#even though i feel a lot of nuance about the concept of. this is being treated seriously while simultaneously being treated as the—

[aroaessidhe]

2024 reads / storygraph

Outdrawn

f/f contemporary romance

two cartoonist who’ve been rivals since uni, and now have competing webcomics online, have to work together on the relaunch of a cult classic at the comic press they both work at

they both struggle with art-related physical and mental health issues, and complicated families

[rosesradio]

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[coralhoneyrose]

Why Chrom Fire Emblem is The Husband of All Time: An Essay

SO. There was a screenshot going around of a reddit thread asking about how Chrom has managed to maintain such lasting popularity as a Fire Emblem husband even 6 years after Awakening came out. Given how beloved he still is another 5+ years later, I could not resist taking the opportunity to talk about just what I think makes him so great and endears him to players.

Character Introduction:

Let’s start out the same way Awakening does—with Chrom’s in-game introduction. This is one of the immediate ways Chrom sets himself apart. The game boots up and before anything else happens, Chrom is there expressing his unshakable faith in the player character. You take down the Bad Guy™ together, he turns and gives you this wide, puppy-ish smile and then you push him out of the way to take the hit from an oncoming spell in his stead. Right away you know this is someone your player character cares about deeply—and clearly that care is returned, because he’s immediately running over to make sure Robin’s alright.

Of course, as we all know, things go south very quickly after that. But as the cinematic plays out, and you proceed to watch yourself stab him in the chest, the *first* thing he does, the very first words out of his mouth are: “this is not your fault”. Chrom has just been completely blind-sided and arguably betrayed by his best friend, possibly his spouse, and his immediate instinct is to absolve Robin of guilt. He is literally more concerned about Robin blaming themselves for what happened than about his own imminent death. That alone tells you so, SO much about the depth of their relationship. It tells you both how deeply Chrom cares and how well Chrom knows Robin too. And not only that, but his final request, the ONE and only thing he asks of Robin before dying is that they will promise him they will escape from this place. In his last moments, his single “selfish” wish is for Robin to assure him that they will do what they can to survive. Chrom’s final request is for Robin to give him the comfort and peace of mind he can only obtain through the assurance that even though he won’t get out of there himself, Robin will. He just wants to be able to die believing they’ll take care of themselves and be alright—and knows them well enough to realize that unless he makes them promise, they likely won’t.

AND THEN. And then!!!! You jump cut to Robin waking up in the field with all the sunshine and Chrom’s smiling down with the softest expression and his ridiculously blue eyes. He lifts Robin up by the hand and pulls them right up to his face (because he has no concept of personal space, apparently) and OUUuuggh.

Those scenes in direct sequence make me so insane. You get Chrom’s life ending with Robin immediately followed by Robin’s life starting anew with Chrom. Chrom’s unwavering faith in them and his eagerness to extend his hand and bridge the gap between them from the moment they meet until his last breath. The warmth and kindness and love that Chrom treats Robin with is communicated so effectively in the first few MINUTES of the game it honestly makes me feel unwell. Showing how profoundly Chrom cares for Robin immediately endears him to the player. And he only gives you more reasons to love him as the game goes on.

Personality:

There can be a tendency in some corners of fandom to simplify Chrom to just being either a generic prince charming type character or a lovable himbo. I’m not here to police how other people enjoy him, but I will say that those characterizations fail to get at some of the aspects of his personality I find most compelling.

Chrom is deceptively nuanced. While there are certainly ways in which he aligns very closely with the standard jrpg protagonist, I suspect that a lot of his enduring popularity is the result of the ways he deviates from it too. He is brave and loyal and cares deeply for his friends, yes. He has profound conviction in his ideals and strives to do the right thing, as is typical for that archetype…but what makes Chrom so lovable is his determination to keep trying to be good in spite of the ways it does not come easily to him.

We see this in the Valm arc, when he’s struggling to reconcile his own beliefs about justice with his sister’s ideals for peace. We hear echoes of it when he talks about the horrors the Ylissean people endured at his father’s hand and how despite that, he has never been able to understand how Emmeryn forgave them for the cruelty they once directed her way. He has so much admiration for his older sister’s ideals despite the fact that peace is not his first instinct. 

When Emmeryn first sacrifices herself, Chrom is consumed with grief and rage, and it takes some time for him to understand why she made the decision she did. “Peace above all else” is just not how he’s programmed to operate…yet he wants it to be. If you count the drama CDs as canon, then that serves as another excellent example as well—where the message of his sister’s sacrifice is so lost on him that his first instinct is to respond to it with violence and prejudice and hatred directed at the very people she sought to reach out to. For a moment there, we see him veer from the person he wants to be towards what we as the player can only assume is the person his father left him afraid that he would become.

And yet he finds his way back. He stumbles, he lashes out, but his love for his friends and fear of losing more of those he holds dear is able to help him course correct.

I love that tug-of-war in him. I love that we get glimpses of the darker paths he could have gone down and that there are tangible consequences for his mistakes. Early in the game, we see Chrom lose control of his temper and how Gangrel and Aversa are able to take advantage of that to officially declare war on Ylisse. Chrom later tells Gangrel that were he alone, he can imagine losing himself in that need for vengeance but reiterates that it’s love that is able to keep him from succumbing to that.

And it’s not only that he’s able to stop himself from being horrible—his losses are the catalyst for him coming into his own as a leader. He’s able to pick himself up and hold himself together to see their troops through the rest of the war. And he manages that despite the fact that in the course of mere days, he lost both his home and his most important person and has been freshly saddled with the duty of ruling an entire country. That’s…a lot. And really goes a long way in demonstrating Chrom’s incredible strength of character and conviction. We get some wonderful moments of vulnerability where he confesses to being riddled with doubts about his own capabilities and worthiness, but in spite of that, he is still determined to try to be the person that Ylisse needs him to be.

All of this leads me right into another wonderful aspect of Chrom’s personality, which is that he is just…so driven by emotion. He feels DEEPLY, and while the narrative definitely uses that as a way to hurt him and force him to grow at times, something that really stands out to me about Chrom is how the story isn’t here to send a message that it’s wrong for him to be that way. Chrom’s big feelings are one of his greatest strengths in addition to his greatest weakness—they’re what saves his life and ultimately Robin’s too, if you go the sacrifice ending route.

And ya know what? I honestly think that’s such a breath of fresh air. I love how much he does NOT embody the emotional disconnectedness that you see pushed a lot of times with stereotypical masculinity. I love that he is the hero, and he's gallant, and very traditionally "manly" in a lot of senses…AND that he's also very emotional and guided by his heart. If you’re playing with f!Robin then you wind up with a really refreshing inversion of gender stereotypes from that: in which Chrom is the emotional decision maker and Robin is the more calculating and logic driven of the two.

Beyond his big heart, I can’t talk about what’s so charming about Chrom’s personality without touching on the ways he embodies a certain level of gap moe as well. Chrom is so stern and serious, as well as quite charismatic when he’s speaking from a place of passion. But on the flip side of that, we get to see him as an absolute bumbling mess when he’s out of his element. He’s easily embarrassed / flustered, self-conscious about his appearance, and often socially awkward where romance is involved. While these traits may seem of minor importance compared to the whole rant above, I think they’re really important for humanizing and rounding him out.

There are lots of other nuances to his characterization that go a long way in fleshing him out too. Despite being a prince, Chrom is blunt and completely unmindful of formalities. That, along with his impulsivity, definitely gets him into trouble sometimes. He’s melodramatic and blisteringly sincere. He’s a little bit clumsy and doesn’t know his own strength. He has a dry sense of humor and can be surprisingly funny. He’s optimistic and trusting—not due to naivete or stupidity but because he has decided that giving people chances and believing the best of them is an important value to him and one that is worth embodying in how he lives his life. 

Lucina’s presence in the story and his immediate and complete acceptance of her is an extremely effective way of demonstrating what an incredible father he is too. Honestly, he just has really wonderful relationships and deep admiration for a lot of the women in his life and that absolutely earns him points in my book (and I suspect in many others’ as well). When you look at all of that together, I don’t think it’s hard to understand why he’s so beloved.

Design:

Slightly less serious note here, but I think it warrants discussion regardless because character design absolutely contributes to player’s feelings about and interpretation of a game’s cast members.

And Chrom is…well, he’s eye candy, honestly. He’s got the nice, exposed arm, the messy blue hair, the completely nonsensical outfit he somehow manages to look handsome in anyway (his questionable sense of fashion is a charm point, okay?). Add in the square jaw and the surprisingly long eyelashes and he’s just. He’s very pretty. Idk what to tell you. Bonus points for the summer scramble cg where he has the most inexplicably flat butt of all time. And I really do believe that some of the oddities of Chrom’s design lend memorability to him and go a long way in setting him apart from other lords in the series with similar design concepts. The insistent asymmetry across many of his outfits, the fact he’s showing a little skin, idk it just WORKS. Chrom is hot, I don’t make the rules.

Relationship with Robin / the Player Character:

Last but not least, I want to talk about Chrom’s relationship with Robin.

I touched on some of this in his character introduction already, but Chrom is just…the biggest Robin stan. If Robin has only one fan then that is Chrom. If Robin has no fans it’s because Chrom is bleeding out on the floor with lightning in his gut. 

He just has such deep respect and admiration for them. He values Robin’s opinion and insight and thinks so highly of them and their ideas, often serving as an enabler in many cases (setting the boats on fire, the volcano, etc.). Chrom’s faith in Robin is SO unshakable that when his daughter tells him that Robin is going to be magically controlled and forced to murder him, his response is, “That won’t happen because Robin and I love each other so much that everything will somehow be okay. No, I will not elaborate.” And ya know what? He was RIGHT. Their bond DOES wind up being so strong that it’s able to change fate. The narrative is quite literally validating his slightly ridiculous insistence that him and Robin just care about each other The Most of Anyone Ever. He is Robin’s biggest advocate from the moment they meet when he defends them from Frederick’s suspicions all the way to the game’s close when he either assures Robin that their life was worth preserving or, as in the case of the sacrifice ending, that he will spend the rest of his own life searching for them until they return.

Honestly the fact that Chrom was willing to potentially risk dooming the whole world to the fell dragon’s awakening 1,000 years down the line just so he doesn’t have to lose his comfort tactician is WILD. For the game’s hero to literally say “we don’t have to defeat this evil for good, the people of the future can figure it out” JUST so he can keep Robin is absolutely unhinged behavior and I love it. I think it’s incredibly humanizing that he’s a little bit selfish about the people who are most important to him…that despite his willingness to sacrifice himself or run headfirst into danger, he draws the line at losing Robin because he’s already lost his most important person once and he’s not going to let it happen again. Chrom and Robin absolutely come across as a little codependent and a lot obsessed with each other and personally I wouldn’t have it any other way.

And then there’s his love confession to Robin. GOd...

I think that’s the most flustered Chrom appears in any content in the entire game…and it’s because he treasures their friendship so deeply that he is petrified about messing it up or saying the wrong thing. I love that he goes into their S support dead set on NOT telling Robin what is going on but the second he realizes that Robin is under the impression he doesn’t care about them or like spending time with them anymore he is so horrified and desperate to correct that line of thinking that he blurts out the full love confession on the spot.

He’s SO earnest throughout the whole thing, but then at the end he hits you with the whole “this is the best day of my life”, and the “You are the wind at my back and the sword at my side. Together, my love, we shall build a peaceful world, just you and me” (thank you Matt Mercer for your services), and the cg image of him staring right at Robin with what are basically heart eyes and. I just. There were no survivors.

That’s not even their only proposal / love confession scene either! The fact that the game gives us an entirely separate alternate proposal that’s more serious in tone is the icing on the cake. How many ships out there can say that they get not one but TWO canon proposals that are both that good? Truly no one is doing it like chrobin.

Closing Remarks:

Chrom is a well written and nuanced character who struggles and grows over the course of the story while always remaining true to himself and his ideals. His intense and unending trust, admiration, and love of Robin endears him to the player from the moment the game begins all the way to its conclusion. He is kind and good while still being fundamentally flawed (and it doesn’t hurt that he’s very handsome to boot). Bearing all that in mind, while the message of Awakening may be that nothing is inevitable, Chrom’s conceit and execution were always going to lead to MANY of those who play the game coming to love him and pick him as Robin’s husband…and there may be no greater evidence of that then the fact I’m out here writing all of this eleven years after the game’s release.

[lurkingteapot]

Every now and then I think about how subtitles (or dubs), and thus translation choices, shape our perception of the media we consume. It's so interesting. I'd wager anyone who speaks two (or more) languages knows the feeling of "yeah, that's what it literally translates to, but that's not what it means" or has answered a question like "how do you say _____ in (language)?" with "you don't, it's just … not a thing, we don't say that."

I've had my fair share of "[SHIP] are [married/soulmates/fated/FANCY TERM], it's text!" "[CHARACTER A] calls [CHARACTER B] [ENDEARMENT/NICKNAME], it's text!" and every time. Every time I'm just like. Do they though. Is it though. And a lot of the time, this means seeking out alternative translations, or translation meta from fluent or native speakers, or sometimes from language learners of the language the piece of media is originally in.

Why does it matter? Maybe it doesn't. To lots of people, it doesn't. People have different interests and priorities in fiction and the way they interact with it. It's great. It matters to me because back in the early 2000s, I had dial-up internet. Video or audio media that wasn't available through my local library very much wasn't available, but fanfiction was. So I started to read English language Gundam Wing fanfic before I ever had a chance to watch the show. When I did get around to watching Gundam Wing, it was the original Japanese dub. Some of the characters were almost unrecognisable to me, and first I doubted my Japanese language ability, then, after checking some bits with friends, I wondered why even my favourite writers, writers I knew to be consistent in other things, had made these characters seem so different … until I had the chance to watch the US-English dub a few years later. Going by that adaptation, the characterisation from all those stories suddenly made a lot more sense. And the thing is, that interpretation is also valid! They just took it a direction that was a larger leap for me to make.

Loose adaptations and very free translations have become less frequent since, or maybe my taste just hasn't led me their way, but the issue at the core is still a thing: Supernatural fandom got different nuances of endings for their show depending on the language they watched it in. CQL and MDZS fandom and the never-ending discussions about 知己 vs soulmate vs Other Options. A subset of VLD fans looking at a specific clip in all the different languages to see what was being said/implied in which dub, and how different translators interpreted the same English original line. The list is pretty much endless.

And that's … idk if it's fine, but it's what happens! A lot of the time, concepts -- expressed in language -- don't translate 1:1. The larger the cultural gap, the larger the gaps between the way concepts are expressed or understood also tend to be. Other times, there is a literal translation that works but isn't very idiomatic because there's a register mismatch or worse. And that's even before cultural assumptions come in. It's normal to have those. It's also important to remember that things like "thanks I hate it" as a sentiment of praise/affection, while the words translate literally quite easily, emphatically isn't easy to translate in the sense anglophone internet users the phrase.

Every translation is, at some level, a transformative work. Sometimes expressions or concepts or even single words simply don't have an exact equivalent in the target language and need to be interpreted at the translator's discretion, especially when going from a high-context/listener-responsible source language to a low-context/speaker-responsible target language (where high-context/listener responsible roughly means a large amount of contextual information can be omitted by the speaker because it's the listener's responsibility to infer it and ask for clarification if needed, and low-context/speaker-responsible roughly means a lot of information needs to be codified in speech, i.e. the speaker is responsible for providing sufficiently explicit context and will be blamed if it's lacking).

Is this a mouse or a rat? Guess based on context clues! High-context languages can and frequently do omit entire parts of speech that lower-context/speaker-responsible languages like English regard as essential, such as the grammatical subject of a sentence: the equivalent of "Go?" - "Go." does largely the same amount of heavy lifting as "is he/she/it/are you/they/we going?" - "yes, I am/he/she/it is/we/you/they are" in several listener-responsible languages, but tends to seem clumsy or incomplete in more speaker-responsible ones. This does NOT mean the listener-responsible language is clumsy. It's arguably more efficient! And reversely, saying "Are you going?" - "I am (going)" might seem unnecessarily convoluted and clumsy in a listener-responsible language. All depending on context.

This gets tricky both when the ambiguity of the missing subject of the sentence is clearly important (is speaker A asking "are you going" or "is she going"? wait until next chapter and find out!) AND when it's important that the translator assign an explicit subject in order for the sentence to make sense in the target language. For our example, depending on context, something like "are we all going?" - "yes" or "they going, too?" might work. Context!

As a consequence of this, sometimes, translation adds things – we gain things in translation, so to speak. Sometimes, it's because the target language needs the extra information (like the subject in the examples above), sometimes it's because the target language actually differentiates between mouse and rat even though the source language doesn't. However, because in most cases translators don't have access to the original authors, or even the original authors' agencies to ask for clarification (and in most cases wouldn't get paid for the time to put in this extra work even if they did), this kind of addition is almost always an interpretation. Sometimes made with a lot of certainty, sometimes it's more of a "fuck it, I've got to put something and hope it doesn't get proven wrong next episode/chapter/ten seasons down" (especially fun when you're working on a series that's in progress).

For the vast majority of cases, several translations are valid. Some may be more far-fetched than others, and there'll always be subjectivity to whether something was translated effectively, what "effectively" even means …

ANYWAY. I think my point is … how interesting, how cool is it that engaging with media in multiple languages will always yield multiple, often equally valid but just sliiiiightly different versions of that piece of media? And that I'd love more conversations about how, the second we (as folks who don't speak the material's original language) start picking the subtitle or dub wording apart for meta, we're basically working from a secondary source, and if we're doing due diligence, to which extent do we need to check there's nothing substantial being (literally) lost -- or added! -- in translation?

[hopefull-mindset]

A Much Needed Overview

I’ve been brought to a point of feeling the need to discuss the abuse depicted in Bungou Stray Dogs. This isn’t the brightest topic to speak about and I understand why people are reluctant to speak in detail about something as serious as this. It’s not easy, so I’ll be the brave face today because I feel disappointed about the lack of deep discussion beyond the popular topic of “The Abuse Cycle”.

I’m happy that it’s at least brought up amongst everyone as something that exists, I’m happy that people feel as though it’s something to talk about, but I don’t think most understand how to act about it. It’s never as cut and dry as how it’s depicted in most other pieces of media or how people speak about it in general. That is why I am thankful for its depiction here. Not saying that nobody speaks about it with clarity, but it’s not the majority, unfortunately.

I especially felt this was a good time to address this because of the reaction towards Asagiri’s thoughts on Dazai and Akutagawa’s relationship in the recent magazine interview. The outrage is not from nowhere, I was also taken aback at first, but to claim Asagiri “doesn’t even know his own story” is incredibly self-entitled considering the story isn’t done, nor are you the one writing this. If you read the story, no way is Asagiri justifying anything that happened. Please look at the question that is being asked, does it say “Do you think what Dazai did is morally right?” Of course, it isn’t.

Not to be rude but before you start questioning the writer himself if he’s read his own story, have you read it? Please keep in mind the fact this is only a magazine interview and doesn't reflect every nuance. Asagiri doesn't need to go “Oh yeah, this thing that’s bad is bad” every two seconds to explain himself. Asagiri’s writing decisions can be questionable and cannot be uncritiqued, but I’m going to have to defend him on this account.

I’m not sure if any warnings are needed concerning the subject matter considering most BSD fans know what I’m about to go over, but to be clear, please only read this when you’re in a well enough headspace for heavy matters such as this. I am not going to be talking lightly in any of this or dance around what’s happened between any of the characters, abuse is harder to talk about compared to other acts of violence that are objectively worse because it’s a more personal act that too many can find themselves in.

Finally, I do not want to speak about my own experiences online because I’ve only come to terms recently with it and they do not reflect everyone’s response to depictions of abuse in all media. Some things are very uncomfortable to admit about me that I haven’t told anyone, that no one would be able to take well even if they were my closest friend. This isn’t about me at all and there is no point in saying more about my reality, but I think my perspective might help people enlighten themselves on how truly complicated situations like this are.

What is Abuse?

Surprise, we need to go over this before any discussion about BSD happens because a lot misunderstand what abuse is. It's disheartening that the term has been so simplified that nobody knows what it means anymore. Don't substitute words for abuse or use abuse as a substitute for other terms. Abuse as a concept is quite hard to pin down with words and there are many ways to describe it, but by definition in the context that it’s directed to another person, abuse is:

To target and mistreat someone, causing them harm or distress in a repetitive manner

This by itself does not describe the grand scope of everything and probably might make you more confused, but it’s a great place to start and does describe what is directed to the victim. Many sources will use varied wording, but it’s the general knowledge that someone is being hurt to a fundamental level that makes it abuse.

Does the abuser need to intentionally hurt someone for it to be abused? Yes, but not in the way you think. Most abusers are not hurting their victims for the sake of just hurting them, that’s illogical, they’re doing it for something. Some examples include either for themselves in some way or what they think is for their victim’s “own benefit”. Even worse is when they genuinely believe it because they’ve also grown up in an environment that has that same mentality and reflects on themselves.

So yes, it’s intentional in that they’re doing it for a purpose. No matter their intention though, “selfless” or not, it’s still a selfish act in itself that they think that imposing their own will through harmful methods is what the victim needs. The abuse doesn’t need to be physically harming another for it to be abuse. As long as it’s harming you emotionally or otherwise and making you raise flags in your head, it’s abuse.

It sounds strange, but I'm saying it’s intentional because you’re still an intended target of their abuse whether they realize it themself or not. Abuse needs to repeat a form of distress in you to be abuse. For example, does one instance of physical violence against you count as abuse when it never happens again? Well, you need to think about the context. Usually, this would just be assault and that’s it, but is it left hanging in the air to happen again when you interact with them? Do you feel afraid for your well-being, even though it doesn’t happen again?

That’s still abuse, the psychological kind. Typically when abusers resort to physical means, it’s gonna happen again eventually. In this hypothetical instance, however, the point is that repeated distress does not mean repeated actions. It does not need to happen the same way for you to feel unsafe, it just needs to have power over you. Manipulation does not always equal abuse either. It’s a tactic used by abusers, but unless paired up with other actions, it doesn’t fit the criteria of abuse. Context matters when you examine what abuse is.

Here comes the tricky parts that are acknowledged less: When the abuser is someone you’ve relied on in your childhood, in a detrimental part of your life, or someone you care about that you put importance in, and it makes it hard to fully hate that person. What the abuser has done to the victim does not entirely reflect them as people, even if it’s still an important part of them that needs to be addressed.

Abusive people are not only defined by their awful actions, they’re not pure monsters like most love to pretend they are. It’s just easier to think that because accepting that they’re just a multifaceted human being hurts too much when you’re on the receiving end of their worse behavior. But what happens when you’re on the receiving end of both? You try to justify it the way the abuser is because you can’t accept that what’s happening is bad and not something everyone goes through. After all, they treat you decent enough sometimes.

Something so many people need to get into their heads already is that abusers can be victims and vice versa, but just because your abuser went through something themselves or is important to you, doesn’t mean you have to forgive them. Abuse is not forgivable just like that, you can rebuild a relationship beyond that if you’re able to, It’s not a “forgive-and-forget” thing.

Not everyone experiences and responds to abuse the same way, some hate their abusers fully, some can’t bring themselves to, and some don’t even know what to think, but there are so many who don’t feel one way that regarding all abusers as heartless monsters completely invalidates so many stories and their difficult experiences. I have a huge grudge against people like this who restrict abusive situations to just looking like one thing, this is why so many don’t even know that their situations are abusive.

Portrait of a Father

Chapter 39 reflects my points the most, and at the same time, it also turns out to be one of the most controversial chapters. It surprised me that it is, but maybe I shouldn’t be considering how most people on the internet act about abuse. It’s a lovely chapter to me personally and one of my favorites.

If you need a refresher, this is the chapter the Orphanage Director died in and leaves Atsushi in an emotional frenzy about what to think and believe. I know that the underlying message of this chapter is confusing to some, but it hit me in the face point blank on how this is about facing your abuser’s death without any personal conclusion with them.

Being sent on an investigation, Atsushi, after finding out the body was the Director, is stunned and scared because he knows nothing of the director other than his cruelty. He immediately assumes the worst and that he was coming after him again. Atsushi’s thoughts against him are entirely… on purpose in the director’s intentions because we find out that he has gone through so much violence and loss himself that he’s projecting his own will onto Atsushi and making sure he’d “survive in the real world”. So he became his first figure of hate and violence earlier in his life so he’d be “prepared for what comes next”.

I know so many take the backstory for the director as a way to justify what he did to Atsushi in the narrative, but it was just to put into context why he was so cruel. Abusers are never cruel for no reason, that never makes it right, but it’s reality. Atsushi was not the only one in the orphanage who was treated badly, he was singled out by the director most likely for an ability he couldn't control because the headmaster knew he’d get the most trouble for it, and unfortunately… he was right.

Akutagawa being his informant in this chapter makes perfect sense. He can see that what the director was for Atsushi is what Dazai is for him. No matter how terrible their actions were, it’s what kept them alive for so long. It’s not pleasant to confront, is it? Atsushi agrees because when he gets the information that the Director was going to congratulate him with the flowers he was going to buy by selling the gun he had on him, he freaks out. No way the guy he was raised so long to hate, the guy who put him through so much suffering, was going to congratulate him.

I know to some, Dazai’s talk with Atsushi sounded like he was justifying what happened because “it made him a good person in the end”, but that’s not what’s being said. This conclusion I’ve seen some people come to about this conversation confuses me. Dazai is just saying the obvious, you guys get all shocked and it weirds me out how easily it’s been glossed over that the reason Atsushi is so self-sacrificial and trying to do the good thing is because of the director. The reason he puts himself so much on the front lines is because he needs that worth in being good to live and prove the director wrong, he was raised to see that type of person is the most ideal person to live in this world.

After everything that’s been dumped onto him in such a short time, so much inner conflict of what to think of a dead man he no longer can have any personal closure with, he asks Dazai what face he should make, what he should think at this moment. Dazai tells him that they’re his emotions and he can think however he’d like, but commonly someone cries when their father dies. So he cries, because ultimately no matter his treatment, no matter the intent and its effects, it’s still the man who raised him. It’s flawed, but that’s what a father is stripped bare at its core definition and that won’t change no matter your feelings.

Now that I’m done summarizing this chapter and making sure you guys understood the point and how it spells out their relationship, I can finally talk freely about what was happening between them. When it comes to familial abuse, generational trauma is so prevalent it’s hard not to talk about. The director is quite reflective of so many parents who were raised to grow up too early in harsh environments, that they think they need to prepare their children for it too, even though it’s no longer needed.

You don’t need to like someone for them to be important to you, especially if it’s a parent in your life or someone close to that. That’s why Atsushi cries. He cries for the director, he cries for himself, he cries that it’s finally over, he cries for the kindness he could’ve gotten even if it wouldn’t have fixed anything, he cries for the father that never was, he cries because his father is dead. It’s perfectly normal to keep someone close in your heart that wasn’t perfect and to grieve their death.

Was the director successful in what he was aiming for? I want to say no, but he did. He succeeded in making Atsushi think of others in a good light and do good for them, making Atsushi resent him, and giving him the ability to keep going. Hell raised him right, but it was still hell. The problem is that his teachings were based on degrading Atsushi into being nothing but a life he should put aside in favor of others. Even if he continued hating the director like he wanted, he would still degrade himself for being a coward who didn’t hold himself to those standards. The result is not perfect because the director is not perfect, but in his position, this is a success.

The director for a while was his shadow of negative encouragement when he joined the agency, what kept him going in those moments, because he was what defined good, bad, and justice for him in his entire childhood. Even if he was dead, he’d still linger in his mind. I can’t parse out what to think about these hallucinations forming Akutagawa and Dazai to guide him later on, all it tells me is that he still can’t rely on or trust himself and he needs more development in his self-image issues.

I see why fans are confused, hell raising us right is a bizarre thing to say to a victim, so let me show you a perspective you're not seeing. Let's imagine you have an abusive mother who only wants you to be prepared for the things you're undoubtedly going to experience because of what you can't control. What she did does help you, but all that goes through your head is “Why couldn't she have done it differently without my own suffering?” The only thoughts that come rushing back when you think of those memories are the unnecessary pains. It takes a lot for a victim to acknowledge this on their own, they want to push back at the past so they don't have to see this plain reality.

Like anyone else that I’m going to bring up in this post, just because the abuse made them who they are or affected who they became, even when it keeps us going through life and benefits us in some way, does not make the abuse justified. Abuse is still abuse, I addressed this already and I hope not to address this again. I needed to detail an explanation because it’s quite easy to hate a man you know nothing about and has been painted in nothing but a bad light. The anger against the director is undebatable because abuse is not debatable, but to pretend the cruelty was nothing but for cruelty’s sake is mischaracterizing both him and Atsushi.

You can’t pick and choose what’s been told to you in the text just because you don’t like a character and lack the maturity for it. It gets quite hard to do that sort of thing when it’s a character you‘ve grown to care about, it’s no wonder Dazai is divided between so many. Speaking of Dazai, his involvement in this makes as much sense as Akutagawa’s. He’s currently in a mentor position for Atsushi, no matter what Akutagawa says, and shows interest in his development. So of course he’s going to purposely stick his head into something that would affect Atsushi greatly. Both Akutagawa and Dazai are viewing this through their lenses as people who grew up in the darkness of society, and it’s not that Dazai thinks what happened to him wasn’t terrible, you should have eyes to read the panels provided, but he’s generally unfazed and able to sound neutral because he’s used to that cruelty.

The Port Mafia’s Environment

(Aka: is it really “all Mori’s fault” or is it just the product of being literally in The Mafia™?)

I’ll go over the “Cycle of Abuse” in a second, but please keep in mind that you can’t just blame everything on Mori. Just like the Director, it’s so easy to pin the guy who’s just been the worst for every problem there, but it decimates the other characters involved as well and makes what they’ve gone through go flat because you’re restricting it to a misinformed presumption.

To make a bold statement, I need you to completely throw away your idea of what the abuse cycle is. The Mori to Kyouka pipeline being the singular “Abuse Cycle”? Garbage, needs to go away too. I've seen many fans use the term “Cycle of Abuse” too carelessly, and while from afar the way they're using it is not technically wrong, they have the wrong thought process behind it.

The Cycle of Abuse is simply the patterns of what keeps us in an abusive dynamic and negative mental state, either with an individual or environment, and makes it incredibly hard for anyone to leave. It’s not the actions you take that make it the Cycle of Abuse, and it's not just one straight line of people going through similar motions. You don’t have to be someone’s abuser to be the one who keeps them there, if you feed into it you’re still a problem. Even if you don't actively add to it yourself, just staying there as a bystander and not trying to do anything to change it or speak up for the victim when you clearly could also still make you responsible. Just with your presence, it validates what they've gone through as normal.

If you need more of an explanation, two opposite examples include Higuchi & Akutagawa and Beast Kyouka & Atsushi. Higuchi is a traditional example in that she stays in the mafia because of her relationship with Akutagawa, and stays by his side for reasons unknown. What we do know is that she’s incredibly indebted to him enough to care for him to an extreme extent, but their relationship is abusive all the same. Beast Atsushi and Kyouka sounds strange for me to bring up, but this is an example of a non-abusive person contributing to the Cycle of Abuse. Instead of taking her out of an abusive situation, he brings her back in.

Many characters are a part of this main narrative of abuse in BSD, so it's not inaccurate to say Mori, Dazai, Akutagawa, and Kyouka are a part of it as well using this definition as all of them are the reason or contributed to why someone was stuck in a negative, abusive situation or the victim themselves. I’m guessing none of you are genuinely referring to this though and are referring to intergenerational abuse, a repeating cycle of younger generations taking after their abusers when they're older, which is a completely different phenomenon. Both are referred to as cycles and have many commonalities, but it’s not the same. Not to sound like a total dick, but this barely even applies to them.

Not because the concept is based on familial relationships, it can happen with older figures in your life too, but because our oh-so-famous Abuse Cycle gang does not have that commonality to make that claim. They have narrative parallels, but that’s pretty much it. I will save what I have to say in their sections, but Mori and Akutagawa did not abuse Dazai and Kyouka respectively for this type of claim to have any legitimacy. Kyouka certainly broke a cycle, but not that kind since that would need her to continue it in the first place and then prevent her own experiences from even affecting the next child.

What do all Mori, Dazai, Akutagawa, and Kyouka actually have in common? They are/were in the mafia, using their natural talents of cruelty for the underworld.

The Port Mafia resembles something of an abusive household or community that sees so much of what’s done to others there as normal, and constantly compares it to how it was with their old boss and thinks, “At least it wasn’t as bad as that.” It’s quite like the Orphanage Director’s thinking but on a larger scale. Does that make everyone in the Port Mafia abused? Nope, unlike most abusive communities, the Port Mafia is quite literally the mafia. Everyone is there for different reasons, at different ages, and different experiences. Everyone is taken advantage of in these situations, no matter the circumstances, but it doesn’t make them abused automatically.

So it’s hard to have a stance on anything about them being abusive other than the mentor situations in the Port Mafia don’t see abuse as abuse and just another way to teach their subordinates to survive in their world if they deem it necessary. Was Chuuya abused, either by Mori or Kouyou then? I’m going to have to say I can’t tell you that. We don’t have enough information on either of his dynamics with them to say that they’ve directly had any repetitive behaviors of direct harm against him specifically, and there's no reason for them to do so either. I’m not going to use the argument that “Chuuya doesn’t hate or fear them, so that must mean he wasn’t” because again, that type of response does not reflect so many situations.

Chuuya was still harmed by being in the Port Mafia as a teenager because nobody should have been surrounded by this much cruelty at that age. It doesn’t matter if he shows visible distress or not about the Port Mafia, he was just desensitized to it since his sheep days. So was he an abuse victim under the idea that being a child in the Port Mafia is abuse? That depends on who we’re speaking of, but in Chuuya’s situation, I'm going to have to say no as he's already internalized their mindset from his own experiences separate from the mafia. Keep in mind that it also still holds true that you can find family in situations like this, it’s not mutually exclusive. Some just find more comfort in what they’re used to than what would be better for them. Kyouka is a better example of someone being a victim of an abusive community.

A false claim I've seen made many times are the ones where they have it as if Mori is the mafia itself or that he made the mafia what it was. It shouldn’t be too surprising, but it’s the opposite. Mori already held flawed, heartless, calculative methods when in situations he thought required them. We’ve seen him as a soldier and an underground doctor, but we know nothing else about him outside of his cruelty, just like the headmaster. What he does is never for what he thinks is for his benefit, but for the sake of something larger. Whether it’s for the city, the country, or eventually, the Port Mafia.

The mafia is the first time he’s been put into a position of absolute leadership and is not yet accustomed to that at the beginning of Dazai, Chuuya, Age Fifteen. He’s able to quickly fit the mold of a mafia boss, but there’s that bit of honesty that peaks through in this light novel in the first and last sections that’s ignored too quickly. First Mori complains about nothing going immediately right, questions himself about Dazai, and becomes genuinely stressed if it was the right decision to involve him, then confesses that he sees himself in Dazai to him (and him and Fukuzawa in Soukoku in private), and finally gives his honest take of leadership to Chuuya.

I already go over Mori as a character in one of my other posts and will speak more of him later on, so I don’t want to reiterate the same points, but here we have proof he has (albeit poor) humanity. He did not become the Port Mafia boss for his own selfish gain of power if you’ve forgotten, but because Natsume introduced him to becoming part of the Tripartite Framework to protect the city he loves, it’s where he’d excel best in this plan. The Port Mafia was already a shithole, Mori just made it livable again by becoming what an organized crime group needs.

It’s what makes the dynamic between Kouyou and him so intriguing because you have an abuse victim who has embraced the environment she was forced back into, but won’t let go of someone who’s proven to be more of a decent leader than her tormentor and can be relied on. For victims who couldn’t get help or realize they needed help, the easier path is to accept this is your life through some justification. While I said the Port Mafia resembles an abusive community, communities as such aren’t purely terrible and that’s what keeps them justifying it in their head. The family you have for yourself, whether it's a made one or the one you're born with, is what sticks for you.

Like it or not, Mori isn’t stupid. He takes risky gambles that backfire on him sometimes, but he’s good at his job. He’s brutal enough to prove his own against the people who didn’t think he should’ve been boss and outsiders who want to go against the Port Mafia, but he’s considerate enough towards his people and shows enough competency to be perfect for the job. He’s not a great human being, but what did you expect? He no longer had any room to express that humanity, he never had; there was no benefit from being a good person in his line of work.

The Heartless Cur

That looked like a great segue to talk about Dazai and Mori’s dynamic, but it’d benefit to go over Akutagawa first. For those who do acknowledge it as an abusive situation, Thank you for at least taking that step. Numerous don’t and it worries me at the state of what’s considered abuse vs. training. It may be both at times but don't excuse one for the other. Training needs formal consent and communication at some point during a session. Akutagawa is learning, but it’s the same as getting yelled at as a child for not doing your homework right, when again, you’re still just learning.

It might’ve been easier to see for those who do acknowledge it because of the visible physical abuse that happens, but let's not undermine the psychological abuse happening as well. Dazai has messed with his psyche on an abhorrent level through his degrading and threats, making him reliant to hear a single word of acknowledgment from his mouth. What happened to Akutagawa is beyond the mafia’s environment.

Akutagawa does not hate or want Dazai dead for what he’s done to him, but he does hold anger at the seeming abandonment he’s been put through… and at himself as well. Anger that he couldn't get to what Dazai wanted him to be before he suddenly left. So he proves himself by climbing the ranks and becoming someone feared. Spectacles of violence not because he enjoys the feeling of other’s suffering or the power over them, but to show Dazai that see? He's still worth looking at!

He stays in the mafia because he’s found a place there. Even if he could, there was no point in leaving the mafia after he disappeared because what would be left for him if he did? He will always be an unchangeable, horrific hound of the dark and there's no changing that in his mind. From an inference of his actions in the dungeon when they finally reunite one-on-one, he wanted to believe that he was above Dazai after all those years, but Dazai doesn't act impressed or scared or anything. After all that effort, he gets nothing but ridicule and mockery like he's back to being that little kid with an oversized coat too big for his body.

Worse is that he gets told that some new kid Dazai picked up, who didn't train to the extent he did to refine his abilities, is better than him somehow. He gets riled up and at first, takes out on Dazai, but all those threats about killing him and how he went against the mafia were empty. Even now he can't bring himself to hate Dazai, he needs his mentor to acknowledge him no matter what side he's on. He never let go of Dazai, his coat is proof enough of that. So he takes it out on the party that isn't responsible and is convinced he needs to overcome Atsushi to prove something to Dazai.

He doesn't hate Atsushi, not genuinely. He does the same when he’s told he’ll never compare to Odasaku, someone who objectively should’ve been the weakest member due to his status. He gets angry at Dazai’s words, gets angry at himself, then takes it out on the person mentioned, rinse and repeat. I’m not sure if I’m the only one to notice, but he genuinely believed that the meaningful life Dazai gave him laid in the mafia and being useful to its cause. He has no reason to be as loyal to the mafia if he didn't think this.

Dazai’s acknowledgment means more than just appreciation for his skills and strength, it means his life meant something by striving for being the strongest. It’s not about the acknowledgment at all. Whenever he critiques and shames Atsushi for how he lives his life, it just feels like he’s unknowingly shaming himself through him without having to acknowledge his wrongs. It makes me curious about how much the acknowledgment itself even matters to him and the validation it gives him to strive for this is an excuse to keep living so what he’s doing in the mafia even matters in the end. What counts as acknowledgment to him?

He's convinced his faults are what made Dazai turn away, he just doesn’t know how to do anything to fix it and can't fix it this late into the game. What does Dazai want from him other than being stronger? When Dazai directly asks him to do something important involving Atsushi, he’s confused. He has no reason to trust him to do these missions. He’ll take the chance to prove himself once and for all, but to be included means he's being acknowledged, so what gives? The number of times he visibly self-reflects can be counted on one hand because as soon as it shows, he goes back to justify his violence and ignores his faults.

As someone whose favorite character is Akutagawa, I’m disgusted that all people can take away from him is “Akutagawa is an obsessive fanboy that deserves no sympathy because of what he did to Kyouka” or “Akutagawa is a poor, miserable man that didn’t deserve what Dazai made him into and should be absolved of responsibility because it’s all Dazai’s fault”. Both are very shallow and very harmful to perpetrate as they continue the idea that a person can only be the abused or abuser. He's both and it's okay to admit that.

Quickly let’s clear up this: He is not the way he is because of Dazai.

What Dazai IS responsible for:

Akutagawa’s need for his constant approval and recognition

Akutagawa learning to hone his ability

Akutagawa’s toxic views of being useful

The reason Akutagawa’s still alive

The reason Akutagawa is the Mafia’s dog

What Dazai is NOT responsible for:

Everything else

Akutagawa’s lean toward violence, his one-track stubborn mindset, and his lone-wolf attitude are not a product of Dazai’s treatment, he’s always been that way because of his time in the slums. He got beaten down by adults frightened of his empty gaze, had to learn to protect himself and find something to eat to survive, helped take care of his sister Gin and his friends by himself, and everyone constantly dying around him. That’s the real reason his personality is like that. He is a victim of his circumstances in a society that deemed him worthless, so he also thinks of his life as worthless. That’s why Dazai means so much to him.

Dazai did not trick him into joining the mafia, Dazai expressed what he was going to go through was worse than what happened in the slums and gave Akutagawa an out that he could live a normal life with enough money, but he knew Akutagawa would not refuse because he still needed meaning in living, just like him. Gaining enough money to get by so he and his sister could get out of the slums would do nothing for him, he already felt that his life was worthless. He has no problem throwing it away at any time, he was gonna die young regardless because of his lung disease. It has manipulative undertones, but that's how Dazai usually is with even the people he cares about.

Akutagawa knows too well that a person needs a sign, someone to tell them it’s okay to keep going, and so does Dazai. Part of Dazai’s goal is to save Akutagawa from dying and give him a reason to live like he promised that day because he sees the potential that could come from his development. I don't want to sound like a dick again, but you’d have to be dense to think Akutagawa would still be dead by the end of this arc. He isn’t sending him off to his death, Dazai doesn’t know everything.

Even if he knew Akutagawa might die there, it's better than both Atsushi and Akutagawa dying at that moment. If Akutagawa didn’t want to die for him, he wouldn’t have, he chose to save Atsushi’s life. This is why I have to defend Asagiri. Let’s reread the interview together, to make it get across already.

(Twt link)

Q: Just like how Akutagawa and Atsushi's relationship has changed, I could feel the relationship between Dazai and Akutagawa moving forward too. Is it like what Akutagawa has said in Episode 3 of Season 5, that every order he has received from Dazai so far has been "a trial", "a part of a meaningfull life"?

First, the question being asked. They’re asking Asagiri about their relationship in the present, and how it’s developed. Akutagawa is no longer thinking he was abandoned by Dazai for a new, better student like he was made him believe, that was just to rile him up and interact with Atsushi more. Instead, he realizes that he’s not supposed to work against Atsushi, he’s supposed to work with him. How he decides to go about that battle with Fukuchi and whether or not he works with Atsushi like a partner is his trial. If this was Akutagawa before he met Atsushi, he would’ve no doubt escaped or might’ve thought defeating Fukuchi would prove himself to Dazai. He's not an obstacle to his meaningful life, his quest for a meaningful life lies with Atsushi.

Asagiri responds with:

Asagiri: Needless to say, Dazai is the most qualified person in this world to help Akutagawa grow. Dazai has a vision for Akutagawa's development, and he completely understands what it takes to achieve it. We, as obsevers, can only see bits and pieces of that vision. But I can at least say that Dazai's training plan has never been wrong.

Many find this answer questionable, I was stunned reading it myself. Asagiri is not wrong at all here though, Dazai is objectively the only person in this series who can find a way to help him. Atsushi is the endpoint, but Dazai has been guiding him to this point. Dazai himself said that he was planning to team them up the moment he met Atsushi, he was still thinking of him even after all these years. There are much scarier implications than thinking that Asagiri was wrong. It's that Dazai was doing everything intentionally to get Akutagawa’s mindset where it was. He didn't mess up with Akutagawa, he just couldn't personally teach him the skills he needed and chose a different route until he found something that could.

Asagiri is not saying the abuse was morally justified, but the intention behind it was not wrong in an objective stance. Dazai would know what to do the most because of his understanding of wanting to find meaning in living. Teenage Dazai couldn’t have achieved much by himself, even if he could understand since he also could not find meaning in life. That’s why he made him hang on to his every breath of validation so he would keep his faith in Dazai long enough for him to find a solution to this dilemma. The moment in life when he found Akutagawa was not ideal and he still did what he thought he had to do for him to survive in the mafia. Without his ability, he's incredibly weak and needs to be able to defend himself. A violent person could not have made another violent person unlearn their violence.

You could say he just wanted a weapon, but that’s not it, not even close. Many of you are stuck on the part that it was a suicidal teenager that picked Akutagawa up from the slums and that no way someone like that could teach another suicidal teenager anything, so it’s “comical that Asagiri thinks as though he’s the most qualified”. You’re not wrong in some sense, but this is still incredibly intelligent, “Black Wrath of the Port Mafia”, Osamu Dazai, and not just some suicidal teenager.

He’s also no longer a teenager. Right now we’re talking of Dazai in the present who’s grown and no longer needs to be how he was in the mafia, he has Atsushi now, someone who can help Akutagawa see what’s wrong in his outlook. The only thing he could’ve done back then was to shelter Akutagawa so he wouldn’t kill himself. It's horrible, but Dazai validating where he is now would do no good for either of them and fix nothing.

Q: What kind of person is Dazai to Akutagawa?

Asagiri: Actually, at the time of "The Dark Era", Dazai already spoke very highly of Akutagawa, as someone who would "become the Mafia's strongest skill user in the not-so-distant future". He just doesn't say that in front of Akutagawa himself. The reason he doesn't say it is that Dazai has to be "the presence that continues to give meaning to life" to Akutagawa. So far, that trial has been completely successful.

None of what Asagiri brings up is new information. He doesn’t say it in front of Akutagawa not to spite him, but if he gives these praises out too freely, he loses his distant, almost god-like presence in Akutagawa and will go back to being just a lone wolf with no exceptions that will carelessly get himself killed. Without any goal, he’s lost. Just like Atsushi and the headmaster and how Atsushi hinges on proving he can do a good thing to motivate his life, Akutagawa similarly hinges on the fact that if he fails, he won’t get Dazai’s approval.

However, his death was not fully about Dazai’s approval in the way he's been preaching. In chapter 87, he mentions Dazai’s approval like always, and when they fail the first time even after trusting and working with each other as Shin Soukoku should, It hits him. What came into his head I cannot parse out at the moment, but his actions speak so much louder than any explanation we could've gotten. Of course, he's helping Atsushi escape, but what does he do for that? He used his ability on his shirt, and not just on the coat like he typically does.

It doesn't seem like a big deal at first, he could've always done that, but when was the last time he used it on something that wasn't the coat Dazai gave him? The coat means many things. His new beginning, his path in being Dazai’s student and successor (as that was also Mori’s coat), but it also conveys Dazai’s will that keeps him alive and that he's only strong with his coat. Without it, he's defenseless, so he clings to this coat the exact way he clings to those orders. It's his encouragement to keep going when Dazai isn't there. This overwhelming, suffocating responsibility, an oversized coat, is a lot to give to a kid but it's comfortable and he’ll grow into it eventually.

It was already a huge step in his development that he gave Atsushi his coat, but to use his ability not on his coat means he's making an effort to overcome his fixation and do an action unrelated to Dazai for the sake of Atsushi’s life. His whole life after the slums, everything he's ever done was with Dazai in mind. Him saving Atsushi’s life was not because he was doing what Dazai wanted him to do, that he'd finally get approval for doing It, and in turn give his life meaning before he died. When he saved Atsushi, it would give his life meaning in just that. He shouldn't let himself be defined by the past the way he criticizes Atsushi for, so he’s going to choose his meaning. I wouldn't say he's moved past Dazai yet, but he's getting there.

Dazai and Akutagawa’s relationship is not healthy in the slightest, and Dazai’s crueler actions and words against him are not right, but they’re still growing and not stagnant characters. Atsushi and Akutagawa learn from each other and that's what's pushing them to change. Nobody will pretend those past means weren’t just abuse, they were, but there's so much more to it. Like I asked with the director, was he successful? Well from what I’ve said, yes it so far has gone the way Dazai hoped for in the best-case scenario.

In the main universe at least, this is one of the better ways it could’ve gone. Beast is a different story. Teenage Dazai of the main universe was unsure of Akutagawa’s future and did only what he could’ve done at that time, but Beast Dazai does have that knowledge and he decided that it would be best for Akutagawa to not be in the mafia, instead bringing in Atsushi. It wouldn’t have been good to let him pursue his violent tendencies more than necessary in the mafia in this universe when he knew there was a better option, especially with someone like Oda, who would take the time to care for him properly.

Even if he didn’t bring him in, he still gave him the motivation to keep living for something. The prologue of Beast is a mirror to The Heartless Cur, with instead it’s a distant relationship of hate Akutagawa has for him for taking his sister. For those who argue that since Beast exists, that means Asagiri was somehow “wrong about Dazai”, but it’s still Dazai from the beginning that’s the source of this motivation. Dazai, who's still guiding him. If we’re gonna be honest, Dazai was putting their development/capabilities in speed run mode with the logic and future information he had access to prepare them for a timeline he won’t be alive for. There are many factors for what he did in Besst, but that’s not the conversation.

What does he get from helping him? Who knows, Asagiri wasn’t being cheeky when he said we only see bits and pieces of his vision. We barely have any clue what’s going through that man’s head, so don’t act like you do. He wasn’t always planning for the next Soukoku. Maybe it was a thought that came up sometimes, but he’s only met Atsushi recently. What about Akutagawa was so different from any other powerful ability-wielding orphan? Well, we’re not gonna know any time soon.

The point is that Dazai is thinking about their future, even if the abuse or manipulation makes that hard to see. Please do remember that abuse is still selfish no matter the intention, but non-selfish intentions make it all the more complicated to process. Their relationship is not misunderstood by Asagiri himself, it’s just clear to me most don’t want to face the unpleasant truth that there is more to their dynamic. When I first realized what was going on, I couldn’t help but get unnerved and awkward when someone would ask me about these two. These are both characters in the spotlight that you’re supposed to care about, but what happened between them is rotten.

You’re not supposed to pretend it didn’t happen because Dazai still contributed to who he is and it shows whenever it’s on screen. Abuse doesn’t make us stronger, don’t make it as if that’s a message that Asagiri is spreading. What happened to him motivated his development, but with Atsushi, that’s the opposite. Their circumstances are different and victims process what's happened to them in various ways. Depicting it in a form less common than usual doesn't mean the author thinks in the same way the victim does, it's just nuance at work.

I did not add Akutagawa’s attitude towards his subordinates and newer members as Dazai’s responsibility because Dazai is not the one controlling his hands when he hits Higuchi. Dazai’s mentoring contributed to his toxic views of being useful, but it’s only Akutagawa’s responsibility once he raises his hand. Instead of thinking of this in the context of the most typical abusive situation you can think of, how about this:

Your parent was raised in an abusive household, but they think they came out of it just fine and that there was nothing wrong with how they were treated. They treat you almost the same way, and all you can take away from that when you find out is, “At least it’s not as bad as it could’ve been”. You still hold anger at the standards they’re forcing you to reach, but if that’s what it takes to get that approval, then you’ll keep going anyway. Even if you get yelled at and you know you shouldn’t be treated like this, it’ll feel nice when you finally get on their good graces, right?

Then you get a new sibling, and all of that comes crumbling down. They don’t treat your sibling anywhere near the same when you were that age. Years go by and you get angrier and angrier. Why is it only you that was put to that standard? Even worse is that they treat you differently now too. You finally got to those standards, but now what is it worth? They’re so much nicer now and you want to curse them out for only changing now. Why couldn’t have had that parent from the beginning? It’s so unfair, but you can’t take it out on them because you still need them, they mean so much to you. As angry as you were, they were doing it because they cared about you in their way, you think. It was what your grandparents did to them at least. So you start treating your sibling similarly to how you were treated because you can’t take it that they didn’t experience that hardship without destroying yourself first.

Question: Are you right in what you did? Was the parent responsible for what you did to your sibling?

Nobody in their right mind would say yes to that first question. It makes sense why it happened, but continuing abuse will never be the correct answer. You’re doing the same thing your parent did. The second question needs more exposition to answer, however. How responsible is responsible?

In the end, even if it was the parent who influenced it, you’re only responsible for what you’ve done on your own accord. The parent did not tell you to take it out on your sibling, you decided that yourself. The parent is still responsible for what they’ve done to you, never get that wrong, but if you say that your guilt is absolved because it’s all their fault, you sound no different from any other abuser in denial. Are you saying now that the parent is also absolved from guilt because it’s all their parent’s fault too? Listen to yourself, You hurt someone but it’s not your fault, but the person who hurt you is also somehow not at fault? If someone came up to you and said that, you’d be fed up.

For those who do the same thing with Mori, rethink what you’re saying. Is it that painful to admit your favorite characters are at fault and that they’re changing? This comparison isn’t perfect and ignores some key factors: Dazai isn’t Akutagawa’s or Atsushi’s father and is not much older than them, the Port Mafia is a violent workplace environment and requires you to be able to navigate it a certain way, and all three of them at adults in present time. I used this comparison to be more real to earth and something a larger audience could process themselves to truly get that the emotions here are not straightforward even in a realistic situation.

Re: Portrait of a Father

Just like the prologue, in chapter 3 of the Beast light novel, Portrait of a Father is mirrored and retold in brutal upset that does not hold the hopeful bittersweetness at the end of it unlike its original. Before the present day, against all orders Dazai gave him, Atsushi attacked the orphanage on the day of his birthday. On his birthday, he would be reborn from the ashes of his past being burnt away, and kill the director inside to release himself from the fear of those memories.

It’s what he says at least.

Playing out, the director was expecting him. There might have only been one person in his mind who would’ve attacked a rundown orphanage on this scale. It frightens Atsushi after all that planning and fear of losing to the director, he could still see through him, but confusion takes hold when he’s told that he was late for his graduation.

Graduation? Atsushi is in fight or flight mode, why is he approaching him with this box? He can’t imagine it being anything other than a weapon, nothing else would make sense for this cruel monster. The director won’t give him any straight answer, just repeating words he’s heard over and over growing up here. He uses his tiger hearing to glean what could be inside.

Tick. Tock. Tick. Tock.

There’s the proof, it had to be a bomb. He needs to protect himself before anything happens or he’ll die. He’s scared, he can’t move, but he has to fight. The director opens his arms for the embrace of his child… and death, plummeted into a bloody mess on the floor. Only out of the corner of his eye, only when Atsushi stopped, he saw what was in the box. It was a watch, brand new and high-end. Happy Birthday was what was written on a sheet of paper next to it.

His last words, whispered into his ear, were words of encouragement: “Yes… just like that.”

I was not kidding when I said this was brutal. Just like in the main universe, Atsushi learns why he did what he did and can’t place any of his feelings, but overwhelmingly guilt crushes him to keep protecting people with his life rather than just fear because he killed him. He finds out much earlier about what happened with Shibusawa, and how the director protected his identity as the tiger.

The director’s intentions are draining when you let your mind wander. As we’ve established, the headmaster as a figure of hate for Atsushi is intentional on his part. He doesn’t explain anything on purpose here to probe him into killing him. He bought that watch for Atsushi as a congratulations for growing up and becoming a new independent individual.

In the split minute before Atsushi took the first swing, he said his usual, “Those who fail to protect others do not deserve to live.” I have to question now if he was so willing to die there, even encouraging him to kill him, then has it been this whole time he still can’t live with himself for what happened to his friends… or is it because he couldn’t protect Atsushi anymore? Maybe I’m overthinking it and it was just that the headmaster thought Atsushi needed to kill him to remove an obstacle in his growth as an individual, to be a necessary sacrifice for his benefit.

It's too flawed though. The director will never leave him, not after all that he's engraved into Atsushi. The watch has become not a symbol of a person who's found himself, but a child that's latched himself onto his father's cold corpse that won't ever respond, but that child would do anything to have him wake up and say "Good job, Atsushi". The director also has a clock, but can he call himself a strong individual when he hasn't let go of the past either?

Time stopped for Beast Atsushi when he picked up that watch. If he had just followed orders, none of this would’ve happened. If he isn’t his father’s child, if he doesn’t uphold his last wish, then who is he? When he’s no longer in the mafia and has time for himself to think, he wanders.

He failed in becoming someone he could be proud of, he deserved to die for that but doesn't want to be dead… because It wasn't truly about the Director, just like how it wasn't truly about Dazai’s acknowledgment or saving his sister for Akutagawa. At first, that was the motivation, it's the reasoning they keep going with, but in the end, it was to save their own life and give it purpose to validate why they're still around. If they can die like this, then it's all the same. If they have their own life in someone else’s hands, then they no longer have to be responsible for their own heavy-hearted weight.

Beast Atsushi is given neither and is taken of his reasoning, but he keeps going. Aimlessly.

Luckily, it’s not where his story ends.

He wakes up in his old orphanage, and it’s no longer the dreary place it was when he was younger. Kids laughing outside, no chains on the walls or bars blocking off the windows, and the new Orphanage Director greets him. He tells him that he will go back to being a student of the orphanage until he can become independent again, under one of Dazai’s last requests before he died.

Still, there’s one thing he needs to do. The new director takes out the watch and tells him to break it. Atsushi is distraught by this notion, but he won’t let Atsushi leave if he doesn’t. The new director has good reason, there is no point in becoming someone the past director was proud of and this is what’s holding him back. Atsushi, eventually, tells him he will not break the watch. He can’t move on just yet and this watch is still proof he’s himself, yet…

He’ll keep going and move forward, just like Akutagawa told him after he spared his life. The new director finds those words to be enough, saying he can’t leave until he finds something else to define himself with, but he can keep living here as his son. He went there to burn away his past and came out of it not able to let go of the past, but now he can redo and process it healthily with someone willing to hold him like a father should.

The Man Who Raised Dazai

Everyone who’s read Beast has questioned it: Why did Dazai in his right mind have Mori take care of an orphanage? Why did he save his life? Better yet, why is he so nice?! I have come up with some speculation on why Dazai would.

“Beast Dazai recognized this potential of change either from the multitude of universes he was able to witness or recognized it in his own considering canonverse Dazai never does anything against Mori (even if he visibly dislikes him).”

“Possibility is one thing, the why is another. It was either that he saw potential and good that could come out of this in the long run, Mori’s intelligence and expertise still proves usefulness, less dangerous for Oda in the long run if he let Mori stay there instead of the Mafia, or all three.”

(Didn’t feel like rephrase them)

We can’t know anything for sure about his decision, but I do know Mori is the type of character to sacrifice his feelings for what he thinks would logically benefit the sum, and there’s no better way to release yourself from that too-calculative responsibility than to remove yourself from it and to be in a place where you’re allowed to care for others and express yourself when there is no greater purpose than to just grow.

What happened with Yosano is undoubtedly wrong, but Mori had put away any sympathy in those situations because he needed her to do what he brought her in for. I was confused by his declaration that violence should never be used to educate children when I read it, especially out of his mouth, but now I understand. He would know with certainty that it’s not the right way to educate children, particularly because this is a Mori that hasn’t been in the dark for these past years and has grown to care for these children at the orphanage without any greater intention for them.

He’s not like the Old Director because he has no reason to think these kids would end up the way he did. They’re just kids that need someone to raise them with kindness, kindness will be what gets them through life as functional adults. Abuse has too many drawbacks to be called an optimal solution here. Is it surprising that all it took to change Mori was the kindness and salvation Dazai offered to him when he took over? Can you believe it was that simple to treat someone like a human being instead of a figure of hate?

What sticks out to me like a sore thumb is that when he’s introduced in Beast, he’s referred to as the man who raised Dazai. He is, regardless of what you think, the closest thing Dazai has to a father figure. In regards to how the fanbase speaks of their relationship, it’s hard to think that he cared about Dazai, but he did and the extent of how bad it got between them is grossly exaggerated.

As many comparisons Dazai gets with Yosano, their relationship with Mori is very different. Unlike Yosano, he did not need to be forced to do anything with psychological abuse and he did not need to be torn down to do what Mori asked him to. We don’t know what happened to him to become like this, but it wasn’t because of Mori. Yosano had light in her and a motivation to do the right thing, but Dazai didn’t. Dazai is no stranger to any violence or using violence himself even before Mori if he's this desensitized.

It’s useful that Dazai is like that when he meets him, up until it isn’t. He’s moody and actively looking to die. Mori can’t predict him that easily and Dazai can see right through him. There’s another huge difference between them though: Mori sees himself in Dazai. We don’t have enough insight in his head to make conclusive statements, but I think this is why he cared for Dazai. It’s not because he saw a child struggling that he cared, but grew some fondness because he saw a little mini-him. When he drove Dazai out of the Port Mafia, he expected him to come back and take back his vacant seat.

Eventually, Dazai will come back and realize that petty anger about someone dying is illogical in somewhere like the mafia. But because of him not being able to see through Dazai and seeing himself in him, he also expected him to eventually usurp his seat if he stayed any longer. That is why he had invited Mimic at the time he did and manipulated the situation so Oda, someone he knew Dazai cared for, would go and take care of the situation flawlessly. He’d be sacrificed and Mori could get something out of it, a Skilled Business Permit. A perfect plan… in theory, but Mori was wrong and miscalculated on many levels because of how many assumptions he made about Dazai.

First, he wouldn’t have known that it was Oda who held the words that would convince him to leave the mafia and go into the world of light. Dazai will never come back to his own volition. Second, as those panels quite literally tell you, Dazai was never planning on killing him. He saw his place in the mafia and saw that he was needed there. When Mori finally realizes his mistake with Dazai 4 years later during the Guild Arc, he can’t go back. His plan was still perfectly sound and he still got what he wanted out of it. He shouldn’t regret it, but…

Now that’s been paved out, where does wanting to save Dazai fit into this? If I had to assume, it’s the same reason he didn’t shoot Dazai for leaving his office during Dark Era. He cared about that boy, for 4 whole years he left him and his seat alone when the logical thing he should be doing was replacing him, but as much as he might’ve cared, he needed to put the mafia first. He didn’t let him die because of his use, but also because of their so-called “common destiny” in his eyes, a diamond in a rough he might’ve disposed of otherwise if he didn’t see his potential. There’s not much he could’ve done for Dazai here except keep him healthy and alive. Mori gets tons of flack for not trying to help him, but there's nothing he could've done, not in their position.

He can't cultivate his potential if there is abuse involved because there is no logical reason for him to do anything to Dazai. You guys have to stop assuming the worst when it comes to Mori, you’re missing huge character details that are right in front of you. The difference between Mori, the Boss of the Port Mafia, and Mori, the Orphanage Director is that he had time to rekindle his humanity so he’s able to care about him like a normal human being, feel guilt, and admit regret after Beast Dazai has died. Mori at most was responsible for ingraining tactical strategies and theories and molding him into the perfect Mafioso and right-hand man.

Not to say any of those aren’t a bad thing. He’s still a child and having him use his desensitized, intelligent mind to build the potential in what he could do for the mafia, it’s just that he’s responsible for very little in Dazai’s personality. The only answer I could give about Dazai being abused by Mori or being abused under the credentials that he’s a child in a violent, unsafe place is the same answer given earlier for Chuuya: in his case, not really.

Regarding this, I retract my statement about anything I’ve said about Beast Atsushi not being a victim in his time in the mafia, but I still hold my stance that he’s not the victim of the port mafia. I want to say the same thing about Beast Dazai and Atsushi that I do here, but considering he picked him up and trained him like how he trained Akutagawa, there’s a great chance Dazai emotionally abused him when you read their interactions. Not physically as that would make him too much like the headmaster, but just enough emotional distress in bringing up traumatic moments to manipulate him into doing what he needs of him.

It’s not a good relationship, but Mori wasn’t targeting Dazai in any real way like the Director and Atsushi or Dazai and Akutagawa. Unlike every other section, I have to conclude that he didn’t do anything to Dazai in that regard other than treating him like another adult when he shouldn't have. I don’t have much to say negatively about their dynamic otherwise. Just a weird, terrible son with his weird, terrible father. It’s more like someone who's taking after their mentor’s teaching and methods rather than an abuse victim echoing their abuser. This is why I don't accept the “Cycle of Abuse” as how the fandom understands it. It tells me a lot that people resort to the blame game.

I wonder what Dazai and Mori’s relationship would've looked like without any of this in the middle. Maybe something in cadence with Ranpo and Fukuzawa, but I can't help thinking that accepting Atsushi as his son in Beast instead of a student wasn't just for Atsushi’s sake. He was about to call him his student too, but immediately changed his mind. He already admitted he was helping him because of what happened to Dazai, so it can’t be a huge jump to think that in the same way this is Atsushi’s redo in building a relationship with a father figure, this is Mori’s redo to give him some atonement for the boy he failed.

A Mother’s Love

Kyouka, when we first meet her, appears as a force to be reckoned with. With skills a young girl shouldn’t have, and a demon shadowing behind, she’s a terrifying opponent. Quickly though, that appearance falls short in tragedy when the bomb Atsushi’s after is found on her own body and when he asks if she truly wants to kill... She has no answer, but her actions speak clearly. She gives him the defuser because she doesn’t want any more people to die, but the man behind the phone will not let it defuse.

So Kyouka does the next best thing to save more from dying: falling off the train with the bomb that’s about to go off. As long as she dies with it, nobody can use her and her abilities to massacre the people on the train when the bomb eventually fails to do what is necessary. Because that’s when Atsushi realizes that she cannot control her ability herself. No matter what she genuinely wants, she will never have the ability to obtain it because of this one fact. She can only be what people tell her she is.

We all know this story well, she gets saved by Atsushi and the man behind the phone is Akutagawa. Atsushi offers her the same kindness Dazai extended to him regardless of his reputation and destruction because it’d only be the right thing to do. He knows her incoming fate of eventual death for her crimes, he can’t do much, but she should at least experience normalcy this one time.

When she’s about to turn herself in, Akutagawa stops her and tells her she did her job well as a decoy for him to capture Atsushi. I don’t know if you’ve noticed, but there’s a peculiar oddness about Akutagawa here in his attitude towards Kyouka. In all logic, even though she is a strong tool to the mafia, she’s a low-level member, a disobedient one at that, and should’ve been killed on sight for her betrayal considering how quick he is to violence, but he talks as if nothing even happened. He brushes off any thought of her dying as she’s spouting nonsense and that she’s going to go back to the mafia as normal.

But then he spouts off about how she’s better off dead on the ship if she stops killing. What’s up with that? It’s not completely obvious at first, but he’s projecting his own experiences in the slums and beliefs formed from Dazai’s mentoring onto her. From his time when he wasn’t in the mafia, he tells her there’s nothing left out there for people like them, there’s only rock bottom. He can confidently say that there is nowhere that would accept her for her ability, demon snow, because it’s the same for him.

The only way her life can have value is to kill to be useful, just like any good mafia member. It’s exactly why that flashback with Dazai happens here. He’s the one who fed him these thoughts he’s lived with for these past 6 years, and what she’s been believing for 6 months. He doesn’t loathe her, he sees it as doing a favor for her. What else can a little girl who can kill be use of except to kill in her circumstances?

Contrary to popular belief, he is not her abuser and is not the same thing Dazai was to him. He neither trained her nor did we have information on their relationship to come to that conclusion. The only thing we know is that he was the one sent to pick her up by the Port Mafia. We can prove she is not the way she is because Akutagawa since Beast, well, exists. She is one of the few characters I can confidently say was a victim of the Port Mafia itself and not just a person of the Port Mafia specifically.

Akutagawa was trying to be what Dazai was to him, but he is selling a bastardized version of it to her. The person who was her Dazai was Atsushi, the same person who was given Dazai’s act of kindness. Someone who has experienced the same things Akutagawa has and is living proof that she can hope for something better.

He could see that the same revenge and lack of regard for her life in her eye was the same kind he met Dazai with. Despite that, these lessons he’s internalized have helped no one, not even himself. She can’t find meaning in something that is the root cause of her suicidal ideation. This life is unfulfilling for people like them who need meaning in life. Akutagawa doesn't realize this because he still has Dazai to be his motivational goal. That’s why he failed to help Kyouka, Dazai’s efforts would’ve been considered an utmost failure too if he wasn’t actively trying to fix that misunderstanding. Kindness is what actively saves us and helps us grow, the harm in abusive environments will only stunt us. But what happens when kindness is offered to us, but nothing comes out of it except proving us right that we’re unsavable? Then you have Kouyou.

Kouyou is the second person I could say was a victim of the Port Mafia. She has the same belief Akutagawa had about people like them being unable to be saved, so the only thing they can do is embrace it. I can’t claim she was Kyouka’s abuser either as we again don’t know enough, but that doesn’t change that her behavior is emotionally abusive, and is a much better contender than he is.

She’s doing the same thing Akutagawa was doing himself. Seeing themselves in this child and doing what she “needs” instead of what she wants. Just like him, she views this as saving her from the hands of light that will never make room for them and will ignore everything else she says. When Akutagawa is faced with her “disillusionment”, he… accepts it when she refuses his will and chooses another path, but almost kills her to spare her from that decision that would “doom” her.

Kouyou is much less accepting, opting to kill the root source of this hope itself, Atsushi, because her fondness for Kyouka prevents her from leaving her for dead. In contrast to Akutagawa’s attempt at being what gives her life meaning, Kouyou wants to stop Atsushi from being like the same man who also gave her hope that they could escape to the world of light. She can’t bear to see Kyouka go through the same realization she did far too late.

I can see what you're thinking, why am I reluctant to call either of them Kyouka’s abuser? Even if Akutagawa doesn't count, shouldn't Kouyou count because she seems to have an actual relationship with her and her effects are prevalent in Beast, the same points I mentioned to debunk accusations against him? Sure actually, but think about it like this. What the Port Mafia does have in common with real situations is that this is a community that is full of victims who refuse to process their traumatic experiences for any reason, and bring down others to their level when they don’t fit in their narrative to justify what’s happened to them.

There isn’t just one abuser weighing over you, there's this collective pressure from so many who aren't your abuser but they still contribute to your abuse with their presence itself. If Dazai wasn’t there in the mafia, would Akutagawa's situation have changed? Yes. Now if Akutagawa or Kouyou weren’t in the mafia, would Kyouka's situation have changed? Not at all. She’d have fewer examples to refer to, but she’d still be abused. If it’s easier to imagine, think of it similarly to cult mentality and how they keep you in cults. That is the reason I emphasized being a victim of the Port Mafia instead of an individual. Kouyou, Q, and Kyouka, while you can pin their main perpetrators on certain people, their overall situation doesn't change.

Now why doesn’t she just use the phone herself instead of letting people call Demon Snow for her? Wouldn’t she have more agency that way? Atsushi proposes this, but she rejects it instantly. It’s a very simple answer, it’s the same reason she can’t bear to look at it outside of when she’s forced to use it in combat. It’s her ability that killed her parents and why she was forced into this position.

It’s not hard for a little girl to believe she’s nothing more than a killing machine when she sees that night her ability would mercilessly kill her parents. She eventually caves when Kouyou points out how quick she is to vindicate violence to protect that hope she desperately wants a part of, and how she will never change. Her first mission with the Armed Detective Agency is proof in itself. Was Atsushi going to keep extending his kindness after hearing what she could only blame herself for?

Kouyou is a character I’ve seen that gets a lot of double standards compared to all of the other characters I’ve mentioned with abusive tendencies and is almost purely liked. She’s not seen as an absolute monster (The director, Mori) or controversial with one side containing pure dislike and another pure love (Akutagawa, Dazai), it’s only that she’s a well-written, sympathetic badass girl boss. It’s either because she’s a woman, that she doesn’t use an overt intimidation style, that her motives are more obvious in their emotional influences, or all of the above that she’s not treated the same.

Kouyou’s motivations are not special, as I’ve said. The only thing that differentiates them from the others is that they’re not covered by a mask of indifference. As fond as she is for her, she’s not much different from anyone else who holds the mafia up in high regard. She weaponizes her words in where they’d hurt the most so Kyouka would come with her. The entire last section of their battle sums up with her saying, “Kyouka come with me, they’ll only use you for your Ability when they get a hold of it. Even if the mafia did the same thing, at least they’ll accept you for who you truly are: a natural-born killer. You don’t have to fight anymore, I’ll protect you.”

When Atsushi finds Kyouka once again subsequently in her disappearance, she chooses to embrace her violence to help the Armed Detective Agency in this fight with the Guild. After her walk in where she used to reside, she comes the the conclusion she no longer belongs there. Against Kouyou’s wishes, she will brandish her blade for a home. That blows up in her face the moment she starts. Atsushi gets taken, and it’s just as Kouyou said would happen. If even her violence doesn’t get her wish, then what can she do besides leave herself to her fate?

As someone who’s seen another with a talent for killing walk the path of good and is on that same path himself, Dazai talks to her. He tells her about how she hasn’t gone through her entrance exam yet, how she isn’t an official member because she hasn’t proven her will or life on the line to help people she doesn’t necessarily know. Kyouka doesn’t believe she could’ve passed if that’s what it takes, but Dazai doesn’t agree with the points she’s brought up. So what if she’s killed or considered dangerous? That doesn’t make her less qualified to be a part of the Detective Agency, everyone there is from different backgrounds.

She can’t know everything, not even about herself. Nobody does, but it takes others to see more of yourself. Excelling in one area doesn’t prevent you from nurturing your potential in another. What would that make someone like Atsushi, a person who’s been her guiding figure throughout—but was never seen as anything more than a threat or a beast because of his ability before he joined them? The truth is, our lives aren’t defined by one purpose the moment we’re born, it’s only something you can make for yourself. We’re not the places we’ve been raised in, not the ideas people apply to us, and we’re especially not defined by the traumatic experiences we had no control over.

All of it accumulates the person we are today, and we can’t change that no matter how much we resent parts of our image that don’t hold up to what society deems as right, but it shouldn’t take control over what we want for ourselves. It isn’t fair for the victims who were forced into a life where they had to fend for themselves, the children who had to navigate an adult’s messed up world that didn’t have room for them to grow as kids should. Forced into a box where they stay unaware that they’ve ever left their mother’s womb, break out in fury with eyes that grew up too early—only to become lost and thrown away, or rot in that box without a single person knowing they were a breathing, living human being.

I deem abuse selfish for this very reason. Kouyou is wrong for this very reason. If she finds comfort in her reasoning, then I can’t critique her for her own choices and will have to respect her for choosing to stay in the mafia even when the old boss is dead, every abuse victim is different, but not a single person is born evil or good, in the dark or light. Not a soul has to stay in one place because they started there. It’s going to be a hard journey to truly achieve what you long for, results aren’t immediate and not everyone gets there no matter their effort, but still try. Try because it’s still worth trying, because you’re still worth more than you think.

In parallel, you can only get there as long as you’re seeking it. Too many see the Armed Detective Agency as something that will automatically save characters just by working there, but the only way it can help them is if they seek out their help themselves. The ADA is not the right place for every character, but Kyouka does want a place there. After her conversation with Dazai, she knows what she wants to do now. She will smash the drone she’s in into Moby Dick so nobody will have to die, but sacrifice her own life in the process. She’s chained to this place, but her choices aren’t.

She doesn’t have to die with regret, with this she can pass the entrance exam and become an agency member like she wanted. She made a difference for herself just by this act. It’d be a pretty melancholy arc if it ended like that, thank god we know it doesn’t end like this. When you become a full agency member, you gain more control over your ability, meaning—

She’s fine.

The exposition is over, let’s talk about Kyouka. Her arc is beautiful and the neglect to talk about her when it comes to her abuse story besides saying, “She’s the one who stopped the abuse cycle” and then nothing else is heartbreakingly superficial. She didn’t stop it, it’s impossible to, but she did break out of it. Kyouka’s section has more exposition than the others but I expected that. I wanted to save her for last because she’s the only one whose arc has come to a peaceful conclusion and not unfinished, and the lighter message felt nice to leave off on.

I shouldn’t berate Kouyou too much, the only reason she stayed in that room after being captured by the ADA is because she did want Kyouka to experience what she never had, and speaking with Dazai helped reassure her that Kyouka would be able to achieve her dreams. It’s no longer the age of the old boss. As well as her shedding the truth about her parent’s death so she wouldn’t have to resent her ability as not an avatar of massacre, but a product of her parents’ love that will always stay with her. She didn’t let go of the phone she’s had this entire time because her mother told her not to let it go.

Me going over Kouyou in this fashion is not me saying you shouldn’t love her character, I like her too. It’s just that it’s passed over so fast what she did, but somehow Akutagawa is more at fault here is mind-boggling. I’d get it a little more if this is because she redeemed herself by wanting the best for Kyouka over what was best for the mafia, but I doubt that’s the case when that moment is talked about so little as well.

I genuinely need you all to understand that not every character is going to have a satisfying, clean conclusion like this. Akutagawa’s story is most likely not going to have a conclusion that satisfies everyone and you should respect it when it comes. There’s no perfect way of writing abuse, but there’s no correct way of doing it either. I don’t think Dazai is going to have the repercussions you want him to have any time soon. If you got the message from Beast, getting revenge on an abuser doesn’t make us feel better or let us process what happened to us. Total resentment keeps us stuck.

The only thing that will heal us is the kindness so many offer in this series. You in no way need to extend that kindness to an abuser, you don’t need to forgive them or let them into your life again, but be kind to yourself and don’t let resentment prevent you from focusing on yourself. Forgiveness and reconnection are not the same thing. Don’t be angry when a victim does want those things. Unless it’s character inconsistent, that’s not something we shouldn’t have any opinion on as the right or wrong way to go about their lives. What if later they do change their mind and want something different from what they originally planned? That’s fine too. Everyone is different. Don’t give unsolicited advice to people who do not want it, let them decide for themselves. It is the best thing you can do.

The worst abusers are the ones who refuse to change and see wrong in what they’re doing, but what about the ones who do want that? Then also let them heal. They did something awful, why isn’t it a good thing they want to stop it now? You don’t have to let them in just because they changed though. Apologies don’t fix the damage already done, but to some victims, it feels nice to feel that what’s been done to them is acknowledged. You don’t want them to hurt others the way they’ve done to you, and neither do they. It hurts to let them forgive themselves when you haven’t and never will, you want to see them suffer, but that’s the only way things can change.

Dazai has changed, is he a good person even after what he’s done? I despise this question for any character of this series. He’s grown so much, and if you don’t think so, reread his conversation with Kyouka I beg of you. It is a far cry from his mindset in the mafia. A better person for sure, but a good person is hard to define for anyone in this series. The mafia is still the mafia, do any of them qualify as good people? The government, even if it’s the position of the right in society, is still an unjust system.

What a good person is cannot be an objective answer, people think there is but it’s not. A good person is how much we know about them and where our position in life affects our viewpoint. Prejudice values don’t make you correct in what you think a good person is, being convicted of a crime, one you might not even have committed, doesn’t automatically make you a bad person, being associated with a group doesn’t mean anything about who you are, etc. It’s all subjective in the end.

Meaning someone like Odasaku is essential in a story like this. He still has a presence in this narrative, even if he died in a light novel, because his existence pushes the boundaries of a “good person” in the fact his contradictory existence establishes itself. He failed in walking the path he wanted, but he doesn’t regret it even in his dying moments trying to.

Afterthoughts

The themes of morality and humanity go hand in hand with the abuse present in Bungou Stray Dogs, so it was hard avoiding talking about this when it was necessary. I don’t think it’s right of us to judge a character’s path that isn’t finished, in a story that’s nowhere near done. Ultimately, I’m only talking in a place of experience but never will it make me exempt from any personal bias. I tried to be as objective and nuanced as I could about this, and I hope it shows.

Abuse isn’t one of those things that I can analyze from any logical stand point or take resources to back my statements up about abuse. Of course everything I say can be backed up, but abuse is a personal, human matter and we’re just human being trying to figure out more than we can handle. I just couldn’t be comfortable with how people are now choosing to talk about Asagiri and needed to shed some light in what you’re missing.

Now I could’ve gone over Higuchi or Lucy because their stories also involve abuse, but I don’t think I could say anything new about them without repeating points I’ve already said. We know very little about Higuchi and what made her so devoted to Akutagawa, and Lucy is pretty quick to summarize considering her story is just like Atsushi’s. Q is also a character to be brought up but I don’t have enough information on them to say much about any abuse itself that happened.

Yosano was also an option but I don’t think anyone had any trouble understanding her backstory. Well I was only really aiming to speak about what’s not been spoken enough. Thank you for reading haha, god this thing is monstrous. Already got to 14k words by the time I was officially done…. I didn’t know if I wanted to lean into character analysis or just exposition, I hope it’s a good enough mix of both. This took way longer than the 4 days I was planning to write this in.

I was later reminded that I could do a post on how their abilities functioned and reflect on their abuse/traumatic events, but I didn’t think I’d have enough room for that here. It could be a bonus post eventually? I don’t think I did Kyouka enough justice in that aspect, but i’d just be beating myself up again about not making this perfect.

I hope I don’t come off scary or a very serious person? I’m very open to requests or discussions people want to engage in. Oh jeez, I’ll just embarrass myself if I keep talking. Writing this was a bit much, never really liked writing stuff myself. Sorry if glossed over anything, I wanted to stay on topic and not detail into something unnecessary.

The message BSD has is a pretty normal one, but there’s something very special about how it’s written here and I’m happy it exists. Maybe I shouldn’t have made this so long? But there’s so much to express sigh……

[genderkoolaid]

It's honestly really validating to read your thoughts on butch identity. I kept myself from fully accepting I might be a gay trans man for a long time because being a butch woman was so integral to my identity (I wept after finishing Stone Butch Blues. It was like being seen for the first time) and I hated that it felt like there was no way I could be both. So I was sort of performing trans man comphet and trying to convince myself I liked women just so I wouldn't lose that word. There's so much gender nuance to being butch that I feel like gets lost when we only focus on the sexuality aspect of it.

"There's so much gender nuance to being butch that I feel like gets lost when we only focus on the sexuality aspect of it." Yes!!!!!!

I came out very young (elementary school) as a lesbian, and cut my long hair to a pixie in the same year. And then shortly after began realizing was I was trans as well. I spent essentially my entire life being visibly queer and visibly queer-masculine a lot of the time. And this affected so much, because I latched onto "butch" extremely young and that became my model for my gender. I never shaved largely because, due to reading about butches, I felt that it was part of my path, even though I also knew it distanced me from others. My sense of masculinity and masculine fashion has always been deeply butch, regardless of my gender. Its such a deep and integral part of me and has been my whole life. I truly feel that I can't not be butch. I don't relate to a lot of "female socialization" both due to being autistic and being visibly queer; I always knew that, while being categorized as "girl," I was also never going to be a "real girl," and everyone knew that. Becoming a butch adult felt more natural than puberty.

Which is why its so annoying that people center butchness on sexuality, and specifically romantic-sexual attraction to femmes!!!! Because while I have, in fact, dated femmes (arguably I dated too many cis femme women who I felt I had to walk on ice around to avoid scaring them with my butch gender), like I said, my butchness is a natural part of me. Being queer is a part of being butch, but the way we talk about butchness makes me feel like people can only view it existing in relation to romance (and femmes). And obviously because of radfeminism, trans men & mascs' unique relationships with butchness have been largely ignored in any way besides "I used to be butch, but now I'm a Normal Straight Man!" & also the general erasure of transmasculinity in lesbian history. Lesbian spaces have always been a haven for trans people, because for a long time in the West, your options were generally "move to a new town and go completely stealth for as long as possible" or "find your local lesbians and be a dyke within a community." There's a reason "butch" has always held so much gender nuance. Radclyffe Hall, who wrote the famous lesbian book The Well of Loneliness, has been argued to have been transmasculine- but the idea that butches may truly call into question the gender binary causes too much anxiety, so we have to constantly re-affirm that butches are above all else women. I'm a firm believer that butch4butch relationships have long been a way for gay trans men to indulge their desire for men within the context of lesbian identity (because all the trans guys are fucking each other and always have been).

Anyways. yeah. let butches exist beyond our sexuality. Understand that "butch" carries so much color and cannot be reduced down to a simple binary concept.

(Also anon, if you haven't, you should read this article about transmasculine comphet wrt gayness).

[akajustmerry]

Curious to hear your takes on the new Avatar movie. It’s getting a lot of backlash for being culturally appropriative due to its casting of nearly all white actors (which I agree).

my nuanced take is that a film can be INCREDIBLE at a technical level, and be an epic cinema experience, AND be well intentioned as an anti-imperialist text, while at the same time failing to actually represent Indigeneity.

I'm an Indigenous fan of this franchise and have been since I was 15. Avatar 2 makes many of the same mistakes as the first and the layers to it are complicated. It's a white saviour narrative, it fetishises Indigenous (coded) women, it appropriates isolated aesthetics and aspects of various Indigenous cultures without cultural consultation, the majority of na'vi actors are white/non-indigenous ppl putting on ~voices~, and Avatar as a concept allegorically dehumanises Indigenous people by portraying us as aliens.

I will say that the sequel does have Cliff Curtis (who is Maori) playing a Na'vi, along with a handful of Indigenous extras, which is an improvement on than the previous. Also, Avatar 2 has a lot more Na'vi women as important characters so fetishism of the women is much less than the first (still there though). I'm aware of James Cameron's gross past "they should have fought harder" comments and I'm not excusing or condoning them. That dismissive attitude contributes to ongoing colonisation and I would have hoped a man creating a large scale anti-colonial story would know better.

Because that's the rub of it all. Avatar and Avatar 2 are explicitly anti-colonial and anti- imperialist. For all its layers of Nativism, that doesn't make it any less anti-occupation and anti-colonial. I'd argue the 2nd one doubles down on the anti-occupation angle even more than the first. The first had so many "good apples" among the invading humans, the 2nd has none. The invading force is just that, an invading force that you're not expected to sympathise with at all. You're positioned, in every way to empathise with the Na'vi.

My feelings are so complicated because at a technical level this film is a master-class of precision that pushes the boundaries of what's possible with live action VFX. Cameron and the team craft a truly immersive epic about family, solidarity, the beauty of nature and how its desicreited by colonial entitlement.

In short, a film can be both extremely Nativist and a technical masterpiece. Avatar 2 is one of those films and I'm not here to tell anyone how to feel about it. I enjoyed watching it at the movies with my best friend as someone whose an unironic enjoyer of the franchise, but I also felt disappointed that Cameron advanced the franchise at a technical level that did not extend to any genuine representation of Indigenous people.

In a strange way, it's a GREAT anti colonial story but a terrible pro-Indigenous one that demonstrates that a hatred of colonialism and respect for Indigenous peoples are (sadly) not mutually exclusive.

Always love seeing my girl Neytiri though 🥰

[jesncin]

Ahh absolutely fell in love with the martian twins thanks to y’all!

Had a (genuinely curious) question about Ma’al’s design though - why did you (both?) decide to have Ma’al be smaller than J’onn as adults? Does it bother y’all when/if people think Ma’al is a younger sibling of J’onn’s, instead of their twin? Was it to avoid people thinking Ma’al was J’onn in a different outfit/with a different hairstyle?

Also super curious how y’all being identical twins yourselves affected Ma’al and J’onn’s designs….

Sorry if this ask is disjointed it’s like 4am & I binged all the Sons of Mars/JL AU content instead of sleeping

Oh my gosh what an absolutely kind thing to say!! :') thank you!

We designed Ma'al that way for a couple of reasons!

It's a homage to how the two are depicted in the comics! While by definition of their birth (or how their birth was described in the comics) they are monozygotic twins, and by earth standards identical twins, since they're from a planet of shapeshifters they can still pick whatever form they want regardless of the circumstances of their birth. In the comics, Ma'al is always thinner and a bit smaller in stature compared to J'onn. We just exaggerated it~

For story reasons in our AU, Ma'al wasn't well cared for growing up, being treated as a science experiment for most of his life. So not only does he not look as "strong" as J'onn, but his form also reflects his desire to live out the life he didn't get to have- or how he perceives where he is at in life. I compare it to the concept of Queer Time: where queer people don't progress into adulthood in the same way non-queer people do because they missed out on various supposed life milestones. Ma'al is living his messy young adult life. while J'onn had a life partner and wanted to have kids.

It doesn't bother me when people think Ma'al is J'onn's much younger brother instead of his twin! I get a lot of people mistaking Ma'al for M'gann too (because he dresses so non-conformingly). I think it's funny, haha. Plus some twins just be like that~

Being identical twins ourselves didn't affect J'onn and Ma'al's designs (we look straightforwardly identical and even play it up with our outfits), but it does affect how they're written! I have a lot of feelings about how multi-birth people are depicted in media, and I find non-multi-birth writers tend to fall into some really tiresome tropes. Ma'al as a character is so straightforwardly an evil twin trope it's painful (right down to tricking people by disguising himself as J'onn in the comics, boo).

There's an opportunity to create an incredible story and dynamic if Ma'al is written with like a fraction of nuance and people's biases on identical twins weren't holding them back. Most twin stories are about twins maturing and splitting up to be "individuals" but Sons of Mars is about twins reuniting and sticking together. The martians living together in a foreign planet pulls from our experience studying abroad and living together :)

[ghenry]

What do you think of GHMs more "Mainstream" titles such as LC, SoTD and NMH3 compared against their more underground works like Killer7, Silver Case and NMH1. I find the latter has a sense of mystique and weirdness that's missing from the former when the studio seemed pigeon-holed in a brand of "Sex, Violence and quirky"

I've been meaning to write about this here, so good question! I gave it a lot of thought after finding a JPN copy of Killer Is Dead and seeing this within the box;

Here's a quote of Suda reflecting on the production of said game;

Suda was not interested in eroticism when it came to his company's games. However, the more mainstream games GHM made (without his direction) were full of instances that were little more than eye candy. Sex appeal for the sake of it. And much of that was against Suda's will;

Paula running around in a thong (and even tits out a couple times if you played the NA version) throughout Shadows of the Damned also reminds me of Tim Rogers recalling his time working at Grasshopper as a designer in the late 2000s. He sat in a lot of meetings with Suda talking to EA and mentioned a time Suda talked about a save function idea he thought of while reflecting on Travis always using a toilet to save in the NMH games.

An early idea was Garcia going to bed with a woman every time he had to save. This was likely when the game was still going to be open world-ish and Garcia was single. From how Tim Rogers talked about this, it was pretty much the only idea Suda had that EA actually showed interest in. Obviously this idea never panned out, instead saving being delegated to a little demon that poops to signify a saved game. Funny that it connects to NMH's toilet save function in that way.

Something else worth bringing up would be the "gigolo missions" from Killer Is Dead. This also derived from a concept Suda had for Shadows of the Damned where Garcia was gonna take girls out on dates, bring flowers, and it'd actually be cute and romantic. At least, from how he described it.

(These screenshots are from Feel the Magic, a DS game where you played mini-games as you tried to win the heart of a girl throughout the story)

This idea was repurposed for Killer Is Dead, but, according to Suda, the sexual aspects of it were conjured up by Hideyuki Shin, the game's director. Therefore, it devolved into x-ray glasses, staring at boobs, and giving gifts to a robot that repeated animations. A cannibalization of the original concept.

Suda seemed afraid of Grasshopper's reputation being mutated into an identity he didn't consent to. Sex appeal is not something he really thinks about when it comes to making games. It's not his style;

The only times Suda has shown sexuality in the games he directed is when it's discomforting or deeply disturbing, almost never for eye candy.

I still appreciate games like Shadows of the Damned, Killer Is Dead, and Lollipop Chainsaw. As much as this era of GHM was railroaded to chasing some mainstream trends and trying too hard to be quirky, they still had unique aspects that help them stand out above other games of the same subgenre. But I can't help but notice a fissure between these games and the ones he actually directed. The nuance, mystery, and thought-provoking stories are most prominent when he's the one directing.

I'm not going to fault people for liking eroticism and such in video games. I've played plenty of horny games too, and there's obviously an appeal there. But anyone still expecting that from Suda is barking up the wrong tree. Looking at how he's been handling everything since 2018 makes it even sadder when you reflect how these publishers tried cramming Grasshopper Manufacture into this box they didn't want to be in.

One last thing I have to retort, though. I don't lump No More Heroes 3 with the quirky "mainstream" games the way you did in the question. Sure, NMH3 definitely went for a more mainstream marketing plan and the game got super silly at times, but it still has an interesting narrative with a ton of nuance. Way more than any GHM game between 2010-2016. Hence my 4+ hour long analysis of the game;

Many people even rejected this game outright because the eroticism and scantily-clad female cast was mostly absent. This was likely expectations they built after experiencing games like NMH2, SotD, LC, etc.

Speaking a bit more on the sense of eroticism, it's funny to think how that was admittedly present in NMH1, obnoxiously expanded upon in NMH2, and then mostly done away with in NMH3. Going as far as turning Naomi--and her balloon tits--into a goddamn tree!

However, I don't believe Suda turned Naomi into a tree for the sole purpose of removing her sex appeal. I believe this just further accentuates how that aspect is not something he's interested in or finds important for the game itself. He likely didn't even think of it that way, but instead "Hey, she should be a tree now."

And then there's Kimmy, whose death was not only a very harrowing moment in the game, it was also depicted in a sexual manner. Similar to Bad Girl's death in the original NMH. Note the motions and angles in her death scene.

Like I said, this rather disturbing sense of sexuality is more Suda's vibe. And I'm happy to see he hasn't lost that edge, so many years later. Anyway, thanks for the question! I had a lot of fun writing out this answer.

[siarven]

I made this for cara but thought I should use it to FINALLY make a proper pinned post on here! (image descriptions in alt text)

Hello everyone (:

I thought I'd use this to properly re-introduce myself. These days I have a lot going on irl, so I'm not as interactive on here as I used to be. However, I love making new friends and getting to know their projects :D Some of my most important friends are from here, even if most of them are no longer active on writeblr (we have migrated to discord), so if you think we'd vibe pls shoot me a message!!

What you can expect:

Started out as an artblr, then turned into a writeblr, now it's mostly me collecting inspiration, art and writing references, with some infrequent original writing wip/art posts ✴︎ — more info about tags and writing below the cut — ✴︎

✴︎ — #queer tag - I reblog a lot of queer related posts, particularly about aro/ace and gender related topics

✴︎ — #inspirational - art, writing, photography, nature/environmental issues related topics, history, paleontology, archaeology; things I find inspiring and fascinating :D

✴︎ — i love all of the creatures, fictional or real, but less in a "cute videos" and more in a "I love how our world works" type way. I worked at a wildlife sanctuary for a year after school and learned a lot there. one day i will be the forever home for an old cat nobody else wants

✴︎ — sometimes I still post art and or writing, though I guess there'll be more art on Cara if you wanna follow me there (less AI threat)

✴︎ — i study concept art, work as a freelance illustrator, and am currently working on my MA thesis project "Fragments of the Infinite"

✴︎ — my main wip novel (Dream's Shadow) is probably finally getting close to being Finished. Feels somewhat surreal. idk if it's even worth querying it because it really doesn't fit into the current publishing world but it's not actually finished yet anyway so... we can worry about that later

✴︎ — very into fantasy with cool worldbuilding in particular. don't much care for elves/dwarves/.. fantasy preindustrial england type worlds, but dungeon meshi is my current obsession so if it's deeply developed and interesting enough I don't really mind :)

✴︎ — hopepunk my most beloved! i do love when characters get put through the wringer to get to their hopeful ending though. Sometimes, things are tragic in a bittersweet way, and that is okay too

✴︎ — deeply nuanced, complicated, messy morally grey characters driving the narrative

I am open to tag games, but will probably only manage to respond to like 10% of them... it's not you, it's me

Always open for DMs or asks <3

I try to tag everything as well as I can, if i forget, ask to tag <3

If you're into TMA, I have a podcast/TMA blog @moth-song-archives; my rambling animals/shitposts/memes/other fandoms/... blog is @lirhin, and I have a dedicated art blog @siarvenart

a hopepunk dark fantasy story with creepy/horror elements set in another world; small scope that transitions into epic fantasy later on

Status: draft 6.5 completed at 141k; currently mini-beta round. First in a trilogy

✴︎ —1st, 2nd and 3rd person limited, present tense ✴︎ — hopepunk, sibling dynamics, dysfunctional family, power of kindness & love, platonic love, queer characters, queer-embracing worldbuilding, mental & physical trauma, light & dark, secrets, tragedy, lies, betrayal, loss of innocence, holding on & letting go, cute creatures, (in)humanity, trees, religion & belief, growing up, monsters, dreams, nightmares.

When Ava and her parents arrive at the hospital, they find her older brother Ben in a deeply unnatural coma - and nobody can tell them what happened. Despite the magical abilities of the Asim Healers, there seems to be no way to save him. But then, why do they still keep him alive? As Ava slowly learns the magnitude of how terrible Ben's situation (and impossible his future) truly are, she finds herself embroiled in a larger conflict, ready to hook its claws into her as well. And the one person she cares about most - who always had her back - is gone. So despite everything, there's only really one choice: Find out how to save him and try anyways.

the travel journal of a young scientist, documenting the cultures, places, people and creatures she encounters on the way (art/text)

Status: storyboard/script 2nd draft completed; beta feedback

✴︎ —1st person present ✴︎ — 66 double pages of art accompanied by ~10k text ✴︎ — hopepunk, (body) horror, religion & belief, nihilism vs making your own meaning, platonic love, queer characters, queer-embracing worldbuilding, transitioning with magical body horror means, mental & physical trauma, light & dark, deep worldbuilding, eldritch monsters, loss of innocence, SO MANY creatures

Features: a tidally locked planet orbited by 5 moons and populated by giant eldritch monsters; two trans aroace main characters; body horror; so much art; the most gratuitous worldbuilding project; character driven narrative

When the fifth moon hatches during Thorn's own naming ritual, making her one of 2 people who saw it happen, she knows she's been chosen. But back at home, nobody believes what she saw, choosing to instead take the moon's disappearance as a sign of celebration as it mirrors religious scriptures. So Thorn sets out to find physical proof, and uses the opportunity to document her travels. She doesn't know that her view of the world will be thoroughly challenged, but she also doesn't know about the friends she'll make <3

I have various other wips, some of them are linked in my header. I'll return to them at some point, but these 2 are my current projects for 2024:)

[wondercourse]

I think it's time to bring out the Venn diagram I never shut up about officially on a post that isn't a reblog, because I think I want to take this opportunity to discuss it. Have a good faith sysconversation about it, if you will. Discourse by its dictionary definition, not its online one.

Disclaimer: This isn't meant to be scientific. This is my view of CDDs, plurality, and the overlap. If there IS science to go into, please feel free to contribute! Consider this more of an Informed Opinion Piece™, though.

Prepare for her debut; she's plain but she's gorgeous.

[ID: A Venn diagram. The left circle is labeled "CDDs", the right circle is labeled "Plurality", and the area of overlap is labeled "CDD + Plurality". \End ID.]

So this is kind of grossly oversimplified as a concept, due to impossibly minute levels of nuance that I can't really even begin to get into right now that make it less of a Venn diagram and more like an infinitely complex matrix, but I think this gets across the basic idea. Basically, while CDDs can be a plural experience and having a CDD and being plural can have very heavy overlap, they are not ALWAYS one and the same.

The first thing that got me thinking about this was when I was taking my first steps out of the throes of being a hardcore anti-endo and realizing that not everyone with a CDD experiences themselves as plural. Even people with DID might not qualify their experiences as "plural"!

This led to the realization that plurality is a very subjective experience. If people with a CDD can experience non-plurality, and people with CDDs can experience plurality, AND people without CDDs can experience non-plurality…then what about people without CDDs who experience plurality?

Initially, this felt like a really weird leap in logic to me, having just come out of a space where plurality was in two halves (plural + CDD vs. non-plural + no CDD) rather than four quadrants or a Venn diagram. But with how subjective plurality is, it led me to wonder the same thing as some people who have been studying dissociation for longer than I've been alive probably (I'm a mid-20-something):

Why can't it be in quadrants? Why would this incredibly subjective experience of the self/selves be limited to this one specific circumstance? Why are we trying to tell people "If you don't have this thing, then THIS is how your self is defined"? Because that's what the view of plurality is, really: A way to define the experience of the self/selves.

So I guess when people push for reducing it to a duality rather than a complex matrix (see also: "The Venn diagram is an incredibly oversimplified visualization of this concept, as would a four quadrants model and I am INCREDIBLY aware of that), it just confuses me. I understand the fundamental fact that it IS a duality to many people—it was to me!—but I guess I just don't get it. You're trying to define two different things in my mind: Whether you have this dissociative disorder or not, and whether you have this subjective experience of self/selves. And the latter, like…really isn't something you can define for someone? How are you going to tell someone how to define themselves, y'know?

I'm getting The Fog pretty bad right now so I'm gonna leave it as like. Open discussion, I guess. I put this in the syscourse tag as well but please be civil because I'm not going to entertain bad faith with this. If you disagree, please actually say why instead of just hitting me with "You're wrong and you sound silly". This is genuinely something we're really interested in.

Sorry if this post is a mess; these always end up taking a lot out of us because they require a lot of thought. 😅 Thank you for humoring us if you decide to discuss!

[antianakin]

Who’s your favorite Jedi? Clone? Rebel?

I mean, the honest answer for who my favorite Jedi (and I guess this answer works for favorite Rebel too) is Obi-Wan. I loved him as a kid and that nostalgia holds through as an adult. He's funny, he's charismatic, his fight scenes when played by Ewan McGregor are compelling and exciting, and I just think he's neat.

Some runner ups would probably be Kanan Jarrus and Agen Kolar, though. I have a lot of feelings about Kanan and his journey in Rebels. I also was developing a minor soft spot for Bell Zettifar in the High Republic series when I was reading some of the adult novels; it's hard not to root for this poor kid who just never gets a damn break.

My real favorite rebel is probably be Bail Organa, Father of the Rebellion, winner of Best Father of the Century AT LEAST. I adore him a lot.

Runner ups for favorite rebel would probably be Hera and Sabine, but with the caveat that that doesn't count their Ahsoka show versions, obviously. I like the nuance of Hera's relationship with the rebellion and how invested she is in it and how much she's willing to give up for this cause she believes in so wholeheartedly, but also how being a rebel gives her the ability to be a pilot in the way she's always wanted to be and maybe couldn't have had any other way. And I do like the way Sabine sort-of grows into her identity as a rebel in some ways and the way that she starts off as a rebel primarily because it allows her to hit back at people who hurt her and is an outlet for her pain and anger and fear, but then she faces a lot of her fears and her history and her concept of being a rebel starts being less about violence and more about mercy and I really love that.

For favorite clone, I love some of the more obvious answers like Cody and Rex and Fives, but I think the most HONEST answer to this question is probably Dogma. I wish we had a less ambiguous answer as to what happened to him after Umbara, I wish there was a story to follow about who he became after Umbara (if he lived) and how that impacted his view of the Jedi, the Republic, and the clones. I appreciated the nuance of his character, too. He's been raised to view the Jedi as basically omniscient, almost gods, which is where his loyalty to them comes from, which goes along with the idea that he as a clone does not have the right to question them, but it doesn't mean he doesn't care about the other clones and he struggles a lot with having to find that line between loyalty to the Jedi and the affection he does have for his brothers. It's a balance I'm not entirely certain he has even figured out by the end of the Umbara arc, since Krell is ultimately revealed to be a full traitor rather than just kind-of an asshole. Dogma isn't necessarily that affectionate of a person and the care he definitely does have for the other clones kind-of hides underneath a brusque personality and I find that interesting, too, and would've loved to see more of Dogma when they weren't on a mission.

[system-of-a-feather]

there's a solid chance you've talked about this before and I just missed it, so I'm super sorry if thats the case, but if you feel comfortable discussing it: what are your thoughts on the whole tulpamancy cultural-appropriation debate? i feel like the debate is populated by a disproportionate amount of non-buddhists, so I'd love to hear your thoughts on it as someone who is actually part of the affected group.

have a good one!!

-ray (@rayssyscourse)

Oh I have talked about it A LOT cause its one of the topics I like to think about and examine from different perspectives (and debate within our parts a lot) but I absolutely don't mind being asked about it. Tbh I welcome any like specific questions cause it's a very complex topic imo that I really honestly couldn't do justice in a single post if I wanted to, particularly since my opinions are pretty complicated. I'll link some of the more recent-ish posts we've made on the topic cause it's easier than going into each of them. I often talk about it whenever I have a Thought On The Matter that I feel is worth sharing AND I have the energy to do so.

The short answer is that I honestly think its way too complicated than any straight forward "side" or answer I could simply summarize in anything less than maybe five paragraphs and even then I'd probably do my opinion disservice.

I do take pride in being one of the main runners who started the first relatively recent wave of Tulpacourse like in 2021 or 2022 I think? At that point I hadn't gotten too into Buddhism beyond a cursory ankle dip into it since I found that when I went into it earlier, as much as it was helpful, it fucked with our dissociation a lot so a lot of my views then were built on a reverence but superficial skin deep understanding of Buddhism (which is still much deeper than the average person's understanding of it since even on a skin deep level there is a lot of misunderstandings due to the western mysticism of Buddhism) and mainly charged from my experiences as a POC interacting with white people.

Generally, I do stand slightly on the "if I have to pick a side" opinion of "it is cultural appropriation and people should probably not use it" as I feel a lot of people that want to use the term don't acknowledge and want to consider the complications, history or any of the details to it and with the community as it stands, I don't think there is enough genuine and honest respect to the history of the term "tulpa" and the harm its done and the relationship it has to orientalism / cultural appropriation and what not. So generally speaking, if you made me say "which side to I stand with", I'd probably lean on the "yeah its cultural appropriation and shouldn't be continued" but that's really only on the conditional that - for whatever reason - talking about it and discussing the nuances, intersectionality, history, and present issues / aspects of the term is off the table.

Ideally, I'd honestly really just like to be able to have a not-heated no-judgement no-name-calling no-winning/loosing discussion with people in the tulpamancy community about a number of things and compared and contrast experiences, practices, values, etc of the tulpamancy community against that of Buddhists and ALSO talk about the complicated and problematic history it has and what can be done to better respect the history.

I don't (anymore) think that people HAVE to not use the "tulpa" term and I really don't think its productive to try to make someone not use a term just by saying "stop its bad" or "stop its racist". I think its much more productive to hold a discussion and talk about it and develop a much more developed understanding of the term and it's history and its relation to complex topics.

I do think there is a large racism issue in the tulpamancy community though, but I don't think its fair to dunk an entire practice, concept, and community based on the bad apples, even if the bad apples may be the majority and/or the loudest bunch.

I've been meaning to continue a conversation on the topic with @discourse-by-candlelight but the two of us are awfully cursed with the "we actually find this topic really interesting and important and so we want to be able to dedicate our full attention and mental space to genuinely considering the information provided and responding with my thoughts and thus RARELY have that ideal perfect mental place to reply"

But honestly, I think there's a lot more benfit to talking about the many intersecting and complex topics within tulpacourse than just simply regurgitating and parroting the not-wrong but also not-right "tulpamancy is cultural appropriation". I also think its especially not helpful when people parrot that in a context that is not it's original intent or use it to push an agenda that is not inline with the original values and intent in statement

(that being, the core issue with that statement is that tulpamancy is bad because its built upon orientalism, eastern mysticism, and just white people taking advantage of eastern cultures; therefore people who actively state other things that ALSO harm AAPI / eastern cultures should not be pretending to be an ally to AAPI; for more on this read the third linked post below)

But genuinely its something I have a lot of thoughts on and if you got any specific questions feel free to ask, cause honestly I like talking about this stuff and navigating the complexities of it and I'd really like to see a more nuanced and conversational discussion on the topic of tulpacourse.

Here's a bit of a directory of some recent-ish posts on it from us:

Nuanced Perspectives and Aspects to Consider in the Tulpamancy-Is-Appropriation Debate and My Thoughts

Anon Asking About the Term Thoughtforms

People who say "tulpamancy is cultural appropriation" but then state that plurality is inherently clinical / disordered / only due to trauma are honestly acting more annoyingly white / western than people who do engage and use the term tulpa / tulpamancy (also known as me being a clown and making "one" post about tulpamancy, spoiler it was way more than one post)

General Reflections on Buddhism, Plurality, Final Fusion / Functional Multiplicity

[vasito-de-leche]

I've read all of your Reverse: 1999 related posts about a hundred times already and I'm still mesmerized! I love how your writing is fluid and meticulous — all of your analysis feels so precise that it might as well be official.

I was wondering if you could write a one-shot or headcanons about Forget Me Not with a human partner, whichever you believe to be more fitting; to extend what you said in his relationship headcanons. It's such a fascinating concept... at least I think so.

If you are not feeling up to it, I beg of you to at least write some of your thoughts about this. That would make me more than happy!

;R1999 FORGET ME NOT - Relationship Headcanons (2)

Compilation of headcanons about Forget Me Not's relationship with a human partner. A continuation of this post.

thank you so much for the kind words! I really love talking about blorbos so it means a lot to me that you like my work!! for this post, I went for HCs since I already wrote two FMN fics lolol

warning for abusive/toxic relationships!

Even though this is a continuation of the first relationship post, I feel it would be nice to bring back that one point I made about Forget Me Not's potential relationship with a human or mixed - just so everyone knows the themes this post will dwelve into!

The way I see it, all of Forget Me Not's relationships naturally lean towards unhealthy and dysfunctional dynamics, regardless of his partner's status. Being a pure-blooded arcanist only means you're simply trading a specific set of problems for different ones.

So when it comes to humans (note, humans, not mixed - that's a whole different can of worms) Forget Me Not is at his worst. After all, you represent everything that he sees wrong with this world, he's conflicted and torn between his hatred and his love.

He's a difficult character to grasp, but it's clear that he's fully dedicated to Manus Vindictae's goals, as they align with his own unique set of experiences and emotional baggage - this means that he would need a lot of work, effort and time to reconcile with many, many things such as being in a relationship. Especially one with a human. And yet, I don't think it's impossible for him to grow and change as a person.

On the subject of Forget Me Not's mentality towards a human partner.

I want to stress the fact that Forget Me Not is, above all, a cowardly man - it's easier for him to act behind the scenes and react accordingly than to be upfront and confrontational.

He's manipulative, but not controlling.

And one can argue that manipulation is just a different type of control, I agree! But I feel there's a bit more of nuance in this context. Compare characters like Arcana or Constantine to Forget Me Not - the former use manipulation as a means to an end, it's just one of the many tools they can employ to maintain their control over their respective groups. But they have other ways to remain on top. Forget Me Don't doesn't have anything else. When it comes to Forget Me Not, his manipulation comes across as the single thing he can do to win, or turn the tides to his favour, even if it means winning by the smallest of margins. Chances are he's already mentally prepared himself for the worst, anyway.

This originates from the fact that he's fully accepted the fact that he's inferior, that the universe will constantly try to undermine and step all over him, dealing the worst hand for him over and over - so for someone like him to win, he needs to outsmart and pull the strings from behind the scenes, to cheat at a system that could never allow him to get his way. Hence all the emphasis on his two-faced and contrasting themes (a snake in the grass, waiting to reveal itself. a docile and put together bartender, controlling the flow of the market, etc).

Why do I bring this up? Because when it comes to something as unfamiliar and daunting as falling in love with a human, Forget Me Not doesn't have it in him to even take the first step or decide how he even wants to approach the situation. He knows he's already at a disadvantage, and so he defaults to manipulating.

A lot of his behaviour is heavily dependant on your personality and the way you see his actions. Again, it's much easier for him to adapt like this than to confront why he's having so much problems admitting he might've caught feelings for you.

Basically, this is a lot of text to give some insight to why he manipulates you. It's not done out of the desire to control and dictate your every move, your every thought, let alone mold and/or break you into a more ideal partner - Forget Me Not can barely take responsibility for his own life, don't expect him to do that with yours. He does it because he's very sad, pathetic and desperate, that's about it!

His view on love is also an important thing to discuss in this specific point - in the first post I talked about how Forget Me Not is quick to catch feelings, he falls hard and fast. This still applies despite everything I just mentioned.

In the context of this relationship, love and hate simply go hand in hand to the point where he cannot tell one from the other.

He latches onto you like a parasite because you're the only person who seems to care for him or give him the time of day. As negative or harmful as his interactions with you could be, he's addicted to your presence.

If his partner is oblivious to his actions and ties with Manus Vindictae.

I decided it's easier for me to just tackle all the big possibilities, so here we go!

This is possibly the best outcome for Forget Me Not, a partner who is entirely oblivious to his unpleasant sides and morally corrupt actions. It doesn't even matter what your opinion on Manus Vindictae and their goals might be, because you don't know he's related to any of it! This way, he doesn't have to unpack any of those complex feelings and thoughts, nor think too hard on the fact that you're a human - who cares? You're not tainted with all that unnecessary knowledge.

And this would also allow him to continue living in denial, to indulge in a delusional fantasy in which he gets to be happy without putting any sort of work into being a better man. It's perfect for him!

The top priority is to keep you in the dark, and he'll do pretty much anything to make sure you never find out anything that could paint him in a negative light. If he could edit his own files - the ones that the Foundation had - to erase all traces of his past, then he would have no problem gaslighting, lying and playing all these mind games so that you only focus on how loving and doting he is as a partner. All while telling himself that he's simply protecting and shielding you from the horrors of the truth, that he doesn't want you to deal with the stress.

Forget Me Not could continue with this façade for years, presenting his best, most gentlemanly persona to you. It's easier for him to be vulnerable, to allow scarce moments of quiet, gentle intimacy, now that he has a way to excuse his actions.

I'd say that the only thing that could ruin it is, as usual, his own mind. He's the one who took all these precautions into maintaining the fantasy of a perfectly normal relationship, and yet he'll start spiraling into depression over that exact same thing. What if you were faking these feelings all along too? He made you fall in love with a fake version of himself because there's no way you'd love the real thing, etc etc.

Depending on how long you two might've been dating, I can see him choosing to disappear from your life without even saying goodbye. One day, he's just gone and he makes sure that you cannot find nor follow him. Alternatively, he can fall victim to the usual impulses and confess everything he's been hiding, to scare you away and see how you'd react to the truth.

If his partner is aware of his actions and ties to Manus Vindictae, while being very vocal against it.

This dynamic is the one that absolutely leans heavily into a very codependent, toxic mindset. The relationship itself makes no sense: you're a human, therefore someone who Forget Me Not resents and loathes. And he's a member of Manus Vindictae, a group you recognize as extremely dangerous and biased, rejecting all of their ideals.

And yet, you two stick together exactly because of that. Whether you have good intentions (wanting to fix him, save him, what have you) or not, it doesn't matter because Forget Me Not will instantly assume that you're exactly like him: you want someone who sees you for who you are.

Knowing that you openly disapprove of everything that he does and says is addictive, as he's spent a good chunk of his life concealing all of these aspects. Knowing that someone sees him in his totality, without turning away, without fear, it gets to his head pretty quickly. You're the only one who knows him and you continue to stand up to him, all while claiming that you care for him - Forget Me Not eats that shit up. It's a type of affection he's never been shown.

But the more you call him out on his bullshit, the more you attempt to help or challenge him, the more Forget Me Not will sink into Manus Vindictae's mindset - because he loves to see you put so much effort into a lost cause like him. His manipulation tactics are used to make you believe, just for a moment, that you can truly change him for the better. He pretends to breakdown, to reconsider his lifestyle, just so you don't feel disheartened and continue pushing him.

In the previous post, I said that Forget Me Not would get a little unhinged around his crush - this also applies here, but on a much bigger scale. Everything he does is a cry for attention, he wants you to witness everything and still come back to him every night.

Given how self-destructive Forget Me Not can be, he would never think of ending the relationship. It doesn't matter if you begin to pose a threat to Manus Vindictae or The Walden or whatever, he'd gladly give up everything he's worked for if it means having his life ruined by your hands.

If his partner is aware of his actions and ties to Manus Vindictae, but supports him wholeheartedly.

One would think that having a supportive partner who encourages Forget Me Not to never change and to commit as many crimes as he wants as long as he has fun, would be a dream come true - but he's much too paranoid to accept this reality, always expecting to have the rug pulled from under him the second his guard is down.

Now, when I say "support" I mean a lot of things! From truly siding with Manus Vindictae and hating humans as well, to simply being there for Forget Me Not no matter what - as usual, it's up to you!

Your never-ending kindness throws him in for a loop and he channels all that energy into figuring you out. What do you get out of this? Forget Me Not wants to know the catch, and he grows more and more vulnerable each time you show him that there's no catch - you just love him, that's it. All of him, scales and all. At his worst and at his best.

Confronting the antithesis of everything he's believed in is difficult, but overtime I think Forget Me Not would slowly reconsider things - if you, a human, coud love him so earnestly regardless of his constant hatred and bitterness towards the rest of your peers, well... Maybe he can learn a thing or two from you.

This dynamic is the most confusing, however, as Forget Me Not will be clinging onto you like his life depends on it only to keep you at arms' length, emotionally and physically, for the next few weeks. A lot of back and forth between those contrasting aspects, cold and hot, love and hate - but this is good because it's a sign that he's reconsidering things, that he can't just make up his mind with a half-assed excuse. Here, Forget Me Not lacks that conviction and confidence from the previous two points, he doesn't know how to get the upperhand when faced against such brutal, honest love.

His manipulation tactics come across as a half-hearted attempt to get you to slip up or to distract you from the fact that he's losing his edge. Forget Me Not relies on his distant and intimidating persona to operate, but none of that works on you, and so he attempts to keep up the façade to make himself look cruel and heartless.

I think this is when you get to see Forget Me Not at his most pathetic and saddest self - the way he's been lying to himself and to the world for years, how hard he tries to have power to make up for the fact that he has any substance as a person. How afraid he is of letting you in his life because by doing so, he'll have to step out of his bubble and face the consequences of his actions.

[blackautmedia]

Tears of the Kingdom and the use of Hands

It's frustrating how well Tears of the Kingdom incorporates repeat imagery of hands in some form. It has a lot of this great concept with it, but never really capitalizes on it or uses it in any thematically interesting way since the storytelling is so underwhelming.

From the start of the game, Link's separation from Zelda shows him reaching out and trying to grab her hand and failing to make contact, a scene that's mirrored at the end of the game when you have a moment to dive after Zelda and make the catch you failed to do at the start. The game makes sure to have a button prompt section specifically for touching her hand.

Link of course loses his arm and gets...magic emergency surgery (the disability lens of how Link is portrayed in Tears is an entirely separate conversation. Hoo wee...) and from the beginning of the game Rauru and Link are bonded together with Rauru's arm fused to Link's body. My issues with the Zonai as a race aside, this is still another part of the motif.

During multiple conversations between Zelda and Queen Sonia during the memories, they deliberately draw attention to having Sonia reach out and hold or touch Zelda's hands to emphasize the sincerity and love she's expressing. Sonia verbalizes the connection she feels not just as family but even notes how she can sense the similarities in Zelda's powers.

Honestly, for all the issues in how underwhelming Totk's storytelling is, I genuinely love these little moments with Sonia. I think they likely did it to get around possible limitations of creating nuanced facial expressions they couldn't capture easily, but I still found it very effective by helping the player relate to the sense of touch.

The completion of each temple is marked with a show of loyalty with the newly awakened sage and some variation of handshake or hand contact.

All of this makes it more of a wasted opportunity that they had a scene where Mineru is touching her late brother's hand for the first time after being in slumber for ages and they do nothing with it. You could have her tense up, maybe have her run both her hands across the top of Link's hand after getting to experience some form of touch from her brother for the first time.

There's also the fact that Mineru and Link both have the unique experience of altering their bodies and selves in service of being kept in slumber for a long period of time to carry out the responsibility of saving the world. Both of them carry the emotional weight of having to leave behind their friends, family, and the world they knew all in service of this grand plan with Zelda behind it all and yet they never capitalize on any of this. Pretty much nobody else can really relate to this situation and it'd make a great storytelling point to focus on her.

Back to the hands though, we all know the most iconic enemy in Tears of the Kingdom are the gloom spawn, which everyone calls the Gloom Hands.

The end of each shrine you're met with a Statue of Sonia and Rauru greeting you with hands held together as they stand as one.

Hands and the constant element of contact to convey significant moments would be effective in a story about community and the connection and strength that comes from cultivating it and organizing. There's also the obvious connection of unity.

TotK kind of have an aspect and theme of community care or try to lean in on that idea, but it's also messy and undermined when taken with *gestures at everything else*

I dunno. I think the repeat imagery of hands is a really thoughtful choice to convey climactic moments of these scenes. I just wish there was more actual meat to the story to give it some weight.

I've considered doing an addendum video to my Gerudo discussion talking about TotK's storytelling and maybe some of the things that come to mind with the portrayal of Ganon and the Zonai, cuz boy do they have some...implications.

[batmanlovesnirvana]

You know what villain I’d like to see in The Batman Trilogy ? PROFESSOR PYG. This man would fit so well in Reeves Universe. Lazlo Valentin, the pig-mask wearing, opera-singing lunatic surgeon, is the serial killer behind The Perfect Crime sidequest in the Arkham games.

This man makes Joker look sane himself.

Hell even an hallucination of the Joker considered Pyg to be too insane, you've got to be a special kind of nuts to even make someone like the Joker of all people think that. Joker will normally make a comment about the villains Batman puts away in the GCPD, the comments he makes for Pyg pretty much show that, if Joker were alive, even he would be put off by how deranged Pyg is, and this is coming from the hallucination of someone considered absolutely insane by most of Gotham City.

He honestly terrifies me. One of those Batman villains I could see some version of actually existing and its just intensely scary to me. Also the way he talks in Arkham is downright disturbing.

Professor Pyg in concept is an intriguing foil to Batman, the problem is the comics treat the character with bare minimum characterisation. Even, Hush by comparison feels nuanced and layered.

Personally prefer Gotham’s portrayal of the character. That version creeped me out, rather than the hyperbolic or shock horror version in the comics.

In conclusion, I like him a lot. I think a lot of people write him off as being a generic psycho killer or “creepy for the sake of being creepy” but I think he’s more interesting than that. It makes me wonder if those people actually even know anything about him. He does need some more fleshing out though which will hopefully come with time as he’s a relatively new addition to the rogues gallery.