#does this make any sense im just rambling

[erinwantstowrite]

bear with me here because i'm gonna ramble about something i've been thinking about for a while... and i'm not complaining, i'm just noticing

sometimes i think we've leaned so far into the vigilante side of the batfam that we miss out on what really makes their characters: detective work. we need more mysteries in their lives that don't lead up to some big bad "we already know who's doing it" or an "end of the world" or "yet again: this fucking guy." we need more stuff where spy movie music plays in the background and dumb adventures that don't lead up to some huge grand event with a big name villain. the shock factor stops being shocking or interesting in any capacity if we're like "Gah! the Joker! ... Again!" or whatever

does that even make sense? like "yeah sure they're blowing up a building again and there's hostages. oh look they're gonna poison the water supply." these aren't bad and that's not what i'm getting at because obviously this is a classic for comics. you need to have characters/antagonists that show up more than once and who can make a story better by being in it. and i did say to bear with me- that's because im tired. so like i hope im getting this across the right way? it's just that sometimes i don't wanna see a huge explosion, i want these motherfuckers solving a regular murder or a disappearance or regular corruption in a local office without it being tied to a grand reveal like "actually this person knows you as a long lost relative" or "they were at that circus can you guess which night they went?" that kind of thing? if you get me? like... more of the small time stuff makes the big stuff important, it makes it stand out more. at some point, the format gets repetitive even if you're switching up the villains. you can make these situations/mysteries still fun to solve for the characters and fun to read for the audience if you do it right

the concept of a detective dressed as a bat and having a sidekick in traffic light colors is inherently goofy as hell??? but that is what is so charming about it??? i think we have lost the balance between them being silly while also being intelligent with important conversations that criticize the world as we see it and teach lessons and can go over dark topics. nowadays it's always end of the world problems or just straight up the most gruesome true crime you can think of?? or they can ONLY do the dark stuff and the criticism without offering a balance of the good in the world. or we keep coming back to the FUCKING JOKER-

like yes they are vigilantes and with that comes a different level of their work, but their brand should be a mix between a black and white detective film that can get very nitty gritty and a classic spy movie, that kind of thing. at the end of the day, it's what makes them so different from the superheroes. that's what appeals to me.

seeing them in the big superhero groups is fun, don't get me wrong. it's always funny to see them standing next to people who are so powerful they never really fit in with anyone but each other, who chose to step up and use their powers for good. the Bats' specialty is Gotham and yet here they are stopping a god or whatever. and they do stop the god or whatever, all the while being an important leader and strategist to their teammates. they're important to have in these cases. but if there's a world ending event every time i pick something up, it's not as fun

the fact that they are so very human and not fantastical is why i like reading them. it's what makes the joke of people, even Gotham citizens, theorizing about them being cryptids, funny. they're fucking weird but that's because they're detectives. people who love to solve mysteries usually have a fatal flaw of curiosity. they forget the bounds between social interactions sometimes because they're used to working through problems or being intertwined with partners that understand them. but they're very much human. so human that it hurts them in many ways. and idk i've just been thinking about it lately and idk what point i'm trying to get across actually

it's just that in my eyes that's how it really is for Batman- a black and white movie narrated by a very serious man who took up a job to help people, one that has a deeper commentary on the world and viewed outwardly as pessimistic but actually has a deep hope for his city and who tries to help even the people who have wronged others. He's a stationary man in the belief that him being a constant can serve to soothe others and help them move forward. He stays in the middle of the path so he can tell everyone what is up ahead. he blends into the Gotham rainy night to serve justice but in a way that saves both the victim and the perpetrator. (the way he tucks a Robin into his cape is the same he does for Gotham with his mere presence.) and his background is actually so important to his story and yet people still somehow gloss over the lesson from it? he lost his parents because of a man who was on the opposite end of the spectrum to where he was in life. and yet he chose to help the people like the man that killed his parents. he could have done anything else with his power and money, but he instead is choosing to bring as many people up with him as he can. He's Mr. Serious that no one else can get a read on. and yet he walks into a room and he's already piecing together your life and what you're going through because he thinks it matters. he comforts people who have lost something or someone or themselves. I picture Batman and I don't picture a man trying to save the world, I picture a detective walking around a crime scene and trying to save at least one person every time he puts on the cape. and he put on the cape and became a vigilante because then he could go out of the bounds of what laws have been set up- and specifically, Gotham has other people in power who are corrupt, keeping the system that way. that's why Batman being a billionare and throwing himself into helping people at the risk of his own life is so important. he knows that if you are alive, you have something or someone to lose, no matter who you are. the dude is a bleeding heart but he doesn't know how to express it, in fear that if he gets too close, if he moves down the path with them, he'll be lost again

and then he's met with someone who should be a complete opposite, but isn't at all, because they're two sides of the same coin. his partner in crime, his son, a boy that is nothing like the black and white world that he sees. and that's the point in his life where he first sees that potentially getting lost is worth the risk. Robin is color and passion that needs guidance to move forward, but can not do so unless the stationary man learns to move with him. the kid is loud and reckless and you'd think he's from a different genre from the detective but they aren't so different, really. not when you look close enough. Dick grew up moving from place to place and seeing the world, knowing so many different people from different cultures. He's been learning to fly and jump and embrace the free fall his entire life. He's clever and he's sharp, and he thrives in the action and adventure. it's that perspective that compliments the stationary man. one is steady and the other pushes. he's the same genre but a different generation. and Batman introducing him to the way of life he chose for himself was another way he could save someone. because let's be real for a second? Dick would have gone down a very dark path had he not had Bruce, who understood, who saw not just himself in the kid but also saw who the kid has been his entire life until now. he saw Dick's parents, he saw the family he had in the circus, he saw the joy he had in what his family was doing. he saw the grief and the fire and the color that Dick's world was made of. because to Bruce, it always matters. Dick had to come to terms with Bruce's perspective to help anyone who they come across, to always give more chances, and it kept Dick from losing his color

what gets me is that the man who lives in the black and white world can actually see many different shades of gray (because black and white always needs the medium), whereas the boy in a world of color and light can get so focused on the bright that he can become single minded. and yet the boy sees a world of color and delves deeper into the lives of the peolle they come across and can be much more open minded, and the man in the black and white world sometimes forgets the shades of grey are right there. they are just like each other. they can exist without the other, but do they want to? because the black and white can be built up into the colored image, like the inking and shadows drawn on a comic book page before the colors are added in. they meet in the middle to complete each other. Bruce has been passing the story over to the next generation for a long, long time, even before his story was complete. and just like with the first Robin, it was so for every Robin afterwards. they each color in the lines differently, but that's what makes Robin so special, so unique. they are an art style that branches into their own life, but can not forget where they started: tucked into Batman's cape and the inky black of his world

and so detective work really frames their hunanity to me. the mysteries they get their hands on, the glimpses into the lives of Gotham citizens that they swore to protect, it's fascinating. it's what makes their story stand out compared to the people who can lift trucks or cast spells or run around the world in seconds. so yeah ig that's what i'm trying to say? that i want to read more of that? in both canon and fanon. cause even the small time villains we see can be like. AWFUL people and it takes out the fun of their gimmicks. and if it were any other day this would be a more coherent post but alas, it is not any other day

[darjeelinh]

Jesper “guard against pain” vs Wylan “guard against joy”

Jesper’s jokester and confident façade was to protect himself from feeling pain, but inside he’s insecure and vulnerable. He hid his grisha nature because the only person who ever treasured it was taken away from him, and grew up being told that it was a curse. So instead he acts like he doesn’t need it. He acts like he takes all the losses and all the hurtful things in good stride but deep inside he’s feeling lost and guilty all the time. That boy is always bouncing on his feet with guilt all the time in the duology. Guilt for disappointing everyone: his father, Kaz, Inej, his mother, and himself. When he thought about Wylan at the end of SOC he thought Wylan wouldn’t want to hang out with criminals like him anymore once he got the money and that had stung more than he thought: it’s the boy inside him feeling abandoned again, the boy that does no good to anyone other than in a fight. And he cope with all that pain, that guilt, with his addiction and his gunslinging - which no one really paid any mind until Wylan saw through his façade.

Wylan, whose joy and hope was taken away from him by his father, was always made to feel less than, shared the same constant feeling of guilt for just being who he is. His father made sure of it, that he knows he’s not allowed to feel anything but anxious and guilt, and his joy was to be choked out of him (metaphorically and literally). Wylan in the show couldn’t even believe when Jesper told him he was smart, thinking it was just a trick to coddle him into some false sense of joy before it would be taken away again. Wylan in the books still holding on to the last shred of decency for his father until that moment at Saint Hilde, instead blaming himself for it, maybe because it would give him a false sense of control over his own pain. Until Jesper saw his own guilt mirrored in Wylan, and helped him to his feet.

Both Jesper and Wylan were able to keep some part of goodness in the face of everything that happened in their lives: Jesper with his good spirits, Wylan with his morals - standing up against Kaz again and again despite being threatened every time. In Jesper, Wylan learned to accept joy again, and that this won’t be taken away from him. And in Wylan, Jesper knew that he has a safe space where he can accept his pain and heal from it in a healthy way.

“You can love something despite seeing all of its flaws.”

Anyway, Wesper is each other’s safe haven.

[tls12lessthan3]

thinking about orvs metatextual engagement with its genre and specifically how that interacts with its women again. kim dokja is a self insert for the reader - what he thinks is largely meant to represent what we think, especially in the beginning before sing shong really fleshes out his character. kim dokja sees the world through tropes, directly acknowledging the genre around him and the cliches we expect e.g. the overpowered mc, the scheming villain, the beautiful heroine.

but a major part of his arc is deconstructing this reductionist view of the world in a way that parallels the author's deconstruction of the genre, and that plays really well with the way orv writes women. yoo sangah is perhaps the best exanple - shes introduced as the heroine, a one-dimensional pretty girl who in any other novel would become kim dokja's love interest. but the authors allow her to be her own character, directly challenging the stereotype of the heroine and calling attention to the genre's typical lack of depth for such a character. i think this undercurrent plays in the background often but really comes to the forefront when yoo sangah reminds kim dokja of her putting pepper in their bosses' coffee, a memory kim dokja had supressed because it didn't fit with the pretty girl persona he made for her.

i interpret that moment as yoo sangah pushing her way out of the mold of heroine often found in these stories, demanding a depth be added to her character, asking kim dokja - and thus the reader - to see her in her entirety, to see the heroine archetype for what she could be. orv is at all times in conversation with its genre, and its simultaneous writing of female characters with agency and depth and acknowledgement of the tropes these women are expected to fulfill is undeniably a part of that. and its a part i enjoy. most of the time.

[girlmetalsonic]

something that is like the baseline of amys entire character to me is that shes lonely. shes clingy and physically affectionate in a way none of her friends really are, shes always getting pushed aside and left behind. yeah, she helps out people she doesnt know because shes a nice person, but also, she sees part of herself in them. she wont leave someone else behind because she knows the feeling —and more importantly, hates the feeling. if she doesnt have somebody to stand by her and be there for her, then shes going to be that person for everybody else. something something her obsession with sonic is really just like a manifestation of that desire for closeness with someone, and she thinks that romance is the only way to get that. idk... this hedgehog can have so many abandonment issues.

[mousemannation]

serious post time. concerning some thoughts ive had about zverev at LC. nothing too heavy but under the cut in case u just wanna scroll past.

i was talking to my mum about this and i think most of tennisblr share the same sentiment towards him so im not gonna be saying anything too radical. Its also not going to be super concise because im mostly spitballing here.

I was just thinking about how we talk about him and how we as a community navigate his presence on tour. I know that there's a vindictive joy that comes with seeing him lose that's especially potent since he basically got away with domestic violence scot free.

Seeing him lose is a good feeling because he clearly cares a lot and it feels like winning that he's upset, but it also doesn't actually mean anything in the scope of things. Obviously on some level if he lost enough he would no longer be relevant but it's inescapable that he is, unfortunately, very good at tennis. He's number 2 in the world. Call him a choker all you want, he's still vastly more successful that 99.9% of all tennis players.

But it's also just sport- a game. It's not the outcome of the match that amounts to anything outside of a very small community of people; its the celebrity, the money and clout and hero worship. The fact of the matter is it doesn't make a difference to the women he abused if he wins a match because he still abused them and he is still famous. He will always have been famous, even if he retires tomorrow. They will still interview him, laud him in press, put him in ads.

I just sometimes think- what right do I have to feel vindicated by his losses? To weigh his literal actual crimes against the outcome of some silly ball game? In a perfect world he would not be playing, he would be banned by the ITF and shunned publicly by his fellow players. He would not be invited to Laver Cup.

I won't say I don't look at tournament draws and hope for his early loss, but at least at tour events that means an early exit. I can't find it in myself to care if he wins or loses at Laver Cup, not really. Because he will still be there, he is still part of the team, he is still on the bench. It doesn't matter if he wins because he's still an abuser people paid thousands of dollars to watch play a game.

[gretahayes]

half-cooked bart analysis!

i think bart’s thought bubbles are pictures instead of words cause if they were words we wouldn’t understand them and they’d be functionally useless.

i think because bart is a different kind of speedster, than wally or barry or jesse or johnny or max or jenni or the crumbs we get of the tornado twins, his thoughts work different. bart was born with his speed. he didn’t get it later in life like the others did. and his speed made everything in him too-fast, and wally fixed the physical, his aging and his body, but that doesn’t change the fact that his mind is still whizzing at uncontrollable & unfathomable speeds. i think he thinks in words, sure, but fast enough that it looks like leaps from point to point and manifest as just pictures, which is the conclusion/cultimation of the thought that we see. which is why i find his pov particularly hard to write—i can’t convey his thoughts in pictures, so i have to find a way to do it in words, but i can’t, just because of how his thinking works. i can never get it down, and it always seems. off to me.

tldr: we get pictures for bart vs the words other spedsters get because his brain physically cannot give us words that are legible to us. if we were given words, they’d make zero sense. hence pictures, which convey clear thought. it’s for our convenience vs it being bart’s entire thought process. + in early impulse, he definitely was thinking and/or feeling A Lot constantly, because he rarely spoke & bart isn’t at all a stationary character unless something is horribly wrong. if nothing external is happening (and there was, he used his speed and had very expressive and often exaggerated body language, but this is in reference to speaking specifically) something serious internal must be.

or as wally put it, the single synapse theory. but i like to puzzle it out anyway.

[kiraman]

Her hands are rough. She always marvels a little over that, when they’re lying together amid the rich silks and linens of her bed. Her hands are rough—calloused where a sword would sit in her palm, scarred from old burns and older fights. She wears it around her eyes too, a short life lived hard, with all its ghosts and old blood. She looks older than she ought to, cut out of stone: cold; hard; stolid; like shards of glass—like a blade, sharpened, the last thing men see before darkness falls— but when she presses her mouth — slick and soft, sweet with lipstick— to her neck, Mizu warms under her touch, becomes liquid; she flows, grasps at her waist softly, delicately, as though afraid she'll somehow break her.

I am not made of glass, Mizu she says, a little abashed, the first time she kisses her, gathers her face into her hands and sinks her teeth into the curve of her lower lip, hungry, desperate for her mouth her hands her smell, her her her — god, she wants her — and Mizu gasps, a sharp, low sound torn from her throat, and draws back, touches her as though she's never touched something this fragile before; unmarred by death. Clean. Pure. Hers.

I shall not break.

She traces the cross mark, the little black dot inked into the inside of her arm,  feels the heat of her body seeping through the silks of her dress, her pulse throbbing beneath her skin.

She does not understand Mizu when she murmurs in that detached, cool voice, like riverwater, flowing darkly through her, I can't - I can't... when her hands rise to caress her neck anyway, despite her protestations, her thumb, rough, made hard from all the blood they've spilled, rubbing against her throat, with such gentleness, it makes her ache.

Hidden away, sheltered from a world brimming with death, Mizu does not crack for her - she cannot let the walls around her be torn down in the name of desire, lust, want want want - this is weakness; she tells herself, fighting against the fire that swells in her blood; this is wrong, but she does not pull away when she looks at her through the thicket of her lashes, long and dark as soot; does not shrug her off when she sits near her, presses her shoulder against hers, hungered for her attentions. She would give anything to be seen, to be known, as she is: violent; furious; hungered and empty and aching- to be wanted, in spite of it all... To be... To be. She is warm under her, around her, and that same humanity, that fragile, small thing that growls its agony inside of her, that thing that makes her, when the hour grows late and she too deep in the darkness, the softness that claws at her heart that she always taught herself to despise in her, is what draws her to this strange creature she does not deserve but has somehow made her way into her life.

She laughs; Mizu, too, does not understand her when she says Come here; let me look at you, when she laughs at her aloof detachment, her cool, stony face, how she looks away when she smirks, how her hand twitches at her side.

(Every time Mizu is gone longer than she said she would be, she panics—what if she does not come back? She is beautiful and strong, brown from the sun and scarred, flaming, why would she come back to her?)

Her hands are rough from touching a world she has never known, and she carries the smell of strange forests in her hair. She presses herself into the warmth of her body (scarred and lithe, slim yet hard with muscle) as they lay amidst the silks of her bed. You’re the only real thing I have, Mizu breathes.

She does not say anything; she does not understand her; only looks at her, as though afraid something will take her from her if she blinks. Her response is to kiss her, over-eager, warm and willing and imprecise, desiring, and, if only for tonight, that suits them both.

[maraskywalkers]

I think about the "all this time everyone thought I was a bad cook"/"you were" a lot because 1) it's hilarious, Christopher's delivery gets me every time & Eddie & Buck's reactions each are great but 2) it's also indicative of the relationship that Chris & Eddie have and how lovely & good it is?? like the fact that Christopher can openly tease him like that & how often they are playful with each other & like even with Buck he can rib him about not having a couch or ofc he knows what a porterhouse is like anyway I just think about the other father son relationships right like Eddie's with Ramon and Buck's with Philip and like it's beautiful that Eddie has made it so Chris can talk to him about his feelings, that it's okay to be sad & angry and helping him learn how to handle those feelings, and he does so in a way that's open & honest & vulnerable because he's still learning too and he's worked really hard at being that for Chris but he's also made it so that they can be silly & playful & teasing because Chris know that he's safe with Eddie and by extension Buck too yeah like it's something I think about a lot as an aunt to young kids you know and just Eddie has made mistakes and he's always gonna be learning & growing right like we all are but he's such a good dad because Christopher can be himself with Eddie like he gets to be a whole actual person and not everyone gets that from their parents or family and you can tell just by their interactions that no matter what Chris is always gonna be loved & safe & respected & cared for with Eddie and Chris knows that and it's just so lovely you know????

[bizlybebo]

like think about it. if xavier truly doesn't remember the greyscale arc he's probably going to think that david bell is solely responsible for jade going missing. and if david bell took his best friend from him then xavier can take david's brother, ie william. does this make any sense

[the-mononoke-facade]

Alright, so there's been some talk about whether Shusu is actually a different medicine vendor from Ri Kusu (show Kusu), and at first that was my assumption (or my preference since I found the characterization in the book went all in on the detached, stoic side of things than any of the other things that make Kusu an interesting character). But the more I think about it, the more I'm like "is he though?"

And my wondering about it comes from two places, first being that the theme of disentangling harmful attachments is what the book is named after, and the other is the descriptions of the taima sword both sheathed and released, as well as the descriptions of Hyper/Shingi thoughout the book

(spoilers for Shu, since I've seen more people asking about it lately, as well as including suppositions based on recent lore drops and some minor spoilers for Karakasa based on trailers and the like)

Starting with the descriptions of the sword and Hyper, despite the sword being depicted on the cover being a now seemingly defunct design from older promotional material for Karakasa, the sword is described in the first story, Kama Itachi, as having the kinds of colored stones that are characteristic of the Ri taima sword when sheathed.

When released, it's described in multiple stories with some variation of being "an enormous, glimmering blade," which is also what we've seen throughout the show for the Ri sword. The Shingi of Shu is described with gold, serpentine patterns snaking all along his exposed skin (also tanned but given Shingi also has darker skin, that specific detail might just go with being a spirit of the sword), Kama Itachi mentions gold brocade (it's unclear from what I was ever able to translate of it if it was referring to the robe or the markings, so take that with a grain of salt), Toutetsu mentions the kumadori markings on Kusu's face becoming more elaborate from how they started (compared, again, to Kon Shingi and Kusu where their respective face markings don't seem to have a whole lot in common except maybe the eyebrow area), and then Tamamo no Mae outlines the crimson eyes and silver hair. All of that sounds an awful lot like Hyper and the Ri taima sword (and you know, I kinda figured Fuguruma Youbi would have a better description to pull on as well given how like half a page was Tamenaga just contemplating Kusu's beauty and like, me too man, me too, but ah well)

Could it be a matter of these characteristics being in line with how swords associated with any of the hexagrams with fire as a component seem to show up? It's definitely not impossible, and I certainly don't know enough about how I Ching works to make any certain statements on that, but if I were to speculate on a little bit I noticed poking around a hexagram lookup table, with the hexagrams that are composed of two different elements, it seems to be less about one element being dominant over the other so much as two elements meeting in a certain arrangement to create a new result (and even with two hexagrams composed of the same elements, which of the two elements is on top of the hexagram can drastically change the meaning). So then if each permutation creates a unique end result, wouldn't it also follow that the respective swords would all be pretty unique from each other? How would you even determine that "yes, this is the trigram element this sword is associated with"? By the top of the hexagram? The bottom? The yin/yang alignment of the sword? To my mind, it makes more sense for all the swords (and therefore the spirits attached to them) to be unique to their own hexagram (again, not an expert by any means, I'm open to other takes on how that could work, this is just my working idea of how it works)

So if the swords ARE all meant to be unique, then it's a safe assumption that the sword in Shu is the Ri sword. Does that necessarily mean it's the same medicine vendor wielding the sword? Not necessarily, we don't have any information on what happens to a sword should a medicine vendor fall trying to slay a mononoke; does it disappear? Does the sword spirit die alongside that medicine vendor (especially if it happens after the sword's been released)? And what happens to a medicine vendor if a particular sword doesn't need to be in play at that particular moment, given that it seems from the lore drop that the number of swords in play can go up or down? Does he disappear? Does he get stripped of the qualities that made him a medicine vendor and continue living on as a human? Some kind of unaffiliated ayakashi waiting in reserve for when the sword needs to come back into play? Enter the collective unconscious? Is it possible for this sword to show up the same as it is for a different wielder? All of that is the realm of theories and headcanons for now, but it's not impossible that it's a different hand wielding the same sword (and if it's a different entity, is it a reincarnation of the same soul or is a new one selected?)

With my second sticking point being the theming of letting go of harmful attachments that is the book's namesake, which is a common theme that also runs throughout the arcs of the show (Tamaki and the cat being stuck to haunt the Sakai manor without having gotten any justice for the atrocities commited by the family, the zashiki warashi letting go of being ripped away from the women they chose to be their mothers in this life as well as Shino's letting go of the exercise in futility that would have been using her body and sacrificing the baby she already has to try to right that wrong, Genkei's fixation on his guilt over Oyou's sacrifice, Ochou's futile attempts to meet her mother's selfish expectations, the todaiji feeding the greed and obsession of the suitors and its own obsession with being desired, Ishikawa's drive and tenacity to find the truth persisting even after her death)

From that angle, the various stories in Shu are pretty much in line with that theme as well: Tokuemon's deep-seated grudge against his abusive father, especially when that abuse was suffered in service to an ancient obsession of his family for riches and honors; Hori Mondo's obsession with his late master and the honor that should be able to be assumed with the ruling samurai class which is disproven by his master's successor, who himself is obsessed with proving himself capable of filling his father's massive shoes, Ishiuemon's obsession with increasing his own power at the expense of Zen, who becomes obsessed with becoming Ishiuemon's wife even as she was nothing more to him than a pawn; Kei's attachment to the notion that she's owed something going right for her after a life that's been filled with hardships, Hagino's obsession with her husband's all-but-confirmed infidelity even at the cost of her daughter, Takaharu's not being able to keep it in his pants for the sake of the family he already has, Koharu's obsession with gaining her mother's affection; Shunsui's obsession with being a popular author and narrator and tainting Ofumi with that obsession when he betrays her trust to help get her love letters over to a more accomplished author that Shunsui both reveres and is jealous of; Jinjirou's obsession with getting his family's sacrifice properly honored when everyone around him seems keen to shrug it off; Tadayoshi's obsession with getting his daughter Kaede safe behind the walls of the Ooku and Kaede's drive to meet his expectations even as they bear down on her

I had mused a while ago that the feminist theming, in contrast, seems to be missing, putting more focus on the woes of the men in the story often at the expense of the women around them, but in hindsight I almost wonder if that's actually the point (and I think I'll find a more solid answer to this in Oni, from what I've gleaned so far, so this might be another "put a pin in it" thought as well...but that pin's going to be in for a very long time at the pace I'm going through this book lol). Another common thread with Shu is the letting go of how things used to be with a lot of the expectations chaining these characters coming from the Sengoku era, which just don't work going into the "peaceful" Edo era. While women's rights prior to Edo weren't exactly robust, they were stripped down over the course of the Edo era.

It could be taken, then, that this comparatively larger focus on men at the expense of the women around them is another reflection of moving into and accepting Edo-era paradigms, and also giving a peek into the unintended (or maybe "unintended") consequences of putting safety and control over freedom. From that angle, a medicine vendor meant to embody not just a woman's desire but also what a woman wants to be would also then become gradually less considered over time (and while he never had the kind of involvement in Shu that he does in the show, there is a general trend over the course of the stories of his engagement falling off a little more with each story). Ending the book with Nuppera-hofu, with Kaede losing her face as her father lost sight of why he was fighting so hard to get her into the Ooku ("she'll be safe there and won't disappear like my wife and eldest daughter did"), where it's not even clear which sister is the one being sent to the Ooku by the end of the story but what does that matter when the goal of getting to the Ooku was achieved, then leads in very nicely to Karakasa, where so many women have lost their individuality in service to "the greater good" until it hits a tipping point, the karakasa becomes active and starts upending everything that the Ooku was built on, and possibly even projecting that outward to reflect what's happening in the rest of the country as well

So then to bring it back to whether Shu Kusu is Ri Kusu or not, if being more passive, or more "feminine" starts to fall in line with the increase of systemic oppression women face in this new era, then in order to reclaim some of his own power and agency, Kusu would need to start to be more active, not a spectator but an actor, and then that leads into Ayakashi Bakeneko, where he's at his most emotive, his most active, and pushing the hardest to be in control of the situation, before gradually over the course of the show relinquishing more control to start to shift back into more of a passive spectator role as women start to chafe under the abuses they're suffering in this restrictive period and fighting to get some of their power back, having the second Bakeneko arc happening somewhere in the 1920s (still obviously a lot of problems, both the old deep-rooted ones and the new ones coming from the reactionaries that don't care much for these seeds of more equality between men and women starting to grow, Moriya being the poster boy for that group and their trying to act like they're the victims in all this while they start running out of justifications for "putting women in their place"), but with more power being reclaimed, he then wouldn't need to be quite as active or "masculine" to be able to have the power or influence needed to get the truths from the humans he needs to perform his duty, so then the differences in characterization could be reflective of what is needed for the era in question. It could also be a matter of the Ri sword and the need to cut away attachments becoming less and less necessary over this general period of human emotion, to where the sword is taken out of play by the end of Shu and the wielder of Ri we see in the show is either a new medicine vendor, or the same one but with a mandatory vacation thrown in there to discombobulate him on how human emotion sphere looks by the time he gets back

Anyway, that's a lot of rambling to say there's a case for it being at least the same sword if not also the same medicine vendor as the show, and it's a matter of the framing and themes of Shu not doing any favors to him for highlighting the things that make him a cool character

[martyrbat]

sorry but im still just thinking about how batman 105 (aka the comic where bruce gets his tits out and asks khoa to stay) begins with them having a sloppy breakup in the rain and khoa offering bruce to travel and save the world together, they'll live lavishly and gather resources. and then MAYBE they can tackle gotham together. hes trying to convince bruce to stay and that hes going to get himself killed because of his stupid bleeding heart and how he blames himself for every loss. that together they can conquer so much more. and bruce responds by calling him broken and telling him he's angry that bruce is always going to care about the people he saves. he's still determined to go, still choosing gotham over his best (and only) friend.

but he tells him this as theyre in the rain and khoa is still trying to convince bruce to change his mind despite the plane being there and knowing that bruce wont. bruce is one of the only people thats seen his face and knows his name, the only person that truly knows him—yet all those years they spent together still isn't as important as that vow bruce took as a mourning 8 year old boy. so he demands for bruce to never say his name again—he doesn't get that right or the one to see his face ever again. and bruce still doesnt change his mind, leaving khoa behind without so much as a glance behind him.

while batman annual 2021 is khoa bragging about his greatest feat—taking down madame midas, the woman who laughed as his mother was killed and as her father strong-armed his father's independent business. he doesn't tell bruce this but it still ends with bruce pointing out there has to be a reason he cared and spent so long on it. khoa denies it, of course, repeating back what he tells himself constantly. he doesnt care about anything (and, by extension, about anyone). but the comic literally just showed us, the reader, between those two pages that this isnt true! he had a personal motive, he recired back the words she told him all those years again! but after khoa says he doesnt care about anything is the first time on panel that bruce calls him khoa again (as far as i remember :p)

but then khoa is suddenly changing the topic!! not allowing bruce to continue, not even acknowledging the name or all the years it nust have been between the last time someone called him that—the last time BRUCE called him that. and its only after the accusation of khoa caring like how he does—of khoa not being ‘broken’ like how he said the last time he attempted to use that name!! AND that this is their last chronical interaction (on panel) before khoa is the one leaving bruce behind to train bao...

im sure bruce used it off panel before this (and it was probably during sloppy old man sex) but this being it on paper has been making me go >:3c!!!!

[dizzybizz]

meowzers

[candyunicornsateme]

Is it weird that I kinda wanna see stuff where Kenny's like really quiet. Like not shy, just doesn't say a lot and is a great listener, and a lotta the time he's down for anything and has that happy lil puppy-like smile sometimes you know what I mean??? And he slowly comes out of his shell??? Oh my god?

[sunflower-cathedral]

Lets Talk About The Perception Of Ren This Season.

Going to try say this as politely as possible, this season it just feels like some people are Infantilizing and really boiling down the relationships he holds with certain hermits to something that it's not + turning Ren into a one dimensional person and character.

I wanted to try address a couple things in this post regarding that; How the fanbase has been reacting to how hermits are treating him on camera mainly (Long Post, so it's under Keep Reading <3).

Regarding how the neighbourhood of ministries have been treating Ren;

They are all very close friends. and have been for up to 10 or so years. Please, for the love of everything holy watch old series like Foolcraft, Hermitcraft UHCs, the Renskall Podcast, older seasons of Hermitcraft etc. Hell, even watch my favourite VOD; Sea Of Thieves. You quickly learn the dynamic they have, and the fact they all go off on playful banter (and also re: British Humour/Love that Cleo and False have mentioned off-handedly in streams and videos before being typically brash and sarcastic. Also not to mention how Martyn is British; I'll get to that later though.) There's a really specific dynamic where Iskall, False and Stress are close friends with him and care about him deeply; and Ren has openly talked about how much the Hermits have helped him out during IRL struggles. The roles and performance they put on for the camera is not going to always reflect how they treat each other off camera, let alone show how much they all deeply care for one another. Cleo has outright mentioned how much they care about Ren on stream too even. A lot of hermits have mentioned how much they appreciate Ren, and have complimented him + said affirmations on stream.

Regarding hermits ribbing him/not playing along;

If something happened that was uncomfortable for Ren or Too Much, it would've been mentioned after and not included in anyone's POVs. Ren's whole kinda thing is being a Theatre Kid, his whole thing is being dramatic and taking up roles for the sake of creating fun storylines and contents for the other hermits to either play along with or turn into something else. If a hermit took it a way Ren wasn't happy with He Would Bring It Up To The Hermits Because They Are Adults And Communicate Amongst Each Other. Like I mentioned above, the banter is very much more part of british humour and culture/attitude, as well as their general dynamic going on.

I've even seen concerns of it being bullying, which is far from the case. I think a lot of us longer term viewers have a better grasp of how much they all care about each other and how deep the friendship goes.

The other concern I have is how like, the joke of him being a 'Wet Pathetic Dog' is kind of going a bit overboard to the point where it's the only defining factor people are mentioning about him? and that like, so much so it genuinely feels more like the fanbase is infantilizing him or making him out to be this damsel in distress who needs to be rescued. He's a grown adult man, who can more than easily speak up for himself and advocate for himself. Minimizing him down to this pathetic useless character who can't do anything is just rude and misses the point of the characters he tends to play when doing storylines. He tries his hardest to organize server events and include all the hermits in things, which is both great for content and a great show of how much the hermits are willing to go along with his ideas and either see where it plays out or evolve it further. Mind you there's always MULTIPLE if not ALL the hermits being willing to play along in these events!! from the mining event this season to the king Ren arc last season all the way to log fellas in season 4.

[nebuladreamz]

-taps on mic-

Friendly reminder that FNAF book canon and game canon are completely separate, with the game canon being the end all be all for what's actually happening

Yes there are elements from the books that were implemented into the games that. To be honest has fucked up everyone since then but those are. The only actual elements including the Mimic that have become the canon within the main universe

Anything and everything else should be seen as a goofy Goosebumps story unless they actually- GENUINELY- make sense within the confines of the universe

[wickmitz]

was once again glancing at the lackadaisy reddit and i genuinely feel a little crazy about how people perceive the wick and mitzi arc from retinue to sneakthief? or, honestly, their arc in general. to act as though wick is some patron saint greatly amuses me when it’s implied by mitzi and the comic that wick had either proposed a business deal himself or had been very amendable to talk about it after their kiss and / or other intimate acts last night … mitzi didn’t pull this out of her ass! she did not put this upon wick randomly. it was something they mutually agreed to do, and given how hard wick tries to wiggle away from the conversation without outright saying no ( aka giving excuses to stall ) i would even guess he essentially already agreed to such a deal, in the throes of passion, only for him to not fully mean it later. this doesn’t mean it was right at all for her to then steal from wick! this isn’t me excusing that! but wick isn’t some poor meow meow either in this scenario, even if he is the ‘lesser’ evil overall.

and tbh i also think the conversation was doomed from the start : wick was horrifically exhausted and was still too shaken up by rocky’s ‘joke’ to fully engage with mitzi, as well as finally having church’s warning start to weigh on him … and then there’s mitzi, who wasn’t faring any better! what with viktor out of commission, asa turning on her, mordecai threatening her, and then having spent most of the afternoon hearing her dead husband’s name be thrown around. in order to hurt her and scare her into obedience, mind you. like, neither were in any state to discuss business or romance!! so it’s no surprise it went poorly. especially when both of them were equally sore and testy during their date.