#does it count as character analysis if you are the character youre analyzing?

[simplyasteria]

I remember thinking about that one post thing about what a characters phone case says about them and then thought

Wait

Could this be applied to a characters nails?

Like, how long are their nails? Do they wear nail polish? What does this say about a character?

I was thinking about this, thinking about a character with very chipped nail polish; they cared enough to paint them, but not enough to remove them, what does this say about their self worth- wait. Wait. These are my nails. Why am I analyzing me. I'm... I'm not a character.........

[santacoppelia]

The HUGE analysis - This season starts and ends with a discussion, doesn't it?

Ok, my loves. This was one of the really long metas I've been working with, and probably the one that has taken me the longest (because it depended a lot on rewatching the season time and again).

I couldn't help to notice that the fist interaction Aziraphale and Crowley have in season 2 is a fight, really. Yeah, we have the beautiful “in the beginning” sequence, with both of them being angels and happy and all the such (oh, how lovely, Neil Gaiman planting the seeds of why it will matter to us that Aziraphale will not be fighting the idea of inviting Crowley to Heaven, because he remembers that happy, careless guy). But after the intro, we see them having a big disagreement… And we end the season in the biggest disagreement they have had, probably, in 6,000 years.

I love over-analyzing and dissecting narratives and characters, and more so if I can use only what we’ve been shown in the screen. Therefore, I believe that the first fight of the season tells us a lot of the things we will need to know to understand the final fight of the season between them. Let’s take a look, shall we?

The first fight is motivated by having an amnesiac Gabriel in the bookshop.

They see the same circumstance: Gabriel in the bookshop means trouble with Heaven. He is also an individual risk, because he has menaced Aziraphale directly (well, Crowley under the visage of Aziraphale).

It affects each of them differently: even when they both panic, Aziraphale feels compelled to be kind to Gabriel (gives him a blanket and hot cocoa) while Crowley has a full-on panic induced reaction and gets defensive.

They propose opposite solutions: Azi wants to do the Good thing, taking the “higher road” (help Gabriel), while Crowley wants to do His Own thing: “Protect the precious, peaceful, fragile existence I have carved for myself”

At that moment, Aziraphale corrects him and marks a “we”, which is very interesting. But immediately after that, Aziraphale gets all "my way or the highway".

Crowley asks for clarification, with a well-leveled tone of voice: “Is this how it is going to go?”

Azi clarifies "no, I want you to help me!" But then he does the passive-aggressive thing: "if you won't, you won't". (oh, Aziraphale, how you triggered me here, my dear chap. I was angry at the character the first 6 times I saw this)

Therefore, Crowley is out. He marks a clear limit: “I won't. You are on your own”, and then storms out. No Eccles cakes would help him: he needs a breather and counting to 10. That doesn't help either.

Crowley only comes back after gaining an extra perspective: the "extreme sanctions" talk with Beelzebub.

When he comes back, Aziraphale will stand his ground: he feels he deserves an apology, which is delivered via a “I was wrong, you were right” literal admission (even when he probably wasn't "right", but that's their way... And they've been doing it since 1650, or so they say). Then they are able to work together again.

Now, let’s see how this dynamic plays out in their last discussion of the season:

They come from different sides of the same experience: Crowley went to Heaven to investigate and learned about the plans to continue with the end of the world, while Aziraphale stayed defending the bookshop. Then Crowley saves the humans, while Aziraphale solved the Beelzebub + Gabriel affair.

They haven’t had time to talk, as they get interrupted by The Metatron. While he takes Aziraphale, Crowley receives a visit from Maggie and Nina.

Each one of them gained an extra different perspective: Azi, the Metatron proposal (and veiled menace); Crowley, the pep talk/scolding from the couple they were trying to get together.

This makes them develop different solutions:

Crowley wants to finally admit what Azi has been saying all the season: they are a "we" (Azi said so when Crowley talked about his “precious, peaceful, fragile existence”; he said it again when talking about “our car” and reinforced it with the bookshop)

Azi wants to take the "higher road": go to Heaven, reinstate Crowley as an angel, so they can still work together.

Crowley sees the “usual dynamic” of their disagreements coming: it will be Azi’s way (or the highway). That has happened before, in front of our eyes, and not only in this season: it happened also in season 1, but we have already attested that it is still happening, and it is even “worse” (Aziraphale being a little “petty” with the “if you do, it is fine, but if you won’t, you are on your own” in the Gabriel discussion).

Crowley gets indignant. He asks, tentatively, if he told him where to stick it… And then he reinforces his belief. We are better than that, YOU are better than that, you don’t need them, I don’t need them; then he makes the first mention of the offer of getting back to Hell (which he hadn’t shared with Aziraphale), and makes a new point: I said no, neither should you!

Aziraphale goes back to the “you are the bad guys!” thing. Heaven being the side of Truth, of Light, of Good… It is not the propaganda Crowley needed for this move.

Crowley then clarifies the fallacy in his logic: when Heaven ends life on Earth, it’ll be just as dead as if Hell ended it.

Aziraphale then sees the "undesirable result" coming: Crowley is not going to accept, not with that argument.

Crowley makes his plead grow in urgency: Tell me you said no.

Aziraphale’s pitch of voice goes high (usually used as a sign of distress): “If I’m in charge, I can make a difference.”

Crowley understands. This is his “my way or the highway” moment. That’s why he comes up with the courage to make his half-proposal-half admission.

Crowley never gets to state out loud the “I want us to be together in a formal way” part. His voice breaks before he does so. He mentions all of the reasons they have to stay together, which Aziraphale already knows: we have been together for a long time, we’ve been a group (“our own side” was the way he always said it before) and we’ve spent our existence pretending that we aren’t (Azi also knows that! He has been working hard into making Crowley notice it!)

You can see, when they shoot Aziraphale’s face, he squints a little during that moment: maybe questioning, a little disbelief? As usual with Michael Sheen, it is a blink it and you’ll miss it moment.

After the grunt, Crowley proposes his alternative solution: going off together, using Beelzebub & Gabriel as an example that they could.

Therefore, what Aziraphale has just listened is what he already knew: yes, they are a “we”. Crowley wants to run away (he had proposed it twice during the Armageddidn’t, another pattern they have already established).

The next step is the usual way for Aziraphale: he reinforces his proposal: come with me, to Heaven. Ill’ run it, you can be my second in command. This idea has rubbed me wrong since the first time I watched this scene. Why remark the hierarchy? (not to say that I’m in Crowley’s side in here, but… It was weird and uncomfortable to think of them in a vertical power structure; they have always been equals).

Then, he goes back to making a difference, only it is “we” this time. Crowley is noticing he won’t back down… But Aziraphale usually doesn’t.

“You can’t leave this bookshop” works as a representation, a figure of speech. “This Bookshop” is “This life we have been building”, and they both understand it as such.

“Oh, Crowley… Nothing lasts forever…” For Aziraphale, it means he can leave this for something greater. For Crowley, it means… Actually, the same. But without him. Because he knows the “my way or the highway” side of Aziraphale, and none of them will budge. Aaaaand… that’s Crowley heart breaking. The rest of the scene happens with Crowley in “breakup mode”.

Aziraphale is used to “the discussion dance”. He Insists, “Crowley! Come back, to Heaven, work with me! We can be together, Angels! Doing good!”. He promises all he can: “come back, work with me, we can be together”, which have always been Crowley’s triggers to change his mind. However, the problem lies within the “angels doing good”. That’s the part that Aziraphale would need to let go before getting back to Crowley.

And then, he breaks down: “I need you!!” That has always worked! Aziraphale knows that Crowley loves being needed, he won’t leave his angel when in need, right?

And then, he gets angry. And he questions if Crowley has understood what he is offering, which transforms in an “I don’t think your exactly and my exactly are the same exactly” all over again.

Crowley is already brokenhearted, so he answers truthfully, as far as he knows. He understands how terrible the offer of going back to heaven is for both of them, and is not aware of the veiled threat in Metatron’s offer. He knows that going back to Heaven is a non-negotiable boundary, and Aziraphale is absolutely determined to cross it.

Aziraphale, then, does his passive-aggressive shit again: “I guess there is nothing more to say”. My guy, my love, you need to become better at negotiating with your loved one.

This is where Crowley decides to show, don’t tell, the hurt: no nightingales. And then… The “You idiot. We could have been… us” (no, you couldn’t, it was always too late!!! First the pandemic, which I’ve decided to treat as canon, then Gabriel. They never stood a chance).

In this context, Crowley’s kiss is a desperate way to say good-bye to the person he cared most for the last 6,000 years; also an angry way to regain some semblance of control and affect Aziraphale; and a final way to get some “closure”. Is there desire? Is there love? Maybe. But they are lost in a cocktail of emotions that have been stated during the rest of the discussion.

The angry “I forgive you”, which is also a usual dynamic for Aziraphale when he is angry with Crowley, gets there too late for Crowley to react to. He has already “checked out”. That’s why the “don’t bother” feels almost like an afterthought and comes after a small sigh.

After watching this 16 times, I’m pretty confident that the first thing Aziraphale mouths is a “no…” and then… he sobs a little. Michael Sheen, you’re a beautiful actor. The rest of it is a masterclass in using microexpressions to convey a whirlwind of emotions in under 2 minutes.

Sooooo... Did I hurt my own emotions while writing this? Yes. Did I absolutely need to do so? Also yes. Even when I like doing intertextual readings (and that's why I like bringing some theology to some of my musings), reading what is in "the text" (in the scenes we have watched, in the dialogues we've been shown) gives me an enormous amount of pleasure, and I find a lot of comfort in believing that most of the things that I'll need to understand and enjoy a great piece of media are being given to me inside it. And I believe Good Omens is a great piece of media!!

I have no Shakespeare to offer you this time. Let me know what you think!!

[miraculouslbcnreactions]

What is your opinion on each of the known students in Ms. Mendeleiev's class (Marc Anciel, Aurore Beauréal, Mireille Caquet, Jean Duparc, Zoé Lee)? I realize that Zoé’s section of your answer will most likely be the longest, but I figured I’d go ahead and put them all in one ask anyways since there’s only five out of sixteen total and having one ask for each of the other four seemed unnecessary.

Zoé is going to get the most analysis out of me, so we'll save her for last and start with the character that I have the least to say about:

Jean Duparc

I didn't even know who this was, so I had to check the fan wiki page about him. He's apparently a minor character who gets akumatized and defeated off screen. His design is so generic that the trivia section reads, "Jean's design is a regular background model used in groups and crowds in the series."

So, yeah, nothing to say about this one. I can't have opinions on a character who barely even counts as a character.

Mireille Caquet

Mireille is a minor step up from Jean in that I actually know who she is - she's the girl who wins the weather reporter job at the start of Stormy Weather - but as far as her personality goes, I have nothing to comment on because Mireille does really have a personality. She only exists so that Aurore has someone to lose to at the start of Stormy Weather. That's why Aurore has a really cool and memorable design while Mireille looks like she's wearing pajamas. I don't think Mireille even has lines at any point in the series. If she does, they're not memorable, making her another character who barely counts as a character, leaving me nothing to talk about.

Aurore Beauréal

I really like Aurore's design, but there's not much else for me to say about her because we don't really get to know her character. She made for a fun akuma and that's all that she was meant to be. Her non-akumatized lines are just generic ranting about her loss

Aurore:(in the elevator) I should have won, I have the talent, the star looks, everything! But she took everything away from me. They took everything away from me! They--

and a generic statement of confusion after she's freed from her akuma. I wouldn't have been upset if she'd become a reoccurring character because - once again - she's got a really cool design, but I can't tell you anything else about her, so there's nothing for me to analyze.

Marc Anciel

Marc is the first character with some actual substance, but the substance is hardly abundant. He's just a kind of generic shy writer. I'm not sure why he's been added to the cast as a reoccurring character because they really didn't need more characters and they already have a writer in Alya. So I don't dislike him, I think he's fine, I'm just not sure why he's here. I was especially confused when he was given a miraculous because what has he done to earn one? He's not even part of the miracuclass where everyone gets a miraculous no matter how unworthy they are. It feels like he was just picked because they needed 18 holders, but they only had 17 and Marc is Nathaniel's comic-writing buddy, so I guess he's good enough?

Speaking of Nathaniel, I know that people ship him with Marc and that they're kind of implied to be together in the show, so I guess I should comment on that? I have to admit that I'm not a fan. Nathaniel's actions in Reverser were incredibly off-putting making this yet another couple with a really unhealthy foundation to their relationship. Why does Miraculous keep doing that???

In case people don't remember, Marinette gives Nathaniel Marc's story to read and Nathaniel assumes that it's Ladybug's private diary because the story is called "Diary of Ladybug". Why Nathaniel thinks that Ladybug would have Marinette deliver her private diary to him is beyond me. This is especially true since it doesn't read like any diary I've ever seen and the episode starts with these exchanges:

Marinette:(sees Marc) Marc you made it! (Marinette runs up to Marc and grabs his arm) Come meet everyone! (dragging him inside) This is Marc, the boy I told you about! The one who's always writing. Marc:(hides his book in his jacket) Uh... I'm sorry I didn't want to disturb you.

Jean-Pierre: Alix is our expert at street art. (Alix flips spray can in the air and catches it) And Nathaniel- Alix: He likes to draw people in skinny suits. (Nathaniel throws a piece of paper at Alix and she laughs) Nathaniel: Welcome Marc. As you'll find out, the good thing about this place is you can say whatever you want and no one will judge you, or only in good fun. (Marc notices Nathaniel's drawing and walks over to him) Marc: I... I saw your drawings on the school website, but they're nothing compared to the real thing. The movement, the expressions, the attitudes. They're all so-- Nathaniel: Thanks... That's nice.

Jean-Pierre: By the way Marc, you've shown up at the perfect time. Marinette told us that you're always writing and Nathaniel is looking for a script writer. (Nathaniel smiles at Marc)

Based on all this, it's not weird for Marinette to assume that Nathaniel would be able to guess that she was giving him Marc's writing. After all, the first few scenes of this episode all happen during the same day, meaning that Nathaniel was given this book right after being told that Marc liked his art, being told that Marc was a potential script writer, and being told that Marinette was Marc's friend, but whatever. What really matters is that, when Nathaniel goes to meet "Ladybug" and finds Marc instead, he gets extremely mad and rips Marc's book in half:

Nathaniel: What?! You're not Ladybug! Marc: Of course I'm not, it's me, Marc. Didn't Marinette tell you? Nathaniel: Marinette? (He looks over to Marinette's balcony, where he sees her filming him) Marinette: Uhh, operation "Comic Book" has hit a snag! (Tikki hides) Nathaniel: You were trying to make a fool of me, weren't you? (Points accusingly towards Marinette) Do you think it's funny to toy with my feelings? Marc: No, not at all! I-I just want.. to make.. a comic book, if you want to, that is. Nathaniel: A comic book? Us!? Together?! Never! (He tears Marc's book in half)

Oh yeah, I'm totally shipping these two. Couple of the century here. Really living up to that whole, "say whatever you want and no one will judge you, or only in good fun" thing, Nathaniel. Why did you even jump to the idea the they were making fun of you? Nothing in the episode set that up as a reasonable conclusion. No one was bullying you and you seem pretty freaking secure about yourself. If any character was set up to assume they were being made fun of, it was Marc!

This is another case where the show is trying to make things Marinette's fault, but she's actually not doing anything wrong. This is almost entirely on Nathaniel. They had a relatively minor miscommunication and, when he discovers that, his reaction is to destroy another artist's passion project in a fit of rage.

Anyone who thinks that it's okay to destroy another person's property because they're hurt needs anger management classes before they're ready to date anyone. Any time I see Marc and Nathaniel together, I remember this moment and wish that Marc would get out of there because I just don't view Nathaniel as a safe person. This was just such a massive overreaction and it gives me major ick vibes. Especially since this is yet another case where the wronged party never really gets an apology. The most we get is this:

Ladybug:(turns to Marc and Nathaniel) Marc and Nathaniel? By now you realize there was a big misunderstanding, but if you give each other a chance, I'm sure you'll find out how well you can work together. (Nathaniel holds out his hand, Marc looks, smiles and shakes Nathaniel's hand)

Why are we implying that there was blame on both sides here? Marc was the wronged party in every conceivable way. Once again, major ick vibes.

Zoé Lee

Zoé is written like someone's Mary Sue self-insert which is not a dig on Mary Sues! Mary Sues are just the most popular female equivalent to escapist male power fantasies and escapist fantasies should belong to all genders! However, if you're going to write a character like this, then they're supposed to be the main character. It's really freaking weird to have a side character written like this.

What do I mean by a Mary Sue self-insert?

Zoé shows up out of nowhere and immediately becomes best friends with all of the core cast members

Zoé has a tragic backstory that everyone finds oh so sad and comforts her over even though it really should make them wary of her ("I used to lie about everything and it lost me all my friends!" Yeah, I'll bet it did!)

Zoé is good at basically everything she tries and has no real flaws

Zoé gets brought into the magical girl squad in her second appearance, making her the character with the least development prior to being given a miraculous

Zoé is somehow the voice of reason, seeing the truth of things while everyone else is deceived in episodes like Kwami's Choice or Adoration, giving her things like the anti-Lila powers previously only held by Marinette and Adrien

Zoé is chosen as Adrien's replacement while Alya replaces Marinette, implying that these two are on equal standing somehow

In other words, Zoé is generic and kind of boring, but is treated as the best thing ever, which makes her a pretty annoying and crappy side character. The reason characters like this are successful main characters is because the whole point is escapist fantasy. You're supposed to be able to project yourself onto this generic cool person and pretend it's you being fawned over by your favorite characters. It's not my cup of tea, but I see the appeal and get why it's not hard to find stories like this especially in the romance, isekai, and fanfic genres, all of which are big on escapism.

While I will defend this type of character as fine in general, they have no place in a show like Miraculous. Miraculous is not an escapist fantasy. It's supposedly Marinette and Adrien's love story, so what is a self-insert fantasy doing here? The show really showcases how awkward this is in Adoration where Marinette spends the whole episode freaking out about Zoé liking Adrien - because of course the self-insert gets a love triangle with the leads - only for Zoé to confess her feelings for Marinette like a good little self-insert would, but of course Marinette can't accept those feelings so it's just kind of fizzles instead of leading to the standard self-insert romance with their favorite character. Writers, what are you even trying to do here? Why is Zoé getting all this attention? It's weird...

Zoé's awkwardness is only exacerbated by the fact that she's also a blatant Chloe replacement and I don't just mean the fact that she gets the bee. I mean that she's often used to disseminate information that Chloe would have or to fill the role that a redeemed Chloe would fill. For example, take this scene from the episode Gabriel Agreste:

Zoé: (rudely) Jean Quinton, did my mother tell you that the dinner party is no longer at Gabriel Agreste's tonight? Armand: Oh no! Madam didn't mention anything to me. Zoé: A helicopter will be coming to the roof, to take you over to the Eiffel Tower. Armand: Is mademoiselle sure about this? Zoé: Excuse me? Are you suggesting that I might be wrong? (walks away) Ridiculous! Utterly ridiculous! (to herself) Sorry, but it's for a good cause.

The writers needed Chloe for a minute, so Zoé adopts Chloe's personality to allow them to have a good Chloe without doing the work to actually make Chloe good. Btw, this scene shows exactly what I mean when I say that I want a wild card on the team. Someone who isn't afraid to be mean to get the job done. The writers clearly understand that a character like that has their uses, but then you'd have a character who is on the side of good, but who isn't a total goody two shoes and I guess we can't have that?

As you've probably picked up, I'm not much of a Zoé fan. I find her pretty obnoxious because she's so wildly out of place. Outside of her role as substitute Chloe, her character adds nothing to the story. There's no missing role that she uniquely fills because the cast was already bloated as heck when she showed up. To be fair, there are ways this could have been fixed.

Zoé shows up right after Chloe's betrayal and she almost immediately reveals herself to be a status chasing liar who is trying to be a better person. This should make everyone super wary of her and could have been used to demonstrate the difference between a person who doesn't want to change (Chloe) and a person who does want to change (Zoé). This would require the show to allow for multi-episode arcs, though, because Zoé's acceptance would need to be a slow process and not speed run in a single episode.

You could have also had Zoé show up at the same time as Audrey and used her as part of Chloe's story either to drive Chloe to be worse or to give Chloe someone who helps her get better because no one understands your messed up home life better than your siblings.

But those are some pretty major changes to canon. As is, Zoé is totally unnecessary and I wish that the writers would stop trying to make us love her by giving her cool roles in the story, shafting characters that we've all wanted more of in favor of this rando that they forced on us at the last minute. I will forever be salty that Zoé got the black cat instead of Nino. Alya had already had her identity outed twice, give someone else the Ladybug and let Nino get a chance to shine! Or just give the ladybug to Alya and black cat to Nino and imply that this is going to be a new love square situation. After all, Kwami's Choice has Tikki claim:

Tikki: No, they’re made for each other. Love is what gives them their strength.

Implying that the ladybug and the black cat should be in love so why are you picking Zoé and Alya? Not exactly opposed to that ship, but I don't think it's actually the plan, so what was that about? Plagg and Tikki didn't even seem to consider the comparability of their new chosen which is super weird given the whole "made for each other" line we get from Fu when he picks Adrien and Marinette in Origins. You can tell that no care was put into choosing the replacement heroes. They just once again wanted to show how cool Zoé is.

[adickaboutspoons]

Oh boy. Okay. Here we go

A totes calm and measured response to this post over here by @themetabridge. Forgiveness for the whole new post. I had too much to say to fit into what Tumblr apparently thinks is an appropriate length for a re-blog.

First? I mean. Text just means the words and actions as they are said and shown in a given piece of media being analyzed. Which is what I’m here to do with my meta – textual analysis. That’s why I insist on textual support for any argument interpreting the media in question. Naked assertions do nothing to explain how you arrived at your conclusion. Vibes aren’t good enough. Show me what IN THE TEXT made you think what you think, and I will do you the courtesy of the same. Otherwise, I don’t see how we could possibly have much to say to one another.

The fundamental breakdown we are having is that you have failed to provide a textual basis for why you think Ed is a bad person. While I respect your assertion that a person’s essential goodness is predicated on the actions that they perform, I cannot respect the corollary supposition that there are actions that are either “good” or “bad” in a vacuum, as this completely ignores circumstance and motivation. WHY someone does something is AT LEAST as important as WHAT they did.

For example - Stede killed Ned Lowe in cold blood. Does it matter that he did it because Ned “shit-talked [his] friend and damaged [his] ship,” and “fucked Calypso’s birthday”? Does it matter that Ed, the person whom Ned’s shit-talk actually impacted, told Stede not to do it? Twice? Does it matter that Ned was a subdued enemy combatant, and as such could have just as easily been gagged like Hornberry and the overtly racist Wellington, who survived imprisonment and went on to watch Ed and Stede sign the Act of Grace? Do we compare Ned to the French Captain who got flayed for his racist rhetoric, though Ned’s comment was, strictly speaking, about Ed’s class rather than his race? How far are we going to go to disentangle class and race when one absolutely informs the other?

How about a more straight-forward example; Stede set an unnamed man on fire and quipped about it like some asshole 80's action hero. Does it matter that he threatened Stede’s life? How about if, when he did so, he was twenty feet away, armed only with the bottle he had just broken over his head, and there were half-a dozen pirates between him and Stede who all thought Stede was hot shit, and so Stede was in no immediate danger? What if Stede has a long history of people making attempts on his life, and being unsure that he even deserves to live, and this is meant to show that, now that he has something to live for, he’s done with the part of his life where he lets anyone try to take that away from him?

This is what I mean when I say that the show is careful to never outright condemn the use of violence. The narrative tells us clearly that, within the context of the show, some things are more important than an unnamed or one-off character’s life – preservation of one’s own life or the lives of one’s loved ones, dignity in the face of racially-based persecution, resistance to colonial oppressors. The reasons for and direction of violence matters. Context matters.

And speaking of context, you misunderstand me when you suppose that only what literally appears before our eyes counts can be “read into the text”. I refuse to give extra-textual sources of information (such as the historical reality of sergeant recruiters and being pressed into service or the historical Golden Age of Piracy) any weight unless they can be validated by in-text support, because the show itself cares fuck-all about historical accuracy. But extrapolations about the in-show universe based on in-text support are fine.

So, considering that the very first thing we hear in the show is Frenchie’s little ditty about the violent reality of a pirate’s life, and considering Jack’s comment at brekkie about how pirating is an "ugly profession”, and considering what we see of the raids in 1x5 and 2x2, we can reasonably conclude that pirate culture is steeped in toxic masculinity where the expectation of performing violence is de rigueur. Because Ed has carved out a successful reputation as Blackbeard, and because we see the ease with which he can go from being casually conversant with Stede to “giving it some oomph” to scare the location of the treasure out of the French captain in 1x5 with the THREAT of violence, we can reasonably conclude that he can successfully perform the required violent displays of piratical society (or at least, given that we know by his bathtub confession that he has not personally killed anyone since his father, he can adopt a convincing enough posturing that no one would doubt he COULD). From his interactions with Jack and familiarity with “yardies” and “whippies”, and his ruminations about “the old days” of “drinking all day and biting the heads off turtles or making some poor bloke eat his own toes for a laugh”, and Fang’s assertion that Ed made him kill his dog, we can reasonably assume that Ed has a history with casual violence for the sake of fun and cruelty for cruelty’s sake.

However.

I think “the old days” is an important qualifier there. Season 1 Izzy may be frustrated that Ed is not performing Blackbeard sufficiently well to suit him (on that point we can agree), but even by his own deathbed confession “for YEARS I egged [him] on, even though I knew [Ed] had outgrown [the Blackbeard persona]” (emphasis mine, and pin in that for a moment). In 2x1, Fang is crying into his cake saying “I’ve never seen Blackbeard like this” - indicating that the conditions of the Kraken era are NOT the norm. The slivers of Ed we see in 1x3 before the Spanish raid are marked by him speaking calmly and rationally to Izzy (in stark contradiction to Izzy’s insistence that he’s half-mad) never even raising his voice much less using threats or any actual violence to get Izzy to do what he wants. In fact, it is Izzy who suggests a course of action involving very normative piratical violence (“Do we open fire? Or would you rather we just attack them, kill them, throw them out to the sharks, sir?”), which Ed counters with a genteel proposition - inviting (not even ordering!) Stede aboard for a face-to-face meeting. Izzy being comfortable enough to push back against orders (“Oh, Edward, can’t I just send the boys?”) even suggests that he feels no threat from Ed at all. Every indication is that by the time we meet Ed, well before he ever meets Stede, he’s already well past done with violence for violence sake.

When Ed does meet with Stede, before he’d fallen in love (Even though the are the U-Hauliest, I would argue “fascination” with a possible side of “infatuation”, but certainly not yet love), one of the early conversations they have is about the depiction of Blackbeard in Stede’s book of pirates. Ed expresses revulsion and anger that the persona that he’s worked so hard to cultivate has been twisted into a hyper-violent parody - a “Vampire Viking Clown” that’s barely even human, with a head of smoke and overladen with weapons and hardly bears any resemblance to the real man. We’re meant to understand that this is not a valid or accurate representation of who he is. Violence is a normative part of pirate life, but he has “one knife, and one gun JUST LIKE EVERYBODY ELSE” (emphasis mine, again) - he doesn’t shirk from using the tools of violence when it’s necessary, but he is NOT excessively or wantonly violent. 

And we SEE the evidence of this because of how Stede reacts to the way Ed acts around Jack. Jack keeps Ed drunk all day, decoupling his inhibitions from his decision-making processes and, in spite of Ed explicitly saying that he’s mellowed out, Jack eggs him into the kind of hyper-violent Jackassery that is excessive even for pirate society if the nervous reactions of Stede’s crew are any indication. Of course, this is all part of Jack’s plan - to manipulate both Ed and Stede and force them apart - and the reason that it works is because the way Ed acts around Jack is NOT the way he chooses to act under his own volition, hence Stede’s frustration and disappointment.

While I agree that piratical violence is not political praxis, I would argue that, considering that every raid we have witnessed Ed participate in has been against a representative of colonial power and, more often than not, specifically the enforcing arm thereof, it’s not unfair to conclude that Ed’s reasoning goes that if piratical violence is to be done, better against someone who deserves it than not - i.e. those who perpetuate the violence of colonialism. Regarding instances of violence outside the context of raids, here’s where we take that pin out of Izzy. Izzy and Ed are locked in a cycle of abuse over the first season, wherein Izzy decides that Ed is not Blackbearding hard enough, and, because he feels entitled to controlling Ed’s actions, bullies and harasses him into capitulating  - typically in the form of performing violence. Afterwards, Izzy performs some form of deference - apologizing and/or acting as though he’s going to leave, which Ed “talks him down from” and mercifully allows him to stay. It’s why, when Ed sees Izzy packing up a dinghy (lol. With what? It’s not like he’s on his own ship or would have brought his things with him, or sacked plunder from the Revenge. Clearly he was just stalling until Ed noticed him and swooped in to do his part of the cycle) he tells Stede he “should deal with this,” as though it’s tedious, but normal occurrence. I think an important part of this cycle as the season progresses, though, is how Izzy keeps upping the stakes.

So by the time we get to the end of the season, when the last iteration of the cycle starts up again (when Ed is once more insufficiently Blackbearding by being emotionally vulnerable and open with the crew following his return to the Revenge and his stint in the pillow fort (note that Izzy is apparently FINE with Ed not being Peak Pirate, just as long as he hides it away from everyone), and Izzy once more bullies and threatens Ed) this time it is especially cruel - Izzy is a thumb in the wound, attacking Ed at his most vulnerable and saying it would be better if Ed was DEAD than “pining for his boyfriend.” This iteration now also brings with it a history of escalation (first in Izzy bringing Fang and Ivan in to force Ed's hand about killing Stede, lest he look "weakened by the love of a pet" before his crew, and therefore in danger of mutiny, and then by bringing in the British Navy to force Ed to take Izzy back - or rather, to force Izzy back into Ed's life because the terms of the agreement see Ed remanded into Izzy's custody as though he is property to be distributed at the will of the Brits) - an established pattern of the lengths to which Izzy will go to get what he wants, and so a very real threat implicit in Izzy’s warning that “Ed had better watch his step” as Izzy serves only Blackbeard. So Ed gives him what he wants. He Blackbeards it up just like Izzy insisted, and lets Izzy know in no uncertain terms that the insubordination is done. It’s not a "frat boy prank" when he cuts off Izzy’s toe and feeds it to him, or even something from which he's deriving pleasure as he might have in the old days; it’s a calculated, proportional response, done under duress and against his own inclinations, but exactly the tool required to get the message across clearly.

As to the question of why it matters if Ed is bad, first and foremost, because saying that he is bad requires you to explicitly read contrary to the text. If you’re not going to engage with the text on its own terms, I don’t see how you can do any analysis of what story it’s trying to tell. I already discussed the ways in which the narrative is specifically about how Ed is NOT bad, even when he himself thinks he is. I have also discussed how, while “violence is never the answer” may be broadly understood to be the correct way of comporting oneself in real life, the show never condemns violence across the board. The show condemns cruelty, both on an interpersonal and societal level, but positions the use of violence as an acceptable and reasonable response thereunto. It treats circumstance and motivation with nuance and weight. Living within this context, Ed’s use of violence by the time we meet him is well within the normative acceptable application thereof. Judging him by standards outside the context of the story within which he exists makes as much sense as judging the Stede from the show for being a slave owner because that’s historical fact - that’s just not applicable to who he is in THIS story.

But more importantly, it matters because Ed is a POC character. Describing him as “cruel and perverse” for utilizing violence, particularly when the violence he uses is NOT excessive or impulsive, perpetuates negative race-based stereotypes about hyper-violent men of color. Characterizing him as “bad” for his use of violence when other (white) characters, such as Stede, use violence in similar ways, or are cruel or petty, but can still be considered, on balance, “good” means that Ed is being held to a different, higher standard than those white characters, and perpetuates the frankly racist criteria of expecting POC exceptionalism for POCs to be considered for the base-line assumptions of acceptability that are afforded to their white counterparts. Saying that Stede’s love is what changed Ed’s behavior from cruelty to wholesale abandoning piratical principles is not only antithetical to what actually happens in the show, but suggests a read that POC Ed needs a good white man to show him how to behave, a real white knight to tame his savage heart. That’s some real White Man’s Burden shit there, bro. I highly recommend you put it down.

[daddyduncan69]

One of my recent posts got a few comments about media literacy being dead and Neil being an unreliable narrator so I want to clear some things up.

Firstly, media literacy isn't dead becuase it cannot die. Also, I am not a big fan of fear mongering. Humans have always sought to understand and communicate with each other about the things we create. It is a skill that can be taught and should be practiced. There is no one right way to do it. And, while I think the education system fails so many of us (something something to make us easier to control something something), I also think that there are tons of resources to help us learn without the need for an official "teacher". So, instead of pessimistically saying is it "dead" (especially on someone's textual analysis post, like... are you saying I prove it's dead becuase I don't have media literacy? are you agreeing with me and therefore proving yourself wrong? do I not count for some reason? i don't think I get it), engage in discourse about media that you love. And I mean actual discourse, not just fighting on social media about whether or not everyone should "like" your favorite character. Ask yourself "what is the effect of this rhetorical device in the text?" "is the text trying to make me like or not like this character? is it working, why or why not," (do not ask "why did the author do this?" because that is not relevant nor are you a mind reader). Take free online Literature classes from colleges that help you learn how to analyze. Invite others to do it with you. Join or start a book club. Engage in various types of media, not just YA, fantasy, fiction, etc. Consider kindly rebutting or offering a counter point to other people's interpretations, bringing actual textual evidence to back up your points. Use Google Scholar to access free scholarly articles to see academic prospectives on various medias that are not just from social media or blogs. Your local library may even have subscriptions to paid sights like JSTOR or collections of essays that would let you access articles that are otherwise behind a paywall. All of these things can help improve your own media literacy and, in turn, will help improve the media literacy of the people around you.

Secondly, the point of my other post was NOT that Neil is an unreliable narrator. I've seen a lot of people make this claim so I wanted to chime in. Unreliable narrators are marked by a few characteristics, some of which are exaggeration, detachment from reality, naivety, and deception of the reader. I don't believe Neil falls into any of these categories. I would be open to arguments that claim he does, but it would be hard to sway me because I can't find any textual evidence to support it. This is an important distinction to me because the larger claim I make in that post is that ALL narration, 1st person, 3rd person, omniscient, limited, etc is biased- all of it. It is CRUCIAL as readers to identify a narrators biases and consider the text through that lens. If you aren't practicing doing that (or only doing it when the narrator is "unreliable") you can easily fall into the trap of saying "well Neil says Kevin is a coward so he is", which is obviously an issue in the grand scheme of textual analysis. However, you can also easily fall into the trap of saying "Neil is an unreliable narrator because he is wrong about things/lies to people/has trauma so you can't trust him". I believe that Neil tells us as the reader the truth in his narration almost 100% of the time, Neil just lies to the other characters 24/7. So, as readers we should take what he says in his internal monologue at face value but question the motives behind his dialogue with other characters.

Anyway, that was a long winded, probably boring monologue about critical textual analysis. I devote maybe 16 out of my 18 waking hours to thinking about this, so thanks for hanging in there to read it all. I just care so deeply that we as a culture continue to grow these skills without shaming those who haven't had the same opportunities to learn how to do it or making the act of learning how to feel hopeless or doomed.

[tanoraqui]

Dungeon Meshi Liveblog: In Which Chilchuck Begrudgingly Has Feelings for his Coworkers, and Kabru Has...Something. He Sure Has Something Going On Over There.

Before we continue, I feel I should clarify 2 things:

I've been trying, ish, to avoid spoilers for this comic, but I've watched through the Golden Country episode and more importantly I'm so bad at not reading spoiler-y but interesting- and insightful-looking analysis. So, much of this commentary isn't wholly original and any particularly genius theories of future events are likely made with actual foreknowledge.

When I said on the first post that I was starting the comic because "I need to know what happens", what I specifically meant was "I need to know how the Laios-Kabru dynamic ends up, and the general geopolitical situation, so I can accurately daydream what sort of tariffs they'll set in the kingdom of which Laios is definitely not going to be the one managing the political, economic, or social minutia." Tariffs are going to be important, okay. They're a key way a nation-state interacts with other nation-states, especially one with rare materials to trade, powerful neighbors who want them, and the natural barrier of an ocean. Truly, every fantasy series ever should be required to have an epilogue or many an additional book/season/etc of a The West Wing-style depiction of day-to-day governance of whatever resulted from the story's climactic finale.

Okay, back to the liveblog.

.

Inch resting. The manga characters, having met the Mad Mage, keep using she/her pronouns for them, where in the anime they used he/him. I assume one of these is just, like, wrong - some translation choice was made before truth was revealed later in the course of publication?

But it makes SENSE that the characters wouldn't necessarily know, at this point! The Mage's appearance is pretty gender-neutral, especially as an elf, an notably gender-ambiguous race. So the characters in the manga picked one guess and stuck with it, and the characters is the very slightly alternate timeline of the anime picked another and stuck with that!

Now: having used they/them throughout this musing and previously he/him because a) the show and b) that's what I saw in fandom, I think I'll switch to referring to the Mage with she/her pronouns now. Because A) that's how the thing I'm reading apparently will be doing it, and B) they still call her "Lord of the Dungeon", which is obviously the greatest gender option of all.

...however, the manga does keep saying "lunatic magician" rather than "Mad Mage" (caps mine), which is a TOTAL failing in drama. Always alliterate, preferably archaically.

.

Orc woman: Ugh, this halffoot sucks. I'll tolerate his company only as a favor to the vegetable guy.

Orc woman after listening to Chilchuck complain about his coworkers for an hour: Nvm, this halffoot is a worthy and loyal friend of the vegetable seller, and I guess those other guys too. He's just emotionally constipated about it.

.

Laios just has these soft little fond smiles sometimes and I? want to hug him?

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MY MAN IS BACK!! Kabru wink count: 1 this chapter, 4 total [updated as I read]

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Corpse Retriever: If you don't report us for trying to get you guys killed so we could collect a retrieval fee, we'll let you kill those two of our guys who are already unconscious and collect that fee yourselves. We'll just take 30% of it, for not telling on you.

Kabru, internally: Hm. Well, I'm not king of this dungeon yet, but nonetheless I feel comfortable passing and executing a just judgement upon you for your many known, presumed and planned crimes. Emphasis on 'executing.'

Kabru aloud: I accept!

Kabru: [starts killing them with a classic faint, wide-eyed smile]

What a guy. He's even holding that knife so well. Look, next he's analyzing social trends and acting ruthlessly to adjust them toward the direction of the greater good!

What a guy. Truly this is a "so my type that it's embarrassing" situation.

.

I can't efficiently crop panels to show all this, but favorite parallels in these chapters full of parallels:

Kabru's breakdown of the Touden party is like Laios eagerly explaining and analyzing the behavior and anatomy of monsters (including, though we don't know it yet, calculations for killing them - though we DO see him saying that humans are easy to kill because he knows all the physical weak points!)

The references throughout these two chapters, by Kabru and his party, to the interconnected socioeconomic dynamics of the island and dungeon - the corrupted system fails to check corpse retrievers, the Island Lord as an annoying but necessary bulwark against the Elves, the dungeon growing hungrier as fewer adventurers go down because there's less money and more risk - are so so so like Senshi and Laiois discussing the dungeon biome's ecosystem and food pyramid.

The whole vibe of the party re: their respective weirdo tallman leaders. We watched Team Laios develop this, recently crowned with Chilchuck's near-tearful argument to turn back for a rest, which means we can recognize it when we're dropped into it with Team Kabru: that "this guy is SUCH a goddamn weirdo, but I already followed him into some level of hell, so I'm obviously not turning back now." Kabru's party does think he's weird - "You remember so much about other people that it's creepy." "Why are you enjoying this?" But they're also pitching in on the speculation like Team Touden all hel cook monsters. Compare:

Also!! Something something predisposed beliefs and presumptions of others... This party is so eager to assume the worst of our party, even though our party objectively saved them from perma-death twice, once from ghosts and once from being eaten by fishmen. Chichuck is greedy and bossy, Senshi smells so...notably...that he's judged to be sketchy af... Kabru is trying his best with what info he has, he knows it's not enough to pass a judgement and he wants more, but it's very...uncomfortable? To see this sort of discussion of people we know are great, when we're so used to watching monsters be killed with exquisite understanding and respect.

...I'll chew on that angle of theme more later. Man, you know how, say, what makes the musical Hamilton so good is at its heart it's just like 5-10 leitmotifs that interweave to create every single song? Dungeon Meshi is like that. Hmm a Dungeon Meshical...

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"Yeah, yeah, we've all heard your weekly lecture about how someone responsible and sociopolitically conscious needs to take the dungeon and the throne or everyone in this region is doomed. None of us can wait to see you flip off the Island Lord to his face. Eat your rations, buddy."

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JUST THE CUTEST, INNOCENTEST, POLITEST, HELPFULEST (WITH NO ULTERIOR MOTIVATIONS WHATSOEVER) YOUNG MAN!! LOOK AT HIS BIG BLUE EYES AND EAGER LITTLE SMILE!

[3 seconds earlier:

I'm obsessed. In the spirit of this comic: I want to eat him with a spoon. I want to take small divots out of him and lick each one carefully off the spoon, luxuriously exploring and enjoying the complex texture and flavor. Like he's a really good pudding. And then I want to see if, if he and Laios kiss, do they both explode in antimatter.

[bidisaster-peanut-romano]

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

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

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

word count: 2.2k WOAH. IM SORRY

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

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

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

i. peanut

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

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

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

Look at me, Johnny, look at me!

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

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

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

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

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

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

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

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

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

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

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

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

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

ii. lola

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

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

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

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

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

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

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

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

Johnny and I were on the best date ever.

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

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

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

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

You're gonna be sorry when Johnny finds out!

iii. two faces of the same medal

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

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

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

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

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

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

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

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

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

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

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

[michainabox]

Okay so I’m revisiting Undertale after a long time and I just have to say this. This is a very very long post.

I don’t know if I should tag this? But uh. I guess I go a little in depth with Flowey and the major spoilers of Undertale, have a brush of a spoiler for In Stars and Time, and just major ramblings.

Flowey somewhat unsettles me.

And I don’t mean fear or scary enough that it distresses me, I mean truly unsettles me in an uncomfortable sense where I have to take a step back to analyze.

Like. Yes that’s the point, he is suppose to be an unsettling character. But my thing is, it is hard to unsettle me. You can ask my partner and anyone I know, I consume a lot of horror media. It is hard to unsettle me, or make me uncomfortable with certain things. And with games? Even harder. There has only been a couple of times where media has unsettled me that I can count only three instances of this.

The book Hell Followed with Us by Andrew Joseph White (had to unpack a lot of my religious trauma with that book. Good read though.)

Act 5 of In Stars and Time because I related a bit to much to Siff’s breakdown and the fact that you can’t stop it no matter how much you wanted too. You were powerless to do anything. You just have to sit and watch and follow.

And then of course. Flowey. The character himself.

What spurred this ramble Micha? Well. I’ll tell you.

We find out that before Frisk had fallen, Flowey had enough determination in that stupid little flower body to reset the timelines himself. Without the souls, he still had the powers of a god, but it was limited much like Frisk. He has reset hundreds, if not thousands of times. He says that he has tried anything and everything to change the variables. Maybe doing little things like planting ideas into monsters heads, or bigger things. (After all if anything goes wrong he can always reset.)

But nothing could change.

No matter what he did, it never mattered.

It never worked.

It would drive people insane.

And then Frisk shows up. And Flowey doesn’t have the power to reset anymore. Instead, this little kid with a red soul (and the same fashion sense of his dead sibling) shows up and destroys everything. And if you go with the pacifist route. Doesn’t head the lesson of kill or be killed.

And it start to work out for Frisk. It also works in Flowey’s favor too. We can imagine that Frisk is the first ever child to face Asgore for the first time since he started to collect human souls, and Frisk has the power to come back, Frisk even reminds Asgore how many times he has killed them. And Flowey watches as Frisk can either spare or kill Asgore in the final moments. But the players choice doesn’t matter.

Because Flowey was waiting for this opportunity. With the souls unguarded, he can use them. And of course, he can practically torture Frisk until he is ready to claim their soul. And even after all of that, you can choose to kill Flowey or grant him mercy. And he doesn’t understand if you do give him mercy. Because for him, it really is killed or be killed.

(I also have my own theory or analysis for the phone call and where Frisk went after the neutral ending, but that’s another post if anyone is interested in my thoughts.)

Anyways. After the phone call he pops up again, and here is where the unsettling part comes in.

He plants the idea in the Frisk/Player’s head that there is another way. That they didn’t truly save their friends, they didn’t truly save themselves.

And Flowey knows Frisk would try anything to get that happy ending.

Because we would want to find out what that happy ending looks like. Because it’s human nature to be curious and want something better.

He preys upon that and uses it to only serve as his own stepping stone. He isn’t even sure it will work. But he does that anyways. Because if your playing pacifist he sees the fact that Frisk took the time to befriend and spare all the monsters.

Flowey isn’t unsettling because he can change his face, wants to kill Frisk, and even attempted and succeeded multiple times.

It’s the fact that while he says he is soulless, that he can’t understand why he is being spared, he learned just enough to prey on that human nature to get what he ultimately wants.

That’s what ultimately unsettles me about him.

(If anyone has any questions about my thoughts or other theories just ask. I love rambling)

(Note. I edited it slightly to fit in more with the games because of some issues I had with misremembering events)

[ripplestitchskein]

I've been binge reading your Helluva Boss and Stolitz posts for a while now and I love how mature and nuanced your takes are. I've run into a good deal too many Stolitz antis on Twitter who won't give Stolas and Blitzo's relationship a chance to improve later, despite the show clearly trying to do just that. I'm especially tired of people saying that their relationship is one-sided. And even when actual evidence is put out there that Blitzo actually does like Stolas back, they say it doesn't count because those hints are less than 5 second long small details rather than being spoonfed to them. Just argued with one of them on Twitter like an hour ago and that's exactly what they said. And they accused ME of not paying attention because in their mind, Stolitz was built up from sexual assault, and they think Blitzo's line in Western Energy "He can get hurt?" is somehow out of character which confused the hell out of me, and they kept insisting that Blitzo had "zero interest" in Stolas no matter what.

Thank you so much!! I do try my best to be as rational and logical as possible so I’m glad it’s coming through, not to say I don’t have emotionally based reactions or bias but in my meta analysis I try to set my personal feelings about the text presented aside and just talk about what it could potentially mean based on recurring elements, themes, and deliberate choices made throughout not just in individual scenes.

LooLoo Land is a perfect example, there are some moments in that episode I heavily dislike (Blitzø shoving the dolls down his pants, the “as long as she washes it” convo, and Stolas being sexually inappropriate in front of his kid) so I do understand some of the criticism. It was also episode two and being a creative myself I know firsthand that things like that happen. You put in things early, for a joke, a laugh, to highlight personalities and they don’t necessarily come across the way you intended or jive with where the story ends up. Which is why a lot of my analysis takes in the entirety of what we have so far, the recurring stuff, not just individual moments or one off lines.

I’ve always maintained that it’s crucial to remember that creators are not perfect beings who are getting their story from on high fully formed, they make mistakes, they get inspired and take things in a different direction as things develop, they can contradict themselves over time. It happens.

It’s also a cartoon so it’s limited in how much it can even do, how expressive the characters can be, how much time they have to explore and the medium absolutely comes into play when analyzing it. Art has always been and will always be subjective, and unless the creator flat out contradicts something it’s largely left to interpretation, but that interpretation cannot be based on one scene, or one episode, or a one off bit of dialogue or a single expression either.

I always encourage not wasting your time arguing with people who are still serving up early content talking points or who dont have media literacy as a learned skilled. I know it’s super hard, I’m guilty of it myself. I was so close to going off on a “Stella and Stolas are mutually abusive” take last night you have no idea. It was more the dude was just being deliberately obtuse to the point I stopped myself and was like “they have to be trolling, no way someone believes this”. You can’t change their minds, they obviously don’t want to engage with the material from a place of good faith, and it just bums you out at the end of it.

A lot of them are really young too I find, which may be part of the disparity. I’m 38 so I have a lot of different experiences to draw from they haven’t had yet. I’ve been a fandom girl since I was a kid, I’ve always been a shipper and I also create things so my perspective is further down the line and with lived experience some people don’t have yet. I’m reminded of this daily, my oldest son is 18 and we have many conversations where I’m reminded about how much you learn as you grow older and the assumptions you make as a younger person. This is not to say that younger people can’t think critically but it is a skill and it improves over time like any other.

I also encourage people to think of what is being said and why. There is a lot of hate for VivziePop as a person. My understanding is she said some things early on and created a hate base that is going to deliberately misinterpret just to validate their initial assumptions about her motive and character. With popular things there is always a small subset that hate a show because of its popularity too, I don’t think because they are jealous like some speculate but because they didn’t personally enjoy it and don’t like feeling like they are missing something, so they take it in a “it must be the children who are wrong” Principal Skinner approach. They can’t see why people love it so those people must be ignoring what they didn’t like about it and they must tell them.

Sometimes people like another ship or another character more, and their ship might involve one half of yours, or they don’t feel their character is getting the same focus and attention because of yours. So instead of just letting everyone enjoy their own things it’s now a competition, a source of resentment and they must make that everyone else’s problem.

And I’ve talked about the fascistic purity culture that seems to encroach into fiction spaces as well that is also at heavily play. Any time a character does anything that is vaguely “toxic”, “problematic” they are immediately painted with the SA brush, the creator is promoting it and the fans are enabling it and are somehow directly responsible for it existing in the world. You can’t do anything about them except enjoy what you like, look at it critically within your own personal comfort level, and as always, my favorite thing to say “kill the cop in your head.” Not just with fiction but everything.

I’m glad my analysis is being enjoyed, and I super appreciate your feedback on it. Come to my inbox anytime and we’ll enjoy the ride together!

[blonde-and-cat-suc]

choose violence ask game: 3, 12 and 22?

p.s. love your blog, please keep spreading the truth!

And I love blogging <3!!! I do it for the girls and the gays.

>>>><<<<

Answers under the cut . . . This is gonna be a long one.

3) Screenshot or description of the worse take you've seen on tumblr?

Okay, so, the only problem with this one is that I've literally seen too many to count. But the one that I'd often seen and had the most visceral reaction to were definitely the longer, well articulated analysis posts from stans that did SO MUCH bending and twisting to claim Adora being equally toxic/(and or abusive) to Catra. Which, obviously, I also spent time analyzing. Trying my best to understand what was going on. And you know what? I get it. I don't agree. But I get it. Adora and Catra grew up under the same circumstances, so yeah, they wouldn't be entirely innocent of picking up bad habits from their childhood. Realistically. Fine.

But implying that Adora is worse? Worse than Catra?

...

Anyway, I've suffered from my own self-inflicted torture in the past. I wish I hadn't spent so much time reading stan analysis the way I did, but... Here we are.

And that's just on Tumblr. I don't believe that other social media/forum sites are better or worse about c//a and SPOP, but I have seen worse in The Wilds. (At least on Tumblr there's the filtering options. Everywhere else, good luck).

12) The unpopular character that you actually like, and why more people should like them?

Guys. I LOVE SWIFT WIND. I FUCKING LOVE SWIFT WIND I DON'T CARE THAT HE'S ANNOYING THEY'RE ALL FUCKING ANNOYING!!!

First of all, yes, yes, yes, Swift Wind is horrendous wasted potential (surprise, surprise), and yes, of course, I'm still pissed over it. Those scenes where he's so loyal and kind to Adora, and she, having no other point of reference for a friend, much less a resourceful friend... Like, awwhh. Plus, he makes it very clear that he has his own will and isn't just mindlessly following Adora around like a god-honest horse would. He has his own agenda. He doesn't have to go into battle with Adora, and doesn't gain too much from risking his life to help her and her friends in the short term, but Swift Wind does it anyway. He's interested and invested in Adora, personally, anyway. He wants to be there for her and support her growth as a person.

And Adora deserves all of those amazing, raw, sappy, fairytale friendships!

I DON'T CARE THAT HE'S LITERALLY A HORSE HE IS STILL FUNCTIONALLY A HUMAN BEING. THEY ARE BESTIES. THEY LITERALLY HAVE A MY LITTLE PONY FRIENDSHIP IS MAGIC LINK GOING ON. THEY SHOULD HAVE CONSIDERED SWIFTIE TO BE APART OF THE BEST FRIENDS SQUAD, I ACTUALLY DON'T UNDERSTAND WHY HE ISN'T.

MORE LOVE FOR SWIFT WIND!!!

22) Favorite part of canon that everyone else ignores?

In my experience, this is the type of fandom that cultivates, um, extreme niches, for lack of a better term. As in, literally what my blog is compared to a "stan's" blog. They're like. Different SPOP fans everywhere, so I don't truly believe that there's a portion of this show that is genuinely ignored... There's someone out there that liked even the tiniest, unimportant fraction of this show. Just got to go find them. (Hell, I know people that love, like, Tall Star specifically, out of all the other characters. Nothing has gone totally unnoticed, which is something I really love about the fanbase as a whole, despite everything).

Anyway, to keep it short, my favorite "underappreciated" parts are hm... Maybe the parts where Adora gets to explore the world around her? And not in a super plot related way. I know that the BFS goofing off so much isn't totally ignored. But I like to see that Adora especially was still learning new things everyday in canon, just like, randomly. Nothing to do with the Horde or the Rebellion. Just. She should be excited for the new world around her, dude. Those are pretty rare moments in the show, actually. Wish there were more.

[nowandforalways]

"Never to change, ever to share...": An off-the-rails analysis of "Now And For Always" from the Lord of the Rings musical

Good day to you, my dears.

"Now And For Always" is my favorite song of all time and has been since I first heard it at age 16. With the revival of the musical giving us a ✨whole new arrangement✨ of the song, I decided now would be as good a time as any to analyze it as a whole and take a look at a few of the changes made to see how each version accomplishes exactly what it set out to accomplish with it's storytelling from a musical perspective.

A QUICK NOTE BEFORE WE START: While in the original production of the show, "Now And For Always" is clearly diegetic (that is, the characters in the show are actually singing the song in the world of the show), it's a bit more debatable in the new production. Samwise Gamgee is a wonder, but I find it hard to imagine him schlepping an entire guitar to Mordor - this ain't Hadestown, after all (the "Wait for me"/"And I'm coming with you" thing would require an entirely separate post 😉). Regardless, for the sake of analysis and also my sanity, we are going to say that the song is 100% diegetic in both versions of the show.

Key: NA = new/revival arrangement

OA = old/original arrangement

SO

First lets take a look at what stays the same between both versions (which is most of the song, tbh) and see what can be seen. We're gonna get lightly music-y here.

This song is in 6/8 time signature, which basically just means that it's counted out in two groups of 3 notes each - 123, 456 - with a sort of slope-y feeling to it, like rising up to 3 and falling back down to 6. You can also count it in a very slow 2/2 (1, 2), with each of those being on the 1 beat and then the 4 beat of the 6/8 counting pattern. This time signature has the effect of making it slow and relaxing, but still sound Hobbit-y, in a rather country-ish way. This time signature could technically become a very fast waltz, and it does lean into a natural sort of swaying motion when you listen to it. Perfect for singing around the fire.

The rhythm of the song itself is interesting because it's very speech-like. If you try to speak the words out loud in rhythm, it doesn't actually sound that off from a typical English speaking rhythm. This makes it very easy to learn, and very easy to add your own words to, as its implied Sam and Frodo are doing as they sing it. Lassi Longren, the composer of the song, said that it wanted it to sound like an old song that the Hobbits all know and sing around the fire, and the idea of a song like this with a chorus that everybody knows and then verses that are improvised by individual singers makes a lot of sense (makes me think of, like, "The Campfire Song" from The Lightning Thief - a song that is also in 6/8 and with a very speech-like rhythmic pattern).

The chordal structure also contributes to this homey, comfortable feeling. The song is in the key of D major, which is a fairly middling key (it's the key that most pennywhistles are automatically tuned to!), and is constructed around just 3 chords, with 1 more thrown in there if you want the cadence on "strange and rare" to sound correct. This makes it extreeeeeeemely easy to play - like I can barely play guitar, but I can reasonably play this. For the music nerds, the chords are I, IV, and V, with a little vi for that one cadence I mentioned earlier. This is essentially the most basic group of chords ever created, and it seems very intentional to me - it makes the whole thing feel comfortable and familiar, like it's an old song you know, even if it's your first time hearing it (Fun fact: The Shire theme from the Peter Jackson films uses also uses this chord group!). The only this about the song that might make it tricky to sing along with is its range - it's more than an octave, which can be hard to span if you're not a practiced singer. But you know, sometimes you just gotta have that fun melodic contour. Song gets boring if it stays all within too small of a range. :P

Okay so that's all the basic musical stuff that's the same between both arrangements. Time for the differences.

The most major musical differences in the NA as I can see are: Frodo and Sam switching who is singing the higher vocal part and who has the lower part during the second chorus, different instruments being used for the solo instrumental lines, and the whole of Frodo's solo verse and chorus. These all serve the major thematic change in this moment in the NA, but I'll get to that at the end.

First, the vocal lines in the chorus. You all know how much I looooove that Frodo is always on the lower part in the original show (see this whole post I wrote about it here!), and I equally love Sam getting the higher part in the OA for this song. It fits his character and part in the song very well - he started it off, he's done the improvising bit; after one chorus of unison to make sure that Frodo has a handle on the melody, he can pop off. Young, dreamy, surprisingly poetical Sam, with his love for elves & beauty & all things that grow, gets the chance to soar, while Frodo stays lower, hanging onto the melody. It almost works like foreshadowing for their characters, with Sam audibly choosing to do so much while it seems like Frodo is just there, but Frodo's actually doing the arguably far more important part of carrying the melody.

In the NA, they are flipped - now Sam stays on the melody while Frodo pops up to the higher part, and it still works just as well. Frodo's actually been on the higher part for the whole show up to this point, cause that's just how Louis Maskell rolls (the one very significant moment where he sings a lower harmony to Sam's melody is right before he leaves at the Grey Havens, which I could probably write a whole 'nother essay about), but it doesn't screw with the character perception in the way I had initially feared. Sam starts the song, Sam's got the guitar, so Sam stays on the melody, to carry the thing through. This now leaves Frodo free to do his thing with Sam's support. And this is where I start heading into headcanon territory, but I can't help but think by the easy way he slipped into it that maybe Frodo has sung this part before. He canonically has a nice voice (the Breelanders like it so much that they make him sing "The Man In The Moon Stayed Up Too Late" twice in the book!), and it would make sense for a naturally talented singer to get enough experience singing that they are able to whip out a higher part just for fun - maybe, if they ever sang this one down at the Ivy Bush, or by the fireplace in the parlor of Bag End, this was Frodo's part. And speaking from the same character perspective, Frodo is also everything I described Sam as before - dreamy, poetical, sweet - he's just older and, at this moment, significantly more tired both mentally and physically. But, he hasn't lost his hope yet, so he can still reach down and bring out a past version of Frodo, one who could sing that part in the song.

Next, the instruments. This is pretty simple; there aren't a lot of changes, but the one significant moment is the use of a harmonica instead of a fiddle for the solo in the middle of the song. Both versions of the show have instruments associated with certain characters (harp for Arwen, whistle for Frodo, concertina for Gollum, etc.) but the NA has the advantage of having all the actors play instruments, so it becomes rather explicit. In this case, the harmonica is being played by and associated with Bilbo, and that's neat, because this is a continuation of a story that he was also a part of. The fiddle in the OA is more representative of hobbits as a whole, so it also works in context.

Aaaaand the last one, the arrangement of Frodo's verse and chorus. This one is a doozy, because this is where we will be involving my theory on the different reasons for Sam starting the song.

So, the first time I heard the NA "Now And For Always", I actually started yelling IRL "IT'S A HYMN" as soon as it got to Frodo's verse+chorus, because, well, it is. Lemme explain. The orchestrations shift from the guitar and strings of the rest of the song so that Frodo is backed primarily by the ensemble singing "Oohs" and some sort of drone bass note underneath that I can't figure out (probably like a cello or something). The tempo suddenly becomes a lot slower and a lot less "bouncy", so to speak - that 6/8 time rising and falling pattern that I described before is significantly downplayed, and there are a lot more complete rests in the music, and that gives the whole thing overall a much straighter feel. This all gives a very hymn-like effect, particularly the "ooh"s, because voices moving between chords like that in a homophonic way (that is to say, everyone changes notes at the same time) is common in chorale-style hymns, and the drone, because having something called a "pedal point" (one note held underneath multiple chords) makes the music sound a lot older and more solemn. This is in contrast to the OA, which has, while not the exact same backing in Frodo's verse+chorus (it does get slower, and more smooth and flowing in the instruments), certainly much less contrast between Frodo's bit and the rest of the song than the NA. They both do this, but the NA just a bit more emphasizes how serious Frodo is about what he's saying. It's also is a texture that we haven't heard yet in the show and won't really hear again, so it kind of demonstrates the changes going on in Frodo by this point, like he's becoming something not quite of the world (sort of like all those comments in the book about him being "clear" or having a light shining through him). From a practical standpoint, it's also because Sam had been playing the guitar this whole time, and now he has gone to bed, so no more guitar. But above all, the vibe that making it sound like a hymn gives it is reverence, and that is important for the next bit.

Hoo boy, it's extrapolation/headcanon time. I've done a lot of actual musical analysis, but there comes a point where you have to take all those things you've gleaned and start spitballing about what they mean when combined all together. Here's what I have landed in: The changes in the NA reflect a change in Sam's motivation for starting the song in the first place.

Lemme explain.

In the scene before "Now And For Always", the boys are discussing Frodo's realization that destroying the Ring means that the elves will leave, and that there will be no more magic in the world. It's as they reflect on these very big changes that Sam starts singing a song about how at least some things stay the same. NOW. In the OA, Sam and Frodo start off the song in much the same place, emotionally - they're both kind of moody and mournful, feeling shaken at the idea of everything changing in such a big way, and missing the days when they believed that stories always ended with things returning to a happy normal. Sam's line "We hobbits only really like stories that end just the way they started, don't we?" is sort of a rueful realization that they are both severely freaked out by all of this because they come from a place that values unchangingness so highly. Sam starts the song as a way to bring them both some comfort by reminding them of home. He then fills in the bit about Frodo during the second verse because Frodo mentioned special folk and great adventures, they're both so tired that everything's funny, and Sam genuinely adores Frodo and knows how brave and important what he's doing is. Frodo's verse about Sam, in turn, is sung almost like a lullaby, which makes sense, as lullabies are often directed at the person falling asleep. So Frodo sings to Sam as he falls asleep about how much he admires him right back, sort of returning the compliment, like in the book. The way he says "it's not me they'll remember, you know" just before he starts singing has this weird sort of regretful tone to it, as if Frodo has kinda always known that his would be a thankless task, and that Sam, taking charge and leading them around and taking care of them, will be the one who goes down in history as being instrumental. He has been seeing this whole time how much Sam has done for him, and he knows that in time, others will too.

In the NA, on the other hand, the vibes of the scene before the song are somewhat different. The lines do not change at all, but the attitude from each of them is different. Here, we have the exact same conversation, but Frodo is audibly more stressed about it (not to mention more audibly exhausted), and Sam, in response, is keeping his tone very neutral, almost lighthearted at times. That general vibe continues into the song, which I thought was weird at first, until I realized what Sam is doing. Frodo is very shaken by all the big changes that he sees coming, so Sam responds by reminding him about the songs that they used to sing the Ivy Bush - the ones where nothing ever really changes. He says the line from above about hobbits liking stories that end the way they started like he's reminding Frodo of a fun fact, which is that despite everything going on around him, there are still plenty of stories about heroes where things are allowed to go back to the way they were. In other words, while the OA of "Now And For Always" is two people trying to comfort themselves by singing something that reminds them of home, the NA is Sam Gamgee Is Going To Cheer Up His Best Buddy Or Die Trying, first by reminding him that plenty of things do stay the same, and then by getting a bit silly and describing Frodo as one of the heroes (who, I will remind you, are allowed to go home unchanged). He goes until he sees a sign that he has succeeded somewhat in his quest - remember my headcanon about Frodo singing the higher part being indicative of his old self shining through? That could certainly be a signal to Sam that his little idea worked. More likely, the fact that Frodo starts waxing poetic about plum cake (which is so valid of him, tbh) when a few minutes ago he had to be ordered to sit down and eat something is also a sign to Sam that Frodo feels better, at least for the moment. So he feels alright to go to sleep. And then Frodo sings his part. And THAT'S why the reverent tone I mentioned earlier is so important. Because it makes it seem like Frodo also realizes, in this moment, what Sam has just been doing, and what Sam has been doing this whole time. The pauses in the music make it seem like he's coming to awareness, step by step, of just how much Sam has done for him, and the only possible emotional response for something that earth-shatteringly loving is reverence. And THAT'S why the NA ending works so gosh darn well - it gets across everything that Frodo is thinking and feeling in this moment with the music as well as the lyrics.

So, yeah. I don't have, like, much of a conclusion for all this. These are just a bunch of things that I observed about these two songs and then my brain running absolutely buckwild with extrapolating conclusions from there. And a lot of this is my own interpretation of what I hear, so if you thought something different, that's totally fine! Also, this is entirely based on only being able to hear what's going on, so if you've seen the show and I got the vibes super off for part of it, please let me know. :)

Thank you for reading, and I hope to see you around! Heyday!

EDIT: The more I think about it and try to feel it in my body, I might call the time signature a very fast 3/4. Regardless, all my points still stand. Just wanna cover all my musical bases. :)

[ilovewillsolace]

why dont you like solangelo? (genuine question)

Oh thanks for the question! I've already talked about this before, but I think now is the time to analyze this question in detail because I have something to say.

maybe one day I'll write a big analysis on Solangelo and what's wrong with them. but first, I shippered Solangelo myself when I was younger. but when I stopped loving Nico so much and started analyzing the characters better, I realized that something was wrong with them (spoiler: everything)

the main problem with this fandom is that they don't know how to analyze characters, just reading cliches and images and based on them they make up their opinion about the character and consider it canon. therefore, many people still think that Nico is an eternally whining suicidal almost ninja and Will is a stupid hyperactive spineless snot. that's why they like Solangelo because in their eyes they look like a black cat × a golden retriever and Rick later began to write them that way too

but in fact, Nico is a friendly, sociable, hyperactive child with a childish view of the world and interests. Will, on the contrary, is a cold, closed, pragmatic and even cynical person. they already look like a bad couple and their age difference (14 and 16-17 years old only makes it worse). but the canon incredibly makes them even worse because both do not see each other as people. Nico seems to be an interesting experiment for Will, he seems to have started it for himself like a kitten. maybe it's Rick who prescribes love disgustingly, but I didn't notice any special feelings for the son of Hades at all (flawed phrases about "I'm your boyfriend, you're my boyfriend" don't count, because it's just a disgrace). Will is very similar to Alhaitam from Genshin. therefore, in order to show how he loves someone, it is necessary to prescribe how he makes exceptions for his beloved, like Haitham for Kaveh. Does Will make any exceptions for Nico? No

from Nico's side, the situation is even worse. Like I said, he's still a kid. he has a poor understanding of love as a concept and therefore sees Will as a kind of prince on a white horse. but Will is not a prince and he doesn't have a horse, he's just a damn tired doctor who needs a man as mature as he is, with whom he will be on equal terms, and a child romanticizing everything around him, well... I've already told you. Nico does not see a person in Will, only an image that he himself invented and romanticized, and the real Will does not fit into this image at all

their dynamics are absolutely non-working, they would never have been together (as a mini-happily ever after) from any other author and in real life. that's why they look so artificial and fake. and the fact that they are also not on equal terms and will never be is one of the most important things for me, which is why they repel me so much

perhaps I'm asking too much from an author who positions himself as a "childish", but after Russian and Chinese fandoms, where even under conditions of strict censorship, the authors manage to prescribe beautifully revealed queer couples, it's just disappointing to look at such hack work from a Western author

[whackacole3]

Junkrat and Schizotypal Personality Disorder

Upon some close examination (and projection), Junkrat's character appears to exhibit traits suggestive of schizotypal personality disorder (STPD). His eccentric beliefs, erratic behavior, and unconventional mannerisms align with the typical features of this disorder.

Now I will say, I myself have some personality disorders so I have the need to project onto him (despite mine being cluster B & C and STPD being incluster A). This might lead me to project certain traits onto Junkrat as I analyze his character, so keep that in mind please.

On another note, if you disagree please just scroll past and don’t argue. I’m not saying this is canon or even implied, it’s just a headcanon and a silly little analysis that I wanted to do because I was bored.

Let’s get into it.

To receive a diagnosis of STPD, an individual must meet five out of the nine specific criteria. Not the full set, only partially. It is important to note that everyone’s experience with STPD will be different because of the many combinations that exist within the criteria.

I will be using the direct diagnostic criteria in the DSM-5. Though Junkrat is Australian and would use the ICD-11, I’m just not as familiar with that.

Ideas of reference (excluding delusions of reference).

Now to explain what that means; it is when someone will take an event that is unrelated to them, some random occurrence and think that they are the cause of it. They think that something is referring to them when it is not, hence the name. One of the biggest examples of this is when one will see people laughing in public and think that they are laughing at them instead of something else. [source]

There is no canon examples or interactions or so on to suggest this, through what we know of Junkrat it is highly likely he experiences this. He tends to make things about himself and often talks about himself highly. Because of this mixed bag, I will give it a half point. In personality disorders, these half points are typically counted because of the complexities of these types of disorders. 0.5/9.

Odd beliefs or magical thinking that influences behavior and is inconsistent with subcultural norms.

This is when person believes their thoughts, feelings, or rituals can influence events in the material world, either intentionally or unintentionally. This is also common in other disorders such as OCS. [source]

Now, I’d say Junkrat most definitely has this. He has extremely odd beliefs about bombs and explosives among other things, as well as general magical thinkings. In an interaction with D.Va, he considers himself famous and suggests that they both need to keep their heads down. He’s a mad scientist with many extraordinary inventions, but he does not have the popularity that she has. That’s the only canonical example we have, but I still think it’s close enough to give a point. 1.5/9.

Unusual perceptual experiences, including bodily illusions.

These experiences refer to atypical sensory perceptions or sensations that deviate from what is considered typical or normal. These experiences can occur in various forms and may involve any of the five senses: sight, hearing, taste, touch, and smell. One specific aspect of unusual perceptual experiences includes bodily illusions. [source]

Now, I can’t say we have any canon examples of this other than maybe “Mum, I did it! I’m on fire!” which could say he senses his mother’s presence and is talking to her, but this is also a very common thing to say. Just referring to your mother, especially if she has passed, and talking to her. So no point for this. 1.5/9.

Odd thinking and speech.

Now this is in reference to vague, circumstantial, metaphorical, overelaborate, or stereotyped style of language. [source]

Junkrat’s way of talking is one of the first things I think of when I think about him. He most definitely has off speech patterns, overelaborate to be specific. He explains himself to an extreme and uses an incredible vocabulary at all times, no matter the circumstances. His thinking goes along with this, given some of his strange and eccentric ideas. So I’d say he has a point. 2.5/9.

Inappropriate or constricted affect.

This is when someone cannot feel the full range of “normal” human emotions or feel the emotions with limited intensities. Both flat and blunted count towards this as they refer to different levels of emotions. [source]

Now while we do not exactly see it, it is heavily implied that Junkrat is “happy” or “maniacal” most of the time. I would say he struggles to have most of the more negative emotions, which still counts towards this. So, another point for him. 3.5/9

Behavior or appearance that is odd, eccentric, or peculiar.

When it comes to this type of behavior in STPD, it’s not just “random lol XD” type of odd. This behavior would typically be perceived as unusual or unnecessary, without being demonstrably maladaptive. This is contrasted with normal behavior, the nearly universal means by which individuals in society solve given problems and pursue certain priorities in everyday life. [source]

Junkrat is basically the perfect example of this, he is half naked most of the time, has absolutely horrid posture, is constant twitching, and a lot of other things. He is very odd and eccentric in practically every single way, so he’s definitely getting a point for this. 4.5/9

Lack of close friends or confidants other than first-degree relatives.

When it comes to STPD, the symptoms and tendencies often make it hard for one to form any long lasting relationships.

We know that other than Roadhog, Junkrat doesn’t have any friends. While Roadhog is not a first-degree relative but he is a “bodyguard” so I feel like that bypasses this. Most of the other characters are unnecessarily rude and mean to Junkrat, showing he has no real friends among them. So I would say he gets a point here. 5.5/9

Excessive social anxiety that does not diminish with familiarity and tends to be associated with paranoid fears rather than negative judgments about self.

Social anxiety is an intense, persistent fear of being watched and judged by others. This fear can affect work, school, and other daily activities. It can even make it hard to make and keep friends. [source]

Actually Junkrat is very social able with little to any self-esteem issues (though I headcanon he had a little) so he doesn’t exactly seem to have any of this, no point here. 5.5/9.

And there we have it. Five and a half out of nine points. If he was real, he could very much qualify for a STPD diagnosis. Now there’s obviously factors like you can’t have schizophrenia, bipolar, schizoaffective, and blah blah so he could possibly be disqualified; but in my eyes he’s got STPD.

Now, again, this whole analysis is all for fun, shits and giggles if you will, so if you disagree that’s completely okay! Just don’t be mean about it, it’s just a headcanon/personal belief.

[sirenjose]

Your thoughts on the Identity Switch

Thanks to you…. I now really like Norton. I used to hate him because I have a vendetta against people taller than my 4’11 self but now I love him.

on another note, what are your thoughts on the Identity switch system? Looking more into Norton’s background specifically makes me wonder why Norton gets a hunter form. What does this represent? I know that there’s a lot of drugs involved but I always interpreted it as them unlocking a new personality or smth, one more attune to following the manor’s games and supervising it (hunter) and like the other just trying to leave (survivor). I’ve been so interested in Norton’s lore lately that now I’m in an existential rabbit hole in how survivors get hunter forms, why that is, and if it’s like some sort of curse or punishment. Why are these survivors getting hunter forms?

soooo many questions, IK. But like reading your theories and analysis at 3Am is my serotonin. As a new player purely interested in the game for its lore I am just excited to know more but can’t wrap my head around all these weird concepts cause, again, I’m new. Also if I spend the next hour reading more of your analysis I will not sleep so therefore I need to preface my curiosity with a timed endeavor. My question probably do3snt make sense but like uhhh yeaaaaa. You should totally make something on your thoughts on identity switch (especially for the survivors gone hunters) cause I am too far in deep into the Norton-Campbell-Fool’s-Gold-Alternate-personality rabbit hole.

I’ve never done the questioning thingy before so sorry if this is not how it works. G’day!

Ah, it makes me happy to think a nobody like me can turn your thinking around on someone. Especially Norton since he was 1 of the main reasons I got started with the lore at all. I'm someone who usually plays a game based on how interesting the story or characters are, so I was interested in learning about idv's lore soon after I joined (had to take quite awhile to figure out the basics of the game and what all the various buttons were, then take some more time to get used to it before I could even get started with the lore). Was the main reason why I went looking to join places like Discord or Reddit, just so I could find people talking about the story.

Started by just understanding what I could about what people said, but then I eventually moved on to trying to understand at least the basics of everyone's backstories (once again, took me awhile to do that ^_^; Especially as I joined before we were getting all that much story at all). While I was doin this, I heard a lot of people saying bad stuff about some character named Norton. Have to admit I didn't know who he was for quite awhile. Wasn't in my radar. Can't even say I cared much for him. But I eventually got to the point where I basically decided I wanted to see if I could determine if Norton really was that bad or not (maybe as a challenge to myself, maybe because I wanted to find out myself rather than just hearing other's opinions, or maybe because I failed to find anything really in-depth about him).

That analysis took a ridiculous amount of time. In part because I ask too many questions, because I'm a perfectionist and wanted to look at every bit of info on him and detail on him, but also somewhat because I ended up writing this like a persuasion piece, and felt the only way to do that was by going through everything to back up my conclusion (whatever my research turned up). Which was also why I analyzed every single essence he had a skin in, as well as any skins not in an essence, his accessories, emotes, etc... It was during that process I actually got attached to Norton. Probably because of how long I spent going through him (no one needs to know how long it took... only the immense joy and desire to collapse I had when I finally finished).

Since then, I've rewritten his analysis... 3 times now I think? Counting after hunter norton's release? Though I've taken down that 1st version due to issues, and haven't reposted my essence analyses as they're old (they were pretty much the 1st analyses I wrote, and I'd like to think I've improved since then) as well as because they're based on the 1st version of my norton analysis... and because they're probably a bit needlessly long and thus embarrassing... Maybe I'll repost them once I get around to rewriting them. I definitely will eventually at least for Soul Catcher's and Magic Item Keeper's essence because I have to say they took longer than almost any other part of that original (complete) norton analysis (i can never forget the trouble they caused me over how long it took to understand them).

ANYWAYS! Ignoring my stupid rambling because who cares about any of that.

I was going to include my answer to your question about Identity Switches but it’s starting to become a little silly in length ^_^; (seriously, for those who know me well enough, I have a bad habit of writing more than I initially intended to once I get started) so I’ll make that a separate post for you, and you can let me know if it answers your questions (once I post it). If not, feel free to ask any more of your questions.

Honestly, the lore is confusing even to those who aren’t new players, so don’t be too hard on yourself if you can’t wrap your head around a lot of this ^_^;

It’s hard for me to imagine my stuff is so good people are willing to read it, much less re-read it. Especially as I know people tend to prefer… shorter things, but I have tendency to be lengthy. I can’t help it though ;’) But thank you so much for the compliment.

And please, I’m still pretty new to Tumblr, so I’m still figuring all this out myself.

Anyways, don’t feel nervous talking to me or asking me any questions you have. I enjoy being helpful! So please, ask whatever you like. Or even if you don’t have a question, that’s ok too. I enjoy rambling about a subject I get started on, as long as the other person can bear with me ;’)

 It’s always nice to know people besides me, myself, and I are reading this stuff.

(Apologies for any errors or nonsense in this post, as I decided to write it without double checking it for errors cuz I felt like being lazy, and I'm still busy writing out my thoughts about Identity Switches for you)

[tenebraevesper]

King Shadow (The Altered Future & The Altered Character)

I told myself I wouldn’t do it. I told myself I wouldn’t touch Mobius 25/30 Years Later with a 10 foot pole,... and I still did it. It doesn’t help that, if I don’t count Worlds Collide, which I read mainly because of MegaMan, Mobius 25/30 Years Later (written by Ian Flynn) was actually the first Archie Sonic comic I have read.

Yeah, this was my first real introduction to Archie!Sonic... and it wasn’t a good first impression.

Honestly, kudos to people who like the 25/30YL storyline, but I can barely stomach it without wanting to close the comic after the first page, step back and just forget this story ever existed. So, why am I analyzing it even though I clearly don’t like it?

It is mainly to write down my own grievances regarding one particular character featured in the story - Shadow the Hedgehog.

Shadow is someone who had his ups and downs when it came to writing his character, with SEGA aiming to make him the Stock Shōnen Rival to Sonic’s Stock Shōnen Hero. While I don’t have a problem with that (and I love their rivalry), I do have an issue when they make him act like an idiot who thinks he’s invincible.

Frankly, IDW!Shadow may not be the best written iteration of The Ultimate Lifeform, but I still like him, especially since he does show to have a softer side. Same goes for Boom!Shadow, who only exists to be Sonic’s rival, but I always looked forward to seeing him show up. To me, both are certainly more appealing that the iteration I’m going to talk about in this analysis. 

So, if you don’t want to read about me ranting about an iteration of a character from a comic that has been deader than dead and won’t be continued thanks to a certain someone, you’re free to leave now. This is your last warning.

As for those who stayed... You’ll be greeted with what I personally consider the worst characterization of Shadow in any media (be it the video games, comics or TV series).

You want Edgelord Shadow? This is Edgelord Shadow.

Before I start, I need to do a quick recap regarding the Mobius 25/30 Years Later story. 25/30YL is a continuation of the initial 25YL storyline written by the most despised Sonic Archie writer in the whole community, Ken Penders. If you want more information on why he’s so despised, I recommend listening to Sonic_Speed’s commentary on what had happened.

After Penders left, Ian Flynn took over as the main writer, and his first year of writing can be basically described as him doing janitorial duty and trying to fix the mess the previous writers left behind, streamlining the story and bringing it more in line with the games. He wrote some really amazing storylines, like Hedgehog Havoc and Worlds Collide, but not all of his stories were good, like House of Cards (aka the one where Sonic and Tails fight; something Ian himself acknowledged wasn’t his best writing).

One of the stories Ian worked on was the above mentioned 25/30YL storyline, aka the continuation to the story Penders wrote, and I have to ask: who in their right mind thought it was a good idea to continue 25YL? I’m not asking that because 25YL was a good story or something - in fact, it was the worst! It was so awful, so boring, with the characters just talking and doing absolutely nothing. As for the ending... What ending? There is no ending, just a metaphor for how awfully Sonic was treated at the time, being literally ripped apart.

I also have other issues with the story, but those are more subjective. For example, it just felt wrong to see Sonic be a King, be married to Sally, have kids... I know that some people don’t have issues with that, but I simply cannot see a character who has been described as a free spirit, who doesn’t want to be tied down by anything, have to deal with this. 

As a side-note, I have absolutely zero issues with Sonic being a King, considering how I loved the reveal of him being King Arthur, the true King of Camelot in Sonic and The Black Knight. I guess it helps that SaTBK is also a much better story than 25YL, allowing Sonic to be who he is at his core.

So, in short, someone told Ian to fix 25YL... and it’s not good. I know Ian’s a good writer, but not even he could fix 25YL. I also sincerely apologize to everyone for what I’m about to drag you into. This was really painful to read.

So, 25YL (Flynn Edition) kicks off with establishing how King Sonic fixed the world from collapsing by travelling back in time. The result of it was the future being changed, though, and we’re greeted with this:

*stares numbly at the page*

I’m not even going to pretend I don’t know who did this for the sake of suspension. This is just ridiculous.

Shadow, why the hell did you set up a statue of Maria as an angel and made the Mobians worship her?! I agree with Tails here - this isn’t right, but for completely different reasons. The first page made me already want to close this comic and never touch it again, but alas, I must soldier on.

The comic establishes that Shadow is the current King of Mobius, with Knuckles as his enforcer, which just feels weird (and I always imagined Shadow to be more of a Knight than a King).

We then finally meet his Highness for the first time, King Shadow, decked out in full royal regalia and torturing an older Rotor. After not getting any answer, he leaves the room, and is met by OC!Echidna Lien-Da (I don’t like her), thanking her for bringing Rotor over to be interrogated.

*sighs*

Okay, this is King Shadow’s first appearance and alarms are already blaring in my head. I cannot overstate enough just how wrong and painful this feels to see and read. It’s like someone grabbed Shadow and just brainwashed him into this dictatorial and militaristic version of himself who just screams “I’m the bad guy!”.

You know what’s funny, tho? I actually don’t think that King Shadow is wrong as a concept. As a matter of fact, we already had Shadow deciding to conquer the world in the video game Shadow the Hedgehog (2005), that being in the True Dark Ending - Dark Mission (where he decides to destroy the world because he gave up on humanity), the Dark Ending - Dark Mission (where he sides with Black Doom and becomes his enforcer), the True Dark Ending - Hero Mission (where he overthrows Black Doom and decides to conquer the universe), the Neutral Ending - Hero Mission (where he is - somehow - convinced he’s an android and decides to take down the Eggman Empire and make androids rule Earth).

So, yeah, Conqueror Shadow isn’t a new concept, but the difference is that in ShtH, it is at least somewhat explained that he’s either brainwashed (either by Black Doom or Prof. Gerald) and/or has given up on humanity... or thinks he’s an android (probably still influenced by the events of Sonic Heroes, but not less weird). The point here that is that there seems to be a somewhat solid explanation to why he has snapped (and Snapcube has him decide to become the President of USA/King of Hell, and I would legit vote for him).

King Shadow, on the other hand, feels like someone flipped a switch. He just woke up one day and chose violence, and it is really uncomfortable to see him like this.

Here’s also a little tidbit I found on the Sonic Wiki:

Ian has stated that there is no official reason for why Shadow became a tyrannical ruler after killing Eggman and destroying his empire.

So, yeah, King Shadow really did wake up and chose violence.

So, to continue, after he talks to Lien-Da about “thanking” Rotor, King Shadow reveals how he cannot lose this world, and how he had done too much good for it to be stopped now.

Okay, this is actually kind of interesting. King Shadow sees himself as some sort of heroic figure, using his militaristic forces to stop any kind of conspiracies against him so he can keep on ruling. He wants to protect the planet by controlling it, which I think is actually an interesting idea.

Obviously, his rule isn’t going to last much longer, since King Sonic is back and ready to kick ass... and honestly, I’m seriously debating whether I want to show the next image, because it just gets worse.

You know what, screw it.

I bet you haven’t thought you’d see Sonic as a hobo. Neither was I. Nothing could prepare me for this. Sonic is just there, sitting, doing nothing, throwing himself a pity party.

This is so wrong on so many levels. The Sonic I know wouldn’t allow this to happen. Instead, he would run right up to the castle, kick the doors down and fight Shadow in an attempt to set things right... not this.

There is also a nice moment between him and Tails (and later a nice scene with Knuckles), but let’s skip ahead to the next part. Again, this is supposed to be an analysis on King Shadow, with some added bits that had personally irked me (Hobo!Sonic being the prime example), not a whole plot analysis like I do with IDW!Sonic.

After finding his resolve to fight back, Sonic and Knuckles burst into the throne room, finding King Shadow and Queen Sally. Now, we learn later that Sally basically married Shadow to bring some balance and stability to the kingdom, and protect it from his tyrannical rule (not seeing any success here, Sal), but I have to ask: Why? Why was this necessary? Like, I may not be a fan of Sally, but I know that she is a fighter, so why didn’t she try to lead a rebellion against Shadow? She did the same when SatAM!Robotnik was around, so did she just give up?

I mean, I understand that Shadow is pretty much one of the strongest characters in the Archie!Universe, but still... nothing? No resistance?

Oh, and speaking of Robotnik/Eggman:

It was hinted at that Shadow took down Eggman before becoming king. When writer Ian Flynn was asked how Eggman died in the Light Mobius universe, he said "Any events happening between the present and the maybe-future will be teased at best. That said, the original M25YL revealed that Knuckles vaporized Eggman and had to be stopped by Sonic. I figure the same events unfolded but with Shadow replacing Sonic."

So, I guess that’s answered. I still don’t like the execution.

Moving on, Knuckles gets Sally out of the throne room, while Sonic fights Shadow. Shadow easily dodges it, sneering at Sonic.

This is followed by Shadow throwing away his cape and beating Sonic up, telling Sonic how he’s old and past his prime, and how as The Ultimate Lifeform, he never ages... so, Vegeta moment? 

¯\_(ツ)_/¯ 

In any case, Sonic is beaten, and I’m asking again... Why? Sure, at this point, Sonic is in his 40s (still can’t believe I’m saying that, it feels so weird), but I’m pretty sure he can still fight. Hell, Shadow didn’t even use his Chaos Powers, so why couldn’t Sonic at least put up a proper fight, even if he does lose at the end?

I know that I’m just complaining here, but compare the fight above to this one:

I don’t know about you, but I prefer their fight in IDW more. Not only were they on equal footing, but this fight was less about Shadow proving himself to be superior, and more a challenge of their ideals, with Shadow insisting on killing Mr. Tinker and Sonic wanting to keep Mr. Tinker alive. Yeah, Sonic still loses (thanks to tripping on a root), but it still feels more satisfying than him being knocked down in a spin-dash, kick to the gut and punch to the face.

So, how is King Shadow defeated then?

In comes Lara-Su (to note, she’s not among my favorite characters), Knuckles’ daughter, who dodges Shadow’s attacks and goads him into using his Chaos Powers while also demonstrating her own.

Shadow throws Chaos Spears at her, which Lara-Su deflects, chanting Tikal’s prayer and using Chaos Control on Shadow, freezing him in place.

I don’t really know what to say about this. It is just... anti-climactic. Like, would Shadow really lose like this?

*shakes head*

You know what, I at least gotta give credit to Ian Flynn for trying to clean up the mess Penders left behind, but this story is just not my cup of tea. Shadow feels just wrong and Hobo!Sonic wasn’t something I wanted to see.

So, is that it? No more 25YL? No more King Shadow?

I’m sorry to inform you, but it’s not over yet. We still have 30YL and I’m still asking: why is anyone going back to this story?

I will let Sasha Cat sum up what happened:

Honestly, the expression she made about the wedding between Shadow and Sally mirrored my own. I hate it.

However, I do like the fact that Shadow is using the Black Arms logo as his symbol during the conquest. Black Doom must be proud of him.

Anyways, to sum up events, King Sonic and Queen Sally are happily married, Lien-Da and her mooks try to assassinate the royal couple, Lara-Su and Silver keep them safe, Sonic goes back into action in an attempt to deal with the situation, so Lien-Da calls for reinforcements:

King Shadow is back for Round 2! I have to admit, 30YL is definitely better than 25YL, but only by a small margin, and I still don’t like it. Not to mention, this Sonic Universe story came out right after The Shadow Saga, a fantastic arc where Shadow came to terms with who he is, internalizing how, even if he gets kicked down, he can learn from his mistakes and get back up, and formed Team Dark together with Rouge and Omega.

It is really jarring to just have King Shadow shoved right after an arc that developed his past/alternate self as a character. Like sure, here’s Shadow, who just had a moment of self-reflection, relying on his friends to help him, and here’s King Shadow, who wants to rule Mobius with an iron fist and fear.

As a side-note, tho, I like this cover. Not gonna lie, King Shadow does look badass in this pose.

Anyways, going back into the main plot, Lien-Da fills Shadow in on what happened after Lara-Su froze him with Chaos Control. Shadow is shocked that five years have passed, then walks away and tells Lien-Da to keep talking.

Lien-Da is ready to help King Shadow regain control over Mobius, but King Shadow refuses, much to her confusion (and I’m not gonna comment on the “Maria’s Wish” code; it has really uncomfortable implications), and explains how this world needs to be punished for its inaction.

Lien-Da is shocked when she sees what Shadow plans on using.

It is a glass orb filled with a green liquid, with Shadow calling out for Tikhaos. We see a shape in the form of none other but Tikal, being lonely and hungry, with Shadow promising to release her. Lien-Da pleads with Shadow not to do this.

Lien-Da tells him how she released Shadow to bring back his stern rule and to not release Tikhaos (which I assume to be a fusion of Tikal and Chaos, although I have no clue how she came to exist).

Shadow, clearly having enough of Lien-Da’s protests, asks her about the armband, which protects her from the shift in the time-line. Side note:

Ian Flynn revealed in an Ask Ian podcast that Shadow's knowledge of events in the previous timeline was due to Lien-Da's information.

When Lien-Da confirms this, Shadow just breaks it off, causing Lien-Da to vanish from existence. Okay, I didn’t like her, but this is kinda brutal. He basically killed her... or maybe she doesn’t even exist in this future?

Shadow then turns to Tikhaos, smirking as she tells her how it’s time to reintroduce her to the world. Honestly, seeing Shadow like this isn’t just uncomfortable, it’s plain disturbing. He looks like a maniac, as if something in his mind just snapped.

Tikhaos begs for Chaos Energy, which Shadow is happy to supply, removing his Inhibitor Ring and not caring anymore when he’s told that King Sonic has retaken the castle.

“Let him have it. It does him no good now.”

He forcefully feeds Tikhaos more energy than she can handle, with the echidna mooks running away when they realize that King Shadow is going to destroy them all, while Shadow remains calm, completely serene.

Again, I’m actually disturbed by this behavior. Are we sure that Black Doom hasn’t brainwashed him somehow?

Anyways, Tikhaos has turned into a complete monster resembling Perfect Chaos and is attacking the city, leaving Sonic and co. to deal with her. As for King Shadow:

He apologizes to Maria for what he has done. He tried to lead by example, but when they didn’t see it, he tried to lead by force. He was rejected. He wanted to bring peace, but the world demanded chaos, so he’ll let Tikhaos ravage the world, wash it clean and let it suffer... and when they learned their lesson, he will return to lead them to peace he desperately wanted for them.

Absolutely not a fan of this. It feels so forced, especially since the last Sonic Universe arc was about Shadow moving on. I love Ian Flynn’s writing, but this is one of the worst stories I’ve read that he had written.

And this is also the last we see of King Shadow.

Honestly, I’m glad Worlds Collide happened and changed the universe. I really didn’t want to see more of this. Not to mention, Post-SGW!Shadow is a real treat.

So, King Shadow? What are my thoughts on him now after re-reading the story?

Honestly, he’s a good concept, but the execution is awful. Even though Shadow as a conqueror exists in the Shadow the Hedgehog video game, we still know that those paths aren’t canon to the main story. The Shadow we know is a protector of the world, but he wouldn’t go this far to protect it, becoming a villain. King Shadow really comes off as unhinged and his personality switch feels like it came out of nowhere.

Again, if you like this story, more power to you, but I don’t. To me, this is the worst Shadow has ever been written. It just feels so unnecessary, so wrong... and I’m glad it doesn’t exist anymore.

If you guys want my thoughts on how I would write a King Shadow story, leave a comment and I might write down the concept for it.

Now, if you’ll excuse me, I’m going to watch Sonic Prime. I need to clear my mind of what I just read and I just want to see Shadow trying to save the world without being a villain.

EDIT: Here’s my own take on the King Shadow storyline:

#King Shadow (The Alternate Story)

An alternate take to the Light Mobius story:

Isekai'd As My Past Self (Sonic the Hedgehog AU Story)

#Sonic the Hedgehog Analyzer (Masterlist)

[die-mitri]

Some Pre-DvK2 Bakugou Analysis!

Word count: ~4,100 (sorry lol, TL;DR at bottom)

Reading time: ~15 minutes

Note: I made lots of words bold, italicized, or colored and with a lot of paragraph breaks to make this more readable for the bitches with ADHD out there. I see y'all and I can't read either. Sorry if this makes it harder to read for others 🤷🏽

I'm in the process of trying to start a bkdk fanfic and make it as in-character as possible by trying to relate to the characters and get in their heads. While I relate heavily to Bakugou, he's also a character that's very hard to understand.

What I mean is that I relate to a lot of Bakugou's base instincts and thought patterns, but the things he gets upset about in-canon make little sense to me. To try to get into his head I've had to do a deep dive on myself and all the things I've been upset about in a similar way he has been, as well as to understand why I've felt justified acting so similar to him. Considering most people act in ways they feel justified in, I need to analyze what about Izuku would make me so bothered by him, that I would treat him the way Bakugou does. If I can tap into that feeling and try to distort my thinking and apply it to his specific situation, then I’ll have an easier time writing this mostly canon-compliant fic.

I'm gonna use myself as a reference for his behavior and will be talking about a time when I was much a worse person. I've since grown a lot and realized how wrong I was, so please keep that in mind and try not to judge 12-15 year old me too harshly. The stories I use will have fake names for the people involved to help you keep track of them.

None of this is meant to justify the way Bakugou treated Izuku, and is only meant to try to understand why he did it in a more relatable/realistic, less anime-dramatic nonsense way. Mostly, so I can replicate his thought process for accurate fic writing.

I'm gonna address this analysis in 5 different bits: fear, anger, pride/shame, building a persona, and the conclusion.

Let's go!

FEAR!

Bakugou struggles with being seen as weak/incapable. It's DIFFERENT from his superiority complex... Although connected.

It's my belief (backed up by canon) that Bakugou's relationship with his mom has affected his perception of strength and worth; and that because of her, he's attached his identity to his strength, which he felt made him more secure and better than other people. To be weak, is to be pathetic, is to be humiliated. To be clear, I don't think he did this consciously. It was just that kind of thing that seeped into the way he thought and because of it, he tried to fortify himself against any and all vulnerability. Which leads to the bullying/ “Better to hunt than be hunted” mentality. As well as his black and white thinking. If his way is right, everyone else’s must be wrong and anything that challenges his limited world view is a threat to his very being. If his strength doesn’t matter, or isn’t the best, then who is he? That’s a scary thought to me too.

It's a similar story with me, just switch the parent. My dad is a man of principle and one of his principles is that you should not be a pussy and always be the smartest person in the room. I attached my identity to being right all the time and always standing my ground. I’m sure you can guess how fun I was at parties.

So I refused to let others see when I'd actually been hurt and hated the idea of being seen as pathetic or weak. I also couldn't accept that I needed help sometimes. I wanted to be unshakable and plow through everything. 

A ridiculous outcome of that, is that I used to hate apologies in any direction. "Don't apologize to me, I don't need your help getting over this. I won't apologize to you bc that means I was thinking about feeling bad about what I did and you can't know that." 

In truth, I didn't mind being wrong, just looking like I cared. 

That’s the heart of it. I cared a lot less about the values I had, and a lot more about how scared I was to be seen not fulfilling them. It’s embarrassing.

Another, much stupider example of this in my life is that I hate being babied. Even by people who look up to me or respect me as equals.

Once at summer camp I had some friends fuss over me about something. I can't even remember what it was anymore, probably wearing sunscreen. I just got so upset. I was like "I'm not a fucking kid, I can take care of myself. Don't try to help me bc there's no reason I'd ever need help." In retrospect it was seriously not a big deal, and they're both friends that I love dearly, but my own issues with having people take care of me got in the way of me perceiving their affection like a normal human being.

Bakugou is the same about needing help and would rather die/lose than be seen as pathetic/vulnerable. Like he said during their dual exam that not even having the choice to destroy himself in order to have control win would be unbearable. If his strength isn’t enough on its own, then he is not enough.

I think this particular issue is made worse by his poor impulse control in regards to Izuku... (With everything else, he's very calculated, which I talk about more in the "creating a persona" section).

In general, I think Bakugou is just very scared/uneasy about his place in the world (that he’s not enough or that he’s been wrong the whole time [see: kacchan vs deku part 2]) and he covers it up with…:

ANGER!

Bakugou doesn't have a hard time not just being mean, but being cruel. There's little hesitation in going for the throat when it comes to insults and mind games. The same goes for me BUT only when I really dislike someone.

There was one time I was mean to some kid who was weird and pushy with me because he thought I was cool. He was not a bad guy, he just couldn't take a hint and wouldn't leave me alone. Let’s call him Liam. One day Liam made some joke and no one in class laughed. He said something like "tough crowd", and without hesitation I told him he just wasn't funny. It's not exactly bullying, but he probably felt bad about that for a bit.

It was mean tho, right? I did it cuz at the time I just wanted Liam to dislike me enough that he'd leave me alone. Sounds familiar, huh?

It was not the first or last time I acted like that. I want to highlight that I did these things feeling justified (even though I probably wasn't), which is the key component to understanding why Bakugou was so mean to Izuku in the beginning. It wasn't so much about power, as it was about getting Izuku to leave him alone for good. To get somewhere he didn't have to worry about being bothered by him ever again and follow his dream at the same time. You know, like UA? The last possible place you'd find someone without a quirk?

I think it needs to be made INCREDIBLY clear that Bakugou sees Izuku as a fundamentally different person than we, the fandom, do.

To him, Izuku was some weirdo who wouldn't leave him alone, made him feel nervous/stupid, was generally uncool and annoying, and acted like he was better than him. (let’s not forget that Izuku was quite the stalker for a while??) It doesn't matter how wrong Bakugou was, Izuku still made him feel that way and that's a good enough reason to try to get someone to leave you the fuck alone. I know I would. I mean I literally have.

There were multiple kids at my school who freaked me out/ made me uncomfortable and I wasted no time in getting them to fuck off as quickly as possible. I'm sure most of us have similar stories and definitely seemed like one of the bad guys from their point of view. (Especially given that a lot of these annoying kids were probably well-intentioned and just made you uncomfortable)

The following stories are unnecessary to understand my point, but I just wanted to tell them. Feel free to skip over it.

There was one kid in my grade who was around me a lot. Let’s call him Isaac. We walked home the same way and had a few classes together. There were two times I remember getting annoyed enough with him to actually snap at him.

One time was when Isaac tried to hide behind me in a gym class during dodgeball and he touched my shoulder or something. So I turned around and shoved him to the ground and told him not to touch me. He slid on his ass for a sec. I'm sure he was a bit embarrassed and looking back, it was mean. I could have just asked him not to do that politely.

The other time I remember, we were in science class and we were always sat at the same table because the teacher said I was best at handling the "annoying kids" (which is kinda a crazy thing to say to another student). Regardless, Isaac wouldn't stop talking and just overall bothering me. I might be misremembering this part, but I'm pretty sure he had come behind my chair and touched my shoulders again. So I got up and yelled at him. I told him to leave me the fuck alone and stop being weird. My teacher came to check up on me, not him. Asked if I was okay and if I needed help to beat someone up (jokingly ofc). But maybe I was the bad guy here. I could have asked a teacher to reseat me or told Isaac he was making me uncomfortable, but I didn't. I did what would make him leave me alone the fastest. And he did after that. For the most part at least. We still ran into each other on the walk home and would make conversation. Isaac annoyed me, but I didn't hate him, I wasn't close enough to him to. HOWEVER, had he been annoying me since I was FOUR?? I'd probably beat his goofy ass up just like Bakugou did.

AND If I found out later that he was like secretly the president's son and was only letting me push him around to hide his identity? Not only would I be mad, I'd feel so fucking stupid and embarrassed. AND IF HE FOLLOWED THAT UP WITH SOME BULLSHIT LIKE: “no, no, I was only recently adopted by the president bc I'm destined for a future greater than yours.” Are you kidding me??? I'd fuck some shit up. Punch some walls or somethin.

Like what makes you of all people think you’re better than me? You’re just some kid with ideas of grandeur. Get away from me or get hit bitch. 

I'm not saying Bakugou's right, only that I get it. He uses anger to cover up all the feelings that make him feel unsafe/uncomfortable/embarrassed. As do I. Annndddd a lot of it is about… (say it with me…)

PRIDE & SHAME!

The infamous superiority/inferiority complex. This is mostly spelled out for you in canon, so I’ll only talk about the parts that interest me the most.

We already know Bakugou doesn't like being looked down on. It enrages him. It's a pride thing. Pride is inherently attached to shame. You care less about using pride to cover up your shame the less shame you have to cover up.

No matter how hard he tries, Bakugou can't be all he expects of himself. He cares that the anger he uses to hide his discomfort makes people dislike him. He's embarrassed that he cares at all and it makes him feel like he's weak. Only a loser would let that get in their way... That vulnerability eats him up and makes him feel stupid and it all becomes a circle.

Gotta be strong > uses force to exert his strength > ppl dislike him for it > he feels hurt > he shouldn't care what they think > need to get stronger to handle it.

THEN he lost to Izuku several times, got kidnapped, AM lost his powers because Bakugou needed saving, and failed to get his hero license.  (AND HIS MOM PICKS ON HIM ABOUT IT WHICH DOESN'T HELP) He had to reckon with the fact that his way is wrong. But he's so caught up with attaching himself to the part, that it's very hard to let go. He'd have to change his entire world view and identity.

This post discusses the way he reckons with the cognitive dissonance that comes with his strength having nothing to do with what’s “right”. I'm a really big fan of the concept of Bakugou trying to use his physical strength/lack thereof, to make sense of his emotional weaknesses and lapses in logic.

I didn't want to cheap out on you and leave you without an embarrassing personal story for this bit, so I really had to dig for a story mostly about pride/shame because I feel like this section is mostly about what causes the fear and anger. Pride/shame is a common denominator rather than its own point… but here I go anyway.

When I was 14 I made my math teacher cry. She was kinda a bitch and deserved it a little bit, but I still feel kinda bad in retrospect.

I’ve always been a shit student, which didn’t bode well with the whole “smartest person in the room” deal. It was embarrassing to know that it didn’t matter how smart I was, I could never sit still and think long enough to finish my school work. And yeah, you bet my dad made me feel like an idiot for it. So I took some of it out on my teacher. 

It felt justified making her cry because she had always had it out for me. She was rude the moment I walked in the door, she refused to sit me up front so I was never able to read the board, she resented us because she wanted to teach the “smart” kids, and she always made sure to tell me how much I sucked in front of the whole class.

Now the thing about being the rowdy annoying student (especially in the lower level classes) is that most of the kids in class agreed with you. The teachers normally assume the worst about lower level students and were complete dicks, so you can be sure there was almost always animosity and distrust in class. Every time I gave a snarky response or talked over her, I was met with snickers and fist bumps. Maybe she, my Dad, my shame made me feel stupid, but the attention from the kids in my class sure fed my ego.

As bad as I feel for making her cry, I still tell the story with pride. She didn’t break me, I broke her. 5 years later and it still feels good to know that I walked away mostly unscathed, and she quit her job. I was so sick of feeling stupid, but I still do, otherwise the story wouldn’t feel so good to tell. It might not be a thing I’d do to a teacher ever again, but that doesn’t mean I don’t wish I could sometimes. Shame is more powerful than the shield of pride; and both of them are nasty habits.

I think pride and shame would be the hardest traits for Bakugou to let go of. Truthfully, I don’t think he will ever fully abandon those traits. They’re fundamental to his character and are the driving force behind his pursuit of being the number one hero. Which is also a primary factor in what pushes both Bakugou and Izuku to grow as heroes. They wouldn't be themselves without it.

Conversely, part of what drives them to grow as people is Bakugou being honest and letting go of…  

THE MASK HE MADE!

Perfectionism, control, and the persona he created...

There’s the way that Bakugou is and the way he wants to believe he is.

Most of fans think of bkg as the person he wants to believe he is. This fake version of him is undeniably strong, laughs in the face of danger and hurdles, is mean without regard because he doesn’t care what anyone thinks of him, and knows EXACTLY what he wants.

Let’s talk about the mask I made which I'm just starting to let go of.

I’ve run away two times in my life. Once when I was 12 because I hated my life, and the other time when I was 17 and wanted to make my dad angry and worried. Both of them had to do with fear, anger, pride, and shame. But both were done to break away from the mask I made. 

The first time was done because I was scared I’d be stuck with my Mom and siblings forever, always taking care of everyone and managing all the emotions in the house. I was angry that it was all my job and I had to do it all alone. I was an idiot to think I could handle the world alone as a runaway but I was impulsive and stupid. I wanted to be seen as a loose canon. Too often – and because I had gone out of my way to be seen as such, I was seen as dependable; like I could just keep taking the pressure and never crack. None of it was true. I was scared and weak and I was collapsing under the weight of my family’s problems. So I took everything and left. I just finally wanted my Mom to see that I wasn’t okay. In the end, it didn’t work, so I moved away from it to live with my Dad… Which caused its own set of issues.

The second time I ran away was the day of my high school graduation. I hardly got any days to celebrate myself. Including my birthdays, which were often excuses for my Mom and sibling to invite their own friends over. Once my birthday was forgotten all together. All that to say, I was excited to have a day for myself. As I’m sure you can guess, the day didn’t go as planned and I was sidelined for the entirety of it. When I finally got home, I went to vent to my Dad about it which didn’t go well. To summarize, he told me I was pathetic and dramatic. So I was like “Fine. Clearly no one here gives a shit about me. I’ll just leave without a word.” So I left the house, called a friend for a sleeping bag, and set up shop between a garage and some train tracks for a night.

My intentions are still a bit unclear to me, but from what I remember, It was fear that I truly wasn’t cared about, anger for all that I had lost in order to protect the mask, and shame that I thought they’d care; as well as the fact that I was hurt by how little they cared. Above all, I wanted to make my family feel bad for pushing me to the point that I thought that running away would be the only thing that got to them. It didn't. I came home the next day and no one said anything.

I had given so much energy trying to be steadfast, confident, strong, but on the two occasions I had broken those patterns no one noticed or even really cared. It put me in a weird position. Was I just supposed to give up on those things? Live my life in accordance with my true feelings? It seemed nothing mattered and in the end I did little to change.

Change I certainly did though. I gave up trying to be emotional support for my parents. I started to voice my true feelings a bit (only a little bit) more often. I even stopped trying to act any specific way in front of my family. 

Despite all that change, however minor in outward appearance, It’s not like I had let go of those values. I just reevaluated how I interacted with them. I'm still steadfast, I know what I want for my life and plan on letting nothing get in the way. I’m confident that what I’m doing will be best for me, instead of good for maintaining a persona of strength, and now I try to put the anger into standing up for myself and my truth. 

In all honesty, It’ll never stop hurting me that no one cared when I tried to show them the truth about how I felt. And I’m not sure I’ll ever stop being embarrassed that I care what they think. I still want to believe that I’m above everyone and above feeling sorry for myself, but I’m not. I’m a hurt kid who’s slowly figuring out how to live with it and become a better person.

The best parallel I can pull here is Deku vs. Kacchan 2. Bakugou’s been holding a lot of feelings in for a very long time and a huge part of his mask is hiding his true feelings. It’s true that he shows anger, but that’s part of his mask, not a crack in it. During this whole scene he’s using anger to cover up his pain and self-doubt. Just the fact that it’s a fight instead of a conversation proves this. 

Bakugou choosing to have this fight was a call for help. He needed Izuku and All Might to see that he wasn’t holding it together as well as they thought he was. This was like me running away in that it was a drastic, desperate attempt to escape the mask all while giving himself enough leeway to come back to it if he felt too vulnerable with his newfound freedom.

As a side note, I think that Bakugou sees maintaining his mask in front of Izuku as most important. To the point where he'll let himself get hurt/hurt people he normally wouldn't want to in order to keep up the performance. Izuku is the last person he wants to let see all the vulnerabilities and if getting beat to shit/spewing the most hateful things he could think of will make sure Izuku never sees them, then it's what bkg must do. (which is why the impalement and apology are so important to bkg letting his walls down)

In MHA, as well as in my life, leaving behind the persona you made takes a long time and a lot of baby steps. It’s humiliating and terrifying. I’m not sure if all of you quite understand the amount of trust Bakugou is putting in Izuku following DvK2. To Bakugou, he felt like he had bore his soul to Izuku with the intention of marking this as the beginning of his attempt to become better – as a hero AND a person. 

I see DvK2 as the first major step they took together towards reconciliation, friendship, and eventually, love.

IN CONCLUSION 

Bakugou made a loud and abrasive personality to hide his insecurities and fear. While he tried his best to maintain it, it became an impossible feat once he finally had to face that he wasn’t as strong as he thought. His rigidity, once his superpower, became is downfall. He used his fight with Izuku to break from the persona he trapped himself in, and in taking his first step away from his mask, he started a new journey to become a better person for himself and for Izuku.

TL;DR

I used personal, embarrassing stories that reminded me of Bakugou in order to pull back the curtains and try to make sense of the way Bakugou behaves in a way that's less dramatic and hopefully easier to relate to. The reason he's bitchy is that he’s a bit delusional. But me too bitch. I hope you all see him as a bit more relatable now :)

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This was the first of ~4 character analyses, as I want to cover what Bakugou and Izuku would need to change about themselves in order for them to fall in love with each other. As it stands, there’s very little the people in the stories I used as reference could do to make me respect them enough to consider an actual friendship with them, much less love. I’ll have to do a lot of speculation once I get there (which you’ll be able to read here once I’ve written them), but it’s the best I could do, seeing as I didn’t know these people well or long enough to have stories to speak confidently of in the following analyses.