#i could also see myself doing character analysis

[relicsongmel]

Iris, Miles, and their mutual "secret"

The Ace Attorney fandom is no stranger to discussions of homoerotic subtext in the game's script—pretty much everyone who's spent more than five seconds here will be able to tell you that. Screenshots of lines that imply romantic tension between same-gender characters are all over the place, to the point that many fans are drawn to the series purely by its reputation as "the gay lawyer game." Some scenes are more well-known than others, but one I find brought up fairly regularly is this conversation between Miles and Iris:

This is optional dialogue that can be triggered by presenting incorrect evidence on Iris' Psyche-Lock during the Investigation portion of Bridge to the Turnabout. The argument here is that the "secret" Iris is referring to is the same as her own: that being, a romantic interest in Phoenix Wright. Which is definitely hilarious when you consider that Iris has known Miles for less than a day and she's already reading him for filth (granted, she could have been clued in by the similarly infamous "indispensable friend" line, and she's also exceptionally good at reading people despite Miles thinking otherwise). As a Narumitsu shipper myself I am not immune to enjoying that interpretation; however, I feel like there's a lot of nuance in this scene that isn't often addressed by the fandom at large. Which is unfortunate because watering it down to just Iris calling out Miles for being the gayass he is (to be fair. she's not wrong) does a MASSIVE disservice to both of their characters, and I'll explain why.

My bone to pick with the usual analysis of this scene is mostly centered around the larger conversation to be had regarding the treatment of female characters in fandom spaces. All too often they tend to play second fiddle to the male characters, and a similar principle holds true for ships with their canonical male love interests: mostly ignored in favor of the the more popular M/M ship(s). At best these women are sidelined, at worse they are flattened into wingmen for the boys (as is frequently the case with many AA girls and Narumitsu, Iris included), and at the absolute worst they are demonized for their perceived "competition" with whatever gay ship is most popular and therefore the Only Valid One for the male characters involved (as exemplified by some very "passionate" fans that I generally try to avoid interacting with). Whenever this scene gets brought up, the focus is almost always exclusively on Miles and what the interaction says about his relationship with Phoenix; Iris is only relevant insofar as she's the one initiating Miles' Homosexual Moment™—you could replace her with almost any other character and there'd be a similar level of neglect for their role in the interaction. Only very rarely will you see attention given to what Iris' question about Miles' secret means when she is the one asking it, and what it can tell us about her relationship with Miles/what she thinks of him, and vice versa (absolutely wild how even Miles himself is often flanderized despite being the fandom's golden child). It's all too characteristic of the systemic misogyny that has plagued fandom since its inception, which is deeply frustrating to me as someone who adores Iris as much as I do (if that wasn't obvious by now). So that said, let's dive deeper into what I think the missing link is here: namely, the Iris-Miles dynamic as it pertains to their relation to Phoenix.

Iris and Miles is one of my favorite relationships to explore in the whole series—but as I've described above, unfortunately a lot of people get it wrong in my opinion. Discussion about the two is frequently centered around Narumitsu Love Drama—which is a conversation worth having, don't get me wrong—but the elements at play there aren't always represented the way I envision them, which again, is frustrating. Take the idea of potential jealousy, for instance: it's pretty standard love triangle fare that can be (and often is) quickly turned into demonization when it's used in a shipping context, character assassination be damned (re: Narumitsu fanfic authors that project their personal dislike of Feenris onto Miles via his jealousy of Iris and/or how they tend to portray Iris unfavorably). However, it's not inherently a bad thing to explore: personally, I do believe that there is mutual jealousy between the two of them. Miles might not have the full context of Iris' history when this conversation takes place, but he's emotionally intelligent enough to pick up on what Iris means to Phoenix, and vice versa. And him being a jealous hoe about it isn't out of the question when you consider that he's a bit of a loner by nature and doesn't have many close friends or outlets for socialization outside of his job. The crucial element that's sometimes missed, though, is that Miles not only lacks the self-awareness to realize he's a jealous hoe...he's also a self-sabotaging jealous hoe.

And the same can be said for Iris, who is similarly introverted and doesn't often leave her home at Hazakura Temple.

The whole reason Miles is peering into Iris' heart in the first place can be found in this exchange, after he breaks her Psyche-Lock:

Miles uses the Magatama in order to gain the answers he needs to bring the truth to light and get Iris acquitted, and he does so for the express purpose of reuniting her with Phoenix so they can find closure—in fact, he reiterates this to her multiple times. He obviously recognizes how Phoenix is suffering from what happened between them (I'd argue he sympathizes with Iris' plight as well) and has resolved to do what he can to help him heal, but there's no reason for him to be so insistent that she rectify things with Phoenix when it does nothing but harm his own chances with him. Unless, of course...that's the whole point.

To convince Iris to reveal her secret so he doesn't have to face his own, because he thinks himself undeserving.

And Iris, noticing this because she empathizes with that feeling of unworthiness, calls him out on it in an almost uncharacteristically forward manner when she asks him what he's hiding.

Takes one to know one, indeed.

Iris highly respects Miles for taking on her defense despite the risk to his job as a prosecutor. She's willing to trust him after hearing he's a friend of Phoenix, hearing him out and letting him reason with her. She still keeps her cards close to her chest in some regards, but she's more honest with him than she's been with anyone else in her life apart from her sister. She sees his commitment to the truth and how it starkly contrasts with how she's lived her life to this point, and thinks that this is the type of partner Phoenix deserves—not someone like her, who only knows how to survive using lies and deception. She sees so much strength in him but still recognizes the insecurity lurking beneath his tenacity, which is why when he falters in his logic, she takes a leap of faith and gives him one last chance to examine his reasons for pushing the burden of his unspoken affections onto her, as if to say: "Look in the mirror. Is this really for me? Or is it for you? Do you really seek the truth for its own sake, or do you merely hope to find one truth so you might run from another?"

Her question to Miles is a gamble—a coin flip of self-sacrifice. If she loses and he presses on, she has to face the secret within her heart she's been suppressing for five years. But if she wins and he gives in to the truth in his, she has to live the rest of her life watching it unfold and knowing she threw away her chance to finally stop living in fear of her own love.

Either way, there's no escaping heartache for her anymore.

Miles and Iris both want what's best for Phoenix and prioritize their vision of his feelings over their own. However, they are also both deeply emotionally repressed people who find difficulty in being direct with their feelings, and are predisposed to self-sabotage due to childhood trauma. These tendencies may manifest in different ways for both of them, but the fact remains that such people would likely not compete for a person's affection in the traditional sense, which is exactly what we see with how Iris and Miles deflect their feelings for Phoenix. These selfless, lovestruck idiots toss that man around like a game of hot-potato because their mutual self-hatred for the ways they've harmed him has rendered them terrified of the reality of what he means to them, and desperate to find a way out of admitting to it. It's the most compelling explanation I can think of for why the usually unassuming Iris makes such a bold judgment about what Miles might be keeping locked away, and why Miles goes to such lengths to make sure she talks to Phoenix and tells him the truth—his agreement to defend her was conditional on that exact promise. They go through this whole song-and-dance of playing wingman to ignore their own feelings while still trying to bring Phoenix the happiness they think he deserves—and then they wonder why seeing Phoenix give the other one attention burns them up inside.

Because they’re dumb. And I love them.

TL;DR the Iris Psyche-Lock scene in BttT is so much more than just "haha Miles gay" and I wish people talked about it more. Also Iris and Miles are way more similar than they appear at first glance and if I think about it for too long it makes me physically ill thank you for coming to my TED talk

[youvebeengalindafied]

This is all @polyarmy and @fiyeroba ‘s fault for making me sad about Glinda again so now I’m posting my whole Glinda Meta here (originally an obnoxiously long dm sent to @gamorahww who is a patient saint)

You’ve asked for it, and now you get……The Glinda Meta™

First: I have been obsessed w/ Glinda's character for like 15 years. She is my roman empire. But I also really LIKE her as a flawed character - something that the fandom has always seemed to be a little uncomfortable with.

She is, to me, what Jane Austen once wrote about Emma:

“I am going to write a heroine whom no one but myself will much like.”

Full meta character analysis under the cut. Uh. Strap in.

(This gets a lil long sorry, but PLEASE HEAR ME OUT -)

To me, the interesting thing is what actually - ACTUALLY - motivates Glinda to act the way she does is so much greater and deeper than a simple desire for success/fame/popularity.

Like obviously in literature/critique of narrative, we have this idea of protagonists vs supporting characters. Supporting characters might have philosophies or goals that drive them (think Nessa and Boq) but those philosophies and goals are usually not developed into self-contradictory nuance the way a protagonist's motivations are. They’re just facts about the character.

And in my option, a big problem in the wicked fandom is that everybody seems to treat Glinda as a supporting character whose motivations are easy to digest. To most fans, she's either the girlfriend who is there to support Elphaba's story by being "loving but conflicted." Or to critics she's entirely selfish and cruel (even as she's fun and interesting), and therefore a semi-antagonist

But if you step back and treat Glinda as a true antihero protagonist of Wicked (for the sake of the mental character study), you see that she's not actually motivated by love or popularity or even success....what drives her is desperation.

Glinda sees her world as a place that cannot be changed and will only work to destroy those who cannot correctly operate in it. And she is SO DESPERATE to avoid that. Elphaba's fate is actually her worst fear - she cannot break away from society and leap to a new fate, because she is the ultimate cynic who thinks there is no way that could possibly work. In fact, it's an enormous testament to her love (however you want to intepret that) of Elphaba that she's even willing to consider leaving during Defying Gravity. For a brief moment, her immense, incredible faith in Elphaba is almost enough to overcome her complete desperation to survive the horrible world she thinks she's in.

And that obviously means that she's not as noble as Elphaba or as brave as Fiyero as a character - she cannot make the choice to leave when both of them do at different points - but that's because she's the most "human" character in the story. Most people are not brave enough to become international terrorists, even in the face of great evil. We might join in a developed cause, but to knowingly walk towards what is likely one's death to change a system you know you’ll actually have very little effect on...that takes a very special kind of person. And while Glinda is a GOOD person, she is too much a cynic and too desperate to survive her crazy world to become that impossible standard of the Rebel or the Hero. She's just a flawed, scared girl, in circumstances she never dreamed she’d be in.

And then the craziest thing happens:

Rather than showing Glinda that she should have been brave and done what E and F did, the narrative instead goes and basically confirms all her darkest fears: Elphaba rebels...and her revolution fails, and Glinda loses her best friend to bitter hatred and insanity for most of Act 2. Fiyero decides to leave and do the right thing by going with Elphaba....and he is almost immediately murdered in a horrible, violent way as punishment for it. This can only reinforce for Glinda that the State/the System/the World is all-powerful, and she must bow to it.

But that's the most fascinating moment for her character, because the very moment she realizes the absolute overwhelming power of the system (March of the Witch Hunters) is also the very moment that chooses to die rather than perpetuating it. She leaves the City to approach Elphaba - whom Glinda thinks POSSIBLY WANTS TO KILL HER - and BEGS Elphaba to not die. Begs Elphaba to stop her self-sacrificial madness. Begs Elphaba to allow Glinda to sacrifice herself instead ("Then I'll go, I'll tell everybody the truth!" "No! They'll just turn against you!" "I DON'T CARE!" - this girl who is entirely motivated by survival is straight up throwing it all on the line ready to walk to her death at the hands of a mob with wide open, unblinking eyes)

And obviously, in doing so, she is making the same choice that Fiyero did earlier in the story, But the huge difference is that Fiyero is a classic case of a "dead from the beginning" character, and he does not have the same motivations as her. He starts as a nhilist already embracing death in Dancing Through Life and his character is not somebody who is desprate to survive - his character is driven by a desperation for a faith. And Elphaba (and her cause) is his faith that he happily martyrs himself for.

By contrast, Glinda is terrified of the system that is trying to kill her, and she is desperate to survive it. She sees the way it takes everything form her, again and again, destroying everything she loves - Elphaba, Fiyero, her own sense of goodness…

(And she is extremely genre-aware that she is in a tragedy: her world isn't fair, and she knows that Elphaba will fail. She knows this will all go wrong.)

But Glinda still has such strength of character that she - in the end - overcomes all of her fear, all of her weaknesses, and humbles herself at the pyre to join the people she loves so much in their fate. She both offers to die for Elphaba and she takes up Elphaba's work and dedicates her entire life to it, consequences be damned. And that comes from a place of ultimate love and goodness, despite all of her flaws and all the temptations dissuading her.

Because Glinda is not Elphaba or Fiyero - she isn't a starry-eyed optimistic rebel or a man with a obsessive, loving faith. She is just a girl. Just Emma. And she is extremely flawed, and has so many fears that push and pull at her in a way the other main characters do not experience. But despite being so painfully, humanly defective, her goodness allows her to do the right thing in the end.

tl;dr - the greatest thing about Glinda’s character is that she is flawed, and she is weak and makes all the wrong choices. But in the end, she humbles herself completely - to the point of offering her own life for Elphaba and taking the whole weight of the world on her shoulders despite all her fear - because she is ultimately good.

And thus in the end, she becomes the person that Elphaba so clearly sees her as throughout the story: good, caring, and able to make real change in the world. She will now try desperately to fully live up to Elphaba's incredible faith in her. And it's so heartbreaking and tragic, but also one of the best character arcs ever.

So I guess it's less "wants to stay safe in her bubble" and more "she sees no option other than to stay safe. The State/System is all-powerful and there is nothing she thinks she can do to change that. But the beauty of the character lies in her decision to step out of that bubble anyways."

—

BONUS: Glinda’s flaws in relation to her relationship with Elphaba

(Or why Gelphie is a devastating ship (romantically or not) but not in the way you think)

This section dedicated to the SJB/AA performance that just BREAKS ME.

Elphaba basically sees Glinda through some WILDLY rose-tinted glasses (which is just. such a fascinating insight into elphaba’s character). Which is why a good chunk of the fandom accepts it as fact that Glinda is ~not actually all that flawed~ or is somehow being forced to make the decisions she is (she is not. the narrative point of Fiyero’s character is to prove that lol)

Glinda is very much complicated and does make some truly terrible decisions. Elphaba just sees and believes the good in her, despite everything she does (because it’s also a fact of the story that - either platonically or romantically - she’s clearly a little in love with Glinda. (The passes she gives that girl…)). I don’t think her weird thing about Glinda is particularly rational, but it is undeniably all-consuming.

And that makes their relationship feel VERY human. Their flaws don't make them unworthy of each other’s love and respect and friendship. Elphaba's love of Glinda is pretty crazy in light of how much Glinda’s morals and choices differ from her own, but that’s the kind of love that real, sometimes illogical people have. Anybody trying to prove the logic or compatibility of the characters is kinda missing the point - it doesn’t make sense, and THAT’S how you know it’s love.

(Brief aside: similar to Elphaba’s obsession with Glinda, Fiyero is also irrationally obsessed with Elphaba. I mean, she kinda sucks at the whole revolution thing (she's trying!!) and he's clearly starry-eyed ignoring a LOT of her flaws lol. In contrast - for better or worse, Glinda does see Elphaba's flaws and calls them out, just as Elphaba sees Fiyero's flaws and calls him out. It’s a nice little circular relationship)

But…but….is it gay???

Sure. I think so - but I’m a lesbian who has shipped it since I was a preteen lol. But that’s also NOT THE POINT, and focusing on only the romantic angle of their relationship REALLY ignores just how layered and complex it is.

Taking off my squee shipping glasses for a minute: they’re fundamentally just two people in some version of an EXTREMELY intense relationship. I honestly think Glinda reads as a little terrified of how insanely intense her relationship is with Elphaba. She fears walking down that road and fully falling into that intense, all-consuming love. (And we literally learn why later through Fiyero’s ‘death’ and Elphaba’s insanity - love makes you do some crazy things, and Glinda can’t afford that in this world.)

Regardless of whether you interpret them romantically or not - it’s clear they’re very intense about each other and Glinda is very afraid that Elphaba is her weakness. Unfortunately, Elphaba is also her soulmate and the love of her life, and she’ll always come back again. That fact will ruin Glinda’s life in the end, but it will have been worth it for all the love that was there

[magnetic-dogz]

I've been complimented on the way my voice sounds enough that it's made me wonder if I should get into streaming or making video essays...

[tiredandoptimistic]

What I really enjoy about Luke and Maryse's interactions in City of Ashes is that they clearly grew up separate from each other. Both of them are in their late thirties, but they hold this image in their heads of who the other was when they were teenagers, when they were enthralled by Valentine's hateful rhetoric.

From how he describes them to Clary, it's clear that Luke looks down on the Lightwoods. He says that they were Valentine's closest lieutenants and the most dedicated to his doctrine, and yet he ignores the fact that he was Valentine's second-in-command for most of the Circle's existence. He knows that he had doubts at the time and then grew into a kind and accepting adult, but Robert and Maryse appeared dedicated to Valentine from the outside and have been separate from Luke ever since, so to him they must still be as cruel as they ever were. He sees himself as superior because he got out first, but forgets that he stuck around until Valentine literally told him to kill himself, while Robert and Maryse surrendered to the Clave voluntarily.

Then there's Maryse, who's still bitter over Luke's betrayal. Not because he turned against Valentine, but because he and Jocelyn set a trap that ended with every member of the Circle (other than the Lightwoods, Hodge, and Michael) being killed by the combined forces of the Clave and the Downworlders. Of course Maryse is being pretty hypocritical here, since she was fully in on the plan to murder a bunch of unarmed diplomats, but she does have a point that Luke and Jocelyn did nothing to protect their former friends. Their plan saved lives in the long run, but it resulted in far more bloodshed that night than Valentine's simple massacre.

After Valentine's supposed death, Jocelyn, Luke, Robert, and Maryse all went into a sort of retirement in New York City. For Luke and Jocelyn it was their mundane employment and for Maryse and Robert is was their place as Institute heads, but both couples spent fifteen years raising their kids and learning to be better people. By the time we see them in TMI, all four former circle members had come to terms with how atrocious Valentine had been and dedicated themselves to doing better with their adult lives, but since it happened in relative isolation, they all still remember each other as they were at age twenty. To Maryse, Luke is still the man who left his friends to die, and to Luke, Maryse is still the woman who stuck by a murderer until the end.

I just think it's very interesting that there are so few survivors of the Circle left in 2007, and barely any of them communicate with each other at all. Amatis was left alone in Idris, Hodge felt so abandoned by the Clave that he went back to Valentine, Robert and Maryse trapped themselves in a loveless marriage rather than give up the illusion of stability they'd built for their kids, Luke and Jocelyn denied their past until it came to find them, and Michael was killed with his family in a scheme that would never have worked if a single person came to check up on him in the ten years Valentine inhabited his life. They could have found a community through this common experience, but instead they saw each other as monsters for the things they all did.

[anti-transphobia]

Everyone posts about how Stardew Valley is a cozy LGBT+ inclusive game but NO ONE mentions the lack of a platonic option for the bachelors/bachelorettes. Which would be good for aspec people and also just more pleasant for many casual players I believe but that's not even the point. I just want to become best friends with everyone and not only does that require me dating everyone at once and feeling like a sleazebag because of it (ik the bad cutscene can be avoided but I know in my heart they'd be hurt if they knew) BUT it also means the women flirt with me!!!!! Constantly!!!!!!! It makes me sick to my stomach. Truly ruining the characters I liked

[thlassicalamity]

hmmm I should play Pokémon Violet soon. i want to assign Pokémon teams to mdzs characters but idk the sv pokedex like at All. I’m sure I could make solid teams just picking from all the other regions but what if there’s a rlly fitting paldean Pokémon yknow .. I could just go thro all the dex entries but I’d rather meet them in game so I Don’t permanently end up thinking ab any of them as like ‘the wwx Pokémon’ or anything.

im so sure someone else has made them Pokémon teams Somewhere but there’s 1,000 Pokémon now (hey don’t cry. 1,000 different pokemon, okay?) so im sure I can bring some of my own flavors to the table anyway

[arolesbianism]

Every now and then I get haunted by my past as a dr fan because someone mentions it or smth and lemme tell you the worst case scenario is if they bring up v3 in an even slightly positive light because nothing will make me start giving a shit abt dr again except for my burning hatred of that damn game, I just spent like 30 minutes ranting to myself about how much of a nothing character Kokichi is in the bathroom after showering just to vent it out because if I don't rant abt v3 every now and then I'll explode and kill someone

[jane-asmo]

Why I think Caitlyn didn’t ask Vi for forgiveness

(Thank 'anons' for your messages. I’ll try to respond to you through this text: )

The importance of Caitlyn’s “I know”

A key moment in Caitlyn’s character narrative is her “I know”—both its content and delivery.

The content: When Caitlyn says, “I know,” it doesn’t just mean “You’re right.” It means, “I’ve taken the time to think about this.” And thinking is what Caitlyn does best. Her “I know” conveys that she has already had this conversation with herself, over and over in her head. She’s thought about it constantly, she’s already told herself these things, and she’s already blamed herself for them.

The delivery: She screams it with violence, and we can see this represented by the boat falling apart. It’s not just that she has thought about it; it’s tormenting her. Her “I know” is incredibly powerful because it’s filled with suffering.

To me, this is as valid as an apology because asking for forgiveness is outward-facing—focused on the other person. "Asking for forgiveness" says, “Whether I’ve forgiven myself or not, whether I feel guilty or not, it’s on you to decide to forgive me.”

But here, Caitlyn’s “I know” is inward-facing. It means, “I’m not asking you to forgive me because I can’t even forgive myself.”

She knows everything you’re saying, and it torments her.

This is followed by:

"I didn’t even have time to think before they hauled her off."

This line is so telling. Everything about Caitlyn is tied to thinking and reflection.

Being a sniper means aiming and shooting. Aiming is the equivalent of thinking, and shooting is the equivalent of speaking. Everything Caitlyn does is deliberate and thought through.

This is why some people dislike her: as I’ve said before, unlike other characters, Caitlyn’s actions can’t be forgiven easily because she doesn’t do anything by accident.

Then we get to:

"We can’t erase our mistakes. None of us."

Caitlyn speak in “we.”

In the prison scene with Jinx:

"No amount of good deeds can undo our crimes."

This scene mirrors the rage she felt when she threw the boat. In this moment, she’s speaking to Jinx, but also to herself.

Caitlyn and Jinx are paralleled so many times throughout the show. Caitlyn quickly realized that, in some ways, she had become like Jinx. And so, in order to forgive Jinx, she would first have to forgive herself.

At this point in the episode, the person Caitlyn hates the most is herself.

But she no longer has the "energy" to hate, neither Jinx nor herself.

Energy comes from fuel. What she perceives as a lack of strength to keep fighting is simply the fact that the fuel that powered her hatred has disappeared. And when you stop feeding a fire, it eventually dies out. She has no energy left; she has no fuel to sustain her hatred.

It's a particular way of saying, I don’t hate you anymore, and I don’t want to hate myself anymore either, because in the end, that hatred corrupts us/everything .

In her own unique way, Jinx also says, I didn’t know your mother was there, even if it wouldn’t have changed anything. And this too is a strange way of taking a step toward the other.

We have two brilliant and intelligent women who express their emotions in unconventional ways. ----------

There’s also a whole analysis that could be done about her concept of justice and rules, "but I don’t have the energy" to dive into that here. Still, it would only lead back to the fact that Caitlyn doesn’t see herself as the right person to free Jinx (and therefore to forgive her) because she believes she herself is beyond forgiveness.

[apersonnamedel]

Something I would like to point out while rewatching HTTYD2 that I think is very interesting and also not at all talked about is this.

HTTYD2 brings lots and I mean LOTS of parallels whether they are visual or spoken but the one I hear spoken about the most is between Hiccup and Valka and them not killing a dragon. Even the movie tries to make this seem like a parallel. They bring it up even!

“Ehh it runs in the family.” Hiccup says after the flashback scene.

But something I noticed is that it is not a parallel. Mainly because of a few key things. It’s more almost perpendicular. They head in the same direction and they have the same realization, then go in complete opposite directions.

Valka runs away. A key part of her character I’ve noticed while I’ve been writing my analysis of her is that she oozes of cowardice and willful ignorance. Now that doesn’t mean she’s a bad person, it simply means that she ran away and chose to stay away. But that’s not the main reason I brought this up.

Remember the flashback where they draw attention to how similar Hiccup and Valka are? They talk about it in a very specific way.

They bring attention to two points. Both of them looked into a dragons eye and saw themself. Then they both didn’t kill a dragon. They show this as some kind of parallel. Maybe to show that Hiccup has someone who understands him, maybe to add a bit of layering to the first movie and how he’s just like her.

But it’s not a parallel.

What’s the difference in this scene?

One dragon is tied up.

One isn’t.

It’s a matter of choice.

“You and your father nearly died that night. All because I couldn’t kill a dragon.” Quote Valka.

“300 years and I’m the first Viking who wouldn’t kill a dragon.” Quote Hiccup.

Hiccups statement STILL rings true. Valka had no choice in if she wanted to kill Cloudjumper or not. That’s why I brought up Valka’s cowardice. Valka was in a trapped house with an injured newborn and an unbound dragon 5x her size. She was in the middle of a raid with people all around. Stoick was around the corner. She simply couldn’t kill the dragon. It wasn’t a matter of would or wouldn’t.

Hiccup on the other hand was alone in a forest with a tied up dragon. He made the decision to not kill Toothless. He wouldn’t. Because he absolutely could have killed Toothless.

“I was a coward. I was weak. I wouldn’t kill a dragon.”

“You said wouldn’t that time.”

This scene (in my own opinion) is meant to show that Hiccup was never the hiccup. He was never a coward. He wasn’t weak. It’s meant to be ironic.

Hiccup let go one of the most dangerous dragons in the world and it was brave. He went against his culture, his tribe because he thought it was the right thing to do.

That’s where Valka and Hiccups story become perpendicular. Hiccup was brave. Valka was a coward.

Hiccup chose not to run away. He chose to change their minds. He thought their minds could change.

Valka ran away. She didn’t listen and didn’t think change was possible. She held this belief until Hiccup comes along.

Valka’s path is where she believes that dragons are more than they seem. Then, “This wasn’t a viscous beast, but an intelligent gentle creature whose soul, reflected my own.” She has the revelation. Then she runs away and stays away. Now she had her own reasons and I am very much phrasing this in a biased way but it’s meant to show a point. She stays away and doesn’t change much. Because she couldn’t kill a dragon.

Hiccups path is where he does not see much to dragons. He wants to kill one to be accepted into the village. He shoots down Toothless and- “Everything we know about you guys, is wrong.” Or- “I looked at him and saw myself.” Hiccup and Valka’s paths cross here. But Hiccup doesn’t run away and he changes Berk’s mind. Because he wouldn’t kill a dragon.

Anyways I think that’s about it for that topic and I think it should be discussed more! Because if you really think about it, there are almost no parallels in Valka and Hiccup. And if there are, it isn’t well executed enough that it leaves a strong impact. I definitely will talk about this more but it’s late and I crave sleep.

[insomnya777]

elaborating because i can and a couple people asked me to and we all know that all i need is a little encouragement to get me going

under the cut because i'm a grade-a yapper and this is going to be LONG. like super long. i've pulled up lyrics and songs and everything. <- your final warning

1. joel as sabrina

so no one really disagreed with me on this one and i don't think anyone will just because of the fact that he references her in his videos but like. i'm still going to talk about it because i want to and this is my blog and You Can't Stop Me!!!!!

if you don't know sabrina carpenter, basically just know that she's charismatic & confident & hilarious & gorgeous. plus like all of her songs are sooo him! they're fun and light and always a hit!!! but also can be scathing if they need to be!!!! her humour especially reminds me of him (as a character) because it's like ironic and self-aware but also flirty and silly but also a little twisted and a little mean. in particular i think that the cocky (not the word that describes it best but it's the only one i can think of) side of herself that she shows during her concerts reminds me a lot of joel with his whole "oh i'm so tall and handsome" bit he's got going on

literally like i don't know what more i can say to this. my dude has multiple of her songs in his playlist, he used espresso in his video, and also one of his tools on hermitcraft is named after a lyric. it's canon guys 🙏

songs that i think are the most him + specific lyrics:

espresso — i can't relate to desperation, my give-a-fucks are on vacation

read your mind — oh, i'll be laughing when you say that you really have changed, finally found your way, 'cuz i'm close to your face

tornado warnings — i deserve an hour in a week to focus on my thoughts, not so obsessed with yours i can't hear myself speak

lonesome — if i fall in love with all my problems, will they leave me too?

things i wish you said — nobody gets my jokes, everyone here thinks i'm fucking rude

bed chem — who's the cute boy with the white jacket and the thick accent?!

don't smile — don't smile 'cuz it happened, baby, cry because it's over

good graces — baby, you say you really like it, being mine, so let me give you some advice!

2. grian as taylor

okay this one is VERY personal to me. i am so unhealthily attached to him as taylor. you're probably thinking: but, nya, he literally canonically has an alter ego named after ariana grande! and i raise you this point: i simply do not care

all jokes obviously. i can see why people see him as ariana! especially in her new album, i've listened to it a lot, and i definitely can see some songs that remind me of his character - cough, cough, we can't be friends (wait for your love) - but i've got to say that ariana to me has always been scar (or maybe even a bit of jimmy? undecided) but that's a post for another time

now why i see grian as taylor! i have three main reasons for this actually. as an og swiftie and an og grian fan i may be a little bit biased but just. ignore that. thanks

first of all, i think that they're both kind of starting points, if you get what i mean. most hermitcraft/life series fans start with grian, and then eventually branch out to other creators. similarly, a lot of people listen to taylor swift/know her songs the best out of the genre she specializes in/within the audience her content is aimed towards

secondly, they're also both the most popular within their own branch, and i think they're both the type of artists/channels that you can enjoy without really being a Fan of. almost mainstream (? don't know if that's the term that would work for grian but you get my point). like you don't have to be a diehard grian fan to enjoy his videos, you can just decide one day to pick up one of them, watch it, then never think of it again. does that make sense?

third, i think they both have a lot of variety within their content. taylor's music ranges between emotions and styles, just like the videos that grian makes fluctuates in theme. he's on servers like hermitcraft, where we see him interact with other people and show off his building skills and just be silly. then he's in the life series, which is the total opposite, and then he was also in evo, which is also very different, and so on. his characterization also is very different from author to author, which is, of course, to be expected, but i haven't really seen other people in this particular fandom get characterized so differently to this degree. (it's not a bad thing!!!! i love it i think it's actually sooo fun & interesting that we can take this character and morph it into what we want. like most people don't even realize they're doing it you can only really pick up on it if you're looking for it)

songs that i think are the most him + specific lyrics:

castles crumbling — and you don't want to know me, i will just let you down

begin again — thinking all love ever does is break, and burn, and end

22 — happy, free, confused, and lonely at the same time

call it what you want — and i know i make the same mistakes every time, bridges burn, i never learn, at least i did one thing right

the archer — 'cuz all of my enemies started out friends, help me hold on to you

don't blame me — for you, i would cross the line, i would waste my time, i would lose my mind

hoax — stood on the cliffside, screaming "give me a reason"

this is me trying — and my words shoot to kill when i'm mad, i have a lot of regrets about that

my tears ricochet — you know i didn't want to have to haunt you, but what a ghostly scene

mad woman — what did you think i'd say to that? does a scorpion sting when fighting back? they strike to kill, and you know i will

the prophecy — please, i've been on my knees, change the prophecy. don't want money, just someone who wants my company

3. jimmy as olivia

i'll be real with you, i have considerably less reasons for why i've chosen this. it relates a lot around his interactions with other characters instead of just him as a character + i've taken a few creative liberties here so. cut me someeee slack!

my main reason for this is that jimmy is just the epitome of teenage girl to me (just like olivia). that's probably a little bit of projection on my side because i, myself, am a teenage girl (which i don't know if many of you know? but yes i am a teenager) and jimmy's probably my favourite which leads to me kind of distorting his character a little. but. i don't know. something about the not being taken seriously, the refusal to give up, the insistence that this time will be different just hits me so hard/is relatable. not to get all serious on you

i will say this, though - while sabrina as joel was about both sabrina carpenter the person (or the person that the world knows) and also her music, i think for olivia as jimmy, it's mainly about the music. but you can also relate her relationships with other people (what we know of them, at least) to jimmy's with scott tango grian whatever. i think they do parallel each other pretty well, but, again, that's another post

i also think that jimmy's a lot more sour, not so much guts. olivia's first album revolves around that idea of heartbreak, jealousy, angst. i think his character usually revolves around themes like that. guts, olivia's second album, to me, is a little different. she's grown as a person, reflecting, and she's a lot more confident, too. it shows in her music. i think that jimmy (especially in the life series) is overall very, very sour coded, but then again, there are many songs on guts that definitely can be related to him too.

songs that i think are the most him + specific lyrics:

love is embarrassing — jesus, what was i even doing? 'cuz now it don't mean a thing, god, love's fucking embarrassing

ballad of a homeschooled girl — each time i step outside, it's social suicide

the grudge — i'm so tough when i'm alone, and i'll make you feel so guilty, and i fantasize about a time you're a little fucking sorry

teenage dream — when are all my excuses of "learning my lesson" gonna start to feel sad?

brutal — all i did was try my best, this the kind of thanks i get?

jealousy, jealousy — their win is not my loss, i know it's true but i can't help getting caught up in it all. comparison is killing me slowly

favourite crime — one heart broke, four hands bloody

1 step forward, 3 steps back — i hate that i give you power over that kind of stuff

THE END!!!!! i hope you enjoyed reading this as much as i enjoyed writing this and let me know your thoughts 🫶 always up for some debate!!!

if joel is sabrina carpenter coded (& he is trust) then grian is taylor and jimmy is olivia rodrigo. no i will not be taking criticism but i am fully willing to elaborate

[avelera]

I’m curious, how much control do you think Viktor was in in season 2?

I have tried to analyze this but am honestly stumped. Because on one hand it is clearly his intentions and logic being used. Since the beginning he has been wanting to heal people afflicted in Zaun (while it was also to cure his illness I don’t doubt wanting to help those in need was a legitimate motivation). He does immediately go to heal people in Zaun and all the conclusions he jumps to through the season do seem perfectly reasonable for him. He was the type of person who didn’t even conceptualize in season one that something like the hexclaw could be used as a weapon. That and the hexcore showing that he was a pacifist to the point of it being a massive blind spot to danger. So it makes sense being shot by Jayce of all people while in his eyes he was healing people would cause him to go all glorious evolution mode as a natural progression of his arc.

On the other hand he definitely didn’t come back right. The show makes a point to show in season one that the hexcore has some level of physical control over him, and even when going to heal the shimmer addicts he is following Sky’s voice. The writers also confirmed that it indeed was not Sky and was the hexcore manifesting his guilt to push him towards to glorious evolution. And his emotions definitely seem to be muffled and unexpressive. I know this part is joked about a lot but honestly even the fact that he chokes Jayce is surprising because he is consistently characterized as a pacifist to the point of it being a fatal flaw. He doesn’t even commit an act of violence in a show filled with fight scenes until the second to last episode, let alone against Jayce of all people. I think the last thing season one Viktor would do is intentionally cause physical harm to someone, hence why it is only at the part where he is the farthest gone.

Basically if I had to guess I’d say it’s like 50/50 level of control, but you have written some great character analysis so I’m curious what your thoughts are as to how much of season two was Viktor and how much was the Hexcore

Honestly, Anon, I'm wrestling with this on almost a daily basis myself when I write fics. It's definitely not helped by the fact they avoided a lot of exposition in S2 in favor of pacing (the slower pace of S1 allowed for a lot more signposting and exposition of what was going on, I think somewhat to the detriment of S2) and the fact that we don't really get much of Viktor after he stops being the Machine Herald, because to my eyes that's the first time we see the real Viktor all season and it would be nice to get him to express some contrast with what came before (though of course it would ruin the pacing of a perfect moment).

I think you basically nailed all of the points of confusion. I've ever considered tracking all the points where his voice warps for clues, because I think there is something to be gleaned from how and when his voice distorts, but in what direction is also a curious question.

Was saying "affection" kept them together more or less than what Viktor would have said to Jayce? Would he on his own have said love? Or would he, in his infinite shyness, have not dared to mention emotion at all, because Viktor is an expert at pushing those closest to him away and hiding his own emotions? Was that the Hexcore trying to drag Jayce in closer by calling it affection, or push him away before it could gain strength by lowering Viktor saying "love" down to just saying "affection"?

On the other hand, during the Herald's villain monologue at the end in the Astral Plane, his voice is distorted for almost every line except, "This senseless waste," which does feel like a sincere Viktor line, perhaps the only one that is truly him that whole time, including when he said he was pleased to see Jayce, in that horrible mocking tone. Could that not be the Hexcore speaking there?

I'll offer what I think is happening:

In order to chart "What is Hexcore" vs. "What is Viktor" it's less useful to look at Viktor's motives than the Hexcore's.

The Hexore wanted to expand its influence. It wanted to become powerful enough to have its own army and to destroy the civilization around it as other versions of the Hexcore have done throughout history. I believe it reached those goals by posing them as things Viktor, on his own, would want to do like help the needy, thus hiding its ends inside of Viktor's motives.

Note too that people who have dosed up on Shimmer are more susceptible to its molding.

Hence we can assume that the Hexcore, in the guise of Sky, using Viktor's guilt about her and his own failures to help the undercity, guided Viktor down to the Shimmer victim encampment specifically.

Viktor is not a mystic. The most mystical thing he says in S1 is that the Arcane speaks through mages. But the Hexcore is a magical artifact. Something like the Hexcore also destroyed a civilization centuries ago, and the figure in Heimerdinger's memory looks like Viktor when he's cloaked.

So personally, I think we can ascribe any mysticism to the Hexcore's influence too. That means the Cult, for example. Also Viktor's, "You need not suffer anymore," and kind of making them all genuflect to him, feels very OOC and just plain wrong for Viktor.

Whereas Viktor in the Astral Plane feels like real Viktor. Even the fact that when we show his point of view out into the world he is himself in a field of stars, seeing the real world projected in front of him like Plato's Allegory of the Cave gives the impression of imprisonment, like he's looking out through the windows of his own eyes to a shrouded world he can no longer directly touch.

And note, for example, that Sky/the Hexcore doesn't want Viktor to heal Vander. That's all Viktor. I believe the reason is because it doesn't want to run out of energy too quickly.

Basically, I think the Hexcore is stringing Viktor along there as Sky, giving him a little terrarium of stars to play in, while using him as a vessel of assimilation under the guise of healing. These are on both sides, inner and outer, things that Viktor wants to do, so he's seduced. He doesn't fight it.

I also think at a certain point, the Hexcore Viktor gains enough power to be able to impact people who aren't dosed with Shimmer. I think this comes later though, which is why it's not interested in Jayce at first but it is interested in assimilating him later. At that point, again, those motives align with Viktor's own sincere desire to see Jayce again (maybe he's sick of all the hippies in the commune lol) and the Hexcore is happy to get rid of someone who could conceivably stop it.

But note, the Hexcore is still playing along with Viktor. It could forcibly assimilate Jayce, but Viktor wants Jayce to choose his side willingly, so it holds back. In part too because that disappointment is what fuels Viktor to give himself over the Hexcore's goals entirely and ask for Singed's treatment with Apex Shimmer. At that point, as the showrunner noted, it doesn't need the guise of Sky anymore, it doesn't need to string Viktor along anymore. He's bought into the idea of forcibly assimilating the world if he can't get Jayce to join willingly.

I also heard an interesting theory that I'd like to factor in: basically, until he gains access to the Anomaly, Viktor doesn't have the power to strip himself of the Hexcore's influence or overcome it. That's why there's no point in Jayce trying to get through to him sooner, it wouldn't do anything because Viktor would still be trapped in its web.

Once they have the Anomaly, Viktor as an ascended being can strip away the Hexcore's influence. And that's why I lamented that we don't get more of his thoughts in that scene. Because I think an interpretation can be made that the Machine Herald look is just the human form of the Hexcore, using Viktor as a vessel.

Once that outer shell explodes, it really is Viktor again, with all the power of the Anomaly and Jayce's rune at his disposal. Now he and Jayce can work together to reverse the damage, free all the trapped souls from the Hexcore's web, and save the day. But we see that only then Viktor is able to view his own actions as himself, and he's horrified. There I think we get Viktor's one true, sincere reaction to everything that has happened up to that point and confirm that, yes, while the Hexcore interwove its seduction through Viktor's motives, none of this is what Viktor wanted. The ultimate outcome was the Hexcore's goals.

Quick Doylist addition: I also think there's definitely a draft where it's all Viktor getting controlled, but the writers know that can be kind of boring. It's better when characters take action and make choices, rather than being controlled. So I think that's why they settled on a combination of "The Hexcore's end goals, but Viktor's underlying motivations being twisted to support them."

[cthonic-bunny]

1. personal synastry and composite experiences and observations

Do not interact if you are a minor. (18+)

Sun in 8th house synastry: I was the house person they were the sun. I definitely developed insecurities I never had before as a result of this connection. With the sun shining brightly on my insecurities, they were hard to ignore and even harder to not project them entirely on the sun. A lot of “you did this to me!” energy. I didn’t consider myself a jealous person until this relationship and a lot of it came from wanting to be “good enough” in the eyes of the sun person. It’s like knowing you have these darker aspects in common and wanting them to see you can bond this way and see them in a way no one can. You also end up pushing limits together. You liked this? Now WE love this. You’re addicted to that? Now WE are addicted to it. Moderation is hard to achieve with sun in the 8th house synastry. It can also bring up insecurities surrounding sex with that person specifically, if poorly aspected. Explosive reactions and emotional outbursts aren’t foreign here. The house person can feel like a vampire being sunburned, with all its ugliness revealing itself from its body because of its interaction with this person. The 8H person wants a full, in-depth analysis of the sun person’s thoughts, intentions, and motivations. The plutonic energy wants to completely envelop the sun, compulsively in some cases, to know WHY they are the way they are, and why the sun presents themselves in certain ways. This is especially true if the sun person did something to hurt the 8H person, who can feel it more than is rational. The 8H person can really struggle with getting over any emotional harm or feelings of abandonment that come from the sun person. The 8H person can potentially resent the sun person for not being able to read them as intently as they could read the sun person. The sex, if and once insecurities are worked through, can bring you so much closer to one another and to yourself. I also feel like any disturbances or intimacy problems between you two can easily be felt by others or there can be blow ups in front of people you know, because the sun is a planet that illuminates wherever the light lands, whether you like it or not. Avoid public fights, because you will kiss and makeup but the damage in other people’s eyes will be done and opinions will be made. The 8H person might be able to see through any facade the sun person puts up, and this could lead to deep discussions that could be extremely healing for the Sun who might have to work through some things. The 8H person can also teach the sun person how to make more money and maybe even encourage them to start their own business. They can be known as a couple that makes a lot of money together. The sun person can also give sugar daddy/mommy vibes and the 8H the sugar baby, even if it neither one of the people involved are rich-rich. This is a highly binding placement. You two might find it difficult or even impossible to separate from each other even if the relationship has run its natural course. You guys are known as the couple that is “stuck” to one another.

Moon in 5th house synastry: *weird* but, for those who have this placement with a significant other, do you love to smell their body odor? I think in the house of children and fertility, it makes sense to love your partner’s pheromones. Something as weird as the smell of their armpits or stinky feet becomes comforting, idk?? This house is also really fun, and you can get a lot of emotional fulfillment out of acting like children together. 5H is ruled by Leo, so I also found that we had a lot of fun putting on “shows” for one another, and sort of making up our own characters and accents to make the other giggle. People are also really excited for the prospect of us having children together, and you’ll have friends volunteering to babysit or be the godparent of your unborn children LOL. Dressing up nice and going out on dates to somewhere with a great ambiance can be a great way to feel connected. Sharing perfume, or gifting each other perfumes or colognes. Loving the scents they wear. Same taste in candles? Candles as gifts. Lots of watching TV together? Having “shows” that feel wrong to watch without the other. Being called pretty by the other means a lot, and being pretty in each other’s eyes makes you feel good.

Moon in 12th house synastry: 12H synastry tends to have an awful reputation, and I get it when it’s a relationship that isn’t meant for you. However, my moon falls in my best friend’s 12H, and it is one of my favorite placements of ours. We have a telepathic connection where we can just look at the other and know what’s up. You preemptively know what will bother the other person and find it hard to understand how other people wouldn’t have assumed that thing would annoy your person. You understand each other’s motives, and can provide the ultimate shoulder to cry on or ear to listen with. When it’s a new interaction it can feel a bit intense, because how are you in my head!!! I feel like you can read my thoughts! It was like that for the both of us. It’s like, when together, both our consciousnesses transported to another realm where we are mutually perceiving something and our thoughts are being put on a radio for the other to listen to. Very spiritual relationship. You KNOW the vibes, and those feelings will be verified through the other person who already felt the same. She will never be wrong in my eyes and I will defend her to the death. We don’t even have to speak on certain days, but we can feel whatever mood the other one is in and check-up on each other accordingly. Whenever we have a strange dream or nightmare, the first thing we do is text each other and try to analyze what it could mean. I as the 12H person also dreamt of us becoming best friends before we formally met. The dreams i would have of her would always be loaded with spiritual symbolism. We also grew up with the same level of emotional attachment to our personal spiritualities and shared religion, which plays a large role in our understandings of one another. Most people just won’t get it, but she always will. She could read my crazy journal entries if she wanted to. 12H moon synastry is just unconditional love. Between friends at least, it feels like a long-lost twin connection. Also, her and I had gotten matching tattoos before we even knew of each other, both of them being for the same spiritual meaning!

Composite Mars in 3rd house: Lots of talking during sex, and lots of car sex— It might sometimes feel like that’s the easiest thing to talk about, or the conversation always steers to that direction. Sending nudes? Sexting. Maybe the only way you two could engage your sexual desire for one another is through sexting, because distance might not permit the full physical expression. If you don’t have a lot of experience knowing the other’s communication style, it can lead to a bit of random defensiveness or perceiving the other as communicating abrasively. I think it can lead to one trying to get reactions out of the other by saying something out of pocket.

Composite Mercury in 12th house: Pay attention to the dreams you have of this person! They will seriously tell you a lot about your dynamic, but don’t take them at face value! Lots of mystical elements to your dreams about them specifically, so maybe reviewing tarot card meanings and astrology concepts can help you decipher the meanings of your dreams. You might find it easier than expected to confide in each other or rant about your brain’s inner workings together. “I don’t know why I’m saying all that-“ or psychoanalyzing each other for fun. Talking about your less-than-desirable attributes. Being honest about your deceptive tendencies or specific lies you’ve told and why. Oversharing things that will usually make other people uncomfortable in the same context (like talking about your exes or failed situationships on a first date). Difficulties communicating when it’s not in person because it leaves too much room for confusion. Deceit is a real possibility though, with someone voluntarily “leaving out details” about their life outside of the relationship to avoid ruining the flow of energy or the dynamic. Having each other saved on your phones under fake names. Having to hide that you’re talking to this person from other people. One of you withdrawing communication to manipulatively make the other think about you more. Taking turns being each other’s therapist. Thinking about each other often but never expressing that, or the extent to which you think of one another. Thinking about the other at night before going to bed. “I started catching feelings for the girl that I’m currently having sex with, so it’s safe to say we don’t talk anymore, unless of course we’re having sex” in Sasquatch .22 by Bay Faction.

Composite Venus in 12th house: There really is a secretive component to this interaction that can feel impossible to bypass. Your family, friends, or society might not “approve” of you two together. One or both of you can be cheating on someone with this person. Only being able to meet up or be affectionate at night or in extremely private settings. The privacy of the relationship can help you open up a lot more than you’d expect to, because there’s no one but you two to perceive the other in this context. No judgments on how you two should behave with one another, so “let’s fully enjoy the moment while it lasts.” No one understanding your interaction or it’s purpose, and you probably don’t understand it either. Sending telepathic love notes. Longing. Intimate and romantic sex that haunts you or catches you off guard. Never wanting to be the first one to admit you’ve caught feelings. Ruining your sleep schedule to spend time with one another. Dreaming about romantically linking with them before it ever happens. Withdrawing once feelings start feeling real. The song “Lips of Angel” by Hinder reminds me of Composite Venus in 12H. “Illicit Affairs,” “August,” and “False God” by Taylor Swift. “Why Can’t I?” by Liz Phair. Gato de Noche by Bad Bunny. Sex by The 1975.

Lilith in 8th house synastry: Wanting to try things sexually with this person that wasn’t necessarily exciting with other partners. “You can do whatever you want to me, and I’ll let you.” Possibly experimenting with or preferring BDSM with one another. That Lana lyric that’s like: You fucked me so good that I almost said “I love you.” It might also be controversial if people knew you’ve had sex with one another. Revenge sex? As in, you two having sex might indirectly be spiting someone else, and it kind of feels like you’re dishing out delicious karma on a surprising silver platter— “lol if only they knew” You two might have fun misbehaving together. Doing what you both know you’re not supposed to be doing can make everything feel better, and even more reason to keep doing what you’re doing. Lana Del Rey in Diet Mountain Dew: “you’re no good for me, but baby I want you.” Wanting to be dangerous together. “Leave me bruised so I can’t forget you.” “Seeing you tonight is a bad idea, right?” This placement somewhat reminds me of a union between the death card and the devil card in tarot, with an emphasis on risk-stained sexual liberation. You can become symbolic of temptation in each other’s lives, so it’s hard to deny your impulses. Toxic by Britney Spears.

-D 🖤🕯

[ghosts-and-glory]

Some Narinder character analysis for y’all.

This is a slightly re-edited excerpt from a much longer post of mine where I was specifically trying to provide a rebuttal to someone else. I’m kinda proud of some of my takes here and the write up took me hours so I’m gonna repost it here on its own.

I’m going into specifically into Narinder’s

Speech patterns and way of expressing emotions.

Implications of his post defeat dialogue

Relationship with Aym and Baal

Feelings on Ratau’s death

And a little extra on why do we “babygirl” Narinder

Full analysis under the cut.

The way Narinder expresses his positive feelings

First I gotta establish Narinder’s voice. Narinder seems almost incapable of giving a genuine compliment especially without turning it into something about himself.

Here’s three examples of him giving a complement to The Lamb. Taken from after defeating Amdusias and Shamura. He also complements The Lamb when you sacrifice Ratau but I’ll come back around to that.

I wanted to grab the entire quotes so it didn’t look like I was nitpicking.

"Very good, my vessel. It seems I chose well when I kept you from Death.”

First example, “very good,” is the complement, but immediately after he takes credit for this by calling you “my vessel” thereby claiming ownership over you. His vessel did well. And again “I chose well” doubled down and complemented himself.

“I admit, you have worn it (the red crown) almost as well as I could have myself.”

Again we see the complement layered in ego. “Almost as well as I” in other words you did well, but don’t forget I’m better. Also important to draw attention to is “I admit” this is a very explicit statement of his refusal to acknowledge the success of others.

"Your appetite for death is something I can admire, Vessel. But the Crown is mine, and none - NONE - are worthy. None other than I.”

Here he almost lays down a complement. “Your appetite for death is something I can admire” straight up, states his admiration. He seems to almost realize what he’s done and quickly pulls back into his ego, “But the crown is mine” “-none are worthy- None other than I.”

These are the three of the four ONLY times that Narinder ever says anything explicitly positive about someone else when he is a god. Thus establishing that the head ass cannot give out a compliment to save his life. The one time he gives you full credit for your actions he immediately pulls right back into his ego.

I cannot stress this enough. Someone who is characterized as cold and emotionally closed off as Narinder is WILL NOT suddenly undo this characteristic when they try and express a positive feeling.

Okay with that established we can look at his follower dialogue. Specifically these two examples from when you resurrect a follower and allow him to go on a mission.

“I cannot begrudge supplantation by one such as yourself.”

Literally saying I don’t resent you for taking my place. It’s not an explicit statement that he respects you but this is he weird fucked up little way of saying it. Of course he still lays it out in a way that’s self centred but we know from the way he has spoken that this is about as much verbal praise he is capable of giving.

The other one is a less explicit statement but I think it’s a interesting reflection of the final place of his character.

“…my thanks, Lamb.”

Being his last bit of unique dialogue, it’s an incredible ending to a character. He thanks you. That’s all he needed to say.

Narinder’s reaction to his defeat that he would rather die.

Let’s go over his dialogue in some depth.

"You weak, snivelling, foul thing. You - wait! Waaaiiiiiit!"

I’m starting with this line as it compels me the most. I find that there are two separate readings of this and I can’t really point to one above the other. On my play through I had assumed his wailing was more in reference to being denied death. It could also be read as him not wanting to be reduced to a follower and realizing what your mercy really means for his future.

“-are you to be a vengeful false idol, or a merciful coward? No longer can you blame your vile acts on me."

Okay, looking at the way he presents your two options he seems to push more for the murder action. “-vengeful false idol,” is how he refers to murder. It’s not exactly a glowing review but his use of the word vengeful is important. We know that one of Narinder’s main goals in the game is revenge, we he already acts with revenge I can’t say that he’s using this word as an insult. The false idol part of this statement seems like he’s attempted to separate himself from you, again for is ego.

Then he presents the spare option by calling you a “merciful coward.” The flow of this full sentence puts more pressure on this option. He presents it as the “or” the second option. This is the bad option, the option of a coward.

“So. vou are no different to me after all. You have become as I am."

I know this is a deranged order to go over these quotes but last we got murder. Compared to his spare dialogue this is incredibly sombre. We know from already establishing how big his ego is that saying you are the same as him is almost a compliment. I do find this dialogue incredibly interesting tho, I can’t exactly explain why but I can’t help but read this as damning as well. It’s like he means it in both ways, the ultimate fuck you. You are just as I am, for better and worse.

But from what we know about Narinder his edgy ass cannot express emotion. He wraps his statements in layers of irony and selfishness. Unless it supports the persona he puts on or inflates his ego he WILL NOT right out state his feelings or needs, especially when he was a chained god.

Relationship with Aym and Baal

Aym and Baal are incredibly hard to characterize. They don’t have much dialogue to work off of and only three characters every speak on them, Shamura, Narinder and Forneus. The context of the game does present them as more Narinder’s first (and second) hand, less followers more apprentices, almost, but where’s the fun in assuming.

"Intended as keepers, perhaps, but they were young and in need of guidance. Must I be blamed for my influence?"

I wanna draw attention to the specific wording of keepers. Again, based on the way Narinder speaks its safe to assume he means the formal meaning of a keeper, meaning a caretaker. It is unclear if Narinder was told they where his keepers or if he assumed so, but either way he still speaks on them as such.

For the sake of argument (and I don’t wanna rewrite this bit entirely) I’m gonna put the idea that Narinder brainwashed Aym and Baal against my presented idea of them being his keepers or apprentices.

The proposed idea of the brainwashing angle can be developed based on Narinder saying that “they where young and in need of guidance, must I be blamed for my influence.” This implies that, as much as Aym and Baal may have been sent as keepers, they where still young and Narinder could not help but be an influence on them. I am gonna come back around to this thread so hold onto this for a moment. Moving on.

“Two kits I did have, true love found! And yet one lackadaisy summer day, my beautiful children were taken away... a gift, they said, for the one they loved most, the one that waits...”

“Ooh, kits... I remember, I remember... two kits in my claws... a gift.."

It is unclear and morally dubious how Aym and Baal came to Narinder. First we’re not 100% where Narinder is chained. The wiki lists it as the afterlife and in dialogue Narinder refers to it as “at the gates between this life and the next, trapped at the nexus of what was and what wasn't.” (When he asks you to send him on a mission.) We can travel there both by dying and being summoned there by him.

Either way the assumption is that Aym and Baal had to die. (As an aside I have my own speculation on the conditions required for a person to be presented to Narinder or to be resurrected but that’s off topic.) The horrific implications being that either Shamura themself killed the kits or that they where already dying. However you cannot blame the reaper for ushering the dead away from life.

I’m going to work off of the cult specific definition and characteristics of brainwashing. It’s hard to characterize where Aym and Baal sit here as, again they have little dialogue and due to the nature of brainwashing it’s hard to spot. First I wanna grab my brainwashing resources.

I’m using Encyclopedia Britannica’s page on brainwashing, cults, indoctrination, manipulation as my primary resourse.

Again I kinda wanna apply a layer of irony to how literally I apply real life tragedy to this game that obviously uses cults in a comedic manner. I wanna focus in on the characteristics displayed by victims of brainwashing and the techniques used in brainwashing by an abuser.

Looking at the elements used in brainwashing the only one I can say off the bat that is present is isolation, obviously. But with that let’s grab all of Aym and Baal’s dialogue.

What is clear from their dialogue is their obedience to Narinder. They call him master while his keepers and still when you meet them later when adventuring. And physically we do see them by Narinder’s side the entire main game and they fight the Lamb first. But if we add some nuance and look at their role as keepers or my own theory of being apprentices both actions of obedience make sense still for those roles. On the same note they also don’t display traits you would expect for someone fully under Narinder’s control. They speak to the Lamb out of turn and attack without prompting from Narinder.

Other characteristics are hard to imply. With torture I do want to pass it off an unlikely as based on the way Narinder tries to manipulate the Lamb it’s only verbal and he cannot attack while chained and I don’t see that changing with the keepers. Traits like sleep, water and food deprivation can’t be applied for various reasons (mostly the being dead one) and we don’t know anything about Narinder and the keeper’s interactions in the past so I’ll have to disregard other traits like suggestion.

Baal: "It's you. Usurper of the Red Crown. The one who freed us."

Aym: "Ha! You are nothing compared to our Master. We have not been in this world long, but already I can tell you are weak. You lack discipline. Our Master wielded Death with precision and control. You allow chaos to reign."

Baal: "What my brother means to say is thank you."

Moving onto groupthink I can pretty comfortably say that this is not a present characteristic of Aym and Baal. In their limited dialogue we can easily characterize Aym as more outwardly defensive of Narinder but Baal is more reserved and even contradicts Aym and is able to speak freely of Narinder.

Looping back around to the way Narinder speaks on his influence on Aym and Baal. Again we know how Narinder speaks, he cannot give honest compliments and dodges affection like it’s a professional sport. With the way he will outright tell the Lamb to manipulate followers and then uses the words “guidance” and “influence” about Aym and Baal, he has to be avoiding admitting affection to the keepers. He does follow that up with “Do what you wish, scornful God. I care not for them.” But again does Forneus not also allow her kits to do as they wish?

My own reading of Narinder’s relation to Aym and Baal is that of mentorship but it could also be read as parental. But saying brainwashed is a big stretch.

His feelings on the death of Ratau

This is like another example of like, yeah, wow, an evil character does evil? Who could’ve possibly foreseen this? Sarcasm aside I do see his comments on this being a lesser evil.

First I do have to ask why, if Narinder held strong sense of unrest against his former vessel, did he not have him struck down? The main reason I can see is that Ratau is still devoted to the red crown, most clearly seen by the statue at the lonely shack which generates devotion.

Second, Ratau’s death isn’t on his hands, it’s on yours. I find his pride here is from The Lamb’s actions not the death of Ratau. You killed your mentor, he describes your actions as “treacherous opportunism” and says “A great Vessel takes their master's will as their own.” Based on his later dialogue this is likely more foreshadowing the Lamb becoming as Narinder is. Narinder tried to kill his siblings, and you did kill your mentor. “You have become as I am."

I’m gonna tangent quickly cause there’s a line here that is incredibly interesting.

"He renounced his position after striking a bargain that resulted in the sacrifice of a Follower. He was weak."

Incredibly interesting the way he condemns Ratau’s sacrifice of a follower. Narinder directly contradicts himself. It is implied that the follower was lost to another being that did not benefit Narinder, but the Lamb also sacrifices followers to the Fox and Midas. Just something to chew on.

Why do we “babygirl” Narinder and other evil characters?

This is kinda the last bit I’m gonna get into before I cap this off. It is incredibly funny for me to say “I babygirl Narinder” only to get a reply that’s like “I don’t think you babygirl him on purpose.” But I wanna talk about why this happens and why it happened to specifically Narinder.

When people complain about the fandom interpretation of Narinder I think they forget the tone of cult of the lamb. The closest thing I could think to call it would be a dark comedy kinda energy.

The game has very dark themes going on. Mentions of real horrible things like genocide, cults and religious abuse. But also just like look at the game, it’s visual style is so cute and non threatening, the bird characters have two mouths to commit to the bit. If you look at the way it depicts cults it’s very surface level, it’s more focused on being a satire on the common satanic media kinda look of a cult. Visually it bathes in its aesthetics, taking names from books like The Lessee Key of Solomon, uses villainous depictions of symbols like the pentagram or old Hebrew script, disregarding its nuanced origins.

And then they go onto do the funniest thing ever. The other bishop’s? Gross little freaks, based on commonly disliked animals, worm, frog, squid and spider. And then- and then they make the god of death, who they characterize and manipulative and evil, they make him a catboy. You cannot tell me they did not know what they where doing.

Why have I shot Narinder with the babygirl beam? CAUSE THE GAME DID IT FIRST!

I’m gonna call the god of death my little meow meow and point out his status as a Tumblr sexy man cause he’s a little guy and I wanna give him head scritches. But I’m also gonna call him a layered, fucked up and an incredibly interesting character in the same breath.

[kitts-mechanix]

I just had a huge realisation yesterday and I wanted to share this after going through some pretty horrible stuff over the weekend: Something I've always asked myself ever since getting into G1 Transformers was "why do you like Starscream so much even though he's a narcissistic bully? Why are you, someone who is a victim of narcissistic abuse, taking comfort in a narcissistic character?" Well, I think I finally figured it out. Because Starscream is also a victim of that very same abuse. I mean, he's beaten, called names, bullied, unappreciated, abused, and put through the wringer…and he internalised all that abuse because he knew no other way. He had no one to turn to, and the few bots who did support him, he treated like dirt. Once he had that freedom and power, he abused it and became the very thing that abused him. I have no doubt he was always self-centred, selfish, had a huge ego, etc. before all that but honestly? I think Megatron's abuse caused him to turn out the way he did. I could have turned out that way and it's a little scary, some of the parallels I'm drawing with him.

@ichbinmeltdown wrote a great analysis on Starscream that I want to share here:

"Megatron was abusive as hell to Starscream. He treated him horribly, and I legitimately almost cried a few times watching it. There's an episode called Starscream's Brigade that introduces the Combaticons, and I think that perfectly demonstrates the cycle of abuse. The entire world is against Starscream at pretty much every turn throughout the series, but none more so than Megatron. Every word out of his speech synthesizer to Starscream is to berate him, and he's constantly throwing him around, beating him, even ripping out his speech synthesizer in a scene from a previous episode (Hoist Goes Hollywood, IIRC). His own teammates don't like him, and even his brothers- Skywarp and Thundercracker, going off of the idea they're brothers- just... allow Megatron to abuse him. (Not to get into headcanons here, but I personally believe that Megatron's abuse fractured the Elite Trine's family dynamic. They are still brothers and love each other, but they're all too afraid of Megatron to really... stand up for each other as they did in the past.) And Starscream seemed to just snap in this episode. He treated the Combaticons poorly, and even when teaming up with Shockwave, he subjected him to a lot of the same ridicule and torment that Megatron put him through. He failed to realize Shockwave was the one of the only bots who would give him a chance- and unfortunately lashed out at him, which ruined his chances of Shockwave ever being a true friend and ally to him. Once Starscream had finally gotten a taste of power and not being under another bot's boot, he too became the very thing that he lived in fear of. And that really is how the cycle goes- when you're finally free from abuse, it can be tempting to overcompensate and take back all the power you were robbed of, at any cost whatsoever. Starscream, like D16 in Transformers One, snapped up this opportunity."

And the sad thing is, I've seen this in real life and I've internalised some of the abuse I've dealt with too. I'm not proud of it. Like the Seeker Trine, my own family dynamic has been fractured by similar abuse. I know there's traces of narcissism in my behaviour too, and I'm NOT proud of it. Maybe this is why I can forgive Starscream for being a narc, because I can see a little bit of my own personality/attitude/behaviour in him. Maybe it's because I know where it came from, I get why he acts that way and it's not just random and out of the blue. Maybe it's because--and I know this is a bold statement--I don't think he would do some of the stuff my own family did to me (blah blah blah he's a fictional character).

I didn't mean for this to turn into a long rant, so

TLDR: I finally figured out that part of the reason I love and relate to Starscream so much despite him internalising some of the abuse I went through, is because he was the victim of that same abuse.

[abyssalzones]

hi!! apologies if this has been asked/answered a million times before, but i'm curious about how you came to be the CEO of transfem stan.. obviously there doesn't need to be a "reason" for any trans hc, i do it myself all the time just for funsies, but i wasn't sure if you had some kind of analysis on or reasoning behind it. i don't think i've seen anyone hc it before and i love your work (art as well as writing) so yeah i wanted to ask!!! have a good one :-)

the CEO ??!?!? jeezzzz that's a lot of responsibility. do I get a desk plaque?

but no, unfortunately I haven't compiled a big work of analysis about this, if I'm honest I was taking a shower and thought absently "haha maybe estrogen would save her". and then started thinking about it a little deeper and went wait a minute. estrogen... WOULD save her.

if you're looking for 'reasoning' as in 'canon evidence', there's a lot of little things you could point to on the surface level: the whole duchess approves thing ("It's just like my life!... in a way"), the senior citizen ponytail kit gag, mullet as a compromise on having long hair (and the implications of having to eventually cut it to "pass" as a male character)... there's probably more but honestly that's not the point to me and not what I care about when it comes to "headcanons". It starts to feel a little goofy pointing at what are mostly jokes and going "look! Evidence!" when the basis I'm working off of is... very much not a joke.

so to tell you the truth, there are a lot of writing reasons why I really like transfem stan as a headcanon: I think it would suit her arc very well, it makes for a very interesting element to throw into her dynamic with ford, it creates a lot of mabel-stan bonding opportunities if you see them both as transfem (which... may or may not be the subject of a comic I'd like to make...), but plain and simple I just think it owns. I like the idea of a 60-something year old egg who starts transitioning after 30 years of pretending to be something she isn't, and can only now begin to have her own identity without shame breathing down her neck.

also butch women are very cool 👍

[chaggie4ever]

Ok I need to get this off my chest: people need to stop hating on my girl for her final performance against Lute. Vaggie has been out of practice for 3.5 YEARS (42 months), during which she lost her depth perception and wings and hid her identity, which definitely limited her ability to train (not even accounting for the psychological torment and phantom pains). Meanwhile Lute has been living her best life in heaven, likely training every day to keep her position and fully intact.

She has one month to prepare and learn some basic self defense. Now mind you, training montages are hilarious because after the first week if you’re doing it right you probably can barely move out of soreness XD (the ONLY accurate portrayal I’ve seen was on Galavant, which everyone should watch - it’s a medieval musical with a similar tone to HH). I’ll cover more on her and Carmilla separately.

Then Lute proceeds to watch the entire final battle while Vaggie is busy killing at least four angels by my count. When they fly up to Adam and Lute, she immediately sucker stabs Dazzle, dropping them hundreds of feet and disarming Vaggie in the process.

Despite all of this, Vaggie is able to stop a full force sword charge directly at her eye bare handed. She deflects several more vicious blows, using tools in her environment to help (shard of glass, radio). Yes she is losing. She is unarmed and see above… also unused to fighting with long hair even pulled up XD (as an aside, I absolutely LOVE how Carmilla pulls her hair down the moment Vaggie complains when training lol).

She gets a few more face cuts while we watch Charlie stab Adam, and ends up on the ground reaching for her weapon, which Lute uses to stab her hand before stupidly leaving it while gloating. Yes, Lute could (and should) have ended her here. I have a few separate theories on why that did not happen (later post). But regardless of the reasoning, Lute’s hubris left Vaggie alive enough to goad her second wind by mentioning Charlie. And Vaggie was SMARTER (and ultimately more spirited).

Now the tables have turned but Vaggie spared Lute, more out of spite than kindness but ultimately because of Charlie. Lute only has her left arm pinned; she should have stopped the spear but basically asked for death. This is also deserving of it’s own analysis but I think all angels hate themselves :(

Vaggie leaves and when she no longer has her undivided attention, Lute is irate enough to rip off her arm and pin her. Vaggie isn’t fighting at this point, she’s trying to get to Charlie but was sucker punched/tackled. Pretty understandable imho… interesting theories that Lute may have ironically saved Vaggie’s life here. I love her but she’s not stronger than Adam :( I’ll keep these Yuri headcannons to myself for now XD

Ironically, I think this may end very badly for Vaggie and Chaggie (if Lute kills anyone I will kill everyone and then myself), especially after Adam’s death. We haven’t even seen Vaggie cry but Lute now has. The same girl who just pulled her own arm off in sheer rage (seriously what’s up with her brute strength XD).

But ultimately, while I don’t feel comfortable saying Vaggie properly won this fight, she did a damn good job with what she had available and people need to stop hating on this character! Lute definitely did not win. And I’m REALLY hoping for a proper rematch because given Lute’s HATRED, she clearly feels at least challenged by Vaggie, one of Adam’s “best girls” who likely had at least Lute’s 275 kills annually… AND/OR she was dumped right before Vaggie’s last extermination and all the yuri 😍🥰😘😇🤣