#but that’s an analysis for another day

[luna-the-cretar]

I need to point something out about the Krew’s conversation with Torbek in episode 19.

Kremy—a man who likes to keep up appearances and appear larger than life, who relies on his silver tongue to spin his words into lies and half-truths—let himself appear as vulnerable to Torbek as Torbek was after the fight.

Because Kremy took off his coat and his tie (Richie made a point to both say that and make the motions as he was describing what Kremy was doing), before getting on Torbek’s level and seeing if there was anything on Torbek’s person that could explain what just happened, before noticing everything else that was off.

Kremy taking off his coat and tie is actually kinda significant, considering that shortly after, he (eventually) agrees to tell Torbek the truth about what happened, and even willingly spoke up to fill in what Gricko was missing in his explanation. Kremy was, metaphorically, letting his walls down and letting Torbek see him in a way that I imagine even Frost and Gricko rarely see (maybe outside of sleeping or bathing).

I mean, of course, Kremy immediately puts his walls back up the following day, and then acts like he is somehow above Torbek for the remainder of the season (which I hope he cuts it out early S2), but…it’s a step. It’s a step in the right direction for Kremy’s arc, and I can’t believe I didn’t even take too much of a notice in this—or anything the gator did—until I started rewatching the series and genuinely started looking into Kremy’s character more.

And of course Kremy’s whole interaction with Torbek this episode isn’t the only significant one, and i promise I’m not ignoring the others (in fact, I’m actually quite interested in the way Frost handled the combat, as well as the way he separated himself from Torbek afterwards, and it will be making me pay extra close attention to Frost for the next few episodes), I just…don’t hear a lot about Kremy in particular this episode.

[wintersnails]

House has definitely sent Wilson a dick pic or several but he sends them by email because they are both old men and the titles are things like ‘URGENT: please identify if lung cancer’ or ‘patient biopsy results - respond ASAP’ so that Wilson’s guilt complex makes him feel obligated to open each one just in case someone’s life is actually on the line

[bixels]

Learning that fans hated Applejack and called her "boring" is crazyyy to me because I genuinely, unironically believe AJ's the most complex character in the main six.

Backstory-wise, she was born into a family of famers/blue collar workers who helped found the town she lives in. She grew up a habitual liar until she had the bad habit traumatized outta her. She lost both her parents and was orphaned at a young age, having to step up as her baby sister's mother figure. She's the only person in the main gang who's experienced this level of loss and grief (A Royal Problem reveals that AJ dreams about memories of being held by her parents as a baby). She moved to Manhattan to live with her wealthy family members, only to realize she'll never fit in or be accepted, even amongst her own family. The earlier seasons imply she and her family had money problems too (In The Ticket Master, AJ wants to go to the gala to earn money to buy new farm equipment and afford hip surgery for her grandma).

Personality-wise, she's a total people-pleaser/steamroller (with an occasional savior complex) who places her self worth on her independence and usefulness for other people, causing her to become a complete workaholic. In Applebuck Season, AJ stops taking care of herself because of her obsessive responsibilities for others and becomes completely dysfunctional. In Apple Family Reunion, AJ has a tearful breakdown because in she thinks she dishonored her family and tarnished her reputation as a potential leader –– an expectation and anxiety that's directly tied to her deceased parents, as shown in the episode's ending scene. In The Last Roundup, AJ abandons her family and friends out of shame because believes she failed them by not earning 1st place in a rodeo competition. She completely spirals emotionally when she isn't able to fulfill her duties toward others. Her need to be the best manifests in intense pride and competitiveness when others challenge her. And when her pride's broken, she cowers and physically hides herself.

Moreover, it's strongly implied that AJ has a deep-seated anger. The comics explore her ranting outbursts more. EQG also obviously has AJ yelling at and insulting Rarity in a jealous fit just to hurt her feelings (with a line that I could write a whole dissection on). And I'm certain I read in a post somewhere that in a Gameloft event, AJ's negative traits are listed as anger.

Subtextually, a lot of these flaws and anxieties can be (retroactively) linked to her parents' death, forcing her to grow up too quickly to become the adult/caregiver of the family (especially after her big brother becomes semiverbal). Notice how throughout the series, she's constantly acting as the "mom friend" of the group (despite everything, she manages to be the most emotionally mature of the bunch). Notice how AJ'll switch to a quieter, calmer tone when her friends are panicking and use soothing prompts and questions to talk them through their emotions/problems; something she'd definitely pick up while raising a child. Same with her stoicism and reluctance at crying or releasing emotions (something Pinkie explicitly points out). She also had a childhood relationship with Rara (which, if you were to give a queer reading, could easy be interpreted as her first 'aha' crush), who eventually left her life. (Interestingly enough, AJ also has an angry outburst with Rara for the same exact reasons as with EQG Rarity; jealous, upset that someone else is using and changing her). It's not hard to imagine an AJ with separation anxiety stemming from her mother and childhood friend/crush leaving. I'm also not above reading into AJ's relationship with her little sister (Y'all ever think about how AB never got to know her parents, even though she shares her father's colors and her mother's curly hair?).

AJ's stubbornness is a symptom of growing up too quickly as well. Who else to play with your baby sister when your brother goes nonverbal (not to discount Big Mac's role in raising AB)? Who else to wake up in the middle of the night to care for your crying baby sister when your grandma needs her rest? When you need to be 100% all the time for your family, you tend to become hard-stuck with a sense of moral superiority. You know what's best because you have to be your best because if you're aren't your best, then everything'll inevitably fall apart and it'll be your fault. And if you don't know what's best –– if you've been wrong the whole time –– that means you haven't been your best, which means you've failed the people who rely on you, which means you can't fulfill your role in the family/society, which makes you worthless . We've seen time and time again how this compulsive need to be right for the sake of others becomes self-destructive (Apple Family Reunion, Sound of Silence, all competitions against RD). We've seen in The Last Roundup how, when no longer at her best, AJ would rather remove herself from her community than confront them because she no longer feels of use to them.

But I guess it is kinda weird that AJ has "masculine" traits and isn't interested in men at all. It's totally justified that an aggressively straight, misogynistic male fandom would characterize her as a "boring background character." /s

At the time of writing this, it's 4:46AM.

[berenshand]

one of my favourite little things about the murderbot diaries is how present all secunit's friends are even if they're not actually physically present. it doesn't do the annoying thing where it jumps through hoops to bring back characters that aren't really relevant to the narrative but it also doesn't do the other annoying thing where it pretends they never existed either. like secunit talks about art and mensah all the time even when art or mensah aren't in the book. it's clear how bharadwaj has impacted its personal growth even when she's literally on another planet. it complains about gurathin and pin-lee when they're not there. it's still sad about miki and don abene and it mentions tapan and maro and rami even though it only knew them for a few days (because when you're new at being a person every interaction with other people is important even if it's short). iris reminds it of mensah. iris also reminds it of ratthi. its hair is fluffy bc it let amena play hairdresser off-screen and it messages her so she knows it's okay. it doesn't have to worry about protecting volescu anymore because volescu retired thank goodness. it's still using thiago's language module. etc etc etc

it's such good writing because it's such a little thing that gives the characterization and relationships greater depth and also reinforces the running theme of friendship in the series and then also subtly gives this sense of 'the people you love are a part of you/your story' and also reinforces secunit's role as a storyteller because it's constantly telling little stories about all its friends.

[necrotic-nephilim]

as much as I love the common "Tim worships/stalks Jason" trope in TimJay fanfiction because it's Good and making Tim a weird little freak is Fun, I think the underutilized dynamic is where Jason is the one weirdly obsessed with Tim and makes it Tim's problem.

Like, the moment Jason is confronted with the information that a third Robin exists, the first thing he does is cover his wall with pictures of Tim so he can just obsess and torture himself over it. That is the behavior of a man who is Unwell over Tim's existence and I love it.

red hood: lost days #4

And as much as a shitshow as The Titans Tower Incident™ is characterization-wise (though I think it has far more merit in depicting Jason's character than people give it credit for but I digress-) there's something very fun about the fact that even after kicking his ass, Jason respects Tim and is impressed by him.

teen titans (2003) #29

And on top of that, Jason can't seem to stop trying to ask Jason to Tim to work with him in some capacity.

robin (1993) #177

batman: battle for the cowl #2

While Battle for the Cowl is an exceptionally bad comic, especially for its characterization of Jason and the "be my Robin" bit is taken deeply out of context, I do think it's interesting how obsessed Jason is with believing that Tim is extremely competent, only held back by being "brainwashed by Bruce". (hence him leaving Tim for dead later on in the comic.) Jason seeing a darker side of Tim and wanting to bring that out of Tim, wanting to see what Tim could be if he let go of his loyalty to Bruce is so fun to me, tbh.

And in Robin #177, Jason seems genuinely upset Tim doesn't want to work with him. Jason sees such a raw potential in Tim and is obsessed with it, constantly wanting Tim to work for him and see Tim be the type of person Jason is. And despite Tim rejecting him, Jason doesn't shoot to kill Tim. I just cannot get over the fanfic potential of Jason obsessing over Tim, tracking him and seeing what he's capable of and what he could be capable of. Wanting to make Tim see things the way he does. To Tim it's corruption, to Jason it's freedom. Tim trying to 'save' Jason is fun and all, but Jason trying to corrupt Tim? That's even more fun to me. Watching that power struggle between them, Tim unable to get Jason off his heels as Jason gets more and more possessive and bold with each attempt.

And when Jason sees Tim successfully get Gotham back under control after a gang war, he's impressed. He praises Tim, even. And then Tim just. Breaks him out of prison.

robin (1993) #182

The way they're constantly trying to see something in the other that isn't there, hoping the other will come around? That is the most fucked up hate/love dynamic ever. Jason keeps coming back to Tim, keeps trying to find ways to get Tim onto his side. They're always chasing each other. And I think Jason would be the one to confess love first, the one to do anything to make Tim his. And when you consider after all of this, Tim has his Red Robin arc and is at his lowest, getting the closest he ever gets to considering murder? I think it'd be so fun to see Jason take advantage of that and worm his way back into Tim's life and finally push Tim over the edge.

[stardvstbby]

The reason Utena’s character resonates so deeply with me is because she cares. She cares intensely, tries incredibly hard to help, but still ends up hurting the very people she wishes to save in her ignorance. (Which, granted, Anthy does her absolute best to keep Utena in that ignorance to avoid Utena seeing her for who she really is - who Utena accepts in the end regardless). Utena places her identity in being this person who helps, not realizing that even subverting roles is still playing the game. Being a prince won’t save her or Anthy. But it’s what she knows, so she tries.

Sometimes, no matter how strong your efforts, you still fail. And yet you must continue to show up. Lest you fall into the trap of complacency, perpetuating the very system you wished to escape, you must continue.

[beargregor]

wait i'm curious, what makes you say that gregor doesn't like everyone else (if i read that post right)? just curious since i've never seen anyone else say that

i don't necessarily think gregor dislikes everyone else at lcb but i do think that gregor is an incredibly petty person that isn't nearly as close to the rest of the sinners and even outright dislikes some of them cough cough rodya cough cough which a lot of people just Refuse to see because he's as much of a doormat as he is. there's several examples i could get into to try and prove my point however i'll just focus on what i personally think to be the biggest ones.

additionally, this is going to be kind of long, so i'm adding a read more. read more! read it. sorry for being so wordy. i have several diseases.

Pt1. gregor is the type to try and get along at least decently with everyone, especially if he gets a good first impression from them.

this is less a point in favor of gregor's distance w/ the rest of the sinners and more just a contributing factor to it. once again there's several examples i could point to here but i think the most in your face one happened in canto I with yuri, as several people have pointed out. even before gregor comes clean about growing attached to her as quickly as he did because she reminds him of his sister, we get this interaction.

i'll go ahead and make the disclaimer now that i don't necessarily think gregor is the most reliable of narrators, especially when it comes to his feelings and interactions with most people, but from the way he acts when the topic of yuri comes up (and the way we still see him act even all the way up to c7, nearly a whole year after yuri's death) i don't see reason to question his sentiment here. gregor immediately got that aya and yuri were close, potentially even taking note of their traded belts, and went out of his way to get something nice for yuri despite hardly knowing her.

i feel like a lot of people have forgotten as much, especially since it's been so long since c1, but gregor actually spent a good bit of season 1 doing the exact same thing with the other sinners! gregor reads a connection between him and ishmael pretty quickly despite getting off to a rocky start

mostly because gregor can tell that ishmael is pretty sardonic in a very similar way to him. there's been multiple instances where ishmael and gregor have essentially expressed the same sentiment at different moments, most notably gregor's little argument after ishmael got shot with a decay ampule in c4

and ishmael's response to pilot talking about self-sacrifice in c5

i could go ahead and pull up more examples, but in general pm has gone out of their way to show us that gregor and ishmael are pretty similar, so it makes sense for gregor to assume that they're friends, right?

this will be pushpin 1. keep note of this for Later.

ishmael's only the first sinner we see gregor trying to do this with in s1, we also see him try it out with heathcliff, sinclair, and ryoushuu

he's tried to get along with charon, being one of very few sinners that we've seen actually try to establish a connection with her at all

even rodya, despite my insistence that gregor doesn't like her nearly as much as the fandom thinks he does

all of these seem pretty fine and dandy, right? sure it frequently leans towards self-degradation, micromanaging, and commiseration, but gregor can at least be pretty chummy with most of the sinners, can't he?

Pt2. hell's chicken was more than just comic relief guys please

i'm fully aware that this is quite the hot take, but i think hell's chicken deserves a lot more credit for character writing than the fandom gives it. hell's chicken gave us foreshadowing for several events, such as the donqui bloodfiend reveal

heathcliff's distortion in c6 (as well as hong lu's highly speculated distortion at some point in the future)

and ryoushuu and sinclair's continued connection by making him the odd one out on her team

which, hey! that implies something about gregor's odd one out, don quixote, too, doesn't it? yes. yes it does. that's pushpin 2. keep note of that for later.

speaking of pushpins, hey! that's pushpin 1!

splitting into teams is one of the major events in hell's chicken, and most of the sinner's choices are either motivated by very little, backhanded, or motivated primarily by not wanting to be on the opposite leader's side. i didn't include all of the picks, just because i feel like including most of them already gets this across, but i think gregor took one major thing from this: most of the sinners, when push comes to shove, will only side with gregor when they refuse to or can't take his opponent's side.

now, don't get me wrong, i'm fully aware that this is primarily intended to be comedic relief, but when gregor is being described as having his trust broken by ishmael or nearly crying because no one on his team properly sided with him for him, i feel like it's pretty fair to read into this.

something that i think is pretty important to remember in conjunction with this is that we know that gregor is the type to hold a grudge, both from his general attitude towards the G corp soldiers in c1 as well as his continued distaste for vergilius

even beyond the splitting into teams of hell's chicken, the sinners have given gregor plenty of reasons to feel bitter. i feel like this is something people have noticed but haven't really put a finger on, but it's kind of wild just how often the rest of the sinners make gregor the butt of the joke

and sure, we could argue that a fair few of these aren't really made with any ill intent. quite a bit of it could have been meant as harmless teasing, but with gregor being more sensitive than most, it coming from nearly all sides, and as often as it does? yeah, i think he's prone to taking it a bit personally.

Pt3. yes i do still think gregor was the third most important character in canto VII you guys gotta hear me out okay

of course, all of this leads up to the bit of the story i highlighted, doesn't it? c7? i totally get why people haven't really picked up on all the gregor things i did in it, seeing as they were mostly not *directly* said about him or by him.

personally, i think that gregor's distaste for talking about himself on any serious level and thus leading to him getting sort of "sidelined" narratively (which i take issue with that claim, but still. it's effective for getting what i mean across atm) is supposed to lead players to take a deeper look at the times gregor gets held up to other characters and compare and contrast what's being said about them by the matchup. as i showed earlier with his immediate latching onto ishmael, i think this is something gregor himself is at least partially aware of too.

so, that begs the question, who was gregor compared to in canto VII that makes me think it's one of the most critical pieces in understanding his character?

really, i'd like to avoid getting too lost in the analysis of this canto specifically, since i'd like to do a proper post about this later, but i figure i can bury the lede a little before doing it properly.

c7 features several characters being made to perform in sansón's play, acting out the relevant backstory for this segment of the plot. a lot of these characters have rather direct, degrading reasons for playing the roles they do.

outis, a character with an inflated ego who wants her journey to have a purpose, is made to play an aimlessly wandering villager with a single line.

hong lu and ryoushuu, two characters for whom families and the expectations placed upon them are likely going to play a major role, are made to play bloodfiends.

rodya, a character who resents her lot in life and is constantly shown to be eager to leave her destitution behind her and become someone special, is made to play a helpless villager that's too poor to even offer any money to the hero that saves her.

heathcliff, a character that has spent most of his life getting dehumanized by comparing him to beastly animals, is made to play a literal bear whose sole purpose in the plot is to get beat up and then quickly left by the wayside.

sinclair, a character that has two opposed parties essentially treating him as a macguffin to procure for their side, is made to play the character who was arguably the catalyst for this entire canto, not to mention playing a decently major role in ruina.

our star don quixote is made to play her father, the first kindred, but there's someone by their side the entire time, isn't there? don quixote's dear, steadfastly loyal companion. a character which don quixote has tasked themself with getting to come out of their shell?

hello again, pushpin 2.

gregor has been made to play our unreachable star, sancho. someone had to, of course. you can't really tell a story without it's main character, now can you?

now, i should once again give a disclaimer. i am not trying to say that i think adapting what happens to donqui/sancho in c7 to gregor is the road pm is going to take here, not only would that toe a bit past the line of foreshadowing, but it'd also just amount to rehashing that plotline again, which i don't think would make for a particularly exciting story.

what i DO think is that we can take a lot of the things that are said to either directly be the case for sancho and use them to inform how we see gregor.

and god, does playing sancho have some fucking implications for our favorite ossan archetype.

starting off, the earliest moment we get to see of sancho is quite literally her just waiting for death to take her in a pile of ashes.

which, i should remind everyone, is actually pretty damn close to what happens to gregor's literary counterpart at the end of the metamorphosis. gregor samsa experiences one final breaking point that pushes him over the edge and makes him decide to just wait for starvation to take him.

gregor and sancho both consider themselves to no longer be human, something which sancho goes out of her way to highlight repeatedly throughout the canto and gregor is quick to get defensive on her behalf for when outis starts really tearing into her

sancho spends quite a lot of this story denying herself the joys of community and friendship, despite knowing that, even with the rest of the sinners frequently making jokes at her expense and outright insulting her, they were things that she desperately craved.

and, while this is getting into my "outis is a red herring meant to distract us from gregor's eventual betrayal" theorizing, i also think it's worth noting for this discussion that sancho's fellow kindreds, her family, all seem to be under the impression that she dislikes them and ultimately her departure was an act of betrayal

and that, despite gregor being one of LCB's resident mood makers and attempted conflict de-escalators, one of the sinners that's most prone to making appeals to the bonds they've all forged together, only him and faust remained silent during everyone's speech

so yeah, i think there's quite a lot of little details and hints building up to the reveal that gregor's not quite as fond of everyone as he presents himself to be. i do think a lot of this ultimately comes down to gregor getting in the way of his own happiness, similarly to donqui, particularly because he's been frequently portrayed as something of a self fulfilling prophecy, especially by giving him as many christ allegories as they have by way of priest and garden of thorns. gregor is convinced that the rest of the sinners don't like him because he's not convinced anyone could like him, so he convinces himself that he hates them because why should he care if someone that he hates hates him too?

a lot of this ultimately ties back to my personal interpretation of what happens in the metamorphosis as well as my own theories regarding all the times gregor has made weird callbacks and references to lobcorp and ruina, but yeah. i think about this guy and his deeper characterization a fairly normal amount, i think.

to end this off i'll highlight one of my favorite little "gregor is fucking seething and trying so hard to keep it cool" moments, in the credits CG for c7 we see rodya teasing him by drawing a little horse on his window and actively pointing and laughing at it, which gregor really doesn't seem all too pleased about.

i personally think this ties into the other cruel part of sansón forcing gregor to play rocinante, which is the more literal "he's actually just straight up playing rocinante" side of things. gregor was quite literally made to play something less than human, less than even animal really, as he was reduced to nothing more than the shoes don quixote wore as she got to play the leading role. sansón directly makes jokes about gregor being nothing more than shoes in the play twice, which adds to this reading, i think.

this, imo, really plays into the adaptation of the metamorphosis! i've seen a lot of readings for the book that posit that, despite being the protagonist, gregor samsa can't really be considered the main character due to nearly everything he experiences in it being used to further his family's character development at his expense, which i think fits nicely with limbus gregor seemingly having the most said about him through indirect means by holding him up to other characters. also it's rodya carelessly making fun of His Big Major Insecurities™ again like she did in c1 which i always find fun. rodya i love you but god you're the worst.

[waiting-for-a-sunny-day]

Let’s talk about how much Geto (canonically) loved Gojo. He saw Gojo in a way no one else did.

The way that Geto answers this question is deceptively meaningful. Let me explain…

This is a flashback, but we can assume this interaction is roughly 10 years after Geto’s defection, based on Nanako and Mimiko’s (Geto’s adopted-ish daughters) apparent ages. Right around the time of JJK0.

For context, let’s remember that the last time Geto and Gojo spoke as friends (KFC breakup), Geto said this:

Geto was being intentionally hurtful here. He knew that everyone (except him) sees Gojo, first and foremost, as “the strongest.” Gojo is barely even a real person to them; he’s just a savior or threat or deus ex machina.

Geto used that to twist a knife and ask: “Is there actually anything more to who you are than just being the strongest sorcerer?” He knew this would be devastating to Gojo. Gojo’s best and only friend is saying: “even I don’t know if there is anything else that’s important about you other than your strength.”

Let’s go back to Nanako's question.

She sets this question up in an important way. Like every (non-Geto) person, she sees Gojo’s fundamental defining quality as “strong." So, naturally, her immediate sub-question to “who is he?” is “he’s super strong, right?”

She’s asked the question in a way that Geto could very easily answer it: “yes, that’s right. He’s the strongest sorcerer.”

BUT

- - - - - Keep reading cut - - - - -

Geto gets contemplative. (“Hm…” - he’s thinking about how to answer because “Who is X?” is either a very basic question or a very philosophical question).

He ends up not even acknowledging the second part of the question about Gojo’s strength and instead tells her who Gojo is to him.

Because when they were best friends and even a decade later, he never actually thought of Gojo as just the strongest. Gojo was always something more to him.

“He was my best friend.”

As an adult, an ex-best friend from high school isn’t necessarily someone meaningful to you. Is Geto saying this actually significant? Yes.

This memory (“who is Satoru Gojo anyway?”) is what Nanako remembers as the context to this next thought:

This is WILD.

This thought is during Nanako’s interaction with Sukuna where she is essentially blackmailing Sukuna into helping get Geto’s body back.

She loves Geto so much that she’d risk pissing off the most dangerous curse/demon/sorcerer just to get Geto’s body back. That’s how much she loves him.

But the man who actually killed Geto she will (never fully forgive but) “let things be” with. Because Gojo was Geto’s one and only best friend in a way that was deeply meaningful to him up until his death.

..

“Are you the strongest because you’re Satoru Gojo or are you Satoru Gojo because you’re the strongest?” is just what you say to someone you love when you need to hurt him enough that you can stay away from each other.

[superkirbylover]

peppino and noise character studies

in this essay i will explain why i am the only one to understand these characters

[fallen-goldfishcracker]

Part of the reason I find Wyll to be such a compelling character is that he is such a good person, but in what I think is a kinda unique way. 

I've seen a few criticisms of how quickly Wyll seems to switch sides in his initial confrontation with Karlach; how fast he goes from convinced he must kill her to letting her live. For me though, this makes perfect sense. 

The decision Wyll makes in that confrontation not actually whether or not to kill her; he has to decide whether or not Karlach is innocent, but once he's confirmed that, it's not a question.

He commits so quickly to Karlach because he doesn't have to choose whether or not to kill her in that moment; he already decided seven years ago. 

Because at seventeen years old, he decided he would sacrifice anything for the safety of others. 

At seventeen years old he decided that his own life, comfort and happiness was never worth the cost of someone else's. 

And so at twenty-four, he learns the devil he's been chasing is a person, and a victim, and an innocent, and the decision is already made up. 

Because Wyll Ravenguard at twenty-four is who he was at seventeen, and twenty, and ten. 

And to me that's one of the coolest things about him.

There's a separate post I'd like to make about how Wyll never loses his childhood wonder of the world- and I think there's a very similar principle here. Wyll grew up hearing stories of knights who slay monsters and heros in shining armor, and he took those stories and loved them and held them close to his chest. 

And then he's seventeen and a devil asked him if he wants to be a hero, and he's not an idiot; he understands the price of saviourhood so he says yes. 

And so when he meets Karlach, it's never really a question of if he'll kill her. It's just a matter of him finding the courage. 

Because he says "you don't know what you're asking of me" and he's absolutely right, we don't. But Wyll understands the cost; he's understood it for seven years. I'll bet anything that when Wyll Ravenguard made his pact with a devil to save tens of thousands of souls, he promised himself and his city and his father who wouldn't listen that he'd only ever use his pact to help and be good, and when it comes down to it, he sticks to his word. 

Because above all, Wyll Ravenguard is a man who knows who his is and what he beliefs, and who sticks to his principles no matter what, and for me that's incredibly compelling.

[tarucore]

When you talk about Dick and self sacrifice its easy to focus on Bruce, partially because of the famous "I'd die for you" panel and partially bc there are numerous instances where he actually puts those words into practice, but its been shown that he readily throws himself into mortal danger for any of his loved ones, and also strangers, civilians, and villains (on occasion, which emphasize the few times he chooses not to save people, cough cough)

And ofc this isn't unique to Nightwing, self-sacrifice and heroics go hand and hand and everything I'm about to say definitely applies to some of the Bats and other non-meta heroes (Bruce especially)

At some point it loses its impact, ya know? If in the heat of the moment you'll die for anyone what does it mean that you'll die for one specific person as well? You can't give your life to someone more than you give your life for others, self-sacrifice is an action not really an ideology as Dick often treats it.

Taking a bullet for a random civilian is the exact same action as taking a bullet for your partner of 80 20-some years. You can't die for someone twice (except this is comic books and you can but its generally considered a writing faux-pas)

"I'd die for you." "You'd die for anyone." How do you contrast such a strong devotion with an abject disregard for your self preservation?? The love is there, absolutely, but why does the intent matter when the outcome is the same?? What's the fucking difference??? Uhg!

Its so very interesting to me how Dick treats his own life, at a certain point self-sacrifice becomes selfish and concerning, more like suicidality than heroism (as most strongly evidenced by Chemo) and I feel like we should talk about that more

[sweetlullabyebye]

Charles' thing is that he wants to feel alive and that's part of the reason why he decided to never move on to the afterlife right? Meanwhile Edwin thinks Charles will move on and that he'll be alone again because 'he isn't good with people'.

But then when the Night Nurse shows up a second time Charles is ready to go wherever -including Hell- as long as Edwin shouldn't have to go back there, meanwhile Edwin refuses that they be split up, and both are okay with being sent together to the Lost and Found Department to be sorted out later as long as they're together-

[ihavetoomanyocsdealwithit]

Ok, Riddle fans, I am starting to understand.

As I go through more of Riddle's Vignette's and the story, seeing him actually interacting with his house and people outside of it, I get it. He's intimidating and intense, absolutely, and he doesn't always understand why things like social media and trends or parties are important to say Cater or Ace.

But he tries. He learned how Cater memorized and learned and changed his studying style in order to help him. Downloaded a whole app, made posts that would make no sense to anyone else and weird tags, just to help him, spending even more additional time and energy after creating a 300 page study guide.

He continually steps in to encourage and guide Deuce and generally doesn't seem to know or care about his past delinquency, only what he does now as an NRC student. Even the conversations with Ace which tend to go sideways or chiding, seem like they are simply almost too much alike, just different values and priorities.

Yes, the other students are intimidated by Riddle. But as I dive in more, especially after his Overblot, it's because he holds others to the same standards as himself for better or for worse. Does he recognize the privilege of receiving so much education on magic and other subjects so early? I'm not sure. But he looks at his students and asks why not. Why can't they pass, why are the struggling, how do I get them there. Like, this fixation of nobody dropping out or flunking tells me that it happens a lot, maybe the most in Heartslabyul? But Riddle is making his legacy at NRC that he's graduating at the top and every one of his house is coming with him. He genuinely believes in his people and that they will be the best, most cohesive and talented dorm because they worked together, he just has a different approach to it after his holier than thou attitude was knocked out of him after his Overblot.

Malleus was right. King of Heartslabyul, absolutely.

[charleemoon]

thinking about kristoph and klavier. it's just the two of them. just a boy and his sweet little brother. no apparent family, origins, place to go, anywhere to belong.

thinking about kristoph developing the idea at a young age that his brother depends on him. no parents to take care of them, most likely they pass away in one way or another. and his brother is innocently young, too young. so kristoph becomes a parent, on top of a sibling. he is the only front, the only defense between his brother and whatever cruel world betrayed them. kristoph can't falter, can't disappoint, can never be unsure. for his brother, he learns to be cold. steadfast, and strong. unbreakable. to be a foundation for a boy to rely on.

he tells himself klavier depends on him to survive. to succeed, to make something of himself, all of it falls on kristoph's shoulders. and control becomes a theme of his life. it's his responsibility to make sure klavier lives his life right, well. and the pressure of that seeps out through judgement.

he tells himself klavier depends on him, so he can ignore the fact he depends on klavier too. he can't feel any sort of weakness. so he judges klavier, when he pursues music. he's critical of him, detached. seemingly uncaring. he protects klavier, and he punishes him when he endangers that concept of protection. he keeps him in line, because only kristoph knows what best for klavier.

klavier, for kristoph, is always that innocent, sniveling child. who doesn't know better, who needs to be guided. because at the worst of it all, it was kristoph and his little brother. no one would know him better. and he would do anything to protect him

and that control becomes obsessive. kristoph needs to control everything in his life. his work, his image, his protégé, and always his brother. he spites things that escape his grasp. he spites klavier when he leaves to tour his music, because he can't admit he needs him too. at the end, klavier will return to him, eventually. because klavier needs kristoph gavin to survive.

he forges evidence, to protect the success and image of his career. even for a case against his own brother, he cheats. because it's not about what's right. it's not about anything but control, for kristoph. because there's no way he could be anything less than perfect. kristoph can't falter, can't be weak, or the world will eat you alive. and when zak gramarye veers out of his grasp, over something he can't control, the nature of who he is, he spites him too, and the man he chose. he forces his way into the case to make sure he can enact control, to protect his view of the world, and of himself.

and klavier, of course, comes back to him. believes in him, follows his word, even with doubt in his heart, a doubt that haunts him for years to come. he destroys phoenix's career, has his brother back, and protects himself from facing a truth he can't handle. he wins.

and it's not enough. he plots out the murders of his forgers, stalks every involved person of interest on the case, and plants himself right by the biggest threat: an unpredictable, awfully lucky man. someone who never did anything to him personally, but whose mere nature is contradiction to the ideals kristoph has pledged himself to. he does this because he isn't confident, perfectly conniving and infallible. for the first time in a long time, kristoph feels control slip out of his fingers and it terrifies him. he obsessively intangles himself with the case for seven years, watching, waiting, for loose ends to be cut.

this need is so intense that when he passes by zak, his first instinct is to murder him in cold blood. for no reason other than he is a threat to the stringing web of sanity kristoph is holding himself by. if he were more clever, more careful, he might've stayed, listened in, found out zak had no intention to do anything but give one last thing to his daughter, before he disappeared again. none of that mattered. because kristoph panics, at the idea that someone, anyone could do something to destroy his image, his life, his control. he's paranoid, and as thorough as he's been, he's sloppy.

and as he thought, phoenix is his perfect downfall. kristoph seemingly loses everything, he's found guilty of murder. his protégé, who he raised up strictly and intensely to follow in his steps, accepts this and is the falling blade to his final bow. but he doesn't snap. he doesn't break his illusion, his facade of poise and composure.

because he still has klavier. klavier, who returns to law after years to meet the man who sent his brother to prison. klavier, who believes his brother is innocent. klavier, who still depends on him. once again, it's kristoph and his little brother. he's already done the unspeakable to protect their lives, to sustain all he's built for him.

klavier visits him in prison, feeds him information, holds faith that he is good, even after he is betrayed by his closest friend. even as things lead to an awful conclusion klavier denied for too long. and when everything plays out the way it does, kristoph at the stand, he still sees klavier the same. he speaks for him, calls him incapable, believes he doesn't know better. because klavier will always come back to him. klavier needs him to survive, to be succeed in life, klavier depends on him.

until he doesn't. the one thing kristoph has always had control over, the reason he needed to be in control of it all, leaves him too. through his never ending desperation, he has become unforgivable. he threatens klavier, demeans him, humiliates him, but none of it works. everything is, as he says, spinning out of his control. he has nothing left, but the ego he's created for himself.

the jury system is the final blow. the idea that no matter what he could do to ensure his victory, the neverending upkeep of his perfect, unfaltering persona, he was at the whim of someone else. his control, completely stripped away from him. because without that, what is he?

when phoenix asks him why he killed zak gramarye, five black psyche locks appear, chains barred and tight. he claims he is simply an evil, cold-blooder murderer. a simple, unsatisfying thing. it's snide, and spiteful, and it's a lie. kristoph's secret, held so close to his heart that he doesnt even know he's keeping it. why did you kill a man, after seven years, when he had done nothing but hurt your pride?

he needs control. somewhere deep down, there's still that teenager, panicked and unsure, staring down at his brother with pleading eyes, deciding that he needs to become inviolable. like the law, absolute and unwavering. and in that he became unreachable. he emotionally neglected and abused the only family he had left, and told himself it was for his sake. he's insecure, entitled, angry; he's vengeful, petty, neurotic. so caught up in the fantasy he created to eliminate what was weak in him, he saw weakness in everything, in everyone.

to admit that would be suicide. it would be a complete mind shatter. he laughs hysterically out of the courtroom, out of acceptance for what he's lost or denial of everything he is, he breaks in one way or another. the places he was led to by love, by responbility, a bloodied bottle in his grip, poison on lips, standing alone at the end of it all.

to shield himself from cruelty, he became cruel himself. kristoph loved his brother, and that too, became a weakness to snuff out.

that is. if. they had actual backstories to explain why they are the way they are. foams at the mouth and collapses

[clowns0cks]

so, I got asked what's the spymaster timeline argument and why do I argue about it so much and keep defending spymaster lol so I wrote a long ass thing that I want to share with you.

SO. there are different arguments for people I argue with

1. having the master back as evil ruins Missy's arc and they hate him

2. having the master back as evil doesn't make sense after missy but would make sense before missy

3. They just fucking hate him god knows why.

4. A mix of these

Now. I have strong opinions, and those strong opinions are that I don't have a problem with dhawan master at all. I think he simply fits in after missy in the most normal way possible. I never saw a problem with it and I find it confusing that people do. Cause?? Imagine dying, then regenerating and realising the doctor has left you alone, but fair, cause he didn't know. So you go on gallifrey, hoping he shows up. While you're there you start hacking into the matrix for fun, cause you're the master and you like having a bit of fun. You discover horrible things. The doctor is not who they think they are, the time lords are not what you thought they were and all of your species including yourself is a product of the doctor's DNA.

This places the doctor as some kind of god. The origin of the time lords. They weren't time lords before the doctor, just gallifreyans, with no real power or anything to make them important. He's simultaneously angry at the time lords for lying about their identity, and at the doctor for being the most important time lord of them all, for being THE time lord, the original. Ultimately, for being more than him.

Now. The master has a certainty during the entirety of the show. The doctor is his equal, they have opposite moralities, but they're equals. Now, the security in this statement he believed in all his life shatters. They're not equals. He is who he is only because of the doctor. Thinking back to missy, she was the regeneration that absolutely wanted the doctor to see her as equal as well. She wanted to be like the doctor cause she missed him, and felt like he was the only one like her. So she tried to be like him, she accepted to be imprisoned in a vault and basically be changed to have the same beliefs of the doctor. But she did it willingly. Cause she wanted them to be the same. Now this entire arc feels wrong to the master (dhawan) , cause now he knows he could never be like the doctor, how could he? The doctor is much more. He thinks missy was his biggest mistake, he humiliated himself to be something he could never be. He gets out of the matrix and throws a tantrum, killing everyone on the planet for having lied to him (and to the doctor). When he sees the doctor again he hates her. He hates her cause she's just there, being her usual self, while in reality she has a bigger role in everything than she could ever think. He hates her cause a part of her is in him, and that means he's less. He's lesser than her. I also remember one scene where he was like "did I ever apologise for that?" (basically killing the doctor making them fall on the ground and regenerate, lmao) And she was like "no" and him "good". I think about it often in relation to missy, cause he was definitely saying it because of her. Why any other master should have apologised for something? Only missy was apologising for stuff she did. It might be a big reach but I like to think it's about her. And he's like "good" cause he regrets being missy and trying to redeem himself, like I said before. Anyway the follow up from here is simple, he hates her and stuff, but he also feels bad not letting her know why. So then he decides to show her her story, all he can. No one should live without knowing their origins. so he shows her, and then he says he would like to show her more, but there's nothing else to show. It's the only moment in which he's doing something kind for her. Cause I believe in some way, he's also mad at the time lords for lying to the doctor. And here's part of why he decides to use their dead bodies in such an unworthy way. They have to pay not only with their life but also with their dignity, so he turns them into cybermasters.

This is also a way to cope and create his own race, to feel a little more on the doctor's level. She created the time lords, he destroyed them and created another species with their bodies. Then it's not enough and he decides that the only way to be equals is to become her. At this point he's gone completely insane, like, we see that. But it's totally understandable for him to act that way. His whole worldview changes. Everything he believed in is not true anymore. He doesn't know who he is anymore (I also just thought about this identity crisis he was having and how he stole Rasputin's identity, but this is an analysis for another day).

Anyway this got off topic cause I had to explain only the missy/dhawan thing but then started talking about dhawan in general so forgive me lol.

Other than this, if we take big finish in consideration there's the lumiat, that comes between missy and dhawan and her story really helps some people accepting the change (for some people it's still not enough though) and in the 2021 annual is confirmed that dhawan comes after missy, as we have the doctor and the master talking about the master's story from delegado to dhawan and thirteen says "I quite liked you as missy" and he replies that she spent too much time with him and it's something that should never happen again.

anyway. I've made my point on why the missy -> spymaster regeneration simply makes sense. It's just a normal timeline, I don't know why people think it doesn't work

[descendant-of-truth]

Sooo has anyone else noticed that Chaos Sonic seems to know things about Sonic that he logically shouldn't?

He constantly brings up Sonic's failures, describes him as looking "sad and pathetic" and being "tragic" when Sonic doesn't even look upset, and seems to have inherited chili dogs as his favorite food to boot.

But the Chaos Council doesn't know about Sonic's biggest failures. They don't know that he feels sad about anything, or that he likes chili dogs. Not even Nine knows these things in detail, and even if he did, we're not given any indication that he told the Council anything after giving them the initial idea for Chaos Sonic by accident.

And yet, he takes every opportunity to poke at Sonic's insecurities, even targeting his friends and blaming him for getting them hurt.

How does he know Sonic well enough to make these kinds of targeted remarks? I like that he can, it leads to a lot more interesting interactions than if he couldn't, but what's the in-universe explanation?

Well, Sonic absorbed some of the Prism's energy when it shattered, and Chaos Sonic was created mostly with the energy from the shards. While this could give them a sort of mental connection, it doesn't seem to go both ways, and I have a slightly more specific theory for how it all works.

That being: I think the Prism itself knows Sonic. Which is kind of a bold claim, I think, but hear me out.

First of all, the energy that's in Sonic's body (once tempered with Nine's tech of course) adapts his gloves and shoes to his environment in ways that'll protect him. New Yoke doesn't require anything special, but the Boscage Maze has tall trees that are difficult to climb, so it gives him retractable claws. No Place is filled with water, and Sonic can't swim, so he gets hover shoes to keep him afloat even if he falls in.

That's a suspicious amount of intent going on there, isn't it? And they appear the instant Sonic enters a new world, so he doesn't even encounter the obstacles his clothes are protecting him from before getting them. It's like the energy already knows what the world is like and what Sonic's capabilities are.

Secondly, Shadow reacts physically to the giant sparkly specter of Tails that shows up in the void, which tells me that those are all Actual Things that the Prism conjured up.

And that's. kind of weird, right? I just assumed these were symbolic of memories flashing through Sonic's head, but I guess they're also flashing through space itself, which I will admit did get a laugh out of me the first time I watched it

(They might not be "memories" exactly since we never flashback to when these lines were originally said, but they're certainly Something that came from Sonic's head so my point still stands)

Finally, when the Chaos Council uses the Prism energy to make the Giant Eggman, it specifically takes the form of the original. That didn't come from Mister Doctor's imagination - that's how Sonic remembers Eggman.

Not to mention, they keep hammering home how uniquely linked Sonic is to the Prism, so why not have it be the other way around? I'm not saying that the Paradox Prism has to have any kind of sentience for this theory to work (in fact I'd be surprised if it did), but it could be acting as a sort of container for data on Sonic, just like how Sonic is a container for its power.

And if that's the case, then it explains how Chaos Sonic knew so much; he's tapped into that very data bank from the get-go. It also complicates the question of how to restore the Prism a bit, because yeah Sonic might have to put his energy back into it, but does the Prism have to give anything back to him in return?

Regardless of the answer, I'm really looking forward to learning more about how the Paradox Prism works (and also any potential future Chaos Sonic appearances because I loved every moment he was on screen)