuss, avoiding culpability for hurting his feelings, or downplaying what he did to Damara.

This youthfulness is the source of their charm, and all three Breath players share it - John loves his dumb cheesy movies well into his teens, Tavros loves Pupa Pan and Fiduspawn, and Rufioh loves kiddie anime. It's not harmful in and of itself that they like childish things, but it often goes hand-in-hand with a refusal to grow up.

Ironically, they can become so avoidant of responsibility that they wind up trapped, like Tavros was with Vriska, or Rufioh is with Horuss. If you never acknowledge that there is a problem, you can never begin to fix it. But where does being a Rogue come in?

Well, Rogues are natural-born rebels. Nepeta is the only Alternian troll to outright say that the hemocaste is stupid and casteism shouldn't exist:

AC: :33 < and i dont know anything about classes or bases or blood color, it doesn't matter! AC: :33 < what does gr33n blood even mean! it doesnt mean anything to me and it shouldnt mean anything to anyone else!

And Roxy is the most motivated in her friend group to stick it to the Batterwitch. The problem is, while they have unrest and rebellion deep in their souls, they're often at a loss as to how to address it, make it more than just a thought. This leads to them rebelling for the sake of rebelling, breaking taboos and defying commands. Nepeta refusing to listen to Equius telling her to hide and stay put directly leads to her death, and even Roxy nearly blew Jane up with a fake SBURB application in a misguided attempt to defy the Condesce.

And Rufioh? Well, Rufioh cheated. Hard as he could. For a long, long time. Started before he entered the session. Spent the whole time gaslighting Damara and calling her crazy and jealous. After all, if he actually came out and said that he wasn't happy with her and wanted out of the relationship, she'd be upset with him, and he'd have to be responsible for that. Can't have that!

And so our Rogue of Breath has been trapped in bondage, having gone willingly in chains, because the alternative - freedom and responsibility - were too difficult for him.

Damara Megido: Babe I'm So Sorry, You Didn't Deserve That

So I'm going to address a pretty common fandom take, by first divulging some personal information. I'm Chinese diaspora; my parents were both immigrants. Obviously, I can't speak for every Chinese person, and especially not every Asian, but at least from my perspective, Damara isn't racist. She's just actual representation.

Yes, Damara plays into several stereotypes, most notably the oversexed Asian schoolgirl - but that's part of the greater point that the comic is trying to make. Hussie has a long habit of putting the reader in the shoes of the characters who are wrong in a situation - for example, having the reader mock Eridan together with Rose, Kanaya, Jade, and Gamzee, or indeed, having the reader sympathize with Meenah Peixes, and hear the story from the point of view of Meenahs' biggest enabler.

Damara's google-translate quirk makes her text difficult to understand, to the point a lot of people won't even bother figuring out what she's saying, and her design makes her seem like a flat stereotype, because this is how her team sees her. And as I have extensively covered in this essay thus far, Damara's team were unbelievable assholes for doing so.

Let's look at her situation objectively for a second, and you'll see what I mean. Damara grew up with the Lost Weeaboos - she was already there when Rufioh ran into her, after he joined up after his wings came in. Yeah, Damara was the original Lost Weeaboo, not him. She was an immigrant from East Beforus, and couldn't speak English, and was seemingly only included in the friend group so long as Rufioh was translating for her - something he doesn't do when he deems it would cause problems (for him).

RUFIOH: 1f people knew some of the sh*t you sa1d... how you say crazy sh*t l1ke you want to serve h1m... f***! RUFIOH: 1t wouldn't be cool... people would fl1p... RUFIOH: h*ll, d1dn't you hear meenah was try1ng to ra1se an army to k1ll h1m? RUFIOH: 1f she could hear some of the th1ngs you told me... sh*t... 1 can't ever let her f1nd out... RUFIOH: 1f she knew, you'd both start f1ght1ng aga1n... #}:(

Not to mention, she's a burgundy, the bottom of the hemocaste, and implied to be pretty poor, too, given... she was living in the woods with the Lost Weeaboos.

Before the game even starts, Horuss starts visiting Rufioh in the woods, something that starts as an emotional affair, but quickly becomes more than that. Damara catches on pretty quickly, becoming more and more jealous and angry with him as the affair continues, but Rufioh gaslights her and lies to her about it until Meenah discovers the affair and blows it out into the open. Damara breaks up with Rufioh, but Meenah continues to use the affair to mock and degrade her.

ARANEA: The poor girl who took the 8runt of your 8ullying tactics was Damara Megido. You talked up her matesprit's 8etrayal making her feel even more dreadful, while pushing him further into the arms of her rival, until she simply snapped.

Can you even fucking imagine? Damara has nobody else to turn to. Not only are half the people on the team Meenah's friends, not only is Meenah the rich and powerful fuchsia-blooded heiress, while Damara's a poor, immigrant rustblood, but no one on the team besides her ex - who is running around slandering her for being "crazy" and "jealous" - can even be assed to learn her language. She can't defend herself, and even if she tried, nobody would listen. To them, Damara's just a flat stereotype - the meek and docile Asian waifu who speaks engrish and puts chopsticks in her hair.

This is like... actually just what a lot of poor immigrants, not even necessarily Asian ones, have to go through. Damara's struggles are incredibly relevant, and her reaction is very realistic, too. She snaps and decides that she hates everyone and outright wishes for their demise and double-demise. In this context, her hypersexual language is a form of reclaiming power - nobody cared about what she had to say, so now she doesn't care what they have to listen to. It's one of the only petty vengeances left to her, and notably, she doesn't do it towards people she doesn't have beef with - the human kids - and the fact that Rufioh can speak her language at all is why she's still willing to go so far as to call him a friend, even after all the horrible shit he did to her.

RUFIOH: um... you can keep a secret, r1ght? DAMARA: はい、もちろん。私はあなたの友達です。[Yes, of course. I am your friend.]

And death hasn't made anything let up for her. She tells Meenah to go double-fuck herself, and Meenah assumes that they're totally cool now, even though Meenah didn't even so much as say "sorry".

DAMARA: あなたのデュアルフォークを取る。二回自分自身をファック。 [Take your dual fork. Fuck yourself twice.] [...] DAMARA: 私は何も後悔はありません。[I do not regret anything.] MEENAH: apology accepted

Sorry for getting heated, but what happened to Damara - and the fact that the fandom often sides with her bullies in calling her a flat stereotype - is very near and dear to me. The Damara situation casts a pall across the entire rest of the dancestors. Despite how cruel the circumstances were, how objectively unjust they were, how obviously Meenah was the aggressor and Damara was a victim, how clearly delineated good and evil were in her situation, and how big of a problem this became, nobody intervened, nobody tried to stop it, nobody stood up for her. Every single member of the team is an irredeemable asshole by this simple fact alone, except maybe Mituna, and even then, that's a maybe and nothing more. All of them are complicit in abuse, complicit in oppression, and complicit in bullying - if not worse.

Witches are creatures of emotion. They grow up as "outsiders" to society, and as such, are very easy to sway - as they lack societal senses of right and wrong, good or evil, they tend to rely on their own emotions to navigate the world instead. This also means it's very easy to flatter the Witch into believing in something cruel. Feferi loves casteism because being a princess is awesome, and she loves feeling like she's better than other people. Jade constantly allows shitty boys to trample all over her, and the trolls consider her most culpable for Bec Noir's creation because she blindly follows the prophecies of her beloved future-telling clouds, taking direct action to doom them all.

Damara's still friends with Rufioh because he bothers to speak her language at all, even though he does nothing but gaslight her, badmouth her, and use her to his own convenience. She follows the teachings of Lord English because her feelings have been hurt to the point where oblivion sounds like a great idea.

Time is about persistence, goal-orientedness, details, and minutiae. However, its players can often become so tunnel-visioned, so frustrated, that they become destructive forces of anger and rage. In the worst case, this destructive frustration causes them to become overwhelmed with a sense of futility, something that superficially resembles Space's big-picture thinking, or its tendency for passivity. Time has ties to entropy and death, and unfortunately, Damara has come to embody that for her team.

But, most crucially, Witches cause change.

The dancestors' session is victim to a glitch that ultimately renders it unwinnable - they didn't perform their own ectobiology. Such glitches are described as the "calling cards" of Lord English, his way of reserving a universe to destroy. But, as discussed above, LE did not actually exist until the dancestors brought him into their session by scratching it.

It's stated that, after her initial rampage, Damara began performing acts of "timeline sa8otage" up and down their timeline. I believe that it's during this time that she wound up causing the ectobiology glitch - retroactively rendering their system unwinnable, forcing them into the Scratch. After all, Damara knew what would result from the Scratch - Kurloz had inducted her into his religion by that point, and she was heard muttering that the Scratch would deliver them all "what they deserve".

And so, our Witch of Time was tempted by the forces of evil, and ultimately led them down the path of destruction, closing down all options until they had no choice but to Scratch, and - of course - though the dancestors had one last chance to back out, choose the selfless option, and let no more harm come of their actions - they picked the selfish option, and passed their problems onto the next generation.

Meenah Peixes: Ultra-Bitch

Meenah is her team's leader, and she represents the worst aspects of her team - the casual cruelty, the lack of responsibility, the kid-kissing, the failure to grow up. In a way, there's no leader more fitting.

The greatest thing she contributed to her team was her ruthless bullying, which didn't do anything but make everyone feel worse about themselves. Of this bullying, Meenah's favorite target was Damara, but we already covered all that in Damara's section. I want to talk about some of Meenah's other failings here, because I think the comic did such a good job of unreliably narrating her escapades that even many in the fandom seem to think she's a much better person than she is.

In truth, Meenah is a toxic friend, a bad influence, and her "cool"ness serves as a smokescreen to cover the depravity and cruelty of her actions. She is consistently running away from responsibility, consistently taking advantage of weaker-willed individuals, consistently constructing a narrative around herself where her actions were justified and anyone who disagrees with her is just a lame loser. In reality, she's just a rich bitch mean girl. A bog-standard bully. Someone who thinks literal children are pursuable romantic targets. You can't lose sight of this.

MEENAH: i dont verbally torture my cray schemes like all the serket girls MEENAH: and that works ok for me MEENAH: guess i made some mistakes but who really gives a flip [...] MEENAH: i just MEENAH: did shit MEENAH: and the shit i did MEENAH: meant only the things the shit accomplished MEENAH: and if that shit accomplished a dumb thing that sucked MEENAH: then i guess thats what you call a mistake and oh fuckin well

Sure, Meenah. Your deliberate, constant, unrelenting bullying, the active choices you made over, and over, and over again, are completely excusable by just saying "they were some mistakes" and "oh well".

Meenah ran away from responsibility four times over the course of her story: the first time was running off to the moon because she didn't want to be heiress; the second was blowing up her home planet rather than dealing with succession; the third was cooping herself up in her moon palace until a bigger threat presented itself, and the fourth was encouraging Vriska to give up on struggling against Lord English and run away with her and the LE-killing treasure. Not only that, but she tries to convince Karkat to jump off the meteor with her to fight LE - something that's framed in that conversation as a literal act of suicide, as LE is still, as far as Karkat and Meenah know, invincible, immortal, and unbeatable.

Speaking of her conversation with Karkat, let's zoom out for a second and take it in objectively. I think many are tricked by Karkat's softness and vulnerability here into thinking that the conversation they have together is cute or wholesome, but that isn't the case. First of all, let's remember that Meulin has just implied that Meenah's got some romantic feelings for what is - again - an actual child (I think he's literally 14 here). So. Yeah. And then second, let's remember what Karkat's arc is.

Karkat is a mutant, and has lived his life alternately in fear that he'll be killed if anyone ever finds out, and filled with self-loathing, since he knows it means he'll never be accepted by society. Moreover, he's aware of the prophecy that he's supposed to be Troll Jesus's second coming, and he's deeply insecure about it.

MY BLOOD IS NOT FIT TO FLOW THROUGH A SEWER, AND MY SIGN IS A PICTOGRAPHIC SYMBOL THAT LOOSELY TRANSLATES AS "PLEASE HIKE THESE PANTS UP TO THIS GUY'S ARMPITS, CHAIN HIM TO A FLOGGING JUT, AND MAKE A FUCKING EXAMPLE OUT OF THIS SORRY SACK OF SHIT." WHEN I LOOK IN A MIRROR, MY REFLECTION SLOWLY SHAKES HIS HEAD WHILE I WET MYSELF IN SHAME.

The fact that he knows that his ancestor is the Signless puts his initial desire to join the Threshecutioners in a very sad light. As he tells Meenah, he harbored fantasies that he would fight so well that they'd let him join, in spite of his blood color, even knowing objectively that they'd probably just kill him on sight.

KARKAT: THEY WERE LIKE THE DEADLIEST SQUAD OF INTERSTELLAR FIGHTERS UNDER THE COMMAND OF THE EMPRESS. THEY HELPED CONQUER MORE PLANETS THAN ANY OTHER IMPERIAL FORCE. BUT IT WOULD HAVE BEEN IMPOSSIBLE FOR ME TO MAKE THE CUT, BECAUSE OF MY BLOOD. SO I USED TO THINK OF ALL THESE ELABORATE SCENARIOS TO HIDE MY BLOOD COLOR. OR IN THE MORE RIDICULOUS FANTASIES, MAYBE I COULD EVEN PROVE MY WORTH AS A SOLDIER? LIKE JUST BE SO AWESOME WITH A SICKLE, THEY WOULD JUST HAVE TO MAKE AN EXCEPTION. MAYBE EVEN BE LIKE A FOLK HERO AND RISE THROUGH THE RANKS TO BECOME THE LEADER. HAHA.

He desires, so so so deeply, to be accepted. He hates himself - this is the first thing revealed to us in his introduction.

Your name is KARKAT VANTAS. As was previously mentioned, it is your WRIGGLING DAY, which is barely even worth mentioning. It is an anniversary, if anything, to lament the faults of your existence, of which there are assuredly plenty.

As a result, he's equated societal acceptance with self-worth - tricked himself into believing that if he can gain the approval of society, the approval of the Condesce, then he'll finally be able to feel less like a worthless, kill-on-sight miscreant.

This is the lens we must look through his conversations with Meenah through. These are not soft, tender exchanges where Meenah helps Karkat deal with his emotional issues. This is the young adult version of the Condesce trying to tempt a literal child into suicide, leveraging his desire to be accepted by her in order to stroke her own ego. When he says Alternia was great, that's a bad thing. Alternia sucked, and it sucked to him specifically, but he wants to be accepted by it so badly that he's willing to act like it was awesome. When he says he respects the Condesce, that's terrible. She's an evil monster who directly caused all his and his friend's problems, a monstrous, genocidal dictator who revels in bloodshed and misery. And when he says:

KARKAT: OH, BUT ON ONE CONDITION. AS THE NEW EMPRESS, YOU HAVE TO APPOINT ME AS GRAND THRESHECUTIONER OF YOUR ARMY. DO WE HAVE A DEAL? MEENAH: oh yes yes you got it yessss

This is sad, actually. This is just really sad. Karkat wants to be accepted so, so badly that he's willing to jump off the meteor on a suicide mission. He wants it so bad that he's willing to lie down and let the forces of fascism, oppression, cruelty, and evil win, just for a crumb of validation.

And, yeah, it's romantic to Meenah. Just to be clear with everyone.

MEENAH: i was standin around in shoutkats place when it all dream switched on me outta nowhere [...] MEENAH: and i think MEENAH: we might be goin on a date later?

Hey, remember how she's 19 and he's fourteen fucking years old?

So, yeah, later on, when she starts having little giggly fits with Vriska, rolling around in the fields with her? When she starts grooming Vriska to dress like her, get tattoos with her nautical themes? Yes, I'm going to use the word "grooming". That's what it is.

Vriska is a vulnerable child. She was raised by an abusive, demanding, narcissistic spider, and all her friends just abandoned her because of her resultant nasty personality. And remember how I pointed out that Meenah likes to run away from responsibility?

VRISKA: What if we just........ VRISKA: Gave up on the mission? MEENAH: gave up VRISKA: Yeah. VRISKA: What do you think. MEENAH: um MEENAH: sure VRISKA: Sure? VRISKA: You don't think that would 8e a wussy move? MEENAH: well yeah MEENAH: it would be MEENAH: if a couple of cowards did it MEENAH: but that aint us MEENAH: so we cool to do whatev VRISKA: That's a very good point. MEENAH: nofin wrong with stickin a fork in a shit idea that just makes you miserable MEENAH: hell the best choice i ever made involved givin up MEENAH: one day i said MEENAH: fuck da throne MEENAH: ran off to the moon MEENAH: thats how this whole crazy mess kicked off MEENAH: and if i didnt do that MEENAH: i wouldnt of met you 38) VRISKA: VRISKA: ::::)

I hope this conversation hits a little different.

[EDIT (March 02): I also wanted to add that, in order to make the above conversation even more obviously a case of an adult taking advantage of a vulnerable minor? Directly preceeding the snippet I included in the essay, Vriska outright admits that she no longer trusts her own judgement. So Meenah heard that, and decided to make a move.

Yikes. Yikes all around. Welcome to yikes town.]

Thieves are, as the name suggests, selfish and greedy - they harbor some deep emotional hole that they attempt to fill with "wealth". For Vriska, it was narrative importance, and for Meenah, it was forward motion, as that's what Life's all about. However, they do so at the expense of others, not realizing that harming their own group relations harms their own ability to self-actualize and attain true happiness. The one time something nice happened on Meenah's team, it was when Meenah wasn't taking, taking, taking, but when she baked a cake for everyone.

But Meenah wasn't content with that.

And so, our Thief of Life defeated her own agenda in an effort to move forward, her mistakes culminating in the doom of herself and all her friends, as her misguided grasping toward forward motion ultimately led to the ugly side of a tumor-bomb.

Final Thoughts

I know I've been really negative towards the dancestors for this entire essay. And I do think they deserve it. However, please don't confuse that with me saying I think they were "bad characters," or that I dislike their inclusion in the comic.

On the contrary, I think they're all very, very good characters. Their utilization in the narrative is excellent, and they perform their narrative function incredibly well. I think Hussie's a fantastic writer, and I find the dancestors fascinating - if you couldn't tell from the massive essay.

But they are shitty people - and that's the point. The role they serve to the kids is as evil mentors, bad influences, dark reflections. Maybe they were redeemable before they ruined everything, but they passed the point of no return. At every juncture, they chose the selfish option, the cruel option, the easy option, and in some ways subtle, some ways overt, they encourage their kids to do the same.

But - crucially - the ones to come after them can choose differently. And I believe in the version of Homestuck where they do.

Thanks for reading.

#homestuck #homestuck analysis #damara megido #rufioh nitram #mituna captor #kankri vantas #meulin leijon #latula pyrope #porrim maryam #aranea serket #horuss zahhak #kurloz makara #karkat vantas #cronus ampora #meenah peixes #classpect #classpects #classpecting

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glitch-but-ya · 4 months ago

Text

You write fanfiction— The LADs men

A/N: Just a filler post. It’s kinda annoying to work on two fics where both readers have vastly different personalities. I keep mixing them up so I just gave up and stuck to working on the Caleb fic first. But, good news is, the fic is almost done! I’m at the last act :3

Xavier:

Your work is one of the few pieces of writing he doesn’t fall asleep while reading.

No matter how sleepy he was prior to this, he would be wide awake, pondering each poetic sentence and dissecting meanings behind them.

Would pay attention to every little detail hidden in your work, even when it’s something most overlook.

Asks you about your recent fanfics when he sees you.

If you write smut, he probably eats it up like a freak and tries to pick up on the things you desire.

Your biggest fan. Has a dedicated account (main or alt) to just liking and reblogging your work. Whatever you post. Even if it’s just a casual post or answering a fan’s questions.

Probably compliments your work in the tags.

Has multiple accounts just to like your work. Also has a secret account where he argues tooth and nail with every hater you encounter.

Bonus: Would secretly be jealous of the characters you admire a bit too much.

Rafayel:

The proudest man on earth.

Literally. He considers writing (even trivial things like fanfiction) a form of art so he is genuinely so happy you’re an artist like him.

Would bombard you with random new fanfiction ideas.

If you write for a new fandom, he would search it up and watch/read it the same day.

If you include poetic things into your writing, he would bring it up in a conversation and hold discussions on it, offering his thoughts and opinions and helping you both learn.

Would be more chill than Xavier, but he’d definitely be pouty if you favour a character too much.

Leaves dramatic comments. Like, “HOW DARE HE >:O” and such. His comments never fail to hype you up.

PUBLICLY argues with your haters.

Treasures your work as if it was the finest piece of literature ever penned. Wouldn’t be surprised if he rewrites it on a canvas with ink and frames it on his wall.

Bonus: Secretly is the one making 90% of the requests. And usually it’s those vulgar, insane ones. He’s just a girl 🎀

Zayne:

Subtle about his adoration. Would silently like every single one of your posts, but he wouldn’t really comment or reblog them.

With that being said, he will never forget to compliment your work when he sees you, though.

Would analyze every letter and syllable to the point where he can somehow decipher how or what you were feeling or thinking from your writing alone.

He would never admit it, though. He’d only silently know and if he thinks you need a hug, he will try and be there for you more often.

On top of compliments, he provides you with genuine constructive criticism without overwhelming you or making you feel insecure about your work.

But he’s not too good with parts of the writing that include emotions. I imagine it to go somewhat like… “But the phrasing is a little confusing. Could you explain the reasoning behind it?” “It’s for emotional depth, Zayne…” “Ah… I see.”

Don’t be mistaken!! Even though he is scare with his compliments, he doesn’t admire your work any less than the other LIs!

Believes that a person’s art is a reflection of their self, so he tries to see you in your work.

Sylus:

Like all, he is the biggest fan of your work.

Probably has a thousand secret accounts he uses to like and reblog your posts.

Spends alot of money (which is, of course, insignificant to him) blazing your posts and promoting them.

But, if you prefer a quieter fanbase, he would respect that as well.

Nonetheless, expect him to like your work on all his accounts the moment it’s released.

Suddenly you’re wondering how your post garnered 1000 likes in the first hour.

If you’re writing a series, he would ask you when the next chapter is coming out.

You won’t have a single hater as long as Sylus is around. If anyone does so much as dare to comment a single vulgar word aimed towards you or your work, they get a message in their inbox listing their address and personal info.

And then, the next day, their comment is gone. You wonder what could’ve happened.

Like Zayne, he’d give you his advice and some constructive criticism whilst somehow uplifting your work at the same time when asked.

If you include any philosophies in your work, he’d bring it up and discuss it with you. He loves hearing your thoughts, whether it be complex or casual.

Memorises the quotes he likes from your fanfics and actively uses them irl.

Your work would probably be the first and only one to elicit an emotional reaction from him.

If you have any dreams as an author, he would definitely offer to find you a publisher and pay for all costs. He just wants to see you fulfil your dreams, even if you’d abandoned them.

Caleb:

A LOUD fan of your work.

Probably sends it to all his friends (poor Gideon) and boasts about how his partner is such a talented writer.

Reblogs with captions and tags, comments on, and likes each one of your work.

Like Rafayel, his comments are dramatic and encouraging. He doesn’t just compliment your work. He SHOWS that he’s read it.

Avid, shameless smut reader. Would EAT those fics up. Especially if they were penned by you.

Probably sends those to his friends too (poor Gideon).

Blazes each of your posts. Even the stupid ones. Manages to increase your fanbase by a bunch. The month you revealed your acc to him, you suddenly gained a hundred new followers.

If you want a smaller fanbase, he’d be content with that as well. He loves the idea of being one of the few people to read such a masterpiece.

Definitely knew about your acc even before you revealed it to him. If you had previous accounts growing up on either tumblr or AO3, he’d be secretly reading your work via an alt account.

Don’t ask how he found your acc.

Would definitely engrave all the things you want in a partner into his brain and work on them secretly.

Probably has a diary dedicated to analyzing and complimenting your work.

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indiaalphawhiskey · 11 days ago

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Hello hello! I’m new here but not new to the fandom by any means but I’ll be truthful, I’ve been inactive for years. I saw one of your answers floating around Twitter so I decided to dust off ye ol’ tumblr and have a chat. My question is: does it ever just feel? Overwhelming? I firmly believed in H&L for years but it got to the point where we were analyzing tee shirts for hidden messages (this is post RBB/SBB saga) and celebrating when one of them wore blue or green or certain numbers and it just felt like I was participating in nitpicking. Like the fandom was literally nitpicking tiny things to validate our beliefs. Then I left. You’ve been here for years. It never feels overwhelming at times? Like “what are we doing analyzing tee shirt references or other minute things? Has it really come to this?” I think I struggle with guilt feeling like “are we actually listening to them? Do they want us to do this or are we way overstepping?” And I don’t know how to reconcile those feelings. Your thoughts?

Yeah, of course it feels overwhelming. There have been some particular points that come to mind where I was personally like 'dude, I'm out'.

But, what I'm getting from your ask is that you largely felt overwhelmed based on the content you were surrounded by, and not what was actually happening. And to that I say: a big portion of the fandom remaining somewhat fun is making sure you're getting content from the right people. In other words, people who know their shit -- who know facts, who will honestly differentiate between canon and headcanon, and who are also willing to adapt their understanding of who Larry are now versus who they were in the earlier years.

For example, the blogs I follow don't read into coded clothing anymore, unless it's in an overtly attention calling way, like at Glasto. And, even then, the call to read into Louis' shirt came from a series of events -- liking the tweet + H stunting -- and not just because he was wearing a shirt, you know what I mean?

Sure, the blogs I follow will make memes and jokes, but they know that the coded clothing heyday of Larry is very much over, the same way the era of RBB/SBB is also over.

Longevity in fandom (in any fandom, as I've learned) is down to finding people who can have measured and reality based conversations about things, and who know when to put headcanon and speculation to bed. I think a lot of the more measured takes on Larry have been buried by the Old Guard leaving, because I remember a time when we really really really cultivated a culture of vetting and fact-checking, and it feels like we've largely lost that.

A lot of us have forgotten the reason we got into Larry in the first place, which was to support two people who were asking us to see them and their love. Signaling to us. Fighting for themselves and needing our support to do it.

I think there are much fewer Larries now who hold true to that call, and are willing to adjust their expectations based on what we're reading from older Larry and what they need from us now. Many more people would now prefer to treat this like a huge game of Come Out Clue and then will throw tantrums when they're no closer to "winning" than they were a year ago.

And yeah, if those are the people you're seeing content from, then I'm not surprised it took a toll on you.

#iaw ask #iaw anonymous #iaw Larry thoughts #iaw fandom thoughts

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jesncin · 2 years ago

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A Failure of Asian Lois Lane: Pt 2: My Adventures with Superman, an honest discussion

If I had to pinpoint the fundamental problem with My Adventures with Superman's depiction of Asian Lois Lane it's in their attempt to subvert the classic two person love triangle: Lois loves Superman but is indifferent to Clark Kent. In MAWS, Lois insta-crushes on Clark Kent and hates Superman. In the show's attempt to make sense of this dynamic, Lois' Asian identity becomes at odds with a story meant to touch on xenophobia and immigrant themes.

Let's have an honest discussion about a show that made fandom cheer as an Asian character removed the one thing that made her most visibly Asian.

Disclaimer: While I am of East Asian descent, I am not Korean. I'll be discussing general Asian diasporic experiences but the specifics of Korean culture are outside of my knowledge (as usual I can't and don't speak for every Asian person ever, I am 1 opinion). Secondly, I'll be pulling from my personal experiences every now and then particularly pertaining to being a butch Asian person watching this show. It'll be a mix of formal analysis and personal anecdotes. Thirdly, this isn't an exhaustive analysis of MAWS Lois' character. We'll be sticking to what I consider is relevant to themes of Asian identity and immigration. Lastly once more, I do not believe the MAWS crew had malicious intent in any (of what I consider) poor writing decisions. We're here to analyze and challenge these writing decisions.

Please read Pt 1 of Asian Lois analysis that covers the comics, as it provides the groundwork for the ideas expanded on in this essay.

We need to talk about Lois' design. In the follow up to MAWS' release, people have been speculating on Lois' ethnicity. CBR writes that the show has "some fans believing that she's at least part Asian" and other articles have the show crew confirm Lois Korean heritage via her hanbok outfit in episode 4. The existence of these articles, my own anecdotal experience of streaming MAWS with Asian friends, and comments I receive from people asserting Lois' Asian identity was never explored in the show ("you'd only know she was Asian if you searched up articles about it"), tells me we have a case of an ambiguously designed Asian woman. Tangentially many people had no idea Livewire, the white haired and blue eyed woman, was meant to be South Asian.

There's a lot to be said about art styles that don't properly stylize ethnic features, but for the purposes of our analysis that means the writing has to deliver the heavy lifting where the design fails. This is the opposite case of American Alien: a comic that relied on the art to portray Asian Lois.

Let's start at episode 3. In it, Lois finally manages to conduct a private interview with the elusive Superman. When she asks where Superman comes from, how his powers work, etc- Superman comes up empty. In this version, Superman can't talk to his Kryptonian father (Jor-El)'s hologram because of a language barrier, so he knows very little about his alien heritage. He leaves Lois, assuring her he's here to help the people of Metropolis. When Clark Kent congratulates her for interviewing Superman, Lois rebuffs him. "Oh, he's [Superman's] a liar." smirking as she says it. This is the start of the Lois Hates Superman For Being a Liar arc.

I'd like you to consider the optics of an Asian American woman interviewing an alien immigrant who honestly told her he doesn't know where he comes from and is still figuring out who he is, only for her to think he's lying. Because she didn't get the answers she wanted. I can't help but think about my own experiences, where I was asked "but where do you really come from?" or "okay but what's your real name?" I think of my Asian American peers who would honestly say they're from Texas or Atlanta and get a vindictive "you're lying" as a response. People want to hear you're from China. They want their biases confirmed. I think about how I honestly can't tell you where my elders hailed from, because of cultural genocide and language barriers. This scene makes me uncomfortable, but let's press on.

Episode 4 is where Lois is most visibly Korean. In this episode the trio of Lois, Clark, and Jimmy are tasked with interviewing rich techbro Prof. Ivo of Amazo tech at an investor event. It's a prom episode. Lois wears a "hanbok inspired gala outfit" designed by Dou Hong and Jane Bak in a deliberate move to showcase Lois' Korean heritage. Bak comments "I remember feeling strongly about wanting to inject some aspect of her Korean heritage without disrupting her characteristic as a spunky and resourceful intern/reporter." while the wording poorly implies that Korean heritage is at odds with Lois' spunky personality- I do want to challenge a couple of the decisions that went into this design.

I want to acknowledge as an Asian butch that there are many ways to sport traditional garments and it's okay to mix and match to figure out what reclaiming culture (and your comfort) mean to you. However we're talking about the opportunity to showcase culture in an episode of a fictional animated show. I also encourage cultural gender expression that thinks outside of western white people's idea of gender (in both fiction and real life).

Whenever artists try to do a non-conforming spin on a cultural outfit, I always have to ask: "what standard of masculinity are we basing this on?" It's clear that MAWS is pushing for a "tomboy" Lois, and this gala outfit is an extension of that. But what's the standards of masculinity in a Korean lens? Men wear hanbok too, so why can't Lois imitate how Korean men wear hanbok, by traditionally accompanying her look with baji (baggy and loose pants)? This design notably has tight pants that hug the form, instead. I know the hanbok look has been modernized in and out of Korea in many ways, but in a show where you have the opportunity to showcase cultural non-conformity, I feel more thought should be put into the outfit outside of a potentially western lens- or the idea that cultural heritage of any sort "disrupts" a character's personality.

Now that we've discussed the design of the outfit, let's look into the narrative role it plays in episode 4. While we can celebrate cultural representation in media, I consider it important to ask "what is this media's relationship with the cultures it represents?" and the answer for Lois' hanbok in this episode is: nothing! It's an aesthetic acknowledgement of culture. "Hanbok" or "Korea" are not terms explicitly mentioned in the show. When Prof Ivo offers beautiful women as compensation for Clark to keep quiet about his company's corruption, Ivo looks over to Lois- who spills food on her clothes, and remarks that she's unclassy. She's not judged for wearing othering cultural clothes- which would have tied nicely into Clark choosing to be silent on issues of Ivo displacing a neighborhood, making Clark realize his complacency actively hurts marginalized people. Despite wearing cultural outfits being a political statement in America, nobody reacts to it. It's clear what the actual goal of this scene is: Clark looks cool for defending his "tomboy" crush.

In a scene blatantly made for fanservice, Lois offers to sew up Clark's ripped tuxedo by undressing her hanbok so she can reach her little sewing kit. Lois never wears her hanbok again afterwards. This scene haunts me. It's a scene that tells you that fanservice is more important than cultural representation. It's a scene meant to set up that Clark gives his tuxedo to Lois later on for warmth. Lois removing her hanbok is meant for not one, but two fanservice scenes.

Lois talks to Clark at the stairwell. She opens up about her estranged relationship with her father, how her mom has passed away, and how she's been an intern at the Daily Planet for a year with no sign of being hired. This makes the narrative decision for Lois to lose her hanbok far more tragic. Lois being a diasporic child with so few familial ties to her culture would mean garments like her hanbok would hold a lot of sentimental value! It's hard enough finding a cultural outfit that fits with your butchess (many of my cultural outfits are hand made to fit my form and gender expression), and yet Lois unceremoniously loses her hanbok. You would think in Lois opening up about being distant from her parents that Clark would be able to culturally relate with the distance he has with his Kryptonian parents. But the narrative opportunity to link their immigrant experiences is not taken, because the show simply doesn't recognize the parallel between the two.

Instead MAWS pushes for the Lois Thinks Superman is A Liar thing again. A far less narratively substantial and fundamentally flawed arc. This episode starts with Lois calling Superman a liar and has Lois ranting about him "dodging her questions" (remember, he was honest with her about not knowing his heritage) thereby rendering her interview unpublishable. She resorts to conspiracy tabloids giddily provided by Jimmy for information. She rather cruelly says "nobody normal believes in aliens". We are uncomfortably seeing the build up of Lois being allegorically xenophobic towards alien immigrants- a Lois on a quest to out an alien before he's ready. This is their justification for flipping the love triangle. Lois loves cuteboy Clark from work, and hates Superman for not confirming her biases that would help her publish an interview that would promote her at work. What a love story.

To wrap this episode up: Prof Ivo ends up challenging Superman to a fight so he can flex his Parasite suit to investors, only for it to backfire, destroy his reputation, and greatly damage the Amazo building (remember this it'll come back later). The episode ends with Lois discovering Superman is Clark Kent. Anecdotally, I was so frustrated with the treatment of Lois' hanbok in this episode, that I went online to search if anyone else felt similarly. All I was met with was fandom thirsting over the stairwell scene where Clark and Lois were undressing. Consider the optics of an Asian character who removed the most visible signifier of her heritage (the outfit far more culturally specific where her character design was racially ambiguous) and how people cheered because that meant they could see her in her undergarments. They can happily thirst over the body they desired now that the othering cultural garment was out of the way. It's just clothes after all. Diversity clothes. This show continues to be very uncomfortable, and a little too real.

In episode 5 Lois is passive aggressive to Clark and Superman, trying to get Clark to admit he's Superman and vice versa. She eventually confronts Clark by jumping off the roof of the Daily Planet, causing Clark to fly down and save her. She proclaims she doesn't want to be friends with him anymore for "lying" to her. This episode caused a huge ruckus online as people were divisive over Lois' actions. Some defended Lois, saying that "women should be messy" and "it's not Lois Lane if she doesn't do something crazy for journalism!". Ignoring that opinion's very flandarized view of Lois' character for a second, let's thoroughly discuss how this relates to themes of immigration and Asian identity.

By this episode, Lois had known Clark for 5 days. In that time she's entitled and angry to the point of friend-breaking-up with him because he wouldn't disclose his marginalized identity to her within less than a week. "A secret is another type of lie!" Lois says, regardless of her lying on sight to both Jimmy and Clark upon meeting them at work, and continued to lie in episode 3 (after promising not to in ep 1) about her intentions to interview Superman. Only Lois gets to lie in this relationship. The hypocrisy of her character is never recognized. Clark calls out Lois for having previously admitted to him that she wanted to dox Superman and "publish all his secrets. MY secrets!". Keep in mind that when Clark brings up Superman feeling uncomfortable about his secrets being published by Lois in episode 3, Lois' response was "yeah, but HE doesn't know that's my plan!". She explicitly admits that she would publish private information about Superman without his permission. But when she's confronted by Clark in episode 5 about that, her response is "I would never do that to you, I didn't know it was you until after the gala. How could you think that?" It's only through conflict of interest that Lois spares Superman of being doxed. He's supposed to magically know this. Extremely cool of Asian American Lois to be entitled to an alien immigrant's identity within four business days.

Episode 6 wraps up the Lois Hates Superman For Being A Liar arc, so let's quickly summarize what happens. Lois and Clark set aside their fight to find Jimmy in an abandoned scientific facility (he's being cared for by Mallah and the Brain). Jimmy admits (very smugly) to having known Clark was Superman all along because he kept breaking stuff. As the trio are chased by killer robots, they emotionally confront Clark for not trusting them with his alien secret- despite neither Lois or Jimmy creating a safe environment for Clark to come out to either of them (Jimmy outed Superman as an alien on his video channel). The moral of the story is Clark should have trusted his friends anyway, because lying is bad. Not once does the narrative hold Jimmy or Lois accountable.

We have Black Jimmy Olsen and Asian American Lois Lane being entitled to their white passing friend Clark Kent's marginalized alien identity. A joke is made at Jimmy's expense that he doesn't understand bigotry, and Lois clearly doesn't understand why an immigrant wouldn't be forthcoming about his identity to his hostile friends at work. This is how that arc ends.

I'd like to quickly compare this Lois Hates Superman For Being A Liar arc to my favorite scene in Superman Smashes the Klan. In this story, Superman debuts as a strongman superhero instead of an alien, suppressing his more othering powers to pass as human. He jumps instead of flying. Roberta, the Chinese American girl targeted by the Klan, calls Superman out for not using his full abilities to save people who could've gotten hurt. Yet, as she's calling him out, Roberta understands Superman's fear of not wanting to be othered. She sees the way her father dresses up to pass as an accomplished scientist, how he tells her mom to speak in English, how her brother makes racist jokes at their family's expense to fit in. She's not mad at Superman, she's mad at the world that would be scared of Superman if he flew.

"I wish it were okay for you to fly!" Roberta yells. This is a beautifully empathetic scene that shows a marginalized person frustrated at a systemic problem, instead of blaming the marginalized for being marginalized. It's the empathy and perspective we're missing from MAWS.

Episode 7 is a metatextual episode where MAWS addresses how their Lois isn't like the other Loises you've seen before. Lois and Jimmy are brought on to a team of alternate dimension Loises to find interdimensional troublemaker Mxy. In seeing the other more accomplished Loises in the multiverses, Lois ends up feeling inadequate about her self worth...in connection to being Superman's girlfriend, of course. Because Superman only loves Lois Lane after she wins a couple of Pulitzers, right?

I'm open to a version of Lois Lane that isn't as accomplished as she's historically known to be. I can like a Lois that's young and idealistic, like in Girl Taking Over. It's hard not to compare this episode to 2022's Everything Everywhere All At Once, another multiverse story about an Asian American woman who is the "greatest failure" version of all the parallel iterations of herself. But while that movie talks in depth about themes of generational trauma, expectations, and self potential within Asian immigrant families, MAWS uses the multiverse to say that while their Lois is less accomplished, she's still a good girlfriend to Superman! Why should I bother giving grace to a different take on Lois only to get such a superficial story out of it. This is metatextual-ly frustrating.

Why is it, the minute we get an adaptation of an Asian Lois in something as prominent as an animated show, we get "the worst Lois in the multiverse"? Lois is historically depicted as excelling in her field. She's an award winning journalist, jaded and mean from having to work her way to the top. She owns her sexuality, she's the experienced city girl. Instead of taking the opportunity to inform Lois' jadedness and excellence with her Asian American identity like in Girl Taking Over, instead we have an Asian Lois that's simply incompetent at her job. Why are we now adapting historically accomplished women into adorkable quirky screw ups? She went from being sexually confident to being insecure over sending a text to Clark. Is it more relateable to see an Asian woman that way? Is it too intimidating to see a butch Asian woman who excels at her job? Who's romantically confident? This is what MAWS would rather do than humanize her excellence or her failures.

Are you tired of an ambiguously designed Asian American woman reporter being xenophobic to Superman in MAWS? Well too bad because episode 8 introduces us to Vicki Vale, voiced by Andromeda Dunker (an Asian actress), with explicit notes in leaked concept art to design this character as "Indian American or Asian American" (as if those are mutually exclusive...) inspired off of real Asian reporter Connie Chung. Vicki wants to write a hit piece on Superman and interviews Prof Ivo's assistant, Alex, for a negative biased opinion on Superman (to Lois and Jimmy's dismay).

This episode is where it's abundantly clear the writers don't know how to talk about xenophobia. They'll make nods to xenophobic rhetoric, but they don't know what the rhetoric means. In response to Alex's derisive opinion on Superman destroying Amazo tower thereby bankrupting the company and putting "thousands out of work", Vicki responds "Superman wiped out good American jobs". This is a misplaced nod to Replacement Theory: the fear white people have over people of color, but particularly immigrants, coming to "their" country to "steal" jobs they're entitled to, ultimately becoming demographically replaced by non-white cultures and people. This rhetoric is also commonly applied to Jewish people.

The problem is, that's not what Superman did in the show. Amazo tech was going to go bankrupt because of Prof Ivo's poor business decisions. Prof Ivo made the mistake of antagonizing Superman and ruining his own image. Superman damaging the building came from his fight with Prof Ivo, not a deliberate attempt to get hired (if anything don't the building repair people have new jobs now?). No one's job is tangibly being taken by Superman. None of this is called out by Lois or Jimmy, who know the full story and were even the ones to attack Alex for helping Prof Ivo (let's be real the writers forgot this happened). In fact, Lois and Jimmy don't react to Vicki's Replacement Theory remark at all! It's like they don't even recognize she said something with racist implications!

Jimmy and Lois meet up with Superman who learns the people of Metropolis are becoming scared of him (from causing some recent property damage in an attempt to hunt a criminal down) and writing mean comments on social media. A user writes "he should go back to where he came from." This is a transparently xenophobic comment. It doesn't work in the context of the show because of a huge plot hole: Superman never publicly came out as an alien to Metropolis. No verified newspaper has explicitly made this fact known. The only source that mentions this is Jimmy's conspiracy channel, which the citizens of Metropolis are apparently treating as fact- therefore (if we're to believe this is how people knew) this means Jimmy absolutely outed Superman as an alien without Clark's consent.

So how does Asian American Lois respond to seeing her alien boyfriend go through xenophobia? She says "Take a break from being Superman and just try being normal." To be fair, the narrative does portray Lois saying the word "normal" as charged (only here at least, not in episode 4), and when she tells Superman to "take a break" it's because he had been overworking himself after suddenly unlocking the ability to hear when someone's in trouble. But was this really the response Asian American Lois thought to say? To her boyfriend going through such explicit xenophobia? At this point it's abundantly clear that racism doesn't exist in the world of MAWS. Being "normal" is to be human. And to be marginalized- or as the show likes to call it "different" is only reserved for white passing alien man Clark (along with gorilla and robot that was once a white man). Any hope of an immigrant parallel between Asian American Lois and Superman should be fully discarded at this point.

After the events of the previous episode where Superman is kidnapped by Task Force X, in episode 9 Lois regrets being allegorically xenophobic to Clark. At least I think that's what's happening. I often describe MAWS as a show that's extremely squeamish with getting political- and I believe the vagueness of Lois' Dark Night of the Soul moment reflects that. "I said awful things to Clark. I doubted him when he needed us most. I was wrong and now he's gone..." Lois says as she cries to Jimmy. Is this dialogue implying she shouldn't have told a sleep deprived Superman to take a break? What did she doubt about him? This dialogue is purposefully vague about Lois being xenophobic. They've universalized Clark's immigrant identity to such a point that they can't keep their argument consistent. Was Lois in the wrong for telling her overworked superhero boyfriend to take a break? Or was she being xenophobic for telling him to lay low for a while? Or is she regretful for hating Superman for Being A Liar? How is that possible when the narrative sided with her and Jimmy in episode 6? It's woefully non-committal. Regardless, the intent of this scene is to pay off in the climax of the episode.

In the end Superman has a showdown with Prof Ivo Parasite, who has grown into a large godzilla-esque kaiju creature. In typical MAWS fashion, the show is more interested in a surface level nod to Asian media instead of engaging with the specific themes of nature and post-war trauma kaijus and godzilla serve in Japanese culture. I digress. Using Jimmy's massive social media platform, Lois delivers a hope speech that instantly heals Metropolis of its xenophobia towards Superman.

Lois says to the people of Metropolis.: "People have told you to fear Superman because he's different from us. But we humans are capable of causing hurt and pain too. [...] Because we want to punish those who don't look or act like us." I mean this in the most polite way possible, but who on Earth thought this line was a good idea for Asian American Lois Lane to deliver when talking about white passing man Superman?? Why did the writers feel the need to specify Superman not looking like us. I simply don't understand how nobody considered the terrible optics of this.

After Superman defeats Parasite, episode 10 is about Clark, Lois, and Jimmy celebrating Thanksgiving at the Kents' house. At the Daily Planet, the trio of interns are promoted to finally being reporters. It only took Clark and Jimmy a few weeks while it took Lois a whole year! Now feels like a good time to remind you that Lois as a character was historically frustrated at sexism in the industry and despised how men were treated better than her (including Clark Kent). Well in MAWS episode 4, Lois has no idea why she isn't getting picked up to be a reporter. According to the narrative, and Perry White's dialogue ("you're terrible interns, so the only thing to do was to make you reporters")- she simply didn't break enough rules yet! Thank goodness she had the help of two men to show her how it's done! This is a pretty clear case of character regression. Keep in mind that in American Alien, at the very least that Asian Lois still underwent sexism, and I gave it the grace that the story could eventually expand to talking about both sexism and racism if it were to continue. But in MAWS? I don't think even sexism exists, let alone racism. Somehow Thanksgiving does, though.

Half the final episode is spent on Thanksgiving shenanigans where everyone's trying to be polite but they dislike Lois' stoic dad (Sam Lane)- who Clark recognizes as the Asian American xenophobic man who tortured him in Task Force X's government bunkers. A parallel is pulled between Sam and Jor-El, two fathers with different ideals when it comes to protecting their kids. There's a huge missed opportunity to have Lois and Sam speak in Korean with each other, to create a parallel in the language barrier between Clark and Jor-El. Maybe Lois isn't as fluent in Korean as Sam is depending on how culturally connected she is. Oh, but the existence of non-English human languages would imply some sort of minority, who would be marginalized, and we can't have anyone outside of aliens and a gorilla be marginalized in MAWS. Non-English languages in America are political, after all. Oh, but they also got a Filipino actor to voice Sam. Generously Lois could be Filipino-Korean but if we're being truly honest it's clear the MAWS crew think Asians are interchangeable.

Let's talk about Sam. In terms of optics, it's already not great that the main villains who represent the face of America's secret government xenophobia are Amanda Waller and Sam Lane- a Black woman and an Asian man. What's doubly notable is that of the antagonistic villains, Sam and Vicki are the most xenophobic. When Sam tortures Superman, he shouts "When is the invasion? How many of your kind will come through this time?" without a hint of irony. Reminder that historically, Asian immigrants were (and still are) considered invaders in America. They are the perpetual foreigner. MAWS loves making nods to Superman being an immigrant allegory, and yet they can't fathom the human beings that allegory is inspired by.

It's not impossible to portray people of color or even Asian American characters specifically being xenophobic. In Superman Smashes the Klan, Dr. Lee is initially antagonistic towards Superman but we understand why. We see him trying desperately to assimilate into whiteness, to the point he rejects assistance from his Black neighbors who help put out a fire in their backyard (that the Klan started as a threat). We understand why he's a character who would turn on fellow people of color, or fellow immigrants, in order to fit in. For MAWS, if we had a flashback scene where Sam was serving in the military and fought against Asian soldiers, showcasing his loyalty to America over his own people- that would narratively explain why an Asian American character would be xenophobic. Writing bigotry from within marginalized communities requires specificity. Otherwise, you've just got a diverse villain. In the end, Lois defends her immigrant alien boyfriend from her xenophobic Asian American dad.

Whenever I bring up how MAWS fails its characters of color but especially Asian Lois, I'm met with people telling me that "hopefully they'll make Lois more Asian in S2" or "they'll just retcon the bad writing in S1" and I hope this thorough analysis on the treatment of Lois' Asian American identity can help enlighten why I personally think that's impossible. The entire concept is flawed from the very beginning. The story MAWS wants to tell is at odds with Lois' Asian identity. In trying to justify an Asian Lois that loves Clark but hates Superman, they never considered what it means to hate Superman. To hate the alien immigrant. The alien other. What it means for an Asian American character to do all that. MAWS is a show that wants to have its cake and eat it too, they want a diverse world without racism or sexism but still want to reap the clout of lightly portraying Superman as "different".

They'll make the most surface level nods to Lois' Korean heritage- but remove all of the cultural context from them. They can't be bothered to acknowledge the inherit political identity being a person of color means in America, they're too busy doing that with Clark. I'm told "MAWS didn't have the time to go over Lois' Asian identity, it's a 10-episode series that focuses on Clark's alienation", and to that I say the potential of an immigrant love story and time frame was there, they simply chose to go another direction.

When I bring up things like Superman Smashes the Klan, Girl Taking Over, and Everything Everywhere All At Once, it's not to say MAWS should have used those stories as reference when crafting their allegory. All of those specific media were released while MAWS was deep in production already. Girl Taking Over was released the same year MAWS premiered. What I am saying is that we, as the audience, should have higher standards. Because better media portraying Asian American characters already exist. Better media portraying Asian characters relating to Superman mythos already exists. What we're doing when we celebrate the breadcrumbs of representation that is MAWS, is allowing mediocrity to exist uncritically.

Shows like Wednesday are known in the discourse for their portrayal of Black characters as being functionally white, yet that kind of scrutiny doesn't seem known for MAWS. The diverse reimagining of Lois and Jimmy is so poorly handled in MAWS that it would honestly make more sense if Jimmy and Lois were white here. The joke made at Jimmy's expense that he doesn't understand bigotry would be actually funny if it was calling out his white privilege. If, for whatever reason, the writers are compelled to write a xenophobic Lois that unlearns her bigotry and falls for Superman, I'd rather she be white for that kind of story. I wouldn't personally root for that kind of couple, but at least it'd make sense. It's a common joke among DCAU fans of color that we like to headcanon Lex Luthor as Black, or Lois Lane and Terry Mcginnis as Asian. It's a cruel irony that the one time we finally have a canonized Asian Lois in an animated show, she honestly feels and acts whiter than actual white Lois ever was.

I mentioned in Pt 1 of my essay that Asian Lois and Superman has the potential to be a definitive love story. One that considers both their backgrounds as immigrants, othered in different ways by American society. The story of a jaded but accomplished Asian city girl who finds hope to be herself again in an alien immigrant superhero. One where she gets the courage to wear traditional clothes again, to practice languages she once suppressed. The story of Superman, an alien immigrant, finding hope in someone with a painfully similar experience.

As of writing, we have yet to see this dynamic in any canon DC media. A second season of MAWS will not give us that story.

#ramblings #media criticism #jesncin talks maws #lois lane #warning LONG LONG POST #this is a 30 minute read for reference. read it in chunks if u like but this is a big lad fellas #as always please be kind!#jesncin dc meta

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