So, I know I'm a little (very) late to the AvA stuff, but I was rewatching AvM Season 3 for the seven hundredth time and, well, I noticed something and I'm curious to know if it's been discussed before.
AvM Episode 29, Purple's story, specifically, Pink's death.
Her color changes as she dies, or is represented to have died.
It fades to grey.
Now, the question is, can we, or rather should we, use this to infer anything lore-related? Was this just an artistic choice to depict the act of becoming unhealthy/dying, or could this be what actually happens to stick figures that die over a period of time? Are their colors linked to their health?
Let's have a bit of fun with it, and presume that the fading of one's color can happen to a stick figure for health-related reasons, as the scene could imply.
This fading seems to involve loosing the saturation of one's color into grey. Saturation is how vibrant a color is, and the complete lack of saturation is greyscale.
The World-of-Alan reason for Pink's death is that she 'got sick', which is where the health connection of this theory comes from. If she did loose her color as she was dying as the notes depict, that loss of color was likely a result of her failing health rather than any other factors, like age or outside variables. A whole bunch of human body stuff are indicators for good vs poor health, including skin color (jaundice and cyanasis are good examples) so why not a stick's color for them?
What if, when they fully die, they lose all of their original color?
Now, let me propose this…
Who else do we know of who has had their color loose vibrancy?
What if Victim's color has lightened because he's ill?
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*Slams open the door to your inbox very, very loudly*
I HAVE ANOTHER IDEA FOR AN AU
But this one is a little bit deranged.
AU where only Donatello and Karai are raised by Splinter and the rest (Leonardo, Raphael and Michelangelo) were raised by the Shredder. (Or vice versa idk which would be funnier)
It's stupid, I KNOW— but wdnsixjsks—
Just imagine the lone turtle being raised by the opposite side of the other three, accompanied with just as fierce + overprotective older sister who'd drop kick anyone who ever attempt to claim the title as 'Donatello's older sibling'.
Donnie'd be so confused to suddenly have a group of the same species as him suddenly thrusted into his life after spending years of beliving he's the only one— and oh look they're now claiming him to be their brother, how neat.
Karai is NOT happy because that's HER little brother and they have to pry him out of her cold, dead hands.
Leo and Raph would be, "You're our master's daughter and that's OUR little brother", to which Karai would be, ">:0".
Cue to Mikey and Donnie arguing who is older.
I'm not sure about you, but I am also a sucker for (over)protective Mikey. It's a neat concept, one that hasn't been explored much by the fandom— but arhwidnsidnsi.
I just love the purple genius, okay?
This AU is purely crack and self-indulgent at this point hahah.
-Ellestrade
Donnie didn’t consider himself to be a bad son, per say.
Sensei always had a list of rules to keep him safe. Never go down to the ground floor unless the dojo was closed for the day. Never open the curtains because he might be glimpsed. Never go out into the yard unless he got permission or had one of them with him.
And never, under any circumstances, was he to enter New York City.
Sensei was always very careful when it came to his safety. It’s the whole reason that he found a place outside the city for him to grow up, miles away from people, but close enough to the city that Miwa could visit to terrorize socialize whenever she feels cooped up.
Donnie’s never had that luxury, but now he was fifteen.
Fifteen was practically driving age. Fifteen is old enough to be in a high school and get invited to parties that sounded unsafe and rent adult movies behind parents backs and get to buy things at stores or check out books at the library!
He’s definitely responsible enough to borrow some books on his own.
Fifteen is also the perfect age for sneaking out and breaking rules.
It’s not really his fault. It’s the hormone and teenage ritual stuff. He couldn’t help it, probably. That’s what Miwa always says. Sensei buys it sometimes. He goes easy on her. So when Donnie wakes up to a carpeted floor and a splitting migraine, he knows he’s been caught and he’ll need every reasonable excuse that he can get his hands on.
It’s his birthday, anyway. Sensei can’t be too mad.
There are muffled voices around him as he lifts his head, immediately regretting it when pain spikes from his skull and scatters across his forehead. He clutches at his skull, groaning miserably. He’s never had an all-nighter migraine this intense before.
He supposes that this is what Miwa would call a personal problem as remains on the ground, forcing his eyes open to get a read on the situation. He expects to see his father hovering as Miwa goads him into a punishment because the consequences of his actions was never enough for her.
Somehow, his father usually ends up letting him off the hook instead. A perk of being an extinct species that can never see the light of day, he supposes, is endless sympathy points.
Donnie’s greeted with three shells, four blinding overhead lights, five individual weapons, and six eyes, all balanced out by a truckload of confusion. He stares, blinking sluggishly, as one of the turtles announces, “Well, he’s not dead.”
And just like that, this has officially slotted itself to be the weirdest dream Donnie has ever had.
DON’T LOOK AT ME LIKE THAT I HAD TOO-
So anyway, feel free to assume that he’s in pain and kidnapped for any number of reasons because I have about twelve different ideas and they are all equal GREAT for the crack AU atmosphere that is in development in my brain.
I’m just imaging a backstory where Shredder fought the Kraang (cause he was hangry or something, who knows) and the turtles (sitting abandoned in the alley, maybe?) are corrupt with mutagen.
Absolutely dumbfounded but not stupid enough to leave the little freaks of nature behind, he (still human) snatches three of them, accidentally leaving one behind.
Hours/days later, Toddler Miwa hear Donnie crying, barely alive and all alone. Obviously, dad and daughter care for him.
Shredder and Yoshi are still human, but neither is on guard for the other. They both think the other remains in Japan.
Their sons don’t grow up hating each other’s guts. They are both trying to leave their past behind. Yoshi is raising his family. Shredder is growing his empire.
So Donnie didn’t grow up knowing he had other brothers because no one knew they existed. Ergo, I imagine Donnie would be confused at first, but after fifteen years thinking that he’s alone in the universe, he’s eager to learn everything about these three fellow turtle mutants in ninja gear. He’s a bit perturbed about the fact that they keep making excuses to keep him from leaving, but he’s not to concerned about it. He has brothers! How neat is that?
And since it’s a crack AU, it would be absolutely hilarious if Donnie seems like this naive, learned soul, who cannot social in the slightest- but the second that the need calls for it, he knows how to use several different type of weapons and can take all the brother down single-handedly. He had fifteen years of no brotherly distractions and a sister who takes training very seriously. Why wouldn’t he?
It’s why he’s not concerned with technically being held hostage. He’s reasonably certain that he can take them. And he proves it when Karai finds him and tries to take him home, only for the brothers attempt to stop him from leaving.
Of course, he always feels bad about his supremely awesome and instinctive skills. He prefers his studies.
No, but your “pry him out of her cold, dead hands” comment made me think that she’d need a reason to feel threatened. If they bond before she finds him, Donnie will begin looking at his older brothers (yes, even Mikey, who adores being able to feel in charge of someone) like, well, eldest brothers, and Karai will sense the change.
And, obvs, be completely and utterly ticked off by it.
Donnie’s spent his entire life admiring her and everything that she does- how DARE she have to share his attention with these three random strangers that literally kidnapped him?!
And his older brothers will all immediately decide that this lost child is theirs’ for one reason or another. And obviously, the safest thing to do when you find a stray mutant like you is to take it home and give it care. Heck, if it turns out to be your brother, even better!
HAPPY FIFTEENTH BIRTHDAY! YOU BELONG TO A GROUP OF NINJA TURTLES NOW, ADOPTED LIKE A LOST CAT! CONGRATS!
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Life and Death Parallels within the ADA
Someone in a tag said a while back to throw some of my tags of this post onto a post, and I meant to do it way back in February but kind of got lost to the timestream.
But I'm back and I really do have thoughts about the way the ADA is structured to really be, as Atsushi was told just before the Kamui revelation, a place where the members give the organisation unique strengths that cover each other's weaknesses. And I thought about how there's a sort of equal divide between the older generation (Ranpo, Yosano, Dazai, and Kunikida) and the younger generation (Kyouka, Kenji, Tanizaki, Atsushi) and how each of these characters have both a similar aged parallel to them in the agency as well as a minor-adult parallel.
I'll try to be as concise as possible (I failed), but hear me out...
We have Ranpo/Yosano, Dazai/Kunikida, Atsushi/Tanizaki, and Kyouka/Kenji as similar-aged parallel sets that pair a death-coded individual with a life-coded individual. On the the adult-minor side, you have Ranpo/Kenji, Yosano/Atsushi, Dazai/Kyouka, and Tanizaki/Kunikida as parallel sets in their story arcs rather than thematic ones.
So, to start with the first set.
Ranpo (life-coded) and Yosano (death-coded): I feel as if these two have sort of reached the most balanced level of thematic parallels than any of the other pairings. Ranpo's past was full of this enjoyment with life where his parents' occupations dealing with darker forces of the world were hidden from him. Meanwhile, Yosano's past was full of death and darkness that was not hidden from her. And in Yosano's backstory, she was called the angel of death; in Ranpo's Origins tale with Fukuzawa, he confronted an angel of death of a sort. Yosano was deteriorating into death while Ranpo was slowly thriving under Fukuzawa. And then they met...and Ranpo found someone to bring back to life, and a place in the ADA where he could use murders and death and the darkness of the world to spread light/life by literally shining light on the mysteries, while Yosano found a place where she could use death to bring life in the ADA.
Dazai (death-coded) and Kunikida (life-coded): I think this parallel of life/death manifests the most in their ideals...Dazai's ideal is sort of entrenched in death and trying to die a painless suicide while Kunikida is all about spreading life for himself and others no matter how much pain it brings him. What's so wrong with these two is that they also have inclinations towards their "opposite coding," so to speak. We constantly see people pointing out Kunikida's secret desire to die while we clearly see Dazai doing his uttermost to live a good life and carry on Oda's legacy. Life haunts Kunikida as much as death haunts Dazai, and yet death chases after Kunikida (all the people he's witnessed dying, RIP) as much as life comes after Dazai (all his failed suicide attempts, double RIP)
Atsushi (life-coded) and Tanizaki (death-coded): This is honestly pretty tricky because we barely know anything about Tanizaki. Even though Kunikida and Dazai's past-pasts are still pretty mysterious, we have a good grasp on their characters. But Tanizaki's personality dissonance and as-of-yet unknown past with his sister definitely contrasts with the way we're know Atsushi's past and values. Both, however, are incredibly protective, but the way Tanizaki and Atsushi approach it is pretty different; Tanizaki seems to have this mentality that he must kill the threat while Atsushi seems determined more to save the victim. (I also find that one throwaway about "wimp of the east (Tanizaki)/wimp of the west (Atsushi)" interesting because maybe it's just in western lit, but west denotes sunsets and death while east denotes sunrises and rising, except in Buddhism where the west is shown as a direction of enlightenment(info check?)...which provides another host of interesting parallels to Atsushi and his relation to the book but let's not go there). All in all, these two are a bit of a stretch, but it's interesting to see that Atsushi's mysteries lie more towards the future (usually associated with life) while Tanizaki's life more in the past.
Kenji (life-coded) and Kyouka (death-coded): This one's pretty straightforward, not just because they're the youngest members of the ADA. But you see their life philosophies and personalities lean towards what they're coded as, as well as their pasts (Kenji as a farmer, cultivating life, and Kyouka as an assassin, dealing death). And yet what drew each to the ADA....Kenji was drawn to the ADA after witnessing death after a lifetime of growing new life while Kyouka was drawn to the ADA after being given life after a long childhood of killing.
However, in the end, the Armed Detective Agency is a detective organisation devoted to saving people, and all of them end up choosing life for it. But the different ways they go about it just go to show that you can have any crazy skill and still spread some sort of life through it. All of them are haunted by death, anyway, and yet all of them choose to spread life regardless.
Now onto the second set, which I'll keep shorter by simply saying that the pairs - Ranpo/Kenji, Yosano/Atsushi, Dazai/Kyouka, and Tanizaki/Kunikida - just have similar story beats, in a sense.
Ranpo and Kenji raised fairly happy, rudely awakened by the world, and yet choosing to believe in continuing to keep up a positive attitude; I'd say, though, that Ranpo does it primarily through shutting his eyes to the world while unmasking it while Kenji does it through acknowledging its pain and refusing to let it bring him down.
Yosano and Atsushi both with honestly terrible childhoods spent witnessing some of the most cruel sides of human natures growing up to be champions of life, only Yosano has definitely developed more steel and walls while Atsushi's definitely softer and more open still (they're both crazy stubborn, though).
Then Dazai and Kyouka's past with the Port Mafia and a disillusionment in reality that was abruptly interrupted when they realised they had to do something about it as useless as it sounded; Dazai thanks to Oda dying and Kyouka thanks to Dazai telling her to save people anyway.
And again, Kunikida and Tanizaki's probably a stretch given we know nothing about their pasts, but I really really find it interesting that Kunikida was a former teacher and Atsushi first assumed Tanizaki and Naomi to be students; also, I've mentioned this in other posts but Kunikida and Tanizaki are paired together a lot and have...their moments. It's pretty interesting to perceive these two people with strong ideals that are almost the reversal of the other ("the world for one person" vs "myself (one person) for the world").
But yeah...that has been parallels within the ADA concerning themes of life and death and their character's narrative arcs.
Bonus? Fukuzawa and Naomi....a middle aged president and a teenaged clerk, both protective about the people they claim to be their own, smart in their own ways, with seemingly "support" roles.
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