#i'm expecting the hate

[ikamigami]

HOT TAKE

New Moon was grieving a version of Solar he created in his own mind.

New Moon barely knew Solar. Even if he knew that he ran away from his dimension cause his Moon tired to kill him New Moon never seemed to realize how much traumatised Solar was. Nothing implies that they talked about Solar's trauma.

I remember how I complained that Solar seems to be a not good influence on New Moon because of how much a yes-man he was. But only now I realized that it was probably a trauma response from Solar. That he tried to be as helpful and productive as possible for New Moon so the latter wouldn't be disappointed in him. Or that he was agreeing and went along with most of New Moon's ideas so the latter would be happy. Or that he always tried to calm New Moon down and stir him from getting too caught up in anger because New Moon's anger reminded him too much of his Moon. Solar was probably scared to oppose New Moon hence why he so often agreed with him or with his ideas.

This is why when New Moon went missing Solar wnet into a panic mode and even if he was mean to Sun he indeed wanted Sun to be safe because who knows what could've happen with Moon being missing and potentially being violent or feral.

You may think that I'm exaggerating but why Solar should trust New Moon? Just because he's nice-r than his Moon? When Solar saw how New Moon acts when he's angry. And when Moon was missing Solar couldn't know for sure if he's angry or not because he wasn't there with him.

Solar likes New Moon but we can't and shouldn't forget that it was tainted with fear. Fear of being a disappointment. Maybe not many people realized that because these feelings of Solar's were unspoken. We could only clued it together from hints. It was more of a show don't tell thing.

And this were comes my hot take. New Moon only knows this ever helpful and agreeing with him Solar. Not a Solar who doesn't want to be a disappointment. Not a Solar who is afraid of angry Moon. Because Solar was never vulnerable around him. He was only vulnerable around Lunar and Earth.

I think that yes, New Moon misses Solar because he was his friend and a brother. But I think that he's probably missing that Solar was agreeing with him, was allowing him to do experiments and all that stuff. After all, New Moon said how much he's fed up with others telling him that he can't do this or that. Solar wasn't like that.

"You're not my Solar" might reflect more how New Moon perceived Solar rather than who Solar actually was. After all, a hallucination of Solar was disappointed in Moon. Solar wasn't.. or rather he never said he was. And he probably wouldn't dare to say that.

And I think that Solar told Sun and Moon that he's proud of them because of how much he was happier with them. He could live with both of them. New Moon wasn't constantly yelling at him and beating him to unconsciousness. And Sun was alive and safe. And all three of them could finally spend time together.

But all of this still doesn't erase Solar's trauma and the fact how he was acting towards Sun and Moon was recflecting his trauma caused by his Sun's death and his Moon's abuse. We can't and shouldn't forget that. This is what shaped Solar's friendship with New Moon as being more of a yes-man - which I think wasn't helping New Moon to change for the better (in a sense so New Moon wouldn't be too self-centered) and in fact I think that Earth did more to help New Moon than Solar did but that's beside the point of this post.

And because of such complexity of Solar's relationship with New Moon I dislike solarmoon ship because most of the time their dynamic is depicted far differently from what is in canon and most of the time they're ooc and most of the time their dynamic in this ship is flat and one-dimensional. It lacks this really important nuance and sadly I don't see people ever aknowledging that.

It's okay for anyone to like this ship and ship solarmoon but I dislike how many people just view Solar's and New Moon's relationship through shipping lenses completely stripping away the complexity of it. Many don't even seem to realize that if they infact were infatued with each other it'd be unhealthy relationship till they'd address Solar's trauma.

And ofc I'm talking only about these solarmoon shippers who confuse canon with their headcanons. Who only view Solar's relationship with New Moon through shipping lenses. Who don't aknowledge the complexity of it in canon. And sadly I've seen many times solarmoon being depicted in this flat one-dimensional ooc way.

[symphonyofsilence]

Let the poor man rest.

[lazylittledragon]

ok i swear i'm not going to talk about my breakup forever but the thing that just keeps bothering me:

i know that not getting what you need in a relationship is a COMPLETELY valid reason to end it but also. i feel like having a very vulnerable moment where i opened up about my struggles with intimacy and being relieved that i didn't have to keep doing things i wasn't comfortable with, then being dumped a YEAR later because of my lack of intimacy. is something i should be allowed to be very hurt by???

[knifearo]

i hate the concept of platonic and romantic as a binary i hate the concept of platonic and romantic as a sliding scale of "less" to "more" i hate the concept of platonic and romantic as the only two options i hate the concept of platonic and romantic as significantly different things i hate the concept of platonic and romantic as all encompassing i hate the concept of platonic and romantic as the two halves of a shallow concept of love that doesn't actually encompass anything at all i think we need to overhaul every popular conception about "types" of love so we can talk about things that are real and true for once

[catsvrsdogscatswin]

I've had this thought swirling in the back of my head for a while, but it's finally congealed enough that I think I can make a coherent pitch, which is: I think RWBY's problems with the more vitriolic part of its fanbase partially stems from the fact that RWBY is a deconstruction that doesn't advertise it's a deconstruction.

RWBY's status as a deconstruction is pretty textbook. It takes apart standard fantasy, shounen, and anime tropes in order to analyze them and their deeper meaning and then reassembles them in new and interesting ways for the plot/characters/series. Thing is, it never says that outright in promotional material, which can lead to later outrage in fans.

See, unless their way of discovering new shows is to close their eyes and stab their finger at random, most people tend to choose series to watch/read based on expectations. Maybe a friend said they'll like it because it has [insert thing], maybe they read the summary and were intrigued, maybe they thought the poster/cover art was cool, whatever. These small pieces of information are generally enough for people to make a snap-judgment of the style and genre of the series, which they can then gauge against their personal tastes and decide whether or not they want to try.

Most of the time, this works just fine. Well-written deconstructions also generally give the viewers some warning/buildup before they take a hard swerve. See Madoka Magica: the magical girl paradigm is shaded by the possibility of death as soon as we're introduced to it, then there's an onscreen death with blood, and then a few episodes later we eventually realize the Faustian bargain of it all. Even innocent viewers who stumbled into watching it, unaware of the show's reputation, would go "Oh, wait, this is not going in the direction magical girl shows usually go" by a third of the way through.

The thing is, with RWBY, this does not happen unless you're paying a lot of attention and/or looking for it. And neither the cover art nor the summary nor, I believe, the fanbase gives a lot of warning about the swerves ahead.

In fact, RWBY initially bills itself as a pretty standard shounen anime. The main protagonist is hinted to have Special Powers and gets into the Magic Monster-Hunting School in the first episode, and the first two-and-a-half seasons are taken up by her and her friends' superhero-esque slice-of-life shenanigans as they thwart robberies and terrorist attacks and gear up for a tournament arc against the looming background of a larger conspiracy.

Then in the last half of the third season the villains' entire Rube Goldberg machine of a scheme snaps into completion and the plot twists so hard the entire genre takes a hard right. If you're used to character analysis and common anime tropes, this is not completely a surprise -up until this point, RWBY's character arcs and plot have been subtly traveling in non-traditional directions that hint of greater flexibility in genre treatment ahead- but if you're not... well.

Thing is, people watching RWBY up until this point have signed up for pretty standard shounen and they've been getting it, but the third season's ending smashes that all to bits. From then on out in RWBY, it's like they ordered fries and suddenly got a hamburger. It might be delicious; but it's not what they asked for, what they wanted, or what they paid for, and they are, justifiably, displeased.

So when the reasonable people either adjusted their expectations or sighed, shook their heads, and clicked back out (perhaps with a grumble and a scowl), the unreasonable people dug their heels in and began insisting that everybody was Getting The Show/Character Wrong and that CRWBY is ruining it, because the fact that RWBY's method of deconstruction is to put standard tropes in a blender and then arrange what's left in deceptive patterns means that said unreasonable viewers can scan the bare surface and argue that all the stereotypical stuff is clearly still under there, somewhere.

So they're continually trying to drag RWBY back to the tracks of a typical shounen anime series (it's closest relative), which creates a dissonance between the show they're watching and the show they think they're watching. They're trying to turn the hamburger back into fries, basically, except that doesn't work and just frustrates everyone involved, because you're trying to make RWBY into something that it's not. Hence, this attitude probably starting/fueling some of the more contentious statements in the fandom, i.e.:

"Ironwood was right the whole time" (in most action movies and shounen anime, allied military leaders are trustworthy beyond reproach)

"Adam's character was wasted" (we all know how much shounen loves their powerful warrior antiheroes)

"Ruby and the others are in the wrong about [insert thing]/or for doing [insert thing], and this is bad writing!" (shounen protagonists don't usually make more than One Very Big Mistake over the course of their entire careers, which is usually fixed/overcome/redeemed via an appropriately rigorous training arc)

And to be clear, there's nothing wrong with shounen tropes or shounen anime. They're wonderful storytelling devices in their own way and their own time: but if you want standard by-the-book shounen without any new and interesting concoctions, then RWBY is definitely not the show for you. And most people don't find that out until it's too late.

[theminecraftbee]

okay so. hear me out. but. au concept--

joel is one of many people affected by a Vanishing. its a phenomenon sweeping the country--people simply not showing up for work, school, life one day, as though they've vanished from the face of the earth. it's almost possible to mistake for normal missing persons cases, if it weren't for the way a few of the higher-profile Vanishings have happened to people who shouldn't have been able to vanish at all, let alone in a way that wouldn't be noticed until too late. look at joel's hometown. the people monitoring the dam were supposed to be redundant, and yet--

anyway. not like he cares or anything, except for the fact this stupid disaster or whatever has left him without anywhere to live or anyone to live with, and he still has a year of high school left, so he can't just do whatever he wants. luckily there's this school in a town called new hermiton that agreed to give him a scholarship to finish his education in the name of recovery and solidarity or whatever, and it's kind of a shwankier school than he'd normally go for, but it's free and, more importantly, they're willing to pay for his lodging, and he can't really turn that down. and it's not like he has a choice but to upend his entire life now. so packing what few of his belongings survived into a bag and getting on a train and moving across the country to a new school it is, he guesses.

(he's been having nightmares that inexplicably feature swarms of blue butterflies. last time he checked, lakes don't have butterflies in them. although maybe it's a metaphor or something, on account of the butterflies saying stupid stuff about how people who are remembered can't disappear, and even a false world cannot be erased if it's watched over, and how fate depends on him holding people in his heart. thanks for saying the same stupid shitty platitudes his social worker told him, just more cryptically, butterflies. real cool.)

new hermiton, it turns out, is a small city. while new hermiton academy is a newer school, much of the city is older. he's moved into a nice enough flat in an older apartment building. he has another cryptic butterfly dream. he thinks he remembers someone trying to urgently warn him of something, but it's all... shaky. that morning, he goes to the school for the first time. he's greeted by a fellow transfer student, skizzleman, although apparently he already knows some of the other folks in town, and transferred here so he could stay with them. but it's at least someone else in a similar enough situation to joel, especially since joel can just tell by the way people are looking at him that skizz didn't have much of a choice but to be here, either, and best friends with impulse or not, he's on his own too.

so. a friend. maybe this school won't be that bad, even if joel keeps having nightmares, and even if the weather here is weirdly cold for july, and even if his new homeroom professor keeps on looking at him really weirdly. (aren't professors supposed to be better about stupid rumors anyway? what's that mr. hills's deal?)

and then, two days later, he waves skizz off at the end of the school day, and gets skizz's friend, impulse, at his door, desperate to hear that skizz had just come to stay the night in joel's shitty lonely apartment, because otherwise it looks like--come on man. joel's already having a shit time. the universe deciding to go after his one existing friend too? he promises impulse to help investigate that night, in the vain hope that Skizz isn't one of the Vanished. joel gets a splitting migraine trying to follow their path back, though, and they have to stop for the night.

skizz is reported missing the next morning. joel resigns himself to cutting himself off from the people around him, as per usual. then, strangely, mr. hills corners him as he goes home.

"you'll need this," he says, and shoves what feels like a cheap butterfly knife into joel's hands. "uh, remember, trust your heart! you'll know how to use it."

"what," joel says. "hold on. you're supposed to be a teacher. why are you giving me this. i know for a fact my file says i have like, ptsd or whatever, which is stupid, but you definitely aren't supposed to be giving me a knife, you weirdo?"

"you'll know how to use it," joe hills says again. "goodbye! believe in yourself!"

mr. hills sprints behind a building before he has to explain anything else. joel is left standing on the sidewalk holding a knife, staring after him.

so. that's weird as hell. joel shivers in the cold and continues on his way home. the butterfly knife feels heavy in his pockets. he should probably report that guy to his social worker or something, but actually talking to his social worker feels like conceding defeat. joel can take care of himself. he can prove he can take care of himself. just watch him. step one: go out to get ramen because he forgot to buy any food for his apartment.

he sees impulse putting up signs as he eats. impulse looks miserable. joel thinks about how skizz, just in the short time he'd known him, had sort of unintentionally given away that he felt isolated after his mother Vanished. that impulse was a great friend, but impulse didn't understand what it was like. he never really SAID as much, but--

it's not fair to impulse, for that to be the last thing impulse remembered of what was apparently a friend since childhood. and joel doesn't care about any of these guys, but he can still pay his check and go out and help impulse go looking. he's no good at comforting people and doesn't know this guy, but joel had been alone too, sitting on the roof and crying, when the helicopters came.

except when they go back to the path by the school, joel's head starts to hurt again.

he looks up and there's a butterfly.

"hey, impulse, are butterflies common here?" he asks, a little desperately.

"i mean, not really, why?" impulse says.

"uh," joel says, and gestures. the two of them stare as the strange yellow butterfly circles in place.

"okay, so that is kind of weird," impulse admits.

"right?" joel says. "the only way it would be weirder is if it were blue." impulse gives him a look. joel does not explain.

it starts to fly away.

"we should follow it," impulse says, his voice getting a little dull. "yeah. we should follow it."

"what? no! no we should not follow the haunted butterfly, are you nuts?" joel says, but it's a bit too late. (maybe this is what the knife is for: stabbing impulse. it would be an effective method of stopping him!) he chases impulse down, down to the river, where yellow butterflies are swarming. impulse, as though possessed, simply steps into the swarm and falls through them to the water.

joel's, uh, freaking out more than a little bit? he'll admit he's freaking out. he dives forward to try to grab him, only to realize that he doesn't see impulse anywhere.

a single blue butterfly lands on joel's shoulder. "do you hold his heart next to yours?"

"i'm going insane," joel says.

"no heart is meant to be completely alone. do you hold his next to yours?"

"this isn't happening," joel says. "this is like a stupid manga or something. it's not happening."

"there is still time to save them; you must hold your heart strong, or the consequences will be dire. i believe in you."

the butterfly vanishes.

"fuck it," joel says. "if i drown then it's nothing people haven't expected of me anyway."

he steps through the swarm of butterflies.

that night, he drags both impulse and skizz out of the river. they're all freezing cold. shadows and strange, yellowy liquid still cling to all of their skin. also, joel stabbed himself, which like, glad to know that's what the knife was for, apparently, and the scar is warm and comforting. he can feel his--persona, and don't ask him how he knows that--shifting under his skin, under the mark on his hand. it said its name is pygmalion; it says it is a piece of joel's soul.

this is all patently insane. but skizz and impulse are alive and NOT eaten by shadow monsters, so even if they're both a little unconscious, joel takes that as a win.

they lie on the ground outside the river. someone stumbles across them. "well give me some teeth and call me an alligator. you got out on your own," breathes a fellow student clutching a dagger. joel thinks he's in the class across the hall. also--

"what are you talking about," joel wheezes.

"you found it on your own. you can find them?" the student says. his eyes are wide. something in joel's soul recognizes something in the student's. something in joel's BRAIN puts two and two together and realizes why mr. hills gave him a knife.

"no. no, go away, i don't want to be involved in this," joel says.

"well, don't you think it's too late for that?" the student says, and joel passes out. he's pretty sure the butterflies have to be laughing at him. in fact, as though to mock him further, after passing out, he doesn't even get to avoid it forever, because he wakes up in a glowing blue boat. there is a man with white-blonde hair, blue eyes, and a blue outfit leaning over him, poking him.

joel takes no responsibility for punching him. he'd do it again, too, as the long-nosed man sitting next to the unmanned steering wheel welcomes him to the velvet room.

(this, joel realizes later, all rather sets the tone for what the next year of his life is about to become.)

[kittycatcorner]

it was important that i draw them in these tshirts, for some reason

[dlartistanon]

Shining and Nightingale: Connection, Plot Beats, and How Their Story Makes (Even) More Sense If You Read It As Romantic

Introduction

Belonging to the Followers faction, Shining and Nightingale were among the first 6* operators introduced at launch. With damage mitigation as their niche, Shining is a single-target medic who specializes in reducing incoming physical damage, while Nightingale is an AoE medic whose specialty lies in reducing incoming Arts damage. This post will delve into everything we know about them and how it's so gay, oh my god

Design Analysis

Upon first glance, you notice how they compare and contrast each other visually: Shining is dressed mostly in black, Nightingale in white. Shining has long, thin white horns that gently jut outwards, while Nightingale has thick, black horns that fold inwards. Shining keeps her hood on by default, giving her a mysterious and secretive appearance. She has dark brown eyes, Liz has light blue ones. Shining’s outfit is tattered and ragged, really giving off the vibe of a wanderer (a “roaming doctor”, as she puts it), in stark contrast to Nightingale’s clean and put-together attire. If you squint, Shining almost looks like a harbinger of death, whereas Nightingale is angelic. Both of them wear the insignia of the Followers, a Terran version of the Caduceus. Shining wears it on a necklace (and is the actual leader), while Nightingale has it etched onto her clothes. One of the black straps on Nightingale’s outfit also reads “The path to light is dark”.

The predominant colors in both their respective skins are the complementary blue and orange. Just as black and white are opposed, so is the contrast between blue and orange. Within Shining's Silent Night, there are flickers of red-orange accents in the form of crystals, while in Nightingale's Elegy, there is the vibrant blue of her bluebird and its wings/feather. Despite Shining’s skin being a summer/beach outfit, the overall atmosphere is foreboding, given the moonlit background, presence of crows/ravens, and color choices. The backdrop in Nightingale’s is very characteristic of Gothic settings.

The strongest theme tying both their designs (and stories) together is The Gothic, an atmosphere and aesthetic best exemplified and symbolized by moody, somber colors (often black) and the gnarled, twisted branches of dead trees found in both their designs, as well as pertinent cast. (We will discuss more on their narrative ties to The Gothic)

Nightingale is featured (alongside Myrrh) in the song “Spring’s Pulse”, while Shining’s song is called “Winter Absolution”. Spring and Winter are opposing seasons, different times in which life either flourishes or hibernates. Green and red (as well as blue and red) are contrasting colors, highlighting life and death. As well as white and black, often symbolic of purity and sin.

Additionally, one of the Latin verses in Shining's song translates to:

"Sing, my tongue, redemption. Of my flesh, the mystery sing. Of the blood, all price exceeding. Shed by my immortal being. Destined for the world's redemption. From a noble womb to spring."

Profiles/Voice Lines

For the longest time, the most we could gather from their past was that Nightingale was a victim, a prisoner, forced to heal others while captive and that Shining had rescued her before they came to Rhodes Island. She has a host of ailments that mere Oripathy can't be the sole cause for, including amnesia. Through other clues, we eventually learn that Shining had a connection to someone called "Confessarius" ("Confessarii" when referring to a group), something she is noticeably evasive and uncomfortable about.

Later, the mystery slowly began to unravel as many theorized that Shining herself was involved with Nightingale's imprisonment, evidenced by Liz drawing the similarities between Shining and her captors. A shared past dripping with intrigue.

It was these seeds that provided a tantalizing story of atonement, of redemption, from someone who had committed a terrible transgression against another, complacent in her pain and suffering, whom she eventually grew to care about--so much so that Shining decided to sever all ties to her former compatriots, slaughtering many and freeing Nightingale, running away together. Shining, disgusted with her actions, spending the rest of her life atoning for her sins, of which she feels she can never be forgiven for.

The juxtaposition of Shining, unyielding with her sword, covered in the blood of her once-fellow Confessarii, and her being exceedingly gentle with Nightingale as she leads her to someplace safe, away from that room, her captors, that tower, where they (she) can’t hurt Liz ever again. The fanon that Shining was complicit in what made Nightingale the way she is, and that she is currently atoning for those sins, was largely embraced by fans.

Nightingale’s Operator Record #1 - A Song and a Blue Feather

The Op Rec is a good showcase of the Followers dynamic (with Liz as the Lady and her two knights), but it also serves to show more of Liz's personality. We only get a very baseline interpretation of who she is as a person via her official file, but seeing her interact with Nearl and Shining gives us a clearer picture of just how strong-willed she is. She goes against Shining's warnings in order to soothe the pain of an Infected child, particularly because his father was inadvertently exacerbating his condition through what Liz calls "a cage of love" (foreshadowing?).

Throughout, we learn more about Liz's Arts, specifically that they give her empathic qualities and come with the drawback of shortening her lifespan every time she heals. The game-breaking ability to reverse Oripathy symptoms comes with equivalent exchange. Liz takes on the pain of others in order to make them feel better.

Near the end of the record, Liz asks if Shining is mad and to not blame Nearl for helping her. Shining's original call to avoid the town was born out of being concerned with Liz's health, but she admits that she should've respected Liz's decision. This is a stance that we then see get repeated in their future appearances in both side stories and the main plot--Shining prioritizing giving Liz agency, when she previously had none. Even when it results in Liz's condition worsening, something that Shining struggles with accepting at the same time, communicated through her asking Liz if her feeling more pain was necessary.

Nightingale’s Module #1 - Closed Hope

The module basically states outright that Nightingale views herself as a burden for having to rely on Shining and Nearl to help her navigate through life. This is another example of Liz's strong-willed personality peeking through.

"But for me, results speak loudest. Because I endured a little more pain, others can be born anew. This is very good. But… if I could be like ordinary people, without this physical pain, that spark of hope in my heart would surely shine a little bit brighter. Unfortunately, as I am now, I can only rely on others to survive. Like a light crystal in a lantern. Even if the lantern door is open, even if the light can bring warmth to others, the crystal itself is still fixed inside. It is fixed there, because it has no ability to move on its own. 'Nightingale, Nightingale––' I hope that one day, I will also be able to spread my wings and fly… just like the bird next to me. 'Nightingale, wake up already––' Until then, I must impose upon them yet more to take care of me.

...

'What's the matter, Shining?'"

In her Op Rec, she had even told Shining that if her legs had cooperated with her, she would not have asked Nearl for help, and that she would've gone out to heal that boy on her own. It's letting us know that she longs to be independent, and that she can't idly sit by as a passive observer when she has the ability to help others. Liz won't even let her own disabilities stop her from doing what she wants.

It's not a coincidence how Shining's presence in her module is represented by the analogy Liz uses to describe her predicament. Shining rescued her = the cage door is open. However, the crystal itself can't move = Liz's debilitating condition. Shining played her part in putting Liz in the cage to begin with. Shining is not only her savior, caretaker, and companion, there's a darker undercurrent as well.

Near Light

In Maria Nearl, Nightingale and Shining get a brief mention and cameo around the time Nearl crashes into the Major stadium. A connection can be made with Liz's Op Rec in which we evidently see that she and Nearl have a more physical (and arguably openly affectionate) dynamic compared to Liz and Shining. Before Nearl leaves to help her sister, we a get a brief look into her and Liz's parting conversation, in which Nearl assures Liz that she'll be okay and that Liz still has Shining with her.

In Near Light, where they get more screentime, we have the iconic Nearl and Nightingale slow dance underneath the streetlights. In the CG itself, Shining can be seen hanging back, sporting a smile. She calls Liz beautiful unprompted, which results in Liz getting a little bit flustered, already so from dancing with Nearl.

Beyond these instances fleshing out the NearLiz leg of the triangle, it's also a purposeful depiction of Shining intentionally distancing herself from Liz, presumably due to her guilt for her past actions. And how that can be extrapolated into Shining feeling as though she is unworthy to partake in that same kind of intimacy. This self-loathing mentality is once more reflected in Nearl the Radiant Knight's second Module--here's a rough translation:

"I suddenly felt a little regretful - after all, I have always hated my bloodline. I have never tasted the beauty of home and the meaning of family. She deserved to have it all, deserved to be noticed and blessed and I deserved not to be a part of it."

However, at the end of Near Light, we get the scene where Shining makes a decision to go back to Londinium with Nightingale, preparing us for their subplot with Confessarius. This exchange hangs over them like a cloud, as well as further cementing Shining's firm resolve to always remain by Liz's side, no matter her own misgivings about everything else. Even if the rest of the world is muddled in her eyes, the only thing that stays clear and in view, is Nightingale. Nothing else matters more.

Chapter 10-18

The depth of Shining’s feelings for Nightingale is truly something to take note of. "My place is always at your side" is practically a textbook subtextual/indirect confession. "I will always be at your side... for as long as you’ll have me." Because we must know that Liz has a choice. She will not impose her own wants onto Liz. Should the day arrive where Liz no longer wants her, Shining will honor it, as much as it hurts.

The way Shining navigates and conducts her feelings towards Liz in this manner is very reminiscent of the medieval concept of courtly love, which is essentially a kind of romantic love without ever imagining it to go any further. The lack of consummation is not only expected, but ideal. That the love existing in and of itself is satisfying.

The scenes where we see Shining holding back help supplement this reading. It also plays well into how the Followers are basically the "knight in shining armor" idea codified into three individuals with corresponding dynamics. For bonus points, courtly love has ties to spirituality, which coincides with another aspect of Shiningale's story with identity, fate, and their conflict with Confessarius.

The fact that Shining 's most immediate plans for the future all have to do with Nightingale is only the tip of her unending devotion. "I’ll stay with you, and go wherever you want to go, as long as you want me". And for Liz to quickly ask if Shining will come with her wherever she wants to go suggests that the love is reciprocated.

Chapter 11-10

Through a series of revelations, we discover that the current head of the Confessarii is Shining's father, who is possessing the body of her younger brother. And that Nightingale was an experimental subject whose physical body is a construct, making her the equivalent of an artificial human/homunculus.

The whole scene we see just how both Confessarius and Salus view Shining, Nightingale, and their relationship. As randmsapphic puts it, the method in which they talk about Liz as an object with a purpose and that Shining's attachment to her is nothing short of a phase speaks volumes as to how dismissive and strangely self-assured that Shining will come to her senses and do the right/rational thing and bring Liz back to help her. They entertain the notion of saving Liz by way of pushing Shining to return to them, because they are the only ones who can save her. Instead of immediately resorting to threats, they rely on manipulation, pulling the "family" card, preying on and weaponizing Shining's guilt and desire to help Liz. It's not subtle--this dynamic could very easily be seen as the reactions homophobic relatives would have.

In particular, Confessarius's fixation on bloodline purity is insanely creepy and not only comes off as very homophobic, but ableist as well. Him suggesting they can build Liz a new body is coercion to get Shining to obey him (which also implies that he thinks Shining's attraction to Liz is purely physical). Salus emotionally abusing Shining by saying that all of Liz's pain is Shining's fault. Attempting to shame Shining by claiming she abandoned her family for a stranger. Does it not have the vibes of homophobia saying that Shiningale's love/relationship isn't real and will never work?

Chapter 12-10

The way Shining utterly ties her sense of self-worth to Nightingale, literally describing herself as Liz’s sin… she will not refer to Liz with possessive pronouns, but will do it to herself for her. The longing, the guilt, the resolve, the codependency… is incredibly yuri. Back in Chapter 10, Shining has an exchange with the Nachzehrer King where she says the moment she was born, she had carried sin. After the dinner in Chapter 11, she tells a Confessarius soldier (before cutting him down) that she hates herself most of all.

Of all the ways to describe her relationship with Liz, Shining decides on "I am her sin". There is poetry in how she refrains from using any kind of possessive language about Liz. Shining belongs to Liz, but Liz belongs to no one. "I am hers, and she is everything to me". It goes back to how she somewhat keeps her distance despite the overwhelming devotion. "I cannot touch her with these sinful hands".

Shining truly exemplifies devotion. Whoever was responsible for writing Shining’s dialogue is pulling out all sorts of stops to have her express her love for Liz in every way without outright making her say the words "I love Liz".

Chapter 13-9 (unfortunately tumblr has an image limit so i can't cap the entire subchapter; you really should read it yourselves for that delicious Shiningale goodness)

Kal'tsit: The way you look at Nightingale isn't just with compassion. You're not just her doctor—she's healing your fears too. Her body has its issues, but she's a member of the 'Followers', as well as your companion, and not a delicate flower that needs your protection.

Nightingale: I'm fine, Shining. You don't have to look after me so meticulously.

More examples of Liz's strong character! A dynamic becomes even more interesting when the one you thought was less-dependent turns out to desperately need the other. By this point, you should know that Shining places Nightingale incredibly high up her list of priorities. The narrative makes it no secret. They continue to hammer home that, despite being her caretaker, just how much Shining is dependent on Liz. Liz has already internally talked about how she hates having to rely on Shining and Nearl because of her ailments. In her other appearances, she makes it even more apparent with her dialogue. While Shining mends Liz’s aching body, Liz is the one who soothes Shining’s hurting heart.

Confessarius: Poor 'Liz'. She think it's all her fault, because of the momentary kindness you showed her.

When you remember that Liz's Arts make her empathic to pain, it takes on another layer of meaning when she wants to take away Shining's suffering. It's reasonable to assume that Liz also had an attachment to Shining, even if you see it as such because Shining "brought her to life". But the vibe you get from her dialogue shows a strong affection and compassion for Shining. Arguably instinctive, considering the "nature" of who Liz originally was. A wandering spirit, a memory, a soul that was drawn to Shining because she felt her crushing pain and wanted to help her. An intangible presence given life by an achingly lonely and hurt individual.

Another post by randmsapphic suggests that Liz's "childhood memories" of her and Shining were in fact fabrications that Shining had imposed onto Liz, in some desperate attempt to have a connection with another person, which this scene confirms. Shining was so happy with Liz's creation that she quickly became attached to her. Is this a sort of twisted love/affection that was born out of Shining's self-loathing? Or her being born into a very dark and messed up lineage in which her fate is a doomed one, and so she latched onto Liz as a means of escape and a way to feel close to someone? It may have started off as such, but by the time we reach this point, the love grew to be genuine.

Remember in Liz's Op Rec, where she described the father hurting his son by keeping him in a cage of love?

The bluebird losing its strength the farther it travels away from home is a metaphor and reflection for how the Confessarii treat Liz, their experiment. This is the basis for her captivity. Combined with Shining's sudden shift into a cold demeanor when she had previously been warm to Liz, this only served to psychologically and emotionally damage Liz, as well as compound Shining's guilt for having continued to follow the wishes of her family.

At some point, prior to deserting, Shining had wiped Liz's memories, perhaps out of said guilty conscious, or a means to a fresh start, or even her own way to stop Liz from feeling any pain associated with those memories, but she was still afraid of what would happen should Liz recover them, which had been happening little by little. Shining had resigned herself to believing that Liz would hate her, would want nothing to do with her, if she ever found out the truth. She had to wrestle with the very real possibility that attempting to save Liz could mean losing her, or being separated from her. Shining never once saw Nightingale as a burden; she was only ever happy that Liz exists.

Credit to randmsapphic again: Every time Shining draws her sword, it's a viscerally unpleasant reminder of her eventual destiny. It's both the only way to truly free Liz, and is the bind that keeps her shackled to a doomed fate. When Confessarius offers her the sadistic choice between killing him (thus giving up her soul) or return Liz to captivity... what should she do? There is no choice here.

The way Confessarius keeps (creepily) phrasing it as Shining “giving birth” really does paint him to be a disgustingly vile patriarchal figure set on destroying not only Shining’s autonomy, but her life and relationship with Liz. How a woman is treated as an object, her worth limited to only serving as a breeding ground for the next generation. This read continues to make even more sense because remember the Confessarii dinner scene? The way they talked like they expect Shining to come home after having had her fun with Nightingale reeks of how society views lesbian relationships as not real/practice for men/just a phase. The proverbial Class S? Shiningale really is just Arknights-flavored Class S Yuri. If a Shining Alter has her pick up her sword again, it could very well symbolize her reclaiming her bodily autonomy and fighting for her love, and for the chance to have a life outside of what the patriarch(y) wants for her.

The more I read about the Shiningale in Chapter 13, the more I’m thinking that this can’t be anything else but yuri. Even the role Confessarius is playing as a villain/obstacle they have to overcome. A man getting between them by manipulating their feelings for nefarious purposes?

Liz telling Shining that she prefers her current name, how it encapsulates so much of who Shining is as a person; she's not just a means to an end for the Confessarii, she's more than what they've instilled in her since her birth. The Followers are all light-themed, and Shining is no exception. She broke Liz out of her cage and showed her the world. And Liz is the light of Shining's life, as was mentioned all the way back to her voiceline.

Liz telling Shining that she's always loved the name that she gave her... that she holds dear any and every part of Shining that's a part of her. Her gently chastising Shining for making the decision to sacrifice herself to save Liz... Don't give yourself up for me, especially without asking me. That's not what I want. For all the times that Shining made sure Liz knew she had a choice, this was the one time she didn't. Couldn't. And Liz won't have that. Whatever trials that await them, she wants to face them together with Shining.

The way Confessarius described Shining’s feelings towards Nightingale as “your rebellious love for her”. He knew that she would love Liz and factored that into his plan/manipulation of Shining. I don't know about you but… I don’t think there’s any other way to interpret that. No heterosexual explanation.

Realistically speaking, we know actual gay characters can’t make it past the censors unless it’s tragic (see Scavenger) or unrequited (see Tomimi). But Shiningale have like… playable immunity. It’s “implicit” enough to not trigger the censors but at the same time how can you not see it as romantic?

Their relationship is basically up there with Talulah/Alina. And I'd even go so far as to say that it's more explicit than Talulah/Alina. To my knowledge, they never used the word “love” to describe how Talulah felt about Alina. Just "friend". I know there's a point where subtext gets ridiculous enough to become maintext, but then that leads you to question why some get the "friends" label while others are allowed to use "love".

Could it be platonic love? Sure, of course you can love your friends. But would you pledge your entire life to a friend? What's so "rebellious" about loving a friend? (Interestingly, I think the JP translation calls it "immoral love", which is even more eyebrow-raising) Regardless, love exists between Shiningale. Confessarius knew it, and factored it into his schemes. He counted on Shining to love and cherish her. Shining loves Liz, that much is undeniable. And Liz loves her back, enough to stop Shining from sacrificing herself to save her. He's literally weaponizing the love they have for each other.

Shiningale and The Gothic

I had mentioned before that both characters' designs as well as the narrative beats of their story have Gothic literature elements. I want to make a list of the ones I could find that relate to them as characters and as a narrative:

A focus on medical conditions, doppelgangers (the "pure" Confessarii looking like each other), forbidden power/knowledge, the dichotomy between light and darkness, imprisonment, rebellion, isolation/seclusion, gloominess or a gloomy setting, the grotesque/macabre, terror/horror, justice vs revenge, good vs evil, fear and suspense, the supernatural/paranormal, female victims, prophecies/curses/omens, mystery and secrets, involvement of the clergy/religious figures (confessor/absolver of sin), the dead don’t stay dead/hauntings, romanticism

The Gothic hero is “weakened by love”, they either rescue their love interest or pine away in despair

Significance of blood (relations) and inheritance, the duality of giving and denying life

An examination of family structure, patriarchy, hereditary suffering

Dreams/nightmares, memories

Secrets, past sins, sins of the father, darkest deeds

Driven by love, duality of man (appearance)

Dwelling on the melancholy, of wistfulness and regret, but not overcoming kindness

Concept of “othering” from society (Shining split herself away from her blood family to be herself and with Liz, her chosen family

The protagonist’s passionate love is torn between his desire to achieve the beloved and the family’s disapproval, control, and choice. Gothic novels also tell the tales of love in vain. The lovers are parted due to the conspiracies of the people opposing them being together

Gothic sexuality is usually somewhat repressed—women are expected to be pure and somewhat helpless while men are expected to be quietly predatory. It's also patriarchal, with men making moves and women reacting to them

Homosexuality = the love that dares not speak its name. Repressed sexuality, forbidden desire

Female Gothic protagonists are often committed to justice, unwilling to compromise their values, loyal, respectful of others, curious, intelligent and devoted to their faith. Some are gentle, kind, likeable, clever, witty, quiet, supportive, thoughtful, hard-working, independent and strong. Others are courageous, witty, brave, determined, knowledgeable and socially competent. On the flip side, some are also strong-willed and outspoken to a fault. They’re often socially awkward, depressive, melancholy, brooding, solitary and selfish. Some are jealous, fiercely territorial, deceitful, powerless and deceptive. Others, like their male counterparts, are prone to violence

Male Gothic protagonists are often conflicted, solitary, tortured, brooding, and secretive, self-loathing, wracked with guilt, have a self-hate of their own existence

Female-centric Gothic stories often trend towards obscured/anticipated fears, focuses on persecuted women and the domestic space she risks entrapment within/disturbed spaces

Food for Thought

Ryuzakiichi has a knight original character. Tell me... this doesn’t just look like Shining without horns? THE RESEMBLENCE IS UNCANNY.

Knowing this, I'm convinced that he split the concept of a "knight in shining armor" into two characters: Nearl and Shining. Nearl embodies chivalry. Shining embodies devotion.

The followers dynamic can best be summarized as two knights swearing fealty to one lady, but what's interesting is that while Nearl is the most obvious depiction of a knight, it's actually Shining who serves the role even harder, because she is quite literally Liz's knight. Which tracks with how Shining looks nearly like a carbon copy of his OC. She's the one who rescued the princess from her tower, while simultaneously being the "wicked witch" who put her there in the first place. And just like a Gothic hero, is tormented and sees herself as a monster.

Comparison to the main plot of Shadow of the Colossus. The driving force is that Wander commits acts (largely agreed to be treasonous) in order to revive Mono. The relationship between Wander and Mono is left up to interpretation as to whether it's platonic, familial, or romantic, but most fans of the game seem to theorize that Mono is indeed Wander's love interest.

Normally I despise turning the Followers into a nuclear family unit in any direction (especially people saying Liz is a minor and infantilize her to be the designated "child"), but for a moment, seeing Shiningale looking at Nearl’s portrait, my brain interpreted them behaving like Nearl’s (substitute) parents being proud of her accomplishments.

This was not helped by stuff like Shining’s teasing ("Look at you, our knight acting snarky"), Liz asking if she and Shining were also Nearl’s family, and some apparent discussion about Mlynar being a "bad end" Margaret who lost his own light (his brother and sister-in-law, Margaret’s parents).

If Shining and Nightingale are to Nearl as Schnitz and Yolanta were to Mlynar, then that might also explain why he dropped his jerk behavior for one second just to compliment how the two Sarkaz were good for his niece. If Nearl had never met Shining and Nightingale, her own light might’ve gone out too...?

IN CONCLUSION

Shiningale are complementary in so many ways. It really feels like several aspects of their characters are tailor made to match; you can’t have one without the other, their development is tied together… soulmates. Hopefully this post helps encourage you to consider their story in a certain lens if you hadn't before.

To quote a CN post I saw on the matter after Chapter 13 was released (rough translation): "Shining's sword pieced Nightingale's heart, and Liz came alive. Liz's existence helped give Shining emotions. Liz became Shining's redemption. Shining renounced her old name and Liz cherishes hers, a transformation of two people choosing to fight and change their destiny. Although Liz is physically fragile, her spirit and will are very strong. Although Shining has excellent swordsmanship, her self-hate and inner turmoil weigh her down. They are truly complementary in every sense."

They each want to take away the other's pain. Shining doesn't want Liz to die. Liz doesn't want Shining to die for her. They are each other's mutual salvation.

[mars-ipan]

say "ahh"

bonus version under the cut bc i couldn't decide if the neon was too much

[redactedcrowart]

FACEME

[cinnamonsikwate]

"why couldn't shuro have just been honest about what he felt with laios and falin it's not that hard" are you. are you White

[oneluckydragon]

"Suddenly the world was gray and dull and my heart was so heavy I felt like I couldn’t move, let alone make it back to Treasure Town. But because of Echo’s last wish… I was able to keep living.”

--- --- --- --- ---

SORA : (Partner)

Abilities: Justified / Inner Focus

Nature: Gentle / Hardy

Moveset: Aura Sphere / Metal Claw / Poison Jab / Dragon Pulse

[sideblog-9000]

Season 8 is so cold, does anyone know what I mean. It's so gray, where's the warm lighting. I need yellow. Everything is so dead, it's such a lonely vibe where IS EVERYONE.

[theshinysnivy1]

[daisywords]

anyway my stance on "reading the classics" basically boils down to the fact that what is or is not defined as "a classic" is somewhat arbitrary, and therefore it makes no sense to treat "the classics" as some sort of uniform genre that you either like or dislike. Whether you liked Great Expectations has no bearing on whether you'll like 1984 or Rebecca or Pride and Prejudice or East of Eden or Frankenstein or Crime and Punishment. Because those are all vastly different books. "I don't want to read Classics; they're all boring and probably sexist or something." <<free yourself from the arbitrary category of "classic." It just means a lot of people liked the book. You might not. but you might. Treat it as an individual title.

[uncanny-tranny]

The sheer pity party some alloromantics expect of aromantics is really funny to me. The expectation is that we ought to feel broken or afraid that we will never be worthy of anything if not for a romantic relationship, but as the years go on, I've been so much less inclined to feel those ways.

People expect aromanticism to feel like a prison, and I think that's looking at it wrong. My aromanticism never imprisoned me - amatonormativity did. Being aromantic taught me that I can never and will never be "made whole" through romantic attraction. Amatonormativity teaches that to be whole is to be pursued, to be in love, to be possessed, essentially. Being aromantic has freed me of those expectations because I had to break those chains in order to truly understand what will make my life worth living.

I've been finding more and more that being allo will never appeal to me - I don't give a flying fuck about allo being "normal," and frankly if being normal means being allo, I simply just won't be normal.