#he's fundamentally a very romantic person

[drmobiusvanch]

HERE'S HOW MOHGMIQ CAN STILL WIN

This was originally part of a big thing I was writing trying to organize the various theorycrafting I'm doing about the DLC, specifically including Mohg, and while this certainly isn't all and wasn't related to the actual stuff I was trying to discuss-that is, the Formless Mother, who she is, what she is, and what she has to do with everything-this ended up happening and it was a way to spill out my thoughts on paper so.

MASSIVE SHADOWS OF THE ERDTREE SPOILERS, AS WELL AS DISCUSSION OF INCEST AND DUBIOUS CONSENT OF ALL STRIPES THAT MAY END UP STRAIGHT UP NONCON DEPENDING ON HOW YOU INTERPRET IT.

First off, let's clarify some things re: Mohg.

First, the explicit canon:

1-Mohg was brainwashed. This is inarguable.

2-Likely pre-brainwashing, Mohg revered the Formless Mother. He was already Lord of Blood with Ansbach as his servant when Miquella approached them.

3-Mohg 'kidnapped' Miquella from the Haligtree.

Here's where my theorizing begins.

First, Miquella's goals. Pre-DLC, I assumed Miquella was already in the cocoon at the Haligtree, but that obviously raises the question of why in the world Miquella would need to brainwash Mohg.

Second, MOHG'S goals. Mohg's clear goal is to create his own dynasty and serve the Formless Mother. And here's where I'm going to get controversial:

I believe that Mohg's sexual desire for Miquella was not compelled.

(And yes, it's sexual desire, 'shared his bloody bedchamber' ffs.)

Throughout the DLC, we see many people affected by Miquella's charm. It can affect large parts of their personality-see Leda-but it also works fundamentally differently. Though they cannot act contrary to Miquella's goals, they all do maintain their own personalities: even before regaining himself, Ansbach wants to investigate Miquella.

Furthermore, none of Miquella's followers behave anything like Mohg's obsession with Miquella. They show none of his possessiveness, and Kindly Miquella is nothing like Mohg's 'dearest Miquella'-a term of endearment, rather than beatification. Love and its different manifestations is a major theme reoccuring with both Miquella(see: the rest of the DLC) and Mohg. For Mohg, even beyond Varre's dialogue about him always tying back to 'love' and the roses he's associated with, there's also his love as a foil to his brother's. Morgott is defined, in many ways, by his deep and unrequited love for the Golden Order. I previously considered Mohg's love for Miquella as a foil to this, and I still do, but in different sense. Mohg's love for Miquella is a creepier version of Morgott's for the Erdtree-explicitly sexual and manipulative/possessive, but still devoting his entire self to someone who won't-and by the end of the DLC, can't-love him back.

(To put it in Greek terms, Mohg's feelings are 'mania', obsessive love, as opposed to, say, Malenia->Miquella(storge, familial love) or Rellana->Messmer(agape, unconditional love).)

So. Miquella wants to become a god, and brainwashes Mohg to enable him to do this, causing Mohg to fall in obsessive love with him. Mohg's love for Miquella and whether it takes the form of the chaste love of everyone else or the sexual love Mohg has is irrelevant to Miquella's plans. I don't know whether Miquella actually intended to kill Mohg in the beginning-the Miquella who entered the Land of Shadow was a fundamentally different person than the one we fight at the end of the DLC. And this is where we get to the last part: the fact that now Mohg's feelings for Miquella not only foil Morgott's for the Golden Order, but Miquella's for Radahn-which are also explicitly romantic(if not sexual) and also coded as dubiously consensual at best. (Though Mohg/Miquella is dubcon in multiple directions at once, win for them!)

Miquella clearly loves-or loved-Radahn. That's, IMO, very clearly the intent of this item description:

In their childhood, Miquella saw in Radahn a lord. His strength, and his kindness, that stood in stark contrast with their afflicted selves. And so Miquella made his heartfelt wish. That Radahn would one day be his king consort.

Miquella, as a child, was struck by Radahn's strength and kindness. (Note: this is not saying that Radahn is a good person. It is saying he is a kind one.) Radahn seemed to him like an ideal lord, a fairy-tale king who he can rule together with, and wished for that. Miquella's love for him is sort of an intense puppy love. Now, several people have said that consorts can be platonic, but a)it's more interesting this way and b)Miquella was a kid. No matter how adult his mind grew, his feelings for Radahn solidified in his childhood, when he wasn't really thinking of how Radahn's strength could work to solidify his rule. He was thinking about how Radahn is strong and kind and amazing and Miquella's going to marry him when he grows up.

Except Miquella can't love. Miquella sacrifices all of his love, along with everything else. This is one of the most important thematic moments of the DLC. It's not simply that Miquella's ability to compel love affected his own ability to understand love, which it may have-Miquella, to become a god, became something that cannot love. So what love Miquella may have once held for Radahn is completely irrelevant, much like whether Mohg loved Miquella before Miquella brainwashed him. Miquella still cared for Radahn and Malenia, but it wasn't anything like love, not even Mohg's obsessive, all-consuming love that ignores what Miquella wants. Miquella is unable to love even like that. His feelings for Radahn are someone's for a favorite thing, not a person.

In conclusion: good fucking food.

[slashesotron]

Question for you! No need to answer if you don't feel like it, but would Avery let his partner out if they legitimately didn't have anyone looking for them? Parents? "Oh I haven't talked to them in years". Friends? "Nah, I prefer to be on my own most of the time anyway". Their boss? Nope, they do freelance work (or at least did until Avery took them in, lol). So like, despite them being gone for god knows how long at the facility and then another undetermined length of time until they were like "hey babe, wanna go to the park?", there's nobody actively looking for them. No missing person's report, no concerned neighbors, nothing. It'd probably break Avery's heart tbh, even if he probably already knew they were a bit of a loner from his "observation" phase. But hey, at least when your victim partner is a homebody with no friends, you don't have to worry about the cops getting called when you go on cute little dates <3

(This ask may have been a tiny bit inspired by the fact that I think he deserves to go on mushy, lovey couple's outings with his S/O. I'm not a hopeless romantic though, I swear!-)

Ahh, but you see... his beloved being a Missing Person isn't all he's concerned about.

Avery can't stand to have anyone gaze upon his beloved- even if there's no flirting going on.

That means anyone. The gas station attendant. A stranger at the park. His own family.

The eyes of another on them, no matter how brief, make him feel like his blood has turned caustic. It fills him with such intense, burning jealousy that he'd do anything to prevent it- which is why he keeps them hidden away in his loft, safe from any prying eyes.

HOWEVER- That's not to say he'd never take them out. It would be at night, and it'd be a long drive out of the city to somewhere natural, where the risk of being seen is very very low. He's going to be tense the whole time, and this could only be with someone he trusted beyond measure, but it could definitely happen if you're good ❤

[estrella-etoile]

Hua Cheng's Very Different Loves

There is often a fundamental misunderstanding of Hua Cheng's love for Xie Lian. The biggest of them was Mu Qing and Feng Xin's assumption at seeing the Cave of Ten Thousand Gods.

They see Hua Cheng as obsessive, dangerous. And given the history with Bai Wuxian, yeah, not entirely in the wrong for that assumption.

It's hard to understand that Hua Cheng is one who has truly separated his devotion from his romantic love for Xie Lian. Because devotion/worship of a god and love of a person are different.

At least until now, the devout and obsessive level of worship that Hua Cheng exhibits is the first type. The type of a religious devotee. And that cave, that's what we see. Hua Cheng did not make the sculptures and the paintings for Xie Lian exactly, he didn't do it with a plan to bring Xie Lian there and ask for praise, he did it because Xie Lian was his totem, the very thing that could center him even at times of extreme suffering to pull through. Religious love is not something that expects reciprocation, it's not something that requires anything of the subject of worship except their existence. And the Hua Cheng of the past 800 years poured his obsessive love into this type of love, the love that he does not have any expectations for.

We know that Hua Cheng also felt the other type of love. His sexual awakening was downright traumatic. Seriously, imagine being fourteen, and having to defend your beloved god from sex demons who are forcing you to realize that your devotion to your god has an edge of desire, all while said god is stabbing himself to keep from acting on the extreme discomfort of sexual urges forced on him by those same damn sex demons. No wonder Hua Cheng is so absolutely freaked out and a little disgusted about harboring that type of love for Xie Lian.

When Hua Cheng finally finds Xie Lian again after 800 years, I fundamentally believe that Hua Cheng would have been content with an existence of watching over and protecting his god from the sidelines. His devotion mattering more than that sliver of self-loathing desire that would never be erased.

The story we got to read though, the one that makes TGCF so special is the way that the other love grows between Xie Lian and Hua Cheng. They enjoy each other's company, enjoy teasing and talking, enjoy the little touches that they share. When Hua Cheng talks about his beloved, he speaks of his romantic love and winning over that person. He speaks of it shyly, because he knows it is something that has to be shared and has to grow naturally. It's what makes their love story so very human, because Hua Cheng treated his religious love and his desirous love as completely separate from each other. And the best part? Xie Lian knows this, understands this, has no doubt about this.

It means that the scene in the cave, where both Feng Xin and Mu Qing mistook Hua Cheng's obsessive devotion for obsessive desire, Xie Lian recognizes correctly.

And Xie Lian reciprocates those romantic feelings.

I like to picture those days that Xie Lian wakes up and finds the other side of his bed empty, then wanders to the Thousand Lights Temple to see Hua Cheng there changing the single white flower in his god's hands, then bowing his head and saying a prayer. Xie Lian rolls his eyes, because well, he's right there, but it's Hua Cheng's ritual, and whether they are husbands, whether they had rough and enjoyable sex the night before, Hua Cheng won't slack on his religious love just because he gets to share romantic love with his husband and god.

[nostalgicmiscellaneous]

I was reflecting on Violet's talk about Colin's sensitive nature and made me think that truly he's a bit of a loner in their home, isn't him? It's like he is the one that needs to keep on trying and when he does something for himself, he's questioned, belittled or ignored. When Colin was thinking that he should marry and forge his own way, to be taken serious, he told Violet exactly that, Anthony shut him down by simply saying he should have taken him to brothels... and there you go, folks, where Colin's example of how a single man should behave comes from. He thought courting a girl everyone wanted was him being taken serious but the brother he admires, told him that, and made he believe that's what a man of their position should behave at his age. So Maybe if he does, if he acts like them, he's going to find his own path & find his own happiness, he thinks. When Colin travels, he keeps writing home, wanting to communicate with his family and loved to hear back from them, and also because he really loves to write - and is good at it -, but they rarely if ever ( some) do. And that's why he was always happy that Pen did, as he was mostly ignored and even mocked for that, they were being quite dismissive of him. We know how he also doesn't truly feel like he belongs and that's one of the reasons he went away, run away. Sure, he loves to travel but we know it's also to free himself of the whole 'Colin Bridgerton' he thinks he should be. When Colin tries to make something, do business of his own, but is something out of his depth as he was never prepared for it - Anthony was the heir to the title and older, likely was taught by his father some things already and maybe Colin and Benedict would too but had no time and Anthony never guided him that way, it seems - he was screamed at and, once again, thought he had truly no purpose. Losing his father way younger than Anthony was a huge trauma too. As much as Violet is a good mother, in that context, losing his father put him without a fundamental support and counsel a young men would need at that time, specially on his late teens and young men years. Still, he's very sweet, a soft guy who worries about his family, just look at every situation that he truly is there wanting to support, a romantic and quite naive in the matters of emotions. A kind guy who always wants to make others happy and defend people when he thinks they are being taken advantage of, were wronged or need his help just to feel happy. And yet the only person that actually has always ever done that for him, in every aspects - attention, protection, love, interest and engaging on his life -, is Pen, his kindred spirit.

[queerfables]

The thing is, Crowley and Aziraphale's problem isn't miscommunication. I'm not the first person to point this out but I see enough posts taking this framing at face value that I feel it's worth saying again.

If Crowley and Aziraphale sat down and talked everything out calmly and rationally without hiding anything and while validating each other's feelings, they would still end up exactly where they are. Because they fundamentally DO NOT AGREE about the problem they're facing or how to address it.

Crowley should have told Aziraphale about apocalypse take two, sure, yeah, but if he had, Aziraphale would have seen it as just another reason to go back to Heaven. He finds out about the second coming and he's horrified but just as resolved in his decision.

Flip side: Aziraphale might have had a hundred good reasons for wanting Crowley to come back with him, none of which boiled down to thinking he was worth less as a demon, but it wouldn't have mattered how eloquently he articulated them. It was always going to be a deal breaker for Crowley.

To be slightly more nuanced about it, there are some things they've been avoiding saying that they really did need to put into words, even though in my opinion they both kind of knew it, already. But the painful fact is that their fight is that in action. Sometimes communicating with someone means exposing the failure points between you (and if you suspect that's going to be the case, that's a very human reason to avoid doing it).

At best, they could maybe have parted with less collateral damage to each other. But the real tragedy of their story is that there was no other way this could have gone. For a long time, their love has been thwarted by the external forces keeping them apart, but also - Aziraphale hasn't Fallen, and Crowley has never expressed any desire to return to Heaven. And just like I think they must have had at least some understanding of the depth of their feelings for each other, I think they must have understood the implications of that too. They're on opposite sides, and even with the danger, it's all very exciting and romantic - until they have to face the fact that the convictions they've held for millennia put them on opposite sides.

So if they're going to move forward together, they can't just talk about it. Crowley's right, actually, they've been talking since before the beginning of time. It isn't enough to understand each other. Together, they're going to have to change. That tentative middle ground between them is going to have to become a place they set down roots, and learn to choose and trust in even when everything else is falling apart.

[mysterycitrus]

i keep beating the giant bat-horse™ but so many characterisation problems are caused by fanon suffering from moral absolutism — that either a character is absolutely right (and has been wronged) or a character is wrong and commits nothing but harm. we see that with tim and jason especially because a lot of that content refuses to engage with those characters flaws. jason having an internally hypocritical world view or sincerely hurting others is brushed off so bruce and dick are then demonised. tim is condescending and dismissive to the people in his life and struggles to keep his ego in check, but he’s transformed into a martyr to make damian look bad.

idk like as a dick grayson fan i like to think im relatively cognisant of the fact that like…. he’s historically mistreated his romantic partners, he’s bitchy and untrusting and isn’t afraid to hurt his friends despite being a fundamentally good person, and he can be very difficult. it’s what annoys me so much about taylors version — where’s his complexity!! being good doesn’t mean u can’t make bad decisions!!

[stardustizuku]

Unfortunately I came across a very strange and misinformed video about Black Butler.

It’s not good. Don’t watch it. Unless you wanna ruin your day, in which case have fun.

Despite it all, I watched it. What left me wondering, however, was how off the mark the person who made the video was on, well, everything.

From their insistence that the Book of Circus Arc theme or point is non existent, to reading Ciel’s character so badly they genuinely thought the Green Witch Arc did nothing for his character development.

While baffled, it also made me think on how someone could read Black Butler so badly.

Sure, you can say that there’s no real way to read or interpret something “in the wrong way” but interpreting The Hunger Games as a pure battle-royale action story would make you believe it’s bad.

“Why are we focusing so much on how the capitol preps them?” Or “Why isn’t Katniss winning everything?” Or “I wanna know more about the rebellion” All questions that miss the actual point of the story - which is criticizing (not solving or ignoring) the way that media distracts us from violence via spectacle.

The same thing applies here. While there is no “right” way to consume media, there’s things that the author makes clear they wanna focus when creating a story. Things that, if you understand, make the story you’re reading actually make sense.

And in Black Butler there’s three things that you have to understand to properly get what Yana is saying.

Sebastian is the protagonist

Ciel and Sebastian’s relationship IS the story.

And that relationship is, fundamentally, a positive one.

A quicker version of it would be:

Black Butler is a love story from the POV of Sebastian, and you have to ship it to get it

- but that’s not entirely true.

You can still look at it as a complex but ultimately positive rship and get in broad strokes of what it’s conveying. It doesn’t have to be romantic. Although, it helps much more than a platonic framing.

(That said, interpreting their rship as father and son, still isn’t the best way to go about it. Mostly because by its very nature of “soul consuming” their relationship is extremely sexually charged. And hey, if you’re into that I don’t judge. However, if you’re desperately trying to interpret their rship as NOT romantic to the point you fall back on heteronormative patriarchal ideals of nuclear familiar as framing device, I don’t think this interpretation bodes with you)

Now, having all that ground work:

Why do I say these are the key components to understand BB?

Okay so, first,

1. Sebastian is the Main Character. The protagonist.

There’s a lot of people who wanna argue against it, claiming he’s either the villain or the antagonist. Both wrong.

He does not function as an antagonist. Even if, and an emphasis on if, you consider Ciel to the protagonist, Sebastian isn’t a narrative antagonist.

If you wanna go back to Creative Writing 101, be my guest. An antagonist is directly defined by the protagonist. It’s the opposing force. If the protagonist wants A, the antagonist wants to stop them from getting A.

Sebastian’s catchphrase is “Yes, my Lord”. He never opposes Ciel, in fact quite the contrary. By the mere fact they’ve created contract, it means that they’ve both agreed in the inevitable outcome.

People want to frame Sebastian as the villain, because Ciel having his soul taken by a demon, would be a BAD END in the context of their moral compass. They see Ciel as a frail victim of abuse, who’s being tricked by Sebastian, who wants Ciel’s soul.

Which is an. Interpretation. A bad one. But still one.

The narrative (and whether the narrative fits your personal moral compass and lack of critical thinking is irrelevant) treats Ciel as an agent in his own destiny. The abuse he suffered was the moment in which he had no control. It’s only after he meets Sebastian that he can rid of both his guilt and his despair, and do what he wants.

In this case though, it’s revenge.

The famous “Asthma” scene shows this. If Ciel is taken back to his past, he becomes helpless. Swarmed with pain and memories that make it so that he can’t even react. Sebastian is his saving grace. If Ciel didn’t have him, and the power he wields to rebuilt what’s broken, he would crumble once more.

If Ciel has a panic attack, because of all the pain he has, Sebastian picks him up and says “you are not a helpless child anymore, you are not a victim anymore, you have the power to do anything. So, what do you wanna do?”

Ciel’s answer is to kill them.

A proper analogy would be to say that, if Sebastian offers a gun, Ciel pulls the trigger. They are both at fault. Sebastian, strictly speaking, is not here to directly cause Ciel’s downfall, but as a tool Ciel uses to plunge into the abyss.

If, again if, you were to frame Ciel as a protagonist, Sebastian falls closer to the “Voice of reason” character. Not a literal voice of reason, but a literary one. If you have a protagonist and an antagonist exchanging ideals, the Voice of Reason serves to engage with the protagonist on their own ideals.

That said, Ciel isn’t the protagonist. The story quickly falls apart if you interpret it as such.

Things such as Ciel’s character arc being…shall I say odd?

It’s not that his character arc isn’t there, but it’s never lineal. His goals stay the same, the only thing that happens is that we start to peel back the “why”s of his goals. Throughout the series it’s never about Ciel understanding himself better, he knows who he is, he knows what he wants, he knows why he wants it. He doesn’t ever need to uncover these, but simply remember them. Because it’s always about the audience understanding Ciel.

He knows he wants revenge.

In the Circus Arc: He knows that he needs Sebastian because without him, the pain of the abuse he suffered would be too much to bear. But WE are introduced to it.

In the Book of Atlantis: He knows that with this new lease he does not want happiness and peace, he wants revenge. The one being told this is the audience.

In Green Witch Arc: He knows that their revenge isn’t for his family, the real Ciel or guilt. It’s because he wants it. He’s angry, he’s upset, and this is entirely for him. The one being told this is the audience.

Except. Not really. The one either discovering or remembering these key moments - is always Sebastian.

Sebastian is the one who reassures him that he now holds the power of a demon to override the pain. Sebastian is the one who remembers that to override that pain, Ciel wants revenge. And Sebastian is the one who discovers that that revenge isn’t built out of grief or guilt, but for himself.

We are witnessing it all, through the eyes of Sebastian.

This is why we have an extremely vague idea of who Ciel is, Sebastian does not have the whole picture.

If you haven’t been reading this manga with your eyes closed, you’ll realize we have a better grasp at Sebastian’s character than that of Ciel. We get a lot of insight on how he thinks and what he values through light hearted dialogue he has with the servants. You even see the character development in these little interactions.

Think about how when he first arrived to the mansion he magically created food with no regards to taste, but when he meets Bard he states that food is created to see whoever will eat it, smile.

That is character development, more than you will be able to see from Ciel.

Because Ciel’s character, while not static, doesn’t go from point A to point B. Mostly, cause it doesn’t need to. He went through that when he lost the real Ciel and got Sebastian. Everything we are watching is the falling out.

Now, given the fact that I’ve told you that it makes more sense for Sebastian to be the protagonist/main character, and that he 100% isn’t either a villain or antagonist in ANY of the interpretations you can get:

Do you believe me?

If you don’t, you’ll probably believe Yana herself.

This is from the first Volume, where Yana herself describes the process of making Black Butler. The primary idea behind the creation of BB was a butler as a “hero”.

If you go back to the introductory chapter, you notice that Ciel is barely mentioned. He’s simply the one to give Sebastian impossible tasks and standards that Sebastian must find how to overcome.

Ciel is properly introduced until the NEXT chapter. The second chapter has this formula too, introducing Lizzie as a problem to overcome. Although, to Sebastian the best way to “get rid of the problem” is simply to indulge her.

The issue here being that the problem isn’t as simple as a business meeting but something directly tied to Ciel and Ciel’s past. Each time that Sebastian has to solve a problem, it chips away at Ciel. While with Lizzie he shows a persona, once he’s alone with Sebastian he acknowledges the toll it took on him. It serves to build Ciel as Sebastian’s master, and how some problems aren’t as simple as discarding a tablecloth.

The third and the fourth, are a unified narrative, with a similar premise to the first chapter. Ciel gets kidnapped and Sebastian must find a way to retrieve him without raising suspicions.

If the first chapter is to set up what Sebastian must do as a butler, the third and the fourth serve to set up what he must do as a demon.

The entirety of the volume, and up to Book of Circus Arc, is about how Sebastian tries to follow the increasingly absurd orders that Ciel has - it is not about Ciel trying to solve them.

That’s how they work, we follow Sebastian for the most part, because he’s the one having to come up with the solutions.

If anything, in early Kuro, where the emphasis was more on a slice of life conflict, Ciel is the antagonist. He’s the one creating problems for Sebastian to solve.

What’s more, in the second volume, the very first chapter is one from Sebastian’s POV. So far, we hadn’t gotten an entire chapter from Ciel’s POV. In fact, I would find it hard to point to a single chapter where Ciel is the POV throughout. The reveal of real Ciel and the flashback is the closest contender.

But once we move past early Kuro, and into Book of Circus, this set up changes.

It’s fairly easy to assume that Ciel is the main character, because from this point on the conflict of the plot sorta surrounded him. We spend a lot of time with him and with his story. The enemies start being people directly tied to Ciel and Ciel’s trauma. Rarely, if at all, we get to see Sebastian before he met Ciel.The framing device for the story, is Ciel.

This is where point 2 gets intertwined.

2.- Sebastian and Ciel’s relationship IS the story.

The story begins at the point where Sebastian and Ciel met. Who Ciel was before he met Sebastian, informs why he’s the way he is when he does. You have to know all he went through to understand why he’s a brat, why he lashes out. However Sebastian’s past doesn’t matter…because Sebastian himself doesn’t care much for who he was, before he was “Sebastian”. That’s also part of the narrative.

Unlike Ciel, he doesn’t seem opposed to revealing information from before the contract. He talks about how pets from where he is from are gross, he talks about how he knows how to dance because of other places he’s been to, and alludes to the life he's lived before.

Just that, to him, they're footnotes.

He makes allusions to a very bland, uninteresting life, up to the point he meets Ciel.

That’s why we don’t know more about his past.

As for why we focus on Ciel’s story…okay maybe we need Creative Writing lessons 102

I studied Dramaturgy for about 3 to 4 years. And something you notice is how play-writing is the quintessential story telling. It’s making it work with the bare bones of a story.

Some other mediums have more finesse, more depth, or more spectacle - all amazing things that work for whatever they’re created for. But understanding a play, how and why it works, helps understand the fundamentals of any derivative story telling medium.

Particularly, conflict.

Conflict is dialogue and dialogue can take many forms. A story, in its essence, is a dialogue between two opposing ideas.

Take Batman, for example, who embodies the ideas of justice and order. On his own, he’s not a well rounded character.

If you ONLY present him, in a vaccum with nothing else, you don’t have a character. You have a list of characteristics that you’re supposed to know.

You only know who he is when you have dialogue with another character.

I say Dialogue, but it doesn’t necessarily mean spoken language at one another. Dialogue can mean fist fighting, playing tabletop games, talking to other people about the other, or even just a competition. The idea is to simply to compare and contrast both ideas.

If you want an example on how tabletop games serve as dialogue, watch the video “Well, Someone Had to Explain the Liar’s Dice Scene” by Lord Ravecraft

Another example, were we to retake Batman, you have him fight Joker. Who’s the embodiment of chaos and randomness.

In the following picture, you get far more information than the one previously shown. While the Joke fights with daggers and fake guns, Batman only uses his fists. He doesn’t use the tricks that Joker does. His serious demeanor, contrasted with Joker’s glee at the dangerous situation. The fact that Batman has a deathly grip on Joker’s shirt, while the Joker doesn’t, which shows a desperation to catch him.

You are being shown, through a dialogue, who Batman is.

It’s so much easier and much more effective to explore a character through another character.

This is the reason why Shonen has a tendency to make incredibly good gay ships. If you want to explore Naruto’s personality, and his feelings of inferiority, you HAVE to have him interact with Sasuke.

If you wanna understand Hinata’s passion for volleyball, you have him enjoy himself the most with the only other crazy motherfucker who’s as obsessed with volleyball - Kageyama.

And I think that originally, Yana had this problem.

Sebastian was the protagonist, but she had little room to develop him as a character in the confines of the manor, dealing with random enemies.

She likely tried to create Grell as someone of the same stature as Sebastian. Someone who could be this other person to engage dialogue with and show or allude to his past a bit more.

The problem being that Sebastian didn’t care for his past. Or really, engaging with anyone. He sees everyone as below him, but when confronted with Grell who isn’t below him, he doesn’t wanna talk to her.

So you’re stuck in conundrum.

How do you have dialogue with a character, that as a character trait, doesn’t really wanna have dialogue?

Well, Grell also solves the problem. Because only the moment she gets him to start any semblance of a dialogue - is questioning why he’s serving Ciel.

And this is the moment when it’s perfectly cemented that the focus of the story is their relationship.

Why is Sebastian here? Why does he stay? What did he see in Ciel that made him want this extremely convoluted contract?

THATS the dialogue.

THATS the conversation we’re having in Black Butler.

We need to know Ciel because understanding who he is, let’s us know WHY /Sebastian/ is here.

Then slowly, with the introduction with the Undertaker, we find out Sebastian’s conflict.

Which is…

He’s scared of losing Ciel. It becomes apparent with the constant imagery of the Undertaker taking away Ciel and at some point even obtaining r!Ciel’s body, that he’s worried it might happen.

But he can only be worried that Ciel might be taken away if he wants to stay near Ciel.

And that’s his character arc.

Realizing that he actually likes Ciel, cares for him and the role he plays a butler that he doesn’t want this to end.

In the first chapters, he doesn’t feel a need to protect Ciel anymore than what’s strictly necessary. Just don’t die, that’s about as deep as his involvement in chapter 4 gets.

But by the Green Witch Arc, he feels a need to protect Ciel from ANY harm.

This is why I also said

3.- Their relationship is fundamentally a positive one.

In broad strokes, Sebastian to Ciel is the person who allows him to survive. He’s not worried about giving up his soul since he’s already dead. While Ciel to Sebastian, is someone who’s making him have fun. He’s slowly becoming more and more attached to Ciel and the life he has with Ciel.

Their relationship is not that of just a predator and prey, but also of master and pet.

In the terms that Black Butler itself would call: Sebastian is a wild wolf acting like a collared dog.

Ciel is aware that the wild beast will eat him at the end of the day, but if he clings hard to leash for now, he might just be able to have Sebastian maul his abusers.

Sebastian as a dog, currently finds that he enjoys being a chained dog.

(This is demonstrated in the Green Witch arc where he quite literally says, he doesn’t wanna be a wild beast and prefers to be a butler)

And much like the actual DOG Sebastian, Ciel constantly interprets his attempts to get close and protect him, as an act of aggression.

This push and pull of Ciel’s perception of Sebastian and Sebastian’s true motives is what feeds the story.

And the briefs interludes were that isn’t the case (what other people call the “plot”, but I would refer to as the connective tissue) such as Sullivan and Wolfram, the other servant’s past, the grim reapers and the like, serve as a parallel to Ciel and Sebastian relationship. Either to signify how they care for each other, highlight their weaknesses or fears, or explore how they feel.

It’s no surprise that Sullivan and Wolfram are parallels to Ciel and Sebastian. A sheltered sickly child who seeks the protection of a cold hearted machine that only knew how to kill, but who eventually found he cared for her genuinely.

Undertaker and Claudia’s relationship being heavily paralleled with them, even though we aren’t 109% sure what they had but heavily implied it was a romantic attraction from the undead supernatural creature and a Phantomhive.

Everything is a parallel.

That’s why, like the approach of the terrible original video, is flawed.

Trying to interpret Black Butler as action scene after action scene, with mystery after mystery with the only connective tissue being the mystery of who burned down the mansion - is missing the trees for the forest.

That’s not the point.

And if you’re too much of a prude to engage with gothic horror in its gothic horror game, I see little point as to why you even bother to engage with it at all.

A lot of people, including the person who create the video, simply refuse to acknowledge Black Butler IS the story of Sebastian and Ciel as a close and positive relationship, romantically and sexually charged. The reason for it being that they’re “put off” by it.

Part of me wonders how much that is genuinely true, and how much is just performative outrage. It’s like ignoring the fact that Cersei and Jami are in an incestous relationship and try to frame it as “platonic love”, because the idea of it is THAT off putting.

But regardless of that, if you don’t like the fact that it’s as canon as canon can get, I would reccomend you don’t engage with the story at all.

As I’ve explained, the entirety of the series is about them. If you refuse to see Sebastian and Ciel as, at the very least, a duo that cares deeply for the other - you aren’t reading Black Butler.

I have no idea what you’re reading.Perhaps your own biases and subconscious stigma with British aesthetic. At that point, watch the fucking British Royalty Gossip Magazine. You’d find more substance there.

Just don’t be like the person in the video, please? Don’t play dumb. Don’t ignore the fact that Yana is a Shotacon, don’t ignore the fact Sebastian is a hero, don’t ignore the fact that the entirety of the story is based on Sebastian and Ciel’s dynamic.

Because if you do, you are ashamed. You are ashamed of what this story is about. You don’t wanna engage with the text, you want to engage with yourself. You wanna project into Ciel whatever traumas and experiences you have, for the sake a vanity project, where you come out as the morally superior.

You don’t wanna talk about Black Butler, you wanna talk about how good YOU are. How you “don’t sin” by watching it “without all the gross unholy stuff”.

Which is the exact opposite of what BB is about.

So, if you don’t want to, save us all the humiliation fetish and leave.

[aveloka-draws]

"I'd love to read more" well if you say so! So... Narinder. The iconic catboy. Following along with the theme of loving a god being the equivalent of entering a toxic relationship that is EXACTLY what Narinder has done. Praising and encouraging the lamb for their actions in killing the other bishops. Getting them to open up about all these personal details while simultaneously never revealing anything about himself (shit man SHAMURA is the one to tell the Lamb that his name even is Narinder!) The worst part is that it is at least partially genuine. There IS something there as with the other bishops and their relationships, but they are gods and such can only respond as gods always do. By drinking in all the devotion, and only giving something back when they want to. Things are healing now, but it'll never be the same as it was. Now Narinder finds himself stuck in a situation where he is noticing the slow and steady creep of "godhood" in the lamb, and is trying to keep Lamb grounded to their mortality. Now he's the one in the position of giving devotion, and its important that his quest succeeds, because he knows no matter the outcome he's not getting off the wild ride. Shamura, my fella, where do I begin with you. They have been a god for the longest. The oldest, and we don't even know how much even older they are than Kallamar. The only thing we know for certain about Shamura's age is that they have been alive since the glory age of gods. They have been divinity for unfathomably long, and were the closest to what it should mean. However, they have been upheld as god for so long I think its fundamentally warped every single relationship Shamura has. Does this make them evil? No, but it makes it hard to treat anyone outside of their family as an equal. Even after becoming mortal, just from what I've seen, they STILL are on a pedestal. The other bishops remember the big and wise older sibling. The LAMB, the only actual god left, is begging THEM for help. So Shamura will help alright, by telling the Lamb all about the warped ways they believe a god should perceive the world. I think Shamura needs, whether platonically or romantically (I don't know your headcanon for their orientation), for someone to get mad at them. Saying what is true but saying it in a cold/cruel way is very "i'm a god and can say what I want without consequence" behavior. Someone needs to shove this nerd into a chair and give a passionate "I don't know how to explain that you should care about other people" speech. Anyways that is all. I must let my brainworms rest for now.

Biting this biting this thank you for the food jshsjsh thank you brainworms

Narinder starting to feel the consecuences of his actions fr by being on the other side of things huhu hopefully he'll do ok

Also the pts about Shamura uogh that spider is so interesting to think about either as a god or mortal, spider with secrets and dementia

Been thinking about getting Shamura a friend for some future scenes maybe

Still in progress, being rotated in a microwave as we speak

[jointherebellion215]

Okay, this may be a hot take, but I'm so sick of the "Art immediately forgives Tashi and Patrick for cheating and they all live happily ever after with no issues" trope that's become common in Challengers fanfics.

I know that people are so in love with the polyamorous-coded nature of Tashi, Art, and Patrick's relationship, that they completely forget what's a reality in the story. It also spreads misconceptions about polyamory, because while poly relationships are ethical, cheating is inherently unethical. Cheating and polyamory are not synonymous.

Poly relationships can work because there's constant communication and, most importantly, there's consent with all parties involved. There should be, like in every relationship, a level of trust between everyone.

Now, Art and Tashi are assumedly not poly. They are in a monogamous marriage, which dictates romantic involvement of two people and two people only. Regardless of any feelings that may occur with a third or fourth person, they are in a one-on-one relationship.

Tashi and Patrick deciding to get together multiple times without Art's knowledge or consent breaks that fundamental level of trust Art and Tashi had. It's a betrayal. Art should be allowed to be pissed off. Livid, even. I know that Art is seen as a very passive, submissive character compared to how assertive Patrick and Tashi are, but he shouldn't be a complete doormat. Everyone deals with hurt and pain differently, but there's been a general consensus among the fics I've read that were like "Yeah, that happened, but nobody talked about it or fought and everything was fine!" which is so ??????

Let him be angry. Let him be hurt. Let him hold a grudge for a little while. There can be tension and arguments and conflict before all is well.

There can be consequences.

[adhdchilles]

before i leave for school today i want to say something: i think a point that a lot of myth nerd people miss is that at the end of the day it doesn't matter what you want to label achilles and patroclus' relationship as because it will always be fundamentally queer. these are two men who love each other so intensely one is willing to risk his own life to protect the other one's glory and reputation and the other one is willing to sacrifice his godlyhood and immortality to avenge the other's death. their love for each other breaks almost everything that the people expected from heroes and demigods as we see in plato's symposium -- achilles killing hector and not caring that it meant he had basically been reduced to any other mortal person is the most shocking part of it all, even for the people back then, since he's been fighting to maintain his glory and honor for so long, for the entire iliad in fact, but is willing to throw it all into the air the exact moment his beloved patroclus is killed. it doesn't matter if what they felt for each other was platonic, familial, queerplatonic or romantic, the story in itself is queer in its very roots and has always resonated with the lgbtq community and to try and make it seem like we are foolish for thinking of them as lovers is to disregard the importance that their story has to all of us.

[kabru-of-utaya]

The thing for me with the Kabru and Laios scene in ch.76 is that I think making it romantic takes something fundamentally away from it and away from Kabru's character arc. However you choose to see their relationship, personally, I don't see them as romantic- I think it has to be exclusively a confession of friendship and one of the very very few times in the manga that Kabru is ever genuine. It's so fucked up how we went from the beginning when Kabru said he doesn't trust the Toudens, he thinks they're doing something shady, he thinks they're malicious, he doesn't trust Laios, to now such desperation that he's chasing after him and grabbing onto his clothes like a child begging him to stop and listen to him. It's such a sad display considering how Kabru is always so well put together. Him getting so desperate that he admits how all he ever wanted was to be Laios's friend, and then his look of horror as he realizes he admitted something he never wanted to admit, he was vulnerable without wanting to be? Then for Laios to turn around and say he was lying, that there were better ways to make friends, and that he didn't have time for this conversation. Oh, it hurts so bad. Kabru has no real friends, not really. Only Rin has gotten close enough to be considered it, he has been a hated child all his life, he has never fit in anywhere. You would never guess it with the way he acts, with his casually confident he is and how personable he is, but he didn't fit in from the moment he was born. No one truly knows him. How lonely to be disowned and hated by all your family besides your mother, to lose your mother when you were still so young, to be taken to a country where no one recognized you as someone to be respected because of your life span, to not be allowed to take on dungeons how you wanted to because you weren't good enough in the elves eyes. Even now, even when he wanted to make friends, Laios and Falin never noticed him, never paid attention, never listened, and what is Laios doing in that scene beside the exact same thing. He tried to shut down Kabru so many times, to the point that Kabru had to force him to listen by way of physical force. How sad for such a horrifying admittance to simply be, "I always wanted to be your friend". I think taking that scene to be a lead-in for romance undermines how truly sad and lonely Kabru's life has been leading to this moment where such a gutwrenching confession is just that of wanting a friend.

[kikokus]

Lucci and Kaku: An Analysis

I haven’t done long analysis/meta/essay-style posts in a while, but after seeing a comment that amounted to “every time Lucci’s shown an interest in something that doesn’t have to do with killing, Kaku’s involved” it made me think about whether or not that's true and, more specifically, whether or not there’s been sufficient build-up to justify what happens in Chapter 1111.

So let’s explore, shall we?

First of all, basic disclaimer that I’ve been heavily into One Piece since 2008 and Water 7 has been my favorite arc since the first time I read it that summer. Kaku, in turn, has always been one of my top characters in the entire series for various reasons…but this isn’t about him (at least, not entirely), so all of that is just to say that I’ve thought about these characters a lot over the years.

And I think what always struck me about them is that not only are they so fundamentally different, but that realistically Lucci should not tolerate Kaku at all. He’s pretty much everything Lucci’s not, and they’re more-or-less a perfect example of the ‘someone will die…of fun!’ meme in a lot of ways (and honestly it’s what I think of every time I see this card, but I digress):

At the same time, what happened in the latest chapter didn’t surprise me, because there’s been hints all along, and I’ve personally been waiting years for it to pay off…even though part of me thought it never would, or at least not in the way it did!

Still, how did we get here?

But First, A Bit About 相棒

So. Why is the fact that Lucci calls Kaku his “相棒” (aibou) so significant? Mostly because of the…individualistic meaning of the word. It literally translates to ‘partner’, but not in a romantic/life-partner way (not to say that it has never been used like that, but it’s not the inherent meaning of the word).

Unlike words such as 友人 (yuujin), 友達 (tomodachi), and of course, with Luffy, 仲間 (nakama), aibou generally only refers to one person. You can have many friends, teammates, crew members…but only one aibou. So by calling Kaku that, Lucci’s already placing him on a different level to anyone else in CP9 or CP0 and acknowledging openly that Kaku’s important enough to him to have earned that distinction.

Which is why a lot of us were very excited about it, since this is not a common occurrence where Lucci’s concerned.

That aside, let’s get to the actual canon content.

Water 7

Obviously at the beginning we find out they both work at the shipyard, but that in and of itself isn’t entirely significant…until you consider that, since Kalifa is pretty much with Iceburg all the time and Blueno’s running the bar, the two of them are working in much closer proximity to each other than to the other CP9 members in the city. 

The first real indication we get regarding their comfort level with each other comes in chapter 327 when Kaku gets back from examining the Merry and goes to sit down to explain what he’s discovered. Paulie’s the closest to him, but he actually ends up stepping past both him and Lucci in order to sit directly beside Lucci on the same level.

It’s quite a while before we see the two of them alone again, and it doesn’t happen until chapter 339 when they’re speaking with Robin. Of course at the time we’re not supposed to know it’s them, but there’s really nobody else it can be since this is happening at the exact same time that Blueno’s talking with Franky and Kokoro at the bar. So, as will become fairly common, the two of them are again acting as a unit of their own within the larger group.

And then, of course, we get the infiltration of the mansion prior to The Big Reveal (which I’ve spoken about before because for me it’s still the single greatest reveal in the entire manga because of how carefully crafted it is, right down to Kaku’s limited dialogue in this section being completely devoid of his usual speech quirks in the original Japanese text). Once again, Blueno and Kalifa are doing their own things while these two are working together.

This panel has always been interesting to me because immediately prior to this Lucci says he can’t let Paulie live, and then he decides to just restrain him instead. In Luffy’s case it makes sense because they gave their word to Robin not to harm the Strawhats, but he has absolutely no reason to spare Paulie, and the little lines of shock/surprise beside Kaku imply that he hadn’t expected Lucci to do that, either. The ‘why’ is still unclear, but it’s interesting nonetheless, and it’s also…noteworthy that it’s the only thing Lucci asks Kaku to do. All of the actual damage Paulie takes comes from Lucci and he never asks for or expects Kaku to harm him.

I never connected these two panels before but it’s obviously very deliberate to have Lucci telling Iceburg that feeling emotions is a sign of humanity followed immediately by Kaku…demonstrating exactly that and thanking Iceburg. It’s important to establish that part of Kaku’s character, but keep in mind Lucci’s lack of a reaction here because it’ll come back later.

Again, very tiny moment, but there’s a lot of examples of Lucci deferring to Kaku or letting him take the lead without any hesitation, and I like this because Kaku’s noticed something that Lucci hasn’t and Lucci just goes with it immediately.

I’d forgotten about this but Kaku’s also the one that decides to take Usopp with them, first by recognizing him as one of the Strawhats and then going through with it even after finding out he doesn’t consider himself a part of them anymore. And Lucci just…stands back and lets him give out orders to the others while doing so.

Okay so this is what I was referencing earlier. Kaku shows actual emotions with Iceburg and Lucci’s silent, but the moment Kalifa gets even slightly happy about completing the mission he’s berating her instantly. Kaku’s expression here is interesting too because he looks absolutely haunted and it’s very telling.

And also another visual representation of Lucci and Kaku being equal to/on the same level as each other.

I didn’t include the panel but Kaku was ‘sleeping’ when Corgi was giving them all of the information about Nero while Lucci was (seemingly) wide awake, and yet Lucci has no idea who he is and relies on Kaku to have all the information. Which he does.

Kaku being the one to take charge again and direct the others even though Lucci’s standing right there. They do this more than I’d realized at first, especially since Lucci always seems to be looked at as the unofficial ‘leader’ of CP9.

Enies Lobby

We’ve made it to Enies Lobby, which is the first glimpse we get of these two interacting with the full CP9 group outside of any sort of ‘mission’ environment.

Mostly it entails Lucci being more combative (especially with Jabra) and Kaku being more annoyed, but again I can’t really imagine anyone else taking this tone with Lucci and getting away with it while Kaku does it fairly often and Lucci never retorts or gets angry with him.

And while Kaku’s not immune to taking Jabra’s bait in the right circumstances, his typical tendency is to de-escalate situations if he can and here he’s refusing to engage despite being deliberately called out…and Lucci, without being asked, immediately takes his side and defends his choice.

This is practically the next panel and while both Lucci and Jabra are kind of equally at fault for this little display, Kaku only berates Jabra for it while Kalifa’s directing her comments at both of them.

Now that I’m actually looking for these sorts of things it’s becoming more obvious, but again we have Lucci and Kaku in an equal position to each other at the front of CP9.

This isn’t just to Kaku since Kalifa’s there as well, but Lucci’s still encouraging them to eat the fruits and I have to believe it’s coming from a place of good faith because he’d know whether or not being able to swim is that big an issue in their profession. I also want to note that Kaku echoes Lucci’s ‘it’ll be fun’ line when he actually does eat his fruit, so obviously that resonated with him.

I’ve put these two together because they both highlight the same thing, that being in both of these sequences we get almost all of CP9 giving out their individual thoughts/comments on what’s happening but Kaku’s statement both times is a direct reply to what Lucci says, so again the two of them are paired off in a way that doesn’t include anyone else there. 

The only other thing of note in this section is that while Robin’s talking about what happened during the Buster Call on Ohara, Kaku and Lucci are the only CP9 members to kind of…break formation and actually look at her while she’s speaking, which is interesting.

And for the rest of Enies Lobby they aren’t together so there’s not too much more to say here other than Kaku of course being the one to have the actual key to Robin’s cuffs, but it’s never made explicit who came up with that plan or handed out the keys so…if I ever actually do the thing and write a full analysis of Kaku’s character we can talk about it then Lark you’ve been saying you’ll do this for years IF I EVER--

Interlude - CP9’s Independent Report

Besides the fact that this is still one of my favorite cover stories, there’s a couple of noteworthy things here, the first of which is that Kaku again is taking the lead. Even though he’s the only other CP9 member other than Lucci to be injured badly enough that he can’t walk on his own, he’s still the one directing them where to go.

Other than that, I love seeing all of them just…interacting like friends and being very relaxed and casual, and pretty much every panel where Kaku and Lucci are together they’re directly beside each other so I’ve included a bunch of those here.

Dressrosa & Egghead

The next time we see Lucci and Kaku is at the end of Dressrosa, where they’ve been promoted to CP0 Oda can we please get some explanation of how this happened and let me tell you, I remember this vividly because the spoilers at the time just said that Lucci was talking to ‘someone’ and when the raws came out you can bet I went right to the dialogue to see if it was Kaku because his way of speaking is so telling.

But even in this little scene, we can see they’re having an equal conversation and there’s a major difference between how Lucci’s speaking with Kaku and how he addresses Spandam mere seconds later.

After this we have the Reverie/Levely/what-even-is-this-thing-called arc where they get all of a single panel together and while it’s the first time we actually ‘see’ Kaku after the time-skip, nothing really interesting regarding their relationship happens, so let’s move on to…

The end of the colored manga! And Egghead.

We start with a very familiar situation: Lucci asking Kaku what’s going on, and while Kaku this entire arc seems more outwardly annoyed with Lucci than he ever was in the past (which is never really explained but then again, Lucci spends a lot of the arc doing things he’s specifically been told not to do, so maybe it’s understandable…), he still has all the information and relays it.

Though Kaku’s also much more comfortable letting his real personality show despite them being on a mission while before he was always completely serious after the Water 7 reveal, especially around Lucci. It came through with Zoro and Jabra but during the cover story he’s smiling and laughing a lot with Lucci right there so it makes sense he’d be more willing to let his guard down even ‘on the job’ by now.

So here’s the first real instance of Lucci showing concern for Kaku, something which escalates pretty quickly throughout the arc. It’s subtle, and though he’s framing it as a suggestion to Stussy, if he didn’t care at all he wouldn’t have said anything. 

At this point it’s fairly obvious that Lucci and Kaku don’t really have any authority difference between them and Kaku spends a lot of time in this chapter especially telling Lucci to Not Do The Thing. Anyone that’s ever lived with a cat knows how well this works.

I’ve always found this bit of dialogue particularly interesting because Kaku’s very openly…praising Sentomaru for choosing his loyalty to Vegapunk over assisting the government, and there’s no way Lucci doesn’t hear him say this but he doesn’t say anything in return. There’s no real evidence that Lucci knows about Kaku willingly giving up the key to Zoro or how conflicted he was about Paulie and everyone else, but this seems to imply that at the very least, even if he doesn’t share those sentiments, he wouldn’t think less of Kaku because of it.

Putting these two together since they’re in the same scene but at this point it’s not even subtle concern anymore, Lucci’s genuinely worried for Kaku and you can tell this caught him off-guard.

Kaku’s the first one to suggest working together but Lucci immediately backs him up and goes with the idea. It’s logical in the sense that it’ll give them the biggest chance to survive, but willingly working with pirates isn’t exactly the sort of thing that Lucci, especially in the past, would have so easily done regardless of the situation.

So at this point it’s becoming clear that this whole 4-v-2 section is supposed to be the most…light-hearted thing going on right now and a lot of it is played to be comedic, including Lucci’s inability to lie, but yet again there’s almost nobody else that could get away with scolding him the way Kaku’s doing here.

…And then we skip ahead a day and things happen that I really hope get explained at some point because they seem important, but while Lucci’s never going to have impeccable bedside manner, he’s very concerned with getting Kaku to rest and while Kaku’s trying to justify what happened Lucci really doesn’t seem to care about that. It’s a big departure from him being willing to write off anyone he deems ‘too weak’ and it’s a nice character moment.

I’d mentioned on my liveblog that some of the things Lucci was doing after this point were confusing, but if you look at them through the lens of him wanting to protect Kaku, it makes a lot more sense. Yes, he’s deliberately keeping him out of the loop, but Lucci I think has decided that he’s going to throw caution to the wind and act alone since if Kaku can’t prove he knew about the plan, he’s probably safer being left with the Strawhats, and if the Marines show up he should be safe anyway or so Lucci thinks…

When this chapter came out, I’d said something about Lucci being a hypocrite considering what the rest of CP9 did for him when they could have easily just left him at Enies Lobby, but given what happens almost directly after and likely what he’s trying to do with this entire fight, these words feel even less genuine…

And that brings us to this. The moment that I’ve been thinking about for almost an entire week now. The moment that, looking back at…oh, wow…almost 3000 words of analysis maybe shouldn’t be as surprising as it was for most of us, but it does feel like the payoff for a long, long buildup that’s taken nearly twenty years to reach. Because really, there’s no other way to describe them other than ‘partners’, and probably hasn’t been for a long time…and I’m so glad that Lucci acknowledged it.

To summarize, I think what surprised me most about re-visiting all of this is how much the manga has framed them as equals since the beginning even though it was never explicitly stated between the characters themselves. Lucci’s always been far more lenient with Kaku than with anyone else, and Kaku in turn has never had any fear of Lucci even if he wasn’t really expressing his true self with him for a long time.

The cover story being the turning point makes perfect sense, and the progression throughout Egghead of Lucci being more outwardly willing to show his concern and Kaku not hiding his emotions at all seems like a natural progression of their relationship and their level of comfort around each other.

And the fact that Oda is never really…hitting us over the head with any of it until that final moment when Lucci says everything so plainly because Kaku’s life is the most important thing to him even when faced with a literal monster… It’s so effective. 

I don’t know where we go from here. To be honest, I’m kind of scared of where we go from here. But regardless of the outcome, I hope this little essay has been at the very least interesting and perhaps allowed you to look at these two in a different light.

Thanks for reading.

[gabrielsbubblegumbitch]

Hello again! LOVE op's posts about static moth so so much they are giving me ungodly amounts of serotonin ... It's genuinely been such a joy reading your interpretations of their relationship and what makes them work the way they do. Even with the limited amount of content we have of them I believe you've nailed their respective personalities and behavior patterns spectacularly and every single post has been extremely interesting to go through and to analyze off of!

Regarding the reasons as to why Valentino likes vox as a romantic partner, I also believe part of it has to do with some of Vox's more stalkerish tendencies as well? His (not yet canon but close) Voyeurism, his constant need for control, etc.

This is more of a head canon than anything else, but I do genuinely believe Valentino enjoys the obsessive attention he can get only from Vox as it does wonders to quell his constant sense of emptiness, his subsequent feelings of abandonment, and the anxieties that follow. The fact that he knows Vox enjoys stalking him, (probably) gets off on it and is actively deriving pleasure from simply watching him go about his day may be adding to the thrill and content as well. The thing is, as generally absurd and problematic it is, this behavior seems to bring a sense of security for both Partys involved: Throughout the show during all 4 episodes that feature Valentino's presence, we have yet to see a single scene with him without at least one camera tracking his movements. They are everywhere. They follow him wherever he goes, Vox can follow him wherever he goes whenever he so chooses, even to Vals own personal quarters. They are a massive, glaring red flag and quite frankly would bring a suffocating amount of pressure and sense of captivity to any other person under the same circumstance. But Val never brings this up, so I feel he either doesn't think he's in a favourable condition to complain, or he likes the idea of Vox always having his eyes on him. For me I think it's the latter, and I think for him to act so nonchalant around vox's cameras and his potentially constant, 24/7-hour surveillance, it has to have offered him some form of comfort. It has to have made him feel good, either about himself, about the state of their relationship, or both.

(apologies for the sloppy wording, hope you have a wonderful day!)

Awww, Anon, you are so sweet! Reading your question brought me so much joy <3 I think your perspective is spot on, and I wholeheartedly agree with it. I must admit I initially omitted this aspect of their relationship from my initial response because the question specifically focused on love rather than "sexy and toxic stuff." For me, voyeurism and stalking kink are more closely related to the latter category.

That being said, Val undoubtedly enjoys having Vox's eyes always on him. Being a diva and a performer, he relishes performing for Vox, especially knowing Vox's likes all the deranged shit but desperately tries to hide it underneath his clean façade. So he’s basically like “I’m going to hit this bitch for you, Voxy. As a treat.” recognizing that Vox couldn't do it himself without tarnishing his image. In return, Val receives even more attention and admiration, perpetuating the cycle.

Since you've given me the opportunity to delve into Vox's voyeurism further, I'll add some additional insights (I've been meaning to write a proper post about it for some time now but that rabbit hole is just too deep). It's fundamentally about control, of course, and it's simply a kink. However, kinks are not merely about arousal; they involve complex psychological dynamics. People a lot smarter than me wrote a shit ton of essays about voyeurism, especially since it is a very relevant topic in the visual media era. One sentence about Lacan's interpretation of it grasps really well what I have in mind when I think about Vox:

By appropriating the other as image, the voyeur makes it an object of pleasure*, while remaining uninvolved in the other's intimacy.

It’s a parasitic relationship. A voyeur gets symbolic control over their object and it gives them the sense of being powerful. And they don’t have to offer anything themselves – no effort that is required to gain control in situations with two subjects involved, nor the vulnerability necessary in consensual relationships. They can just freely feed on others without offering anything in exchange.

Without delving too deeply into philosophy, Vox's inability to live authentically stems from his obsession with his image, his guardedness, and his need for control. This sets a lot of limitations about what he can allow himself to personalmy experience. So he derives dopamine from "stealing" others' experiences and emotions, while avoiding the effort and vulnerability required in genuine connections.

*In a broader sense, voyeuristic pleasure isn't necessarily sexual; it can manifest as the thrill some people experience from watching macabre imagery in movies, eavesdropping on neighbors' drama, or even watching overly personal vlogs.

[piratecaptainscaptainpirates]

I think the thing that bothers me the most about the semi-popular fandom idea that Ed and Izzy ever had a romantic/sexual relationship or that it's accurate to describe the dynamic as Stede being a "homewrecker" in their relationshihp is how these ideas deny Ed so much agency.

For me, the most interesting thing about Ed and Izzy's relationship is they fundamentally do not understand each other, even down to how they would describe their relationships with each other. For Izzy? Yeah, I'm sure he does see himself as a jilted spouse. There's no doubt he's attracted to Blackbeard (not Ed, as much), but honestly during s1 I don't think you could waterboard that out of him. Izzy has a very specific idea of how Ed should behave, and often dehumanizes him as a result - he doesn't see Stede as a romantic rival, he sees him as someone who is poisoning Ed and "making" him behave in ways that Izzy doesn't feel are appropriate (singing, painting his nails, being vulnerable in front of the crew, etc.).

But for Ed, it's very much more like "this guy reminds me a lot of my father and other controlling male figures in my life, I need to keep him around because he's predictable to me, and I'm sure I don't need to unpack that." Ed's attempts to connect with Izzy on a personal level (showing him trinkets he finds interesting, talking about things that interest him, etc.) are constantly rebuked if he's not acting Blackbeard-y enough. Izzy caressing Ed's face and looking at his lips after threatening him and goading him to react with violence in s1e10 makes Ed extremely visibly uncomfortable. When Izzy confesses his ""love"" for Ed in s2, Ed responds with absolute confusion (if you tell someone you love them and they bluescreen and then say "oh come onnnn," like, I'm sorry, but they don't feel the same way, dude).

Their relationship is very complicated and nuanced and it is delicous to dig into. But these two people do not understand each other at all. Izzy (at least in s1-early s2) thinks he and Blackbeard have this intense deep warrior's bond and understanding that goes beyond words, and for Ed Izzy is this guy whose behavior is very controlling, who isolates him and insults him, but who he still often feels like he needs to have in his life on some level (another way Izzy is such a powerful representation of the Blackbeard persona).

I just don't think there's any way Ed has ever seen Izzy in even a vaguely romantic way. He responds with nothing but confusion and discomfort when Izzy behaves towards him romantically, and he only says "I loved you, best I could," right after he thinks Izzy's shot himself, right after he put that gun in Izzy's hand and asked him to kill Ed (to finish the job Izzy started when he told Ed he was better off dead than being Ed), right after Izzy mocked him for being too scared to kill himself - Ed and Izzy are deeply, fundamentally incompatible people, and that's exactly why their dynamic is so interesting!

[monakisu]

How did the cat tank arc make you like torisai?? Isn't that the chapter where Toritsuka literally betrays him and doesn't believe in him at all, until Saiki shows how unconditionally kind he is despite the betrayal?? And then he still says he has a shitty personality afterward...

TOXIC YAOI BABY!!!! 

saiki will diss toritsuka as much as he wants, will drone over and over how the author should just go ahead and kill off what's obviously deadweight—yet when the chance for precisely that comes, he still risks life and limb to keep this nuisance safe... and toritsuka will whine and whinge abt saiki-san's hardass rules but he still thinks of him as a god?? "our god has returned!!"—i think that's what he cheered when saiki's powers came back, lol? he clearly worships saiki as some super powerful entity/deity, yet he still has the audacity to beg him for dumbass pervert favors... i've never witnessed this breed of worshipper before... fascinating specimen. 

their relationship has a sort of an "enemies to lovers" flavor, except in this case it's more like "haters to enemies to haters again with a tad bit more understanding for each other". at this point, toritsuka mayyy be saiki's closest confidant? arguably the one who knows saiki the best! (subconsciously. he's too dumb to consciously realize it.) he'll likely be one of the first people saiki turns to whenever he needs help, which sucks because toritsuka is sorta useless, power and personality-wise HAHAHA

also toritsuka is probably the only (non-familial) person saiki is so flat-out MEAN to! it's hilarious!! yknow how romantic partners are supposed to bring the best out of each other? Not Happening Here. in the slimy presence of toritsuka, saiki is at his most honest but also his worst. toritsuka is the antithesis to the emotional support puppies zookeepers will pair anxious cheetahs with; he's more like........................

lice.

yeah. he's the lice in saiki's fur. plainly speaking, he's a pest!!!

also toritsuka's betrayal was sorta necessary in my opinion, because this guy's too damn dumb to learn a lesson the normal way. he absolutely needs to be put into Situations in order to walk away with at least a teeny tiny sliver of character growth. and i definitely credit a huge part of his betrayal to kusuke's psychological warfare. pitting a super-human cambridge genius against a sub-human highschool dumbass... poor, pathetic toritsuka never stood a chance!! still, the resentment he'd been harboring definitely also contributed to his backstabbing. howeveeer, now that he's seen firsthand saiki's affection for him, that resentment has vanished! he's been shaken to his core!! the worship has been amplified to the MAX!!!

lastly, i just think it's hopelessly hideously HYSTERICAL to have the world's worst womanizer fall in love with a man!! and have the world's most sexless guy fall in love with a future sex offender!!! they're so fundamentally incompatible it loops back around to being compatible?! it's a real comedy. tragedy. tragicomedy. (saiki and toritsuka would doubtlessly view it as a tragedy)

lastly-lastly: height difference. that is all.

thanks sending for this ask! it let me think (<< very rare) and put into words why i actually like torisai besides "hehehe hater x hater". writing all of this made me like it even more!! but i think this may have made you despise it more? oops. my tastes are strange and off-putting. i mean, kusuke is literally my favorite saiki character, after saiki himself... that's gotta tell you something.

[cipheramnesia]

Genuine question from a newbie just dipping her toes into horror film: If Candyman isn't actually a slasher (which is all I've seen it called), what is it? And how come it keeps being misidentified as a slasher flick?

Candyman is probably misidentified as a slasher both because of its original marketing, landing in the tail end of the 80s video cassette slasher boom, and having two mediocre sequels.

Generally a slasher has a limited region and a victim pool mainly consisting of teens. For example the big three - Jason, Freddy, Michael - are all somewhat geographically fixed and almost exclusively kill kids. Usually the slasher is specifically intertwined with fears pertaining to the transition between childhood and adulthood such as increasing independence and of course burgeoning sexuality. The victims typically are killed for transgressions of the child-adult boundaries such as rebelliousness, drinking, sex and so on. By and large the slashers have a character which is malevolent in a way that's divergent from mere human emotions because they are often larger than life figures of mortality and social moral codes.

On the cinematic side, most slasher movies have a very consistent plot formula and even similar shots. Usually there is an early on warning, the harbinger. This is followed by stage setting the particular vices of the victims, and some minor fake out scares, before the actual killing starts in earnest. There's inevitably some kind of POV / voyeur shot, several similar victim chase safe / fake out death sequences. A slasher subgenre is not necessary predictable but by nature it is a little bit formulaic - it's a type of character and a plot structure.

Candyman is a different kind of movie. I'm not sure it falls into a specific subgenre. It could be called horror noire, urban legend horror, and in some ways it's almost a ghost story. However there are some crucial differences.

Victim type is obvious. Candyman is not teen exclusive - nearly all of the victims in the film are full adults. Not only that, but his purpose for existing is different. He is not a governor of the transition to adulthood or a symbol of sex and mortality. Candyman exists as an urban legend and is more symbolic of the hidden secrets of ourselves and our cultural history which we try to cover over and forget.

As a personality, Candyman is not malicious, but rather tragic and romantic. His history is as a wronged man, a brilliant man horrifically killed in an act of racist violence. People who call him are summoning this combination of a deeply intellectual and passionate artist, and the history of racial oppression in the USA. And his acts of murder are not brutal enforcement of social norms, but rather keeping his story and the horrific truth of our own past alive - being remembered.

There is nothing either metaphorically or structurally in Candyman that conforms to the slasher subgenre. The slasher killers irrevocably tie sex and death together because of how they are fundamentally linked in our lives. Candyman ties the past to the present, carrying a promise that even his victims are immortalized in legend. The slasher killers are tied to teenagers and related transitional spaces where morality and control are in flux. Candyman is tied to his own legend and the reflection of ugly truths.

Both Candyman and the slasher subgenre have deep and fascinating ideas under the surface, but they are not the same ideas, and structurally Candyman is only as passingly similar to a slasher as to any other movie. Incidentally the recent Candyman also gets this, and I highly recommend both movies. They tell horror stories that are very different from most others, and I think both are vital films to see.