#his emotional growth is literally what makes his character

[riddles-n-games]

That Night In Prague Rant

Let me start off by saying Hannah and Toby's story was amazing and heartbreaking, Libby and Nash were also sweet and supportive of one another, Xander is awesome at giving emotional depth to others even in the strange circumstance of tackling, and Secret Santa was quite literally a blast. But there's one story I haven't mentioned yet, have I? You know which one since it's the literal title to this rant/critique.

To get the basic pleasantries out of the way, I loved the promise ring scene, the way Jameson admires Avery lighting up and wanting to see the world through her eyes, the fact he wrote her postcards, and Avery's protectiveness of him. That's it. Great. Now we can get to the real stuff. My dear Jennifer Lynn Barnes, when you announced this book back in February during the month of romance, I recall that this book promised to deliver on ROMANTIC stories and showing us how a Hawthorne man loves. Why the heck did you keep trying to insert every possible wink wink nudge nudge moment possible in Avery's POV then?

When she stated Avery was gonna have a POV again, I was excited but I wasn't sure if I should leap for joy. See, given how Averyjameson were portrayed in the last book, I was somewhat disappointed since I really wanted to see Avery through Jameson's eyes in a more romantic light. It was an eyeroll, unfortunately, and what a missed chance for a wedding dress ref in the race outfit scene since he gave her a promise ring.

However, people were saying, ah, it's Jameson, he's a teenage boy. And ok, I did bite my tongue after that because alright, that's just him (though I am still bitter about his lack of development in TBH), but that wasn't the case with Avery. She's my girl, I can always rely on her, right? Three books of build up with a pretty solid character voice made her who she became in TFG. Cool, I was ready to go back. And as I said so many times before, she gave Jameson depth which helped us see what so many did not and I loved how she didn't let him get away with certain things. She was sensible.

WTF was this then? This is not Avery Kylie Grambs. This is A Very Random Imposter (you come up with the anagram). Imagine my fricken surprise when out of nowhere Jameson As A Girl.

The crimes of the story: "after a lengthy and not quite G-rated negotiation" (WT actual F), "like his body wasn't tense in all the right ways", "smile of his made me want to do things", “I would let him demonstrate all the many, many reasons he had to be that smug", "His search had been... thorough" (????).

This sounds so cringey and unlike Avery. It felt like JLB was trying to force Max and Jameson and Rohan into her POV. Clearly after only two years of not being in her original character's POV and changing through 5 main characters (which was a horrible idea in the first place), she's managed to mish-mash her only properly developed character into sounding like another person.

The innuendos here are the worst I've seen. Avery has never been crass or sexually charged so why start that now? We already have characters that take on that route and now you're trying to ruin Avery with that? PUH-lease. Jameson was enough in TBH and now you're trying to ruin my girl? NO. Absolutely NOT. If JLB wanted to implement this in the og trilogy, then it should have been done earlier but no, Avery was never that girl and she shouldn't be now.

This isn't and cannot be listed as character growth in the slightest because if she sounded the same after a year in TFG post THL and also sounded like her normal self in Secret Santa which is in the same book as TNIP, there should be no reason why she sounds like this here. It ruins the continuation in her character POV which is something that at this point should be solid as stone. Not to mention, not everything works for everyone and that's ok. While I hate it, it makes more sense in Jameson's POV than hers. In Avery's POV, I cringe at it because it sounds so unnatural for her and feels like I'm looking at someone trying to fit into a crowd they just don't mesh with.

Three books solidified that. Why else did we fall in love with TIG in the first place? Partly because of who Avery was and who she became over the course of the trilogy. She stood out amongst the crowd. Did she have a similar way of thinking about puzzles like Jameson? Yes. Did she have a different approach to romance? Yes. Did she help Jamie become a more sensible guy? Yes! Was their flirty banter fun and interesting? Always. That's part of what made me love them so much in the first place but it shifted so suddenly that now they're sounding like Savannah and Rohan.

In October, when we had the preview of more chapters, I immediately noted this sounds like a very different Avery, either older or an alternate universe version of her. If she wants to do this with Rohannah, go ahead; they're a new budding romance so that has room for whatever she didn't use in other ones but leave Averyjameson as we've known them to be for three novels that solidified who they are. I know other romances should be given a chance, I never said that shouldn't be the case but if I'm being given the chance to see my favorite ship being in the spotlight, then do it right one last time. You have three books as your guideline.

Anyways, I'm dissatisfied so I will be doing a rewrite of TNIP since this is a shorter thing to take care of than a whole novel. Have a great day and thanks for reading. Fics will be out at some point, God, so much real life work to do.

[darcytaylor]

I just saw the clip of the entrapment line Colin said to Pen again and it hurts. I hate that he said that to her so much, especially considering that Colin ruined her engagement and chased her carriage. She did not try to entrap him, and then we later have him taking about Pen ruining Miss Thompson, who is literally the one who tried to entrap him. Add in the brothel scenes and I am so disappointed with Colin in S3 😭. I know they gave him the lines at the end of the season but honestly that did not redeem him for me.

I totally understand why the entrapment line stings, but I don’t think it's as bad as it might seem. Colin had just learned about Penelope being Lady Whistledown, and he was clearly reeling, trying to process something he wasn’t prepared to handle. Do I think he truly meant what he said? Not at all. It was a knee-jerk reaction - an attempt to organize his thoughts while grappling with overwhelming emotions. All the while, he was just coming to the realization that he LOVES Penelope, so he was actually going through it. Was it fair to Penelope? Nope. But do I understand it? Yes.

I think it stings more because we know Colin doesn’t truly mean those things. He’s trying to hurt her because he’s feeling hurt. Is that mature? No. But it is human. In relationships, people sometimes say things they don’t fully mean or that come out harsher than intended. What’s important is how those moments are handled afterward. Does it reflect a toxic relationship? It could, but only if those moments happen repeatedly and there’s no communication or growth afterward. Colin came to terms with why he was feeling the way he was, and what brought him to say those things. Relationships aren’t perfect 100% of the time, and conflicts will arise. What matters is how those conflicts are addressed, and whether they lead to growth and understanding.

Colin was taking his frustration out on Penelope - not the best decision, for sure, and he could’ve handled it better. But that’s part of what I appreciate about Bridgerton. It doesn’t present perfect, flawless relationships. No relationship is perfect or flawless. Instead, it shows characters learning, making mistakes, and growing together. A relationship where everyone always says the perfect thing, always acts the ideal way, and is always the best version of themselves just isn’t real. I think that imperfection is part of what makes Bridgerton resonate with so many people. Even though it is a romance show and you want it to be perfect.

I will be doing a blog post in the near future about my thoughts on the brothel scenes!

[scootersscooter]

Hate when the entire fandom misinterprets one of your favorite characters and you literally can't find any fan work where they actually act like their character

[aroacettorney]

when will aup sidestories return from war and stop leaving me bitter about how the main story ended

[rockpaperimpala]

So about Netflix's the Last Airbender....

I am literally so confused you guys. You made me think I would HATE this show. And I LOVED it. Me. Known perfectionist and hater.

Katara was lovely. Yes, she started as a more soft spoken character than her cartoon version, but she was still passionate and hopeful throughout, just visibly unsure of herself. I think people were thrown off by this actress' natural way of expressing herself, which is Different from animated katara for sure, but not bad. Then she spends the whole season growing in Confidence and Fire. I Adored her fight with Paku, it really did feel like a payout of the whole season's development, and the bending kicked ass!

The Bending Kicked ass!!! The martial arts was fun and fast and creative and exciting! It looked SO good. That alone would be enough reason for me to watch and enjoy any show.

Zuko's actor was fantastic. He really captured the rage and confusion of this 16 year old banished prince. And there were so many Added moments between him and Iroh wich to me enriched their relationship. Like YES! This is why I'm watching, to see more of them, to see things done a little differently.

Iroh facing the consequences of his actions at Ba Sing Se!! That's what I'm here for!

Zuko's relationship with the men on his ship! That's what I'm here for!

The Extra layers we get to Ozai manipulating his children!

Also no one is talking about Admiral Zhao, who I had SO much fun with. I feel like they slightly fleshed out his character in a really dramatic way, really developing the hubris and frankly insane grasping ambition of someone who would kill the moon. I completely enjoyed this wilder, less controlled version of him, who comes up through the season from basically nothing and no one!

I am OBSESSED with King BUMI and his anger and disillusionment with the world! Like this was SO real. Living a hundred years of futile war would do that!!!! It is one of my favorite changes to the whole series. This new layer of emotion and character depth is what I'm here for!

Sokka was SO funny. He literally had me laughing out loud so often. That actor GETs Sokka, and GETS the way his humor is delivered. And is also able to tap into the more vulnerable side of him. People said he was "obsessed" with leadership. WHAT? That is a young person trying desperately to do his best and to try and find his place in the world, to figure what he has to offer. I loved his pride at hearing the Mechanist say that he would make a good engineer, and the sweetness of the moment that Yue's father says that he can be a hero without being a warrior. Sokka does so much growth in this series, in understanding himself and life.

And his chemistry with Suki was adorable!! I even like him and Yue (who was a totally unexpected sweetheart, despite her terrible wig)!! Like he has that same ability that Sokka has in the original to Connect with people.

Aang was great! He WAS fun loving and sweet and funny. I don't know what you guys wanted. Cartoons are always bigger and more exaggerated than live action. People's eyes swell up an, birds fly around their heads, and there are funny sound effects. That larger than life quality is the strength of animation! You have to look for different strength in live action. Like the SUBTLETIES of the acting choices. This little actor brought so much kindness, innocence, and strength to Aang.

And I FELT his frustration at being asked to do this at 12, his fresh hope anytime it looked like someone more experienced would be able to help him and no one did, and that's why he didn't learn waterbending this season, because he kept waiting for an freaking ADULT to show him the way, to help him carry this immense burden, but every adult he meets asks him for help instead, asks him to carry it himself, and then the finale hits and he realizes that there won't be any adults helping, he does have figure this out himself, and he makes the hard choice, takes on responsibility more than his years and offers himself to the ocean spirit, and he might have been lost entirely if not for Katara!

And that counter running theme to the show pays off: that he doesn't have to do it alone. He may not have more experienced guidance, because the adults have let him down again and again, but his friends will be with him, and they will figure it out together!

This is there throughout the series! Katara tells him this about learning waterbending, when he says he still wants to wait. Bumi tells him this in the palace at Omashu, and Aang sees the faith he has in his friends repaid!

I like these changes! And the show still found time for silly fun adventures and character building moments.

The show was never going to be the animated original. That is already a Masterpiece, and it frankly did NOT need to be adapted at all. I did not WANT a live action adaptation. I was adamantly convinced I would hate it. But the changes that they netflix show gave are what I Iike most about it. If I want to see Zuko say "you rise with the moon, I rise with the sun," I will go watch the animated original, because that version is perfect. And now, if i want to see Zuko say "Lu ten would have been proud to have you as a father," and see iroh pull him into a tight hug, I can watch this live action version, which is very good too. I'm going to disagree with most of the people on here and say that the Netflix's Avatar: The Last Airbender, DOES capture the heart of what we liked about the original show. It's spirit, fun, excitement, and characters. And the changes made are the reason we should be watching.

[starleska]

i think ‘Big’ Jack Horner is Disney, and here’s why

many of us have had the pleasure of seeing the incredible Puss in Boots: The Last Wish by now, and were blown away by its clever writing, enchanting animation and emotional character arcs. yet there is one character who booted the trend of having a reason for his behaviour, and outright refused to experience any growth whatsoever.

let’s talk about ‘Big’ Jack Horner, and why i think he’s supposed to represent Disney:

‘Big’ Jack Horner isn’t just an antagonist in The Last Wish - he’s a villain. a self-obsessed, exploitative, murderous, petty, cruel bastard of a man whose awful behaviour isn’t just motivated by personal slights or childhood trauma: he sincerely enjoys hurting other people. whether it’s cheating his goons (’The Serpent Sisters’) out of a fair payment for their services or being excited about shooting a puppy in the face, there’s no denying that Jack delights in causing others pain and suffering. but what does he have to do with Disney?

let’s answer that question with another question: do you think that Jack, when placed next to the other antagonists - Goldi, The Three Bears, even Death - sticks out like a sore, plum-coloured thumb?

of course he does! but why? well, let’s look at Jack on a surface level. Jack is a monolith of a human being. not only is he physically huge and intimidating, he is the inheritor of an enormous pastry fortune and operates in the manner of a mob boss, with countless resources and a whole variety of powerful magical items at his disposal. indeed, Jack employs a crack team of bakers/assassins called ‘The Baker’s Dozen’ to carry out many of his tasks. although Jack does harm others himself, it is because of these resources - including the people who work for him - that he is able to bypass many of the obstacles faced by our protagonists in an honest and character-developing way (e.g., the Pocket Full O’Posies in The Dark Forest). Jack doesn’t need to have a character arc the way the other characters do, because he is so wealthy and owns so much.

but Jack’s reason for owning so much and being obsessed with magic and magical items isn’t through intellectual curiosity, or a traumatic backstory where he needed to learn how to wield magic. do you know what Jack’s covert motivation for owning all of the magic in the world is?

it’s money.

when we get the flashback of Jack’s childhood, dancing for the entertainment of an audience using his nursery rhyme, we see him becoming jealous of Pinocchio - and we see Gepetto in the back, absolutely raking in the cash. if we consider this flashback as that crucial moment within which Jack decided to become what he is today - and the presence of our off-brand Jiminy Cricket inclines us to think so - then we can understand that Jack decided that from that moment forward, he would own all of the magic. 

let’s go back to The Baker’s Dozen for a moment. this team of highly-competent, multidisciplinary artisans do everything for Jack, whether it’s baking the pies which make him rich, or laying down their lives at his service. we aren’t given an in-universe reason for why they do this. yes, Jack is feared, but he is still the subject of mockery due to his humble beginnings as a nursery rhyme character. it certainly isn’t due to being treated or paid well. however, if we view the Baker’s Dozen as a metaphor for overworked, exploited artists whose views are routinely dismissed by the money-hungry, powerful corporation who owns their craft...things start to add up, don’t they? considering historic allegations of worker abuse at the hands of Disney, having Jack Horner literally step on their spines and encourage them to flex takes on a whole different meaning. 

it doesn’t end there. do you recognise the items that Jack pulls out of his Mary Poppins bag when his Baker’s Dozen are being destroyed by the Pocket Full O’Posies - the items that he calls ‘the big guns’? it’s the broomstick from Fantasia, the spinning wheel from Sleeping Beauty, the size snacks from Alice in Wonderland, and a knock-off Jiminy Cricket from Pinocchio - all references to some of Disney’s earliest and most famous films.

still don’t believe me? well, let’s recap more of the items Jack has in his repertoire:

a hook-hand (referencing Captain Hook in Peter Pan)

a trident (referencing King Triton in The Little Mermaid)

poison apple bombs (referencing The Evil Queen in Snow White)

a glass slipper (again referencing Cinderella)

remember what happens when the knock-off Jiminy Cricket (interesting that there are so many Pinocchio references specifically, huh?) is horrified that Jack is losing so many men? Jack says he isn’t worried about losing the manpower, because he has a bottomless bag full of magical weapons. Jack literally gets his power off of the backs of his workers. sounds a lot like a big company justifying worker layoffs and exploitation because they have so many properties and are too big to fail, doesn’t it? 

hell, Jack doesn’t even know what half of these items do! when he’s using the unicorn horns as ammo, he is surprised that they cause people to explode in a shower of confetti. viewing Jack through this lens, it’s difficult not to think about enormous corporations gobbling up properties and churning out content with little to no regard for their artists (looking back at The Baker’s Dozen - some of whom do perish in the fight with the unicorn horns) or what the properties are about. we haven’t even touched on Jack coveting the Wishing Star, a recurring motif in countless Disney movies as representing magic, dreams, and boundless creativity. 

now, i hear you saying, ‘but Star! why would DreamWorks bother writing their bad guy as a metaphor for Disney?’ believe it or not, this isn’t the first time that DreamWorks have done this. in case you didn’t know, Lord Farquaad is a caricature of Michael Eisner, former chairman and CEO of The Walt Disney Company. the production of Shrek was actually quite troubled; animators who were perceived as having failed on other projects were ‘Shreked’, or sent to work on Shrek, instead of working on other (presumed to be more lucrative) films. of course, DreamWorks was co-founded by previous Disney CEO Jeffrey Katzenberg, hence the animosity towards Disney and its works evident in the Shrek franchise. this is what formed the story of Shrek: an ugly, crude outsider character taking on the clean-cut moralising of a dictator hell-bent on a so-called ‘perfect’ world, all created against the creative backdrop of a painful separation from Disney and a great deal of pent-up rage. 

the irreverent, crass and sometimes adult humour of Shrek was a middle finger to Disney’s high-censorship control on animation. this is why Lord Farquaad (which you may have noticed sounds a bit like ‘Fuckwad’) is so obsessed with Duloc being ‘perfect’, and why he couldn’t stand the freedom of the fairy tale creatures who are the heroes of the first Shrek movie.

in fact, this kind of meta-commentary permeates the Shrek franchise: 

The Fairy Godmother from Shrek 2, despite being a fairy tale creature herself, is highly prejudiced against characters who break out of their perceived social norms: i.e., Shrek marrying Princess Fiona and getting his Happily Ever After. she is an expansion of the control left over by Lord Farquaad, and rich because of her monopolisation of fairy tale creatures and their stories. 

Prince Charming in Shrek the Third fails miserably to capitalise on these themes, but we’ll get back to him! 

Rumpelstiltskin from Shrek Forever After tackles the gluttony of franchise reboots, and how soulless and rooted in corporate greed attempts to reboot often are. whilst not necessarily Disney-specific, Shrek Forever After follows the box office bomb that was Shrek the Third: a movie which noticeably fails to write a compelling narrative approaching any of the themes of the previous two films. the writers learned from their mistakes and wrote a movie which satirised their own selling-out of the franchise, becoming hollow and unnecessary and ‘perfect’ - the very thing they were making fun of in the earlier Shrek films.

there is one more area i’d like to touch on: Jack Horner’s source material. we know that Little Jack Horner is quite obscure: an 18th-century English nursery rhyme involving a boy who pulls a plum out of a pie with his thumb, and congratulates himself for his fortitude. but did you know that from its earliest conception, Little Jack Horner was associated with foolishness and dishonesty?

it’s true: the simple yet inexplicable nature of the poem was lambasted for being infantile, and quickly became the subject of revision, moralisation, and even political satire. it is no mistake that to ‘be under one’s thumb’ (as many of the characters in The Last Wish are to Jack, both literally and figuratively) means to be under one’s decisive control. the choice of Jack Horner for the villain of The Last Wish is a clever one, because we could easily have ended up with a sympathetic Jack, whose ostracisation as ‘not even a fairy tale’ may have led to a justifiable motive, even for his specific brand of cruelty. but instead, the writers of The Last Wish have gone one step further; they’ve transformed a source affiliated with idiocy and deception into a metaphor for a global multimedia conglomerate...all while portraying him as simultaneously terrifying, powerful, and ridiculous. 

it has been over a decade since Shrek Forever After was released, and Disney has changed dramatically in that time. a global giant, Disney now owns more enormous money-making properties than ever thought possible, and consistently capitalises on nostalgia for its early properties to make more money and accumulate power. since breaking out of its exclusive licensing agreement with Disney in 2016, DreamWorks has had no official connection to Disney, making the ground for mockery and satirisation of the company which spawned the studio all the more fertile. ‘Big’ Jack Horner is not just a glamorous return to form for the dreadful, unapologetically evil villain which Disney has eschewed in modern times - he’s a hulking, egocentric monster whose avarice rivals that only of the corporation he’s inspired by. 

and those are my thoughts on ‘Big’ Jack Horner! of course this is by no means the definitive interpretation - we should all just have fun with the movie and come up with whatever theories we like 🥰💖 i’d love to hear your thoughts on him and The Last Wish in general - he’s definitely one of my favourite bad guys to be released in the past few years!

thanks so much for reading, and have yourselves a wonderful day 🥰

[myimaginarywonderland]

I truly want Eddie and Buck to fight.

Mainly because I have wanted Buck to blow up at someone from the 118 for years. I get that apparently there were off-screen apologies but the way every single member treated Buck when he got a lawyer, the way everyone has dismissed Buck's trauma before that, the way Buck was literally punshed by Chim, the way Buck's has (nearly) died multiple times and the trauma of that is never really acknowledged, the way Buck was sexually assaulted and everyone joked about it, the way Buck has had so much shit just put on him unknowingly sometimes by them, yes, I want Buck to snap.

I want Buck to finally stand up to someone and tell them that it's not okay, that what he went through wasn't okay and that he needed his family with him when they weren't.

I need Buck to finally see "I deserved better" and have someone show him he deserves better (aka Tommy.)

I need someone to finally be in Buck's corner, to tell him that what he went through wasn't okay and that he doesn't need to get over it because you just don't get over some traumas.

I need Buck to finally have a moment where he is allowed to be angry, where he is allowed to feel his emotions, where he is allowed to hurt and someone is immediately there to catch him, to be beside him.

I need Buck to finally be allowed to be proud of his work, to finally understand how much he has done as a firefighter when he didn't even have to, to understand that he can be more, that he is allowed to want more.

I need Buck to finally be allowed to go on a pathway up the FD ladder because he deserves it, he has earned himself the opportunity to get a chance to prove himself.

I need this season to finally lay the groundwork to Buck's full potential as a character, as a love interest, as firefighter. I need this to be the start of his true growth where he is finally allowed to want things and to get the things, the happy ending, that he always wanted for himself.

I need this to be a turning point for Buck where we finally see him settle into himself and I truly believe that for that to start he needs to let go of some unspoken things, he needs to be allowed to feel and to be angry at his family without knowing if he will have support.

And I need Buck to be the one to finally make Eddie realise how incredibly toxic and dangerous his behaviour is because no one else will probably get through to him. I also need Buck to understand that healing Eddie, that helping Eddie, can only go so far and that this is something that he can't fix because it's not his to fix.

I need Buck, the one person who always wants to help, who does everything to help, who will do anything to try to fix something, I need that Buck to be held and to be told that not everyone can accept his help. I need that Buck to be loved while someone tells him that Buck matters too, that Buck can not destroy himself for someone who might not even be ready to heal. I need Evan, the kid who always felt like something was wrong and that he had to make up for it, to be looked at and to be promised that he is enough, that just being him is enough and that he doesn't need to be more than that.

And yeah, if I think that Tommy can do that, then yeah, I need Tommy to be there while Buck is slowly realising that he matters too, that he deserves to be happy too.

[why-are-you-still-awake]

What makes the Naruto boys flustered

Warnings/content: nothing :) Gn! Reader

Characters: Gaara, Sasuke, Neji

A/n: whenever i write one of these, I just pick 2-4 characters I like literally no consistency lol

Sasuke Uchiha

★ Sasuke was never easily flustered or embarrassed for that matter, hes always been able to keep a straight face in most situations but when it comes to you, it’s a much different circumstance. He can’t handle expressions of love very well, whenever you tell him you love him he turns bright red and most the time you’re met with a half hearted. “S-shut up.” ★

★ He’s not a huge PDA fan, he might hold your hands in public but I wouldn’t hold your breath for it. He loves you, he’s just emotionally stunted. He gets really embarrassed when he just gets caught staring whether it be by you or one of your guys’ friends he’d adamantly deny any part of it. ★

★ When you guys are just at your house together he clings to you like no body’s business, as cold and distant as he may seem he loves being close to you even if he has to swallow his pride to do so. If someone like Naruto caught the Uchiha being clingy he’d never live it down. ★

Gaara

★ As the Kazekage, Gaara doesn’t fluster easily. That was until…he met you, his only weakness, someone he’d do anything for. He loves you dearly and can’t help but blush whenever you’re around even if it’s on an unconscious level ★

★ You like being a tease, whenever you’re in a public place whether it be a restaurant or just walking in the park you always have to be touching him in some way, he doesn’t mind but it gets kinda embarrassing when he’s completely flushed in front of the council because of your ministrations ★

★ Or when you guys are just at home and he’s making something for you like the good partner he is and you walk up behind him and wrap your arms around his waist he always folds so fast. His face turning as red as his hair, you have him completely wrapped around your finger. But you know what really gets him? Shoulder and neck kissing, whenever he feels your lips on him he completely melts ★

Neji Hyuga

★ Since Neji did grow up under the rule of the Hyuga he’s not one to get embarrassed or ashamed easily because of his pride and like Sasuke with his stunted emotional growth. He’s not one of much PDA having grown up in a semi conservative clan so at most he might rest his hand on your waist or just hold your hand but no “egregious” displays. ★

★ When you guys first got together he didn’t really *know* how to accept affection so he was actually pretty awkward even without realizing it. Like when you tried to hug him or just hold him he’d get pretty tense unsure of how to react so you definitely had to help him ease into the idea of physical intimacy and affection. ★

★ When you guys are just by yourselves or at your house, sometimes he initiates physical contact by most the time resting his hand on your thigh or kissing your forehead, once he got used to the concept ge actually really started to enjoy those small acts of intimacy, it made him feel warm in his chest and made his cheeks heat up. He shows his love in his own way. ★ …………………………………………………………………………………

A/n: i don’t like these very much, but I hope you enjoyed reading them anyway, it means a lot. :)

Do not repost

[the-moon-ate-my-stardust]

Okay literally no one asked but as a former Hobbit movie hater who has since experienced character growth, I feel compelled to share my thoughts on the movies on my gay little blog.

Listen. There are legit reasons to be critical of these movies. They were made on a rushed timeline, at time where CGI overuse was the thing and there are definitely unnecessary moments. But despite those issues, these movies still have a lot of heart and character and some really wonderful acting! To compare them to LOTR, is unfair I think because LOTR was such an unimaginable success and I truly believe no other movie franchise can do what those movies did. To expect the Hobbit movies to be the same caliber considering the behind the scenes drama and massive difference in timeline is just not it.

Truly I think that the Hobbit could have been much more than it was and it’s sad to see the amazing moments and realize that we could have had movies that were maybe closer to the level of LOTR, but that doesn’t take away from all of the great things that the movies gave us! Despite what he may be like irl, Martin Freeman was a great young Bilbo, Richard Armitage was insanely good as Thorin (despite the change in age) and the other dwarf actors brought a great sense of loyalty, brotherhood and shared loss to their roles. The music is still dope as hell and there are some beautiful shots despite all the CGI.

This is way too long and I’ve not said anything that hasn’t been said before but honestly, I’m so glad that I stopped hating on these movies and have seen the special things about them. Nothing will ever compare to LOTR, but that doesn’t make these movies bad. They’re fun, they’re emotional, they have great characterization and it’s super valid to enjoy them.

Final gay thoughts because I’m obligated, but I struggle with people who argue against Bagginshield with the whole “why does everyone have to make everything gay?” thing. Because Hollywood is so deeply homophobic that we see so little genuine queer representation, so forgive us for enjoying the chemistry we find and making it our own since our society gives us breadcrumbs. If you’re not into Bagginshield, totally legit and fine, but don’t hate on other people (especially queer people) trying to find some romantic love in media that we enjoy. Also no one can convince me that Richard Armitage wasn’t at least somewhat intentionally putting his queer energy into this role, I will die on this hill.

Anyway, TL;DR there’s no shame in liking or loving the Hobbit movies despite their faults and there are lots of things to appreciate and enjoy and I for one, am glad to leave my LOTR purist hater days behind me

[ineffable-endearments]

When you (generic, universal) talk about theories about the end of Season 2 and Aziraphale going to Heaven, you often run up against either:

taking everything at face value to the point of ignoring that some details contradict one another

or

accidentally nullifying major emotional, plot, and character beats by implying that they Didn't Really Happen.

A lot of the differences in analyses, especially ones that I like (LOL), can be explained by the fact that we're analyzing a character who is experiencing massive cognitive dissonance and believes a number of contradictory things at once.

Nobody is wrong to point out Aziraphale's need to Belong to a Good Cause, which makes his acceptance of the Supreme Archangel position entirely in-character; nobody is wrong to point out Aziraphale's anxiety around the Metatron, which indicates that he may have been coerced.

Did Aziraphale go back to Heaven because he's afraid of what will happen if he keeps refusing, or because the Metatron made an implicit threat? Did he go back to Heaven because he's vulnerable to flattery and wants to feel important? Did he go back to Heaven because he thought it would be a way to be permanently safe with Crowley? Or did he go back because he missed belonging to something Good, something bigger than himself? All of the above. It's all of them.

Yes, even though it's incredibly dissonant to believe a system that he KNOWS is dangerous and coercive can accomplish true Goodness, that is in fact his belief.

Admittedly, this is no one I follow - just random comments I see around from people I don't know very well - but it seems like some people out there are assuming Aziraphale can't possibly be making any plans to do anything remotely intelligent, because this would mean that he is already aware that Heaven is bad and would therefore leave no room for character growth.

Except no, that's not necessarily what it means. In fact, the cognitive dissonance is the main thing he is going to have to resolve. Having that dissonance - the belief that Heaven's ideals are genuine, along with the understanding that Heaven is dangerous and needs to be carefully manipulated - is what will move his plot forward. Mindless obedience wouldn't progress his story any more than magic brainwashing coffee would, and it would be equally inconsistent with his story and motivations so far.

The dissonance is the point. And part of the dissonance is that he already knows Heaven is dangerous - he just hasn't accepted what that means yet. It would make sense for him to simultaneously try to work within Heaven's system and watch his own back.

Also, only partly related: Neil might write a story about how the worst people exploit the need to belong and to be Good. He might write a story about how we have to become our own greater good. He might write a story about how to rebuild after you discover your greater good is not so great or good after all. He is not going to write a story about how having any faith or trust in something objectively bigger and stronger than yourself makes you a stupid clown who is wrong about literally everything and shouldn't have even tried.

Let Aziraphale fuck up. He needs to and he will. Whatever plans he was making in that elevator won't actually succeed. But give him credit where it's due.

Edited to add: And you know what? When he fucks up, he's going to get through it. And then he's going to do the right thing. And he's going to get it right when it matters the most.

[beauty-and-passion]

also yes i think you should talk about dipcifica i love the old man yaoi as much as the next guy but i also will always crave this kind of "coming of age" love story

Glad to comply! Here are my points about why Dipcifica is canon and endgame and everything:

1) Dipper and Pacifica are a walking "enemies to friends to lovers" trope. It literally started with Dipper saying to her face he doesn't like her, what's more clichè than that? When he said it, all I could hear was "We will definitely become a thing in the future".

And guess what? After a while, Dipper changed his mind: now he doesn't think Pacifica is the worst anymore. The next step is admitting she's great, asking her out and becoming a couple.

2) "Northwest Mansion Mystery" is basically a huge Dipcifica manifesto, thanks to the introduction of more tropes like:

the characters are put into nice suits

Pacifica fixes Dipper's clothes like a good wife

these two share an adventure together - which is universally something that would strengthen the bond between two people

their daring escape ends with a hug, given out of a sincere emotional reaction

the hug is followed by some cute awkwardness (especially from Pacifica's side)

Dipper and Pacifica share a heartfelt moment in which she reveals her insecurities, something we can be 99% sure she doesn't usually do. Also because... with whom can she share them? Her parents? Her supposed friends?

Dipper changes his mind about Pacifica after understanding her a bit more (which is always the interlude for the development of romantic feelings)

Pacifica finds the strength to do the right thing, only after Dipper sacrifices himself

the episode ends with them having fun together, laughing and enjoying their time. Also, it's implied they probably spent some time after the party to clean up the mess they made - so who knows? Maybe they shared some more time together and talked a lot more.

I mean... I've seen love stories start with less than that.

3) Dipper and Pacifica have another adventure together in Lost Legends. The formula is similar to Northwest Mansion Mystery: Pacifica has an issue (caused by her shitty parents), Dipper doesn't understand what her problem is, they share a heartfelt moment in which she reveals her weakness, Dipper tells all the right things, they hug, Pacifica does the right thing.

This is another way to reconfirm what the episode in the series already told us: these two have chemistry. They are meant to be. They are a walking enemies to friends to lovers trope - with a side dish of "slow burn" too. And we all love slow-burn stories <3

But this adventure shows us something else: how things have changed since Northwest Mansion Mystery and especially how Dipper's attitude has evolved towards Pacifica. In the episode, he is still very wary of her and makes it clear multiple times that he dislikes her.

Now he says this:

This is basically the Dipcifica equivalent of "I once considered him the center of my life, the sun in my galaxy", only with less toxic old men yaoi and more wholesomeness

it shows how Dipper's attitude is more mature

it implies he can and will develop romantic feelings for her. I mean, look at it: "I've noticed another side of you", "I see the real one and you're more than a pretty face"... gosh, if Pacifica hadn't fallen in love before, she definitely did after that.

it also shows Dipper's growth regarding women: my boy went from making huge, complex plans to talk to them, to lying to get random girls, to saying the truth in such a smooth way. He's great with girls when he doesn't try, he makes me so proud <3

4) Now I know what you think: great points, Bea, but does this couple have Mabel's approval stamp? Billford got it with Mabel calling Bill a clingy ex and telling him to get a crush on someone else's Grunkle. Does Dipcifica have Mabel's approval?

The answer is yes:

Do I have to say anything else? I think Mabel already said anything. Dipper and Pacifica are. A. Thing.

And yes, I know what you might say: they are kids! Sure they are, but that doesn't mean there can't be anything in the future. There is time for them to grow and for these feelings to develop. What we saw in the series and in Lost Legends are the crumbs, the foundation of something bigger that can evolve in the future.

And this is a great foundation because it's plausible and stable. Dipper and Pacifica's interactions never sound forced or out of character: on the contrary, they are built in a way that conciliates both personalities and justifies their changes and evolution.

If we can easily imagine a future for them, it's because their change is organic, it works in the long run - Pacifica can easily become better and better, while she works out her issue and shows the beautiful person she is. And Dipper can easily become more and more aware of what a great girl she is and start to develop deeper feelings for her. It's not impossible to imagine. It works.

And yes, this proves again how well Hirsch developed Gravity Falls and its characters, if we can easily imagine a future for them just out of a few, well-built interactions.

[1doesnotsimplyhavejust1fandam]

Need an acknowledgement after Buddie goes canon of them having had latent or explicit feelings for each other for years. This isn’t a case of “oh, we were best friends for years and then one day we woke up and were in love.” This is a case of “we’ve been best friends for years, and we’ve been falling in love with each other since the day we met. We just didn’t understand it yet.” We’ve already had Buck’s realization that he’s bisexual, but his arc was chock-full of obliviousness to his attraction to Eddie, his feelings for Eddie, whose attention he actually wants. He still doesn’t really get it, but he gets that he likes men too, at least. Eddie is a whole other ball game. From the Catholic guilt to the toxic masculinity to the childhood emotional neglect to the pressure he keeps putting on himself to perform in relationships. He’s repressed as hell, and he isn’t to “I’m gay” yet, but we see hints of him understanding that how he feels might be a little different (his pause at “follow your heart, not Christopher’s” from Carla, his two talks with Bobby, admitting to performance anxiety on dates to the whole team, his talk with Buck about Marisol being an ex-nun, his acceptance that Ana and a ready-made family was the reason for his panic attack).

We know that the two of them are bad at identifying how they really feel, or at least allowing themselves to feel it. So, it makes way more sense for the show to admit that they’ve had romantic feelings for each other for years, rather than trying to convince the audience that what we’ve been watching these past seven seasons isn’t a product of two characters’ struggles with their identity and relationships. And while I’d be satisfied with a light-hearted snark from Hen or Chim about how they’ve been seeing it for years, I’d be so much happier with a full circle moment of the boys actually fully knowing themselves, acknowledging that they were never just best friends, they just didn’t understand it yet. It would show their series-long growth, as well as being an enormous tip of the hat to the audience. Because we aren’t misinterpreting it. We’re reading the queer-coding directly from the show, yes through subtext of course, but also the literal text. There have been so many moments deserving of acknowledgement in this regard, and I would hate for Buddie to go canon without it being clarified that those moments were exactly as queer and/or romantic as we thought.

[mysebacielblog]

In Depth Analysis: Sebastian and Elizabeth

I love the relationship that Lizzy and Sebastian have. If you know the fact that Sebastian is the Main Character of Black Butler (it’s in the title) and subscribe to the romance/intimacy that he and Ciel share, then this would make Lizzy one of the Biggest Antagonists of all of Black Butler. On the level of antagonism to the Undertaker, perhaps even more! Which is funny because, just, just LOOK AT HER. She’s just this preteen girl!! Who the heck would consider her an antagonist?!

These two have gone up against literal immortal forces that pose a great threat to them physically. The only person who holds this kind of sway is the real Ciel. However. I would consider him to be more of an antagonist to both Ciel and Sebastian, whereas Lizzy is an antagonist and a threat to Sebastian alone. And while Ciel’s Brother (R!ciel) reminds Ciel of his past, Lizzy reminds Ciel of his Future that he will never have. Although she is a bit of a nuisance and a hindrance to Ciel and his plans, Lizzy isn’t a full fledged antagonist for him.

She’s even a sweetheart to everyone, even Sebastian, despite how weird the entire Phantomhive estate is. Their cordial passive aggressiveness and pleasantness between them compared to more direct characters (such as Aunt Francis) is fascinating to watch.

But she has him absolutely TREMBLING in his leather boots, because not only is she the Main Antagonist, but no, a Love Antagonist Even. Because even though our Ciel still keeps her at an arms length and treats her more like family than a proper fiancé, he still cares tremendously about her and her emotions. She represents a life where our Ciel Lives, grows up, has a future, and doesn’t pursue his Revenge. Which is the biggest threat to their contract entirely. As a narrative foil, she’s sweet, loud and angelic, and based on the original story, could be the very salvation that could Save Ciel’s soul.

And the best part of it is she is also really, really good at fighting and can go toe to toe with Sebastian in a fight- and he Can’t even lay a finger on her!

The envy these two have for each other is palpable- each wants what the other has of Ciel’s Time and Affections. It’s the difference between wanting a Public Relationship for Appearances and desiring a private relationship for sharing one’s secrets.

I think the most interesting aspect of their relationship is that even though they’re rivals, Sebastian Lets Lizzy GO, going completely against Ciel’s Wishes, knowing that was “impossible to shackle one’s heart”. Was this some small mercy of growth or sympathy, distance the two from interacting, or simply a way to move the agenda forward?

The only character that would consider her an antagonist of any type would be a demon.

[hiraethminds]

This is a tangent, I'm here to entertain with needless rambling

The deep rooted hatred for taco I see in the II community genuinely concerns me. Especially since those people tend to be Mephone "apologists"(For lack of a better word, I love Mephone don't get me wrong) despite how taco is the "active" side of the coin to his "passive". The connections between them are there trust me Im connecting the dots. Ive connected them.

I understand that she's done bad things, but blaming her for her shortcomings when she doesn't and never had the same support group to change as Mephone did makes me a little ehh.. Getting upset because Microphone showed her support in the new episodes simply because you don't like the ship(I understand why people wouldnt but thats not an excuse to deny her anything), and because Taco doesn't know how to change yet and you refuse to see her as anything redeemable. I'm not big on shipping, thats not the point of this tangent, but Taco finally having someone to support her and help her change is a GOOD thing. Microphone was being the bigger person there, she was being mature and thoughtful because Taco clearly needs the help. The fact that people continue to deny Taco any kind of growth even if she goes about it in the wrong way makes me deeply uncomfortable. Because the moment any character does anything bad that isn't HER they don't say anything about it. She was shunned by her peers because she was playing the game and continued to 'play the game' so to speak.

Theres a deep rooted hint of misogyny in the way they treat her, but I wont yap about that you dont need to read allat.

I understand people have reasons for not liking characters! That's ok. But I've seen them actively go out of their way to harass people that DO like Taco and actively criticize enjoying her character.

They tend to take it as defending her actions. Which is not what's happening. I don't think oscommunity could handle vriska is all I'm saying.

Feel free to not answer this I just need whatever little imp is telling me to scream about it to get out. go draw a taco dis is driving me crazy

Thank you for dumping this in my inbox bigbarf200, I feel like a wise confidant.

okay so I don't interact/observe with the wider ii community (Mainly cuz i like playing with my touys without being bothered) So this information is so Interesting to me!!!

As you mentioned, the hate might stem from misogyny (and by the way, I’d love to read your essay—talk all you want, my friend!). This is a societal issue that affects every part of life.

That said, I also think some people might dislike her simply because she’s a hustler and stubborn. When she has a goal, she’ll do whatever it takes to achieve it, even if it means crossing into morally gray areas.

holding Mepad hostage > hijacking the show

lying and deceiving objects with good intentions > winning s1

seriously hurting Fan > winning Mic immunity

as you said in the greater scheme of things, she's genuinely done horrible things. But if you just accept that at face value you are missing out on such an amazing character. You have to consider her perspective and the circumstances of her birth (especially in a story like ii!!) to fully understand and come to an option on her. But I digress this is baby level analysis so ill move on.

people who think Mic being friendly towards Taco post e14 is out of character are misunderstanding Microphone as both a character and thematic device I think

that's literally the only rational reason I could think of as to why people would be mad about taco and mic being on good terms???

so yeah, these haters just sound like crazy irrational people who have a lot of pent-up emotions. crazy

anyways ty!!! I feel like I didn't have alot to add since, as stated, these people are just incredibly irrational. but its nice getting an earful of whagh the fuck the community is like. here are soem taco drawings for the occasion

[kentuckyfriedmegumi]

i’m PISSED about the way gege handled megumi’s character and i wrote an entire 1k-word analysis/rant on it

i think what makes me especially mad in the way that gege has handled megumi’s character is just in how much set up we were being given. yes, megumi was taken over and suppressed for 50 chapters, but we see how he haunts the narrative.

yuji is CONSTANTLY fighting, working to get him back, it is his MAIN focus in this entire fight. yes, he wants to kill sukuna, but it’s BECAUSE he wants megumi back.

“wake up, fushiguro.” (chapter 251)

i’ll do it as many times as it takes! “wake up, fushiguro!” (chapter 263)

in addition to the long, drawn-out “save megumi” arc, we had megumi’s growth as a character before then. he starts off as someone who does not see value in his life. he would rather sacrifice himself to save his friends bc he believes that their lives are worth more than his.

we see this in how willing he is to throw away his life and summon mahoraga. he’s NOT suicidal, it’s just that he would rather that HE be the one to die than anyone else that he cares about when it comes to a deadly situation (sukuna, finger bearer, etc.)

haruta is an entirely different thing, he was already dying. people who think he was stupid for summoning mahoraga on haruta don’t realize he was literally on the verge of death when haruta pulls up and slashes him from behind.

megumi’s mindset is also PERFECTLY defined in the baseball episode and in his flashback talk with gojo in the OoBO. he’d rather play support and sacrifice himself than have someone else sacrifice themselves for him. he needs to learn to be more selfish, greedier, if he ever wants to grow as a sorcerer.

but that contradicts with how he wants to live. he’s living for tsumiki, he’s a socercer for tsumiki. he doesn’t care about getting strong or being the best, he just wants to do what he can to support her, so he doesn’t mind if he’s the sacrifice play.

until yuji. yuji comes in and he dies in the detention center, and we see meg slowly morph into this desire to become stronger. he wants to be strong so he can save people, which is something that he never really cared about doing before, but he doesn’t know how.

then we get to the exchange event, the fight with hanami, and him getting taken out by the bud curse, and he realizes that he NEEDS to be stronger so he can save people like yuji and tsumiki. this is the start of his arc and after his fight in OoBO, he never summons maho again til shibuya

after shibuya (bc there wasn’t a TON of meg development-focused stuff in that arc), we see he’s had a MAJOR growth in his abilities and CT. he’s a lot more confident in how he fights, he’s very dynamic and cunning, and he’s using the shadows in a new way.

but on the other side of it all, he’s struggling a lot internally. tsumiki is awake, but she’s been roped into the CG. he’s wavering and he needs support. he’s stronger now, but he’s not strong enough. he wants to save tsumiki, but he doesn’t know how.

“so start by saving me, itadori!” (chapter 143)

after megumi is taken over sukuna, we see him fight back. he does originally and he suppresses sukuna’s technique in order to protect yuji. however, sukuna acts specifically in a way to sink his soul and submerges him in darkness.

this is the lowest point on megumi’s character. it leads directly into chapter 251 where megumi has entirely given up. he sees no purpose in living, his entire reason for being a sorcerer is dead. yuji tries to pick him up but sukuna cuts them off and we’re left with megumi no longer wanting to live.

this makes his recovery THAT MUCH more important. this makes his character arc SO MUCH more impactful. this is why whenever we get to ch. 266, and yuji and megumi FINALLY talk, it’s a beautiful convergence of their emotions as they talk about their loss and why they feel the way that they do.

this is why it entirely pisses me OFF that after we finally, FINALLY get megumi back, he is immediately sidelined with the rest of the B cast. we don’t get any post-battle discussions, we don’t get a continuation of “i’ll be lonely without you,” we don’t even get a proper conversation between him and yuji.

all of this buildup, this setup, this constant tension between megumi and yuji saving each other and yuji doing literally anything and everything to get megumi back, it all comes to a boiling point, it’s about to spill over the pot, and then it just… ????

i actually get so SO mad thinking about the way that megumi’s character has been concluded. unless this final chapter really does touch on him, his outlook on life, and his motivations now, megumi’s character was just entirely wasted and thrown to the side of the sake of other conclusions and new plot introductions.

we don’t even get a further explanation of “i’ll try to live for someone else.” we know it’s for yuji, we know he comes back because yuji tells him he’ll be lonely. maybe meg is living for yuji but without the self-expectation and pressure he had when he was living for tsumiki. maybe he realized that even a simple life is worth living, so he will use yuji as a crutch as he finds his purpose again again.

something. ANYTHING. any sort of convo that indicates that megumi has NOT retracted into his old self. it probably is the case where he chooses to live for yuji, but is determined to live for himself, but JESUS can we not get a convo about that????

in conclusion, megumi’s character has been so BEAUTIFULLY written. he is so tragic with so many complex motivations and ideas. and we get all this converging together at the very end and it just… disappears. it’s immediately sidelined. how fucking frustrating is that.

[ramjam]

Hi... long time no NnT-Analysis.

I want to talk about Lancelot and Tristan's dynamic. I'll be putting it under a read-more so I don't spam your dashboard.

First, let's take a look at their designs.

Tristan's Signature Color: Blue-ish Teal

Lancelot's Signature Color: Pink-ish Red

According to color theory, these two colors complement one another. Nakaba utilizes complementary colors quite often in his designs. You'll notice this in many of the most important pairs. It's a visual way to emphasize the connection between two people.

The use of complementary colors goes as far as Lancelot's Sin disguise. When he takes that form, he wears a teal collar... Just like how Tristan wears a collar with Lancelot's red.

Both of them also got their hair colors from their mother, while the style is more similar to their fathers. They have what has been described as a "feminine" appearance. Lancelot is incredibly bothered by this, to the extent he tries really hard to present as masculine. Tristan on the other hand doesn't seem to be bothered by it himself.

Their first volume covers also mirror one another.

Their namesakes are pulled from Arthurian mythos. In some of the original stories, Lancelot and Tristan do act similarly as friends who are "two sides of the same coin" in a way. Fated companions who counter one another.

Going into actual plot stuff now. The way their stories are intertwined, the particular tropes their relationship embodies, and why it's important.

The growth of both of their characters is often explored through their connection. For example, Lancelot first learned to read hearts while dueling Tristan.

Ban references the moment Lancelot received his scar here. Tristan was so excited while dueling his friend, that he lost control of himself. The heightened emotions awakened the dark magic in him that he inherited from his father. Tristan blacked out, striking Lancelot.

This was a significant moment for both of them. Tristan and Lancelot both experienced an "awakening" here, which set them down their respective paths and cemented their bond.

Lancelot is quite literally marked by him. With this scar, there will always be apart of him that is irreversible tied to his relationship with Tristan.

Additionally, the fact Tristan had hurt and permanently scarred Lancelot is what triggered Tristan's anxiety about fighting. It affected him so deeply that he began to fear combat, instead wanting to pursue a path of healing. So that it would never happen again.

The bulk of this film takes place when they're both 14. Which is a few years after Lancelot initially went missing. He felt the need to hide his identity, but even in his disguise, he wanted to somehow push Tristan to his peak performance.

This illustrates how Lancelot never once viewed him as a threat. Tristan isn't a monster to him... He wants to see him exercise the strength that Tristan is so terrified of.

(I wish this site had CC, but Lancelot wolf-whistles at him before this line...)

Lancelot knows Tristan well enough to be aware that these fears would hold him back in combat. He takes action when they fight together, pushing and prodding him until he is forced to conquer that fear and act.

Tristan's hesitancy comes from his care for Lancelot. He's terrified at the thought of ever hurting him-- or anyone-- again. Lancelot sees this differently. He views Tristan's attitude as if he's viewing Lancelot as someone weak who needs protection. He has faith in Tristan's strength and never doubts him. But that faith only makes things more complicated when Tristan avoids facing him. Lancelot knows he's capable and he wants to be his equal in that regard.

Earlier, I referenced Ban's comment in the one-shot where he wonders if Lancelot's behavior at that time had to do with this duel. There's an implication that part of why Lancelot felt so restless and inadequate had to do with Tristan's rejection. This was worsened by the fact that Lancelot had learned to read hearts, so he could see what Tristan must've been thinking in that moment. Tristan's concern doesn't come from viewing Lancelot as weak, but that's how Lancelot interpreted his heart and his words.

Between that and being babied by his parents, he lashed out and ran away to "prove himself." Which is how he went missing to begin with.

He didn't want to stop like Tristan did. He wanted to keep going. Tristan's strength motivated him, but Tristan didn't return those feelings because of his own self-loathing.

In the end, Lancelot is the one who convinces Tristan to embrace his power. He vowed to be there to stop Tristan in case things ever go too far.

Lancelot reads Tristan's heart in this moment and smiles to himself.

Lancelot's love for his friend manifests through his desire to propel Tristan to his peak potential. Through Lancelot's affection, Tristan changes forever. His pure faith in Lancelot and his intentions was all he needed to conquer his fears. To him, he doesn't need to be worried about losing himself, because he has Lancelot.

Many years pass since this moment, but Tristan still views Lancelot as that anchor he needs by his side. Tristan's control over his power has grown significantly, but he still fears using it without Lancelot by his side.

Something interesting about their dynamic in the present day is the way the dynamic has flipped. While Tristan respects Lancelot's power, now he is the one feeling weak in comparison. This is also a testament to the strength of their bond. While Tristan feels they're no longer "equal", it doesn't drive a wedge in their relationship. He isn't resentful or jealous, it doesn't push him away from Lancelot. Their bond is too strong for that.

Not to mention, what seems to bother him more than anything else is the fact that Lancelot won't discuss how he gained this new power. He's bothered by the way his friend vanished without a word for so long, and now refuses to talk about what happened.

Regardless, this just means that Tristan trusts Lancelot's abilities without question. The moment he arrives, Tristan believes so strongly in his ability to win above anyone else. If anyone can defeat the King of Camelot, it will be his closest companion.

Circling back to Lancelot being his anchor: This is pretty common in fantasy Shounen. Leading characters who possess dark magic often have a partner who they rely on to bring them back down, or stop them from going too far and losing themself. However, you usually see it between the leading male main character and the female secondary protagonist... In fact, this is the exact dynamic Meliodas and Elizabeth had with each other in the original manga.

This dynamic came up frequently whenever Meliodas went full-demon mode. But this page from the Holy War arc in particular really reminds me of Lancelot's line where he says he'll "beat Tristan into the dirt if he has to."

Considering these two are Tristan's parents, you'd think the parallel with Tristan would be between him and Isolde, or something. But it's not. It's with Lancelot.

Their chemistry is so natural. They spend some time apart, but nothing really changes. The play off of each other so easily and understand each other so deeply.

Lancelot teases him for a lot of things. Being air-headed, being childish around his parents, etc. But it isn't mean-spirited, and Tristan knows that. It's just an aspect of their relationship and one of the ways Lancelot shows affection to people. That's Tristan's best friend who is mean to him, but he still calls him by a cute little nickname ("Lance.")

The implications that Tristan has called Lancelot out for being like his father before is really funny. Quick lines like this convey a lot about a relationship, it demonstrates that familiarity.

I have a lot more I could say about them, but Tumblr apparently has a 30 image limit per-post. I'm just really excited to see what comes next for them in the timeskip. I suspect all of these building themes are going to come together in some pretty important ways the closer that we get to the main conflict of the sequel.

This analysis isn't necessarily meant to be shippy... But I do ship them, lol... ❤️