#i'm talking about this- this is the meta part-

[s0r3wach1gauy0]

I want to quickly yes and bc I think with the state of places like USA it's important to note that really, Joker's lack of relevant backstory means that this extreme apathy for humanity could mean almost anyone could become the Joker and that by actively working against the idea that people's lives don't matter, it means you aren't letting that win.

(There's also a very interesting part of talking about the Joker in a meta sense changing and evolving from the more colorful zany of pre-1980's comics but I don't know how and if these ideas really can be linked so I'm just gonna allude to it for now)

I think the reason I dislike the Joker being given backstory is not that I don't want to feel sympathy for the Joker (I mean, that's a small part of it) but rather that I think it undermines the point of the Joker. I don't mean as a character with motivations, I mean narratively. Others have probably said this before, and better than I'm about to, but this is my blog and I'm going to ramble.

The whole point of the Joker that some writers seem to miss (especially films! films are ADDICTED to backstory for some reason) is that there IS no real reason. He's a primary antagonist because his entire schtick is that nothing matters, and that's funny as hell. He can treat people's lives as a joke because they don't mean anything.

Bruce, or Batman, as the protagonist is the exact opposite of this. The motivation to save others from what happened to him as a child is rooted in this concrete, fundamental-to-Batman truth: everything matters. This is why Bruce's parents dying in a random act of violence in a before-then obscure alley has had such staying power: it wasn't a massive event that changed the lives of dozens or hundreds. It was a small thing, a statistic in the grand scheme of violent crime, with no real motive other than desperation or greed. And it changed someone's life completely. For Batman, the hundreds of small acts that fill a patrol all matter because each person does.

Joker's obsession with Batman hinges on him believing the exact opposite, and trying to convince him that he's wrong, and that THE joke is that nothing matters at all-- walking away from a victim and torturing a victim have the same moral weight because there is no moral weight. The point isn't to be the most evil or the most cruel, the point is to prove that it's all pointless.

In a way, this means Joker's greatest ally is the apathy of Gotham. Every person who turns away or keeps walking with their head down and claims "not my problem" supports his claim that nothing matters, because Gotham is proving by inaction that it's pointless unless it impacts them personally. Nobody else matters unless I do, and then it's too late. Do I think Joker's crimes are Gotham's fault, narratively and within their fictional world? Not exactly. But I do think Joker isn't actually an embodiment of chaos but is a representative of what Batman is actually fighting against: a Gotham that doesn't care.

Batman's existence is a defiance of this. His work, masked and unrewarded, is a symbol of the fact that no wealth, no material comfort, no border of security, no past trauma, no law, no excuse justifies not caring. Every life matters, even if it isn't your own, even if it's a stranger. He can't kill Joker in-world because of his moral stance on killing. He can't kill Joker narratively because Gotham won't kill Joker. Batman's driving core is a relentless anti-apathy, and Gotham's current collective social spirit is that they are helpless and not responsible for it.

Joker thinks it's funny that anyone would care, and Batman thinks someone not caring is the opposite of funny. Caring can often hurt, but it isn't pointless. Every single life saved or lost creates a ripple effect that matters and hurts or helps others. Each victim Joker encounters is met with the same presupposition: "I can hurt you and it doesn't mean anything because you're nobody. It doesn't hurt Gotham because Gotham isn't anyone."

Every person Batman saves is saved by the same presupposition: "If I can save you, it's like saving all of Gotham. Everyone matters...because each single life matters."

The more people that build their lives on caring regardless of how they think it impacts them personally, the less sway the Joker has. Every person who shuns apathy is another person who will fight back against the Joker's Chief Joke: It doesn't matter.

And they fight back best by, like Batman, looking at each individual they come in contact with and deciding, "Yes, this one matters."

[mxtxfanatic]

I know I'm kinda late but Happy Birthday month !!!🎉🎉🎉🎉

I was wondering if you wanted to talk about the parallels between A-Qing and Wei Wuxian in the Yi city arc ?

💜

Thank you! As long as it’s November, it’s never too late 💝

I kind of compared them in this wwx bday meta, but I didn’t get too deep into the parallel. While I said that A-Qing represents Wei Wuxian’s adaptability and unwillingness to passively accept evil simply because it’s cloaked in civility, I would like to highlight here another shared trait: their tenacity towards doing the right thing.

A-Qing is in a position of powerlessness in the trio due to her lack of cultivation skills and cultivation world knowledge, similar to how Wei Wuxian is made powerless—despite being a part of the cultivation world—by his lack of status and faithful allies. Yet despite this, both characters thrive in their environments and use their situationally-acquired skills to protect those around them. A-Qing did not have to stay with Xiao Xingchen, especially after Xue Yang came along, but her own sense of morality made her stick around to ensure Xiao Xingchen’s safety, something she was only able to do by feigning blindness. Even when she fails, she, Xiao Xingchen, and Song Lan die, and Xiao Xingchen’s spirit disperses, she uses the last moments of her life to doggedly seek help. After dying, she uses the entirety of her afterlife to scare ignorant strangers away from Yi City (mind you, she didn’t even die there. She made her spirit go back) and try to find ways to stop Xue Yang. Even at the risk of destroying her soul, she goes against Xue Yang to the very end, no regrets in any of her actions.

In the same way that A-Qing used her “blindness” as a shield, Wei Wuxian weaponized the cultivation world’s fears of him first to protect the sovereignty of the newly rebuilt Jiang then to protect the Wen remnants liberated from the Qiongqi Path labor camp. When he was still schemed against and the Wen siblings told him of their plan to turn themselves in, he still never thought to abandon them or let the punishment fall on anyone else’s shoulders, just as A-Qing refused to abandon Xiao Xingchen. After his resurrection, Wei Wuxian still goes out of his way to rescue and protect the junior cultivators, entering back into the lion’s den of the cultivation world for no benefit of his own just to continue to help others, in the exact same way that A-Qing went back to Yi City to guard against passersby wandering in to their deaths. And just like with A-Qing, at no point in time does he regret having rescued the Wen in his first life or having endangered himself in his second life to protect the juniors (or later their bloodthirsty parents).

Even though they faced negative consequences for following their morality to the bitter end (and even beyond), even if the people they wanted to protect were still murdered before their eyes, their reputations tarnished and legacies buried, at no point do either A-Qing or Wei Wuxian stray from their course nor regret their actions. This is their shared tenacity. There’s a reason, after all, that Wei Wuxian experiences the Yi City arc as her.

[hollowed-theory-hall]

Did you ever write a meta about the First Wizarding War?

I am just so curious about it, although we know almost nothing of it. I know in fanfictions, people tend to make the war something very open, very active, with the Order fighting the Death Eaters in the streets but it feels... off to me?

Like, first of all, how would they know when the DE attack? By the time they would learn about the attack, it's most likely the DE would already have left. And overall, when you read about the 2nd Wizarding War, they never attack place like Diallon Alley or Hogsmeade, but rather kidnap people like Ollivander and Fortescue. Which make me wonder how Voldemort was able to ask teens James and Lily to join him (like said in JK's interview).

When you read what Arthur said about this war:

"You-Know-Who and his followers sent the Dark Mark into the air whenever they killed. The terror it inspired… you have no idea, you're too young. Just picture coming home and finding the Dark Mark hovering over your house, and knowing what you're about to find inside… Everyone's worst fear… the very worst."

Well, it sounds more like they would attack people at their home, so the DE are more likely to target people when they attack, while they would cause havrock in the Muggle world. Something that made sense since they don't want to destroy the Wizarding World and the wizards.

Although to be fair, it's not like they have much place to attack in the Wizarding world: the only place we know are Hogwarts, Hogsmeade, Diagon Alley and the Ministry.

I just have a hard time imagining how the war would be like, considering the Ministry was not taken by Voldemort. It's like this world is too small for a war of that kind.

Also, it makes me wonder what was really the role of the Order? Like what did they do? What kind of mission would they do? How would they know when to intervene? I know Remus had missions with werewolf during the 2nd war, but we don't know if he had the same during the 1st. Sirius was away busy with a mission during Harry's first birthday, but I wonder what he was doing. Was it a last minute battle?

"No, but believe me, they thought Voldemort had the right idea, they were all for the purification of the Wizarding race, getting rid of Muggle-borns and having purebloods in charge. They weren’t alone either, there were quite a few people, before Voldemort showed his true colors, who thought he had the right idea about things… They got cold feet when they saw what he was prepared to do to get power, though. But I bet my parents thought Regulus was a right little hero for joining up at first.”

It's implied people actually thought Voldemort had the right ideas, which makes me wonder if back then, the muggleborns were less accepted. What was the climate that made it happen? Was it that a bit like with jews, which is how Hitler got to powers?

Also the line in bold always interested me because it didn't feel like the Blacks knew about the Horcruxes, so I wonder what else would give them cold feet.

Sorry for the long text, I just never found someone to talk about it. Nobody seems to get me when I try to think too much about how it was like lol

Hello 👋

Honestly, this is really interesting and I have written about the first war as part of my Voldemort analysis here and here and also here and here. And I'm honestly really curious about the timeline of the first war and what exactly the Order and the DE actually did.

I would say you're right about it not being a war. I mean, for a war, you need armies and countries, and there wasn't a single army involved in this war.

The DE are somewhere between a cult and a terrorist organization. In the first war (and in the second one while Voldemort manages them, tbh) their operations are limited to more targeted killings and in general spreading fear and chaos while keeping a not-super-high death tool (in the first war) and avoiding hurting muggles when possible. Like, up until 1979, basically no one died. We have less than 10 unnamed and named characters that might've died before that and the rest died afterwards. Like, almost all deaths happened in the final 3 years of the war.

Then you have the ministry, which doesn't have an army, it has law enforcement. The aurors and DMLE are not an army and don't really function as one. They are trained to catch criminals, not to fight large-scale battles (not that there were any battles in the first war).

The Order, which if we're generous we can call a paramilitary group (but realistically it's a vigilante armed civilian group).

So, it's hardly a war when it's small-scale attacks and skirmishes fought between a cult/terrorist organization, the police, and an armed civilian group. Its timeline and death tool and how it operates as a whole really doesn't fit a war. Well, it's a terror guerilla sort of war, but not your traditional kind of war. The second Voldemort war was more of a real war than the first one, and even that wasn't a traditional war in any sense and I would hardly call it one. But at least it had battles. Like 2.5 of them.

I outlined more of the timeline here with the evidence for it, but in general:

1967ish - Voldemort returns to the UK and has his interview with Dumbledore. At this point, he already has somewhat of a following. Unclear if these were his "friends" from school or their children, but they are likely the older "friends" from school:

“Then if I were to go to the Hog’s Head tonight, I would not find a group of them — Nott, Rosier, Mulciber, Dolohov — awaiting your return? Devoted friends indeed, to travel this far with you on a snowy night, merely to wish you luck as you attempted to secure a teaching post.”

(HBP)

1970 - the war starts.

“You can’t blame them,” said Dumbledore gently. “We’ve had precious little to celebrate for eleven years.”

(PS)

Since Dumbledore says this on November 1981, it means the DE started operating in late 1970. Arthur tells us Death Eaters outnumbered the Order 20 to 1, but I think the Order only started operating later in the decade.

I believe that in the early 70s, they weren't too violent yet. There were some attacks, some chaos similar to what we see in the World Cup perhaps:

I suppose they had a few drinks tonight and couldn’t resist reminding us all that lots of them are still at large. A nice little reunion for them,” he finished disgustedly.

(GoF)

Attacks that strawn fear and unrest and stretched the ministry and the DMLE thin with how many obliviations had to be done — but no one died, not yet. At least, no one important. We know all of the Order members that died were only killed after the infamous photo was taken much later, so it seems in these early days of the war, they didn't really kill anyone perhaps a few muggles here and there (but not as many as the fandom sometimes like to think!) but no wizards died, at least not at first.

I assume this period is mostly marked by small-ish riots and growing normalization of anti-muggle and anti-muggleborn propaganda.

This is the point where Voldemort amassed his followers and purebloods like Walburga and Orion Black thought he had the right idea. Even during the time in the books, muggles are seen as beneath wizards, and muggleborns like Hermione are quietly pressured into not talking about their muggle families because no one cares. Muggleborns like Hermione and Ted Tonks clearly leave their muggle families behind and don't look back and that's accepted as the norm in the wizarding world.

Even in the 90s we see Slughorn is surprised Hermione, the muggleborn, is so talented. Bigotry is still very much present and as I calculated here, muggleborns are only around 5% of the population, with the majority being purebloods (or wizard-raised half-bloods). The blood purity agenda was always there, Voldemort didn't even believe in it himself, he just used it because it was an easily accessible platform that was just there. It was an easy way to gain followers and create unrest, so he took it. It was opportunistic.

So, in that way, yes, it is similar to Nazi Germany. Antisemitism was already there and prevalent in the culture for centuries, Hitler made use of the ideology already present and normalized it, and even made it righteous to believe in his horrid and bigoted ideology. He pushed the culture to more extremes, but the ideas and philosophies were already there, he didn't invent antisemitism in Germany. It was opportunistic. It didn't come out of nowhere and it wasn't just recent either. Antisemitism has a long history in Europe which I'm not going to go into in this post.

1975 - the war gets more violent and wizards are actually killed. We know from Pottermore that:

Eugenia Jenkins 1968 - 1975 Jenkins dealt competently with pure-blood riots during Squib Rights marches in the late sixties, but was soon confronted with the first rise of Lord Voldemort. Jenkins was soon ousted from office as inadequate to the challenge.

(From Pottermore)

It's said Jenkins was ousted from office "soon" after the rise of Voldemort, which again, suggests the more violent attacks only started mid-70s, around 1974 and 1975. From the list of deaths in the post I already linked throughout this post I posed the deaths that ousted her from office were Mr. and Mrs. Bones who we don't have a death date for and were likely important enough in the magical community to send the shockwaves of war that would get the minister kicked out of office. After all, you need something big to rock the wizarding community, a few muggle deaths aren't going to cut it.

(Also the mention of pure-blood riots earlier in the 60s show blood purity was nothing new, just something Voldemort took advantage of that was already there)

This is the point where Walburga and Orion probably got the cold feet Sirius mentioned. Because it's not just muggles and muggleborns anymore. Two pureblood wizards were killed — and that scared the shit out of purebloods who were a little smarter. The realization Voldemort would kill them too if he thought it necessary. It's not that they grew to care about muggleborns or blood traitors, it was self-interest. They realized that Voldemort didn't have any limits and that they weren't safe just because their blood was pure. That's at least, my take on it.

1976 - The Order of the Pheonix is founded

The Order of the Phoenix was likely founded around 1976-1977 after Voldemort and the DE got more violent and a few people actually died and it became clear to Dumbledore the ministry couldn't handle it on their own.

I believe the Order was kinda late to the party (considering how late Dumbledore was when dealing with Grindlewald). I think he advised the ministry on what to do and really hoped the ministry and the DMLE could resolve it at first. When it appeared they couldn't, that's when he founded the Order.

Now, you're right, the first war doesn't seem to have had any actual battles, my guess is that is was as I mentioned above — targeted attacks and skirmishes.

During the first war, Voldemort holds a pretty tight leash on his Death Eaters and who they kill. That's why they kill at homes and kill only specific ministry personnel and Order members for the most part. It's very targeted and specific. They aren't rounding up muggleborns as Lupin says these laws were new in the second war:

“People won’t let this happen,” said Ron. “It is happening, Ron,’; said Lupin. “Muggle-borns are being rounded up as we speak.”

(DH)

This is only in the second war. In the first one, there was no muggleborn registry or compulsive attendance at Hogwarts. The first war was all targeted terror attacks. The DE didn't have the ministry the way they did in the second one. Yes, they had quite a few members in the ministry who probably tried to pass various laws, but it wasn't the complete control they had in 1997-1998.

I assume, what the Order did in these years, was try to gain intelligence about where and when these attacks would happen so they could wait for the Death Eaters there. Again, sort of skirmish warfare and not quite open battles. Very few combatants were probably present for each of these fights.

Most of the Order missions would've been along the lines of:

Protecting expected DE targets

Recon missions and gaining intelligence through various means

Blocking DE in the ministry from getting the intel they are after or passing their laws.

Stuff that is more targeted and doesn't require a full-scale army.

1980 - The Prophecy and Potters going into hiding

(Edit: More notes regarding the timing of the photo and corrections to this section here. James and Lily went into hiding in the winter of 1980, but the Order's photo was taken while James and Lily were in hiding in July 1981, meaning all the Order members died in the 4 months between Harry's birthday and the end of the war)

The prophecy was made about two months before Harry was born:

He stepped forward. Not as tall as Ron, he had to crane his neck to read the yellowish label affixed to the shelf right beneath the dusty glass ball. In spidery writing was written a date of some sixteen years previously, and below that: S. P. T. to A. P. W. B. D. Dark Lord and (?) Harry Potter

(OotP)

We also know from Harry's birthdate that Lily would've gotten pregnant with him around late October 1979. Due to how the Fidelius Charm works I believe the Potters went into hiding before Harry was born, right after the Prophecy was made, so around May 1980. All this means the photo Moody shows Harry was taken at some point in 1979 or early 1980 before Lily's stomach was showing with the pregnancy, but I'm leaning towards late 1979.

This means that almost all deaths in the war (and all the deaths of the Order) happened after 1979. This was probably caused by two things:

Voldemort escalating for some reason (after 1980 the prophecy might've had a hand in the escalation of violence for various reasons I discussed in the linked posts)

Wormtail started spying mid-1980:

“DON’T LIE!” bellowed Black. “YOU’D BEEN PASSING INFORMATION TO HIM FOR A YEAR BEFORE LILY AND JAMES DIED! YOU WERE HIS SPY!”

(PoA)

So it's possible Wormtail revealed exactly where and when the Order was waiting for the DE and the DE could get the jump on them with more wizards than the Order thought there would be.

These two combined factors practically wiped out most of the first Order.

But we're still talking about skirmishes, just larger ones with a higher death tool, but still no large-scale battles like the Battle of Hogwarts. Enlisting the giants wasn't really because Voldemort used them in the war, there were no battles to use them in. They were a threat, kinda like nukes. It was something you have so your enemies won't attack you. Werewolves were similar, although they were probably employed in some of the skirmishes.

This time period since 1979 is probably when this quote from Sirius becomes the case:

“Imagine that Voldemort’s powerful now. You don’t know who his supporters are, you don’t know who’s working for him and who isn’t; you know he can control people so that they do terrible things without being able to stop themselves. You’re scared for yourself, and your family, and your friends. Every week, news comes of more deaths, more disappearances, more torturing . . . the Ministry of Magic’s in disarray, they don’t know what to do, they’re trying to keep everything hidden from the Muggles, but meanwhile, Muggles are dying too. Terror everywhere . . . panic . . . confusion . . . that’s how it used to be.

(GoF)

More wizards are now being killed/targeted. Most of them probably get tortured/imprisoned rather than killed. Like Neville says about the Carrows:

“Doesn’t matter. They don’t want to spill too much pure blood, so they’ll torture us a bit if we’re mouthy but they won’t actually kill us.”

(DH)

These are terror attacks meant to create compliance. So most are tortured, kidnapped as ransom and assurance of loyalty, or imperious rather than killed. Those that are killed would only be those that really have no hope to turn them onside — like the Order, hence why Voldemort allowed them to be killed.

1980 - The added deaths and skirmishes caused another minister to be kicked out of office:

Harold Minchum 1975 - 1980 Seen as a hard-liner, he placed even more Dementors around Azkaban, but was unable to contain what looked like Voldemort’s unstoppable rise to power.

(From Pottermore)

As I mentioned, in the final years of the war, shit got way worse with more deaths happening in the span of these 3 years than all the 8 years of "war" before combined. So another minister who doesn't know how to crack down on the terror organization is kicked out.

October 1981 - Voldemort goes after the Potters and the war ends.

And we know what happens from here.

These are my thoughts about the timeline of the first war and how it went. We don't know as much about it as I would've liked to know, but this is my impression of how it went down more or less.

[dnangelic]

apart from daisuke's social anxiety causing him to isolate whenever he's trapped with dark's form there's also dark's own personal existential agony of being a literal object that settles for objectification itself in the face of the masses instead of ever forging any actual emotional intimacy and connection between himself and literally anybody else, leading him to struggle endlessly to be retained and recognized in the collective human consciousness of the places he steals from so that he isn't simply thrown away like a fad or forgotten like a fleeting dream as an immortal entity with no true body or autonomy to call his own but idfk #hot girl shit ig!!!

[galactaknightyaoi]

HAPPY BIRTHDAY, GALACTA KNIGHT!!!! And congratulations to Meta Knight for experiencing the Cain Instinct for the first time.

Galacta Knight, as you might've been able to tell already, is one of my favorite characters, and KSSU is one of my favorite games (the original SS was my introduction to Kirby!) so I wanted to go all out. Happy day, old man. I pray for at least 20 more years.

Oh, and don't worry! He's not upset about the cake smash, he thinks it's funny. And he got back at him.

As for the in-universe explanation for there being 16 candles in his cake?

... 500+ didn't fit in safely.

The birthday boy and his family were just a bit too flammable.

[beannoss]

Something I think about a lot and wonder if maybe gets overlooked in Twilight’s story and as vitally indicative of his character is actually in the very first chapter:

Anya isn’t needed for Strix. Twilight decides to adopt her anyway.

[Spoiler warning: Mostly this post deals with early chapters already in the anime but there is reference to chapter 62, which has not yet been animated and will be in season 3]

Twilight decides it — “I’m going to rework the mission so it doesn’t involve a child because that’s too dangerous” and he’s 100% right! Donovan Desmond is canonically a far right warmonger with fascistic authoritarian aims. His government made liberal use of the SSS — a group to mirror the Stasi — who continue to operate in morally dubious ways (much more likely they’re actively morally reprehensible, though we’ve mostly only had rumours of that so far). From what we can tell, Desmond is at best an absent father and likely actually worse than that: if that's how he treats his own children, imagine how he might treat others. And the timeline seems to indicate that the experimentation performed on Anya was done under Desmond's government — even if Twilight isn't aware of experimentation on children, he is aware of both human and animal experimentation under Desmond's government. Taking all that and also the complexity of Strix's aims, undoubtedly there were other things that could be done, more straightforward if not necessarily easier.

So. Why? Why entertain the change at all? And then, having entertained it, why go back when the reasoning is indisputable?

On the Doylist level, I think Endo wanted to ensure that Anya had some agency within the set up — Endo also does this with Yor. It would be much harder to be on Twilight’s side fully, or to trust him on an ethical level/take him as any sort of moral authority, if he were just straightforwardly using these two people. To have them be active and consenting participants (arguably to actually be affirming the arrangement: Twilight sets it up, but Anya and Yor actually make it happen) even if the audience only knows the depth of their knowledge/motivations/etc currently, shifts the power dynamic in important ways.

But it also the set up tells us important things about Twilight. He is largely impatient, cold, detached in chapter one. His overarching feelings towards Anya are, I think, real annoyance, real confusion, and real impatience. He just doesn’t understand this damn kid and it turns out she’s a person which is frankly unacceptable — he’d needed and anticipated an automaton, ideally of himself in miniature form. (Though I think one could ponder whether Twilight was, in many ways, an automaton himself at this point, but that's maybe for another meta 🙃)

He’s not entirely unmoved of course — we're given to understand he’s affected when Franky tells him how many times Anya’s been adopted and returned, and isn't amused by Franky's joke about names. Franky's comment — "Just don't get attached" — reinforces this. The prospect of “the future” perturbs Twilight when he’s reading the parenting books. His initial reaction to Anya’s kidnap is horror. All these are true too.

Then there’s also this, from earlier in the chapter:

It’s exposition, yeah, and it’s also exposing. "Hopes" and "joys" are very specific words to describe those events. It could simply have been "A marriage? An ordinary life?" but describing them as such — hope for marriage; joy in ordinary life — expose something of what Twilight feels about those two experiences and, on the flipside, they expose what he deems he's lacking. No hopes of intimacy; no joy in (an ordinary) life. There's an argument as well, of course, that he's being ironic but I don't think that actually invalidates the above analysis. Drawing attention to 'hope' and 'joy' at all are revealing, regardless of Twilight's tone in thinking of them. I think it's also interesting this panel, taken in conjunction with a pair of panels in chapter 62, Twilight's backstory. The above is almost a pulled out version of this below panel of Twilight's recollection of his childhood, and of course the returning image of not just a rubbish bin but a rubbish bin on fire when it comes to disposing of his identity:

Back to Strix. Both his final interaction with Karen and the whole everything of the framing of Strix is making Twilight think (and feel, ahem) things that he hasn't for some time. Twilight decides, I’m reworking this. It can’t proceed this way. Not because Anya is a pain in his ass, not because she’s not as (apparently) intellectually advanced as he’d originally thought, not even because he thinks he can find another child who would better be exactly what mission parameters called for. No:

And what changes his mind is Anya asking to come home.

One of the important parts of this to me is this:

He seeks consent.

This moment is a keystone, I think, to understanding Twilight. It’s also more telling than he maybe realises. Twilight is decisive — we all laugh because he spirals at the drop of a hat when his daughter or wife look even mildly upset but outside those (also very telling) scenarios, he makes decisions and he pursues them. Often he makes decisions quickly. He’s a dab hand at it; it’s a large part of why he’s as good a spy as he is.

He’d decided to change Strix.

Anya asks him, in essence, not to.

So, he doesn't.

But it's wild that he entertains keeping her request at all — why? Why even entertain it? It’s dangerous; it’s impractical; there are too many moving parts outside his direct control; Anya isn’t the sort of child he’d wanted for the mission if he’d spent any time thinking about what a child might actually be like; Strix is in many ways an extremely long shot anyway, Desmond could just stop attending for reasons unknown and unrelated; etc.

So, yeah, why? Maybe because of this —

In conjunction, I often think of this moment in the cruise arc:

Twilight first naming the feeling as lonesome, and secondly tacitly conceding that he perceives Yor as a companion and that that relationship is important to him, something to be missed. What makes this for me though is that Anya calls this out "Papa's you're so sappy" and Twilight's reaction is that of someone caught-out. He doesn’t say “nuh-uh!” but he may as well have. Essentially, something landed a bit close to home, hm? Maybe some of that hope for marriage? A soupçon of joy of an ordinary life?

Twilight’s loneliness underpins many of his decisions with his family — probably without him being fully conscious of it. I think he is at least somewhat conscious of it, but also if he looks too closely... Well, best not to. I could fill this post, I think, with images that demonstrate his loneliness throughout the series; that sorrowful/pensive close-up of his eye(s) is one of the abiding motifs for Twilight throughout. I'd probably start with this one from Twilight's backstory arc:

Anya's request plays directly off his loneliness. Still though, he doesn’t immediately capitulate — he emphasises Anya’s choice. Is she sure? The last day has been scary for a child (and for him, but he's ignoring that part) and Twilight, in his increasing recognition that Anya is a person, is probably aware in the back of his mind that he hasn’t exactly been warm or welcoming or at all patient with her. Things that people respond to — he's otherwise excellent at manipulating people, so of course he understands this. So. Given she'd just had this scary experience, given he hasn't exactly been great with her: Is she sure? She wants to come home — with him?

I think the moment may get a little lost because Anya says something riffing off his own earlier thoughts and self-revelation (featuring that shadowed, lonely eye motif again!)

Were this a post about Anya, I’d talk about how it’s an important character moment for her as well by way both of demonstrating her agency/choice and also that she isn’t nearly as dumb as Twilight thinks (and the audience, maybe, also thinks).

But in my view, she didn’t actually need to say anything about it making her cry. I think she could simply have said yes in that moment and Twilight would have agreed.

Twilight’s an unreliable narrator; he’s disconnected from his heart and that shrouds his own motivations from himself — something he actually also concedes in this chapter!

And it shrouds from us just how much he actually understands himself. He’s also a master of deflection. Easy to assume or say that bringing Anya home is just to align with Strix. Nothing more to see here; nothing else going on. But also that ripping off of the mask in the panel above — and the literal 'riiip' sound effects — also indicate to us that this is an unveiling to himself.

In my view, Twilight agreeing to Anya's request, deciding to go back to original mission parameters, actually shifts his motivations, subtly. Now he’s committed not only to the original mission goals, but also to Anya. He needs Anya to succeed at Strix, not only for Strix's sake, but also because otherwise the mission will end and she’ll have to go back to the orphanage, and he’s just agreed with her not to do that (not right away, in any case). I don’t think at this point he’s thinking it’s forever — his thoughts throughout the manga indicate he still expects the Forgers to be temporary. I don't think the shift in motivation is necessarily even conscious, but given the set up, I think something inside Twilight recognises that agreeing to bring Anya home is a compact, jointly engaged. Mostly all this has become subsumed into Strix: he makes decisions. He pursues them. He deflects, even from himself. Of course it's just for the mission; this saved him the trouble of reworking it, of figuring out something else. Nothing more to see; no need to think any more on it. And to be fair to him, Strix is very high stakes, resting pretty solely on his shoulders, so of course that is, objectively, motivation enough. Why even consider beyond that?

But I personally think that to the extent he's aware of it at all, there is something else going on, that he wants to have Anya for as long as it takes him to work something else out for her. If that's the case, then of course, we have Occam’s razor: the simplest solution may be the best one.

Maybe Twilight should just keep Anya himself, eh?

[Image description: gif from Spy x Family season 1, episode 1. Twilight and Anya have just found out Anya passed her entrance exam and are overjoyed. Celebratory, Twilight picks Anya up and swoops her into the air as they smile at one another. End image description]

[partfae]

Sauron, Galadriel, & Tolkien's Theology of Repentance - Part One

Summary: Character meta analysis on Sauron (and Galadriel, through the lens of Sauron). Based on both Silmarillion & RoP canon. 3.5k words. Discussion of Catholic theology involved. Blanket TW for discussion of violence, manipulation, etc., because Sauron. Spoilers for S1 & S2 and the Silmarillion, of course. The tragedy of Sauron is that he gets offered so many legitimate chances at redemption and forgiveness, and he denies them every single time. But we know he wants absolution, because that’s what he sees Galadriel as: his chance to bind himself back to the light, to be Mairon again, to heal the pain that he caused and that was caused to him under Morgoth. But because he has such a warped view of himself and his actions, he dismisses genuine extensions of compassion, forgiveness, and care as simultaneously beneath him and too good for him. And yet, he still pursues redemption, but through none of the channels offered to him.

In The Rings of Power, he’s given the explicit instruction to change for the good in the village after he’s reborn. He’s given the chance leave his past behind and work meaningfully in Númenor. He’s given the chance to redeem himself by Galadriel's offer of friendship (or love, depending on your interpretation). In the Silmarillion, he's even given the chance by Eönwë himself, and comes close to leaving Morgoth behind completely!

Let's look at this passage from Of the Rings of Power and the Third Age (emphasis mine):

When Thangorodrim was broken and Morgoth overthrown, Sauron put on his fair hue again and did obeisance to Eönwë the herald of Manwë, and abjured all his evil deeds. And some hold that this was not at first falsely done, but that Sauron in truth repented, if only out of fear, being dismayed by the fall of Morgoth and the great wrath of the Lords of the West. But it was not in the power of Eönwë to pardon those of his own order, and he commanded Sauron to return to Aman and there receive the judgement of Manwë. Then Sauron was ashamed, and he was unwilling to return in humiliation to receive from the Valar a sentence, it might be, of long servitude in proof of his good faith; for under Morgoth his power had been great. Therefore when Eönwë departed he hid himself in Middle-earth; and he fell back into evil, for the bonds that Morgoth had laid upon him were very strong.

This passage is clear that Eönwë is willing to pardon Sauron--he simply did not posses the power to do so. But when Sauron was told he must appeal directly Manwë, he gave up entirely and skulked back to Middle-earth. There are a few ways to read this:

1. He was not wholly repentant

Sauron simply wanted the protection of a new master in the absence of Melkor. i.e., he was rather fickle and simply wanted to be on whatever the "winning" side was. This is supported by the text literally saying that at least some of his obeisance was completely false, and that he only made a point of feeling bad about anything once his master had been chucked into the Void and his armies and strongholds were being destroyed (Thangorodrim). In this reading, perhaps Eönwë saw Sauron's treachery and referred him to Manwë knowing that it would be a test of his true intent. However, while a valid interpretation, I believe this to be the less holistic of the two.

2. He was truly repentant

Sauron did truly feel badly and "abjured all his evil deeds," but he was unwilling/unable to humble himself after being so fundamentally broken by Melkor and developing an insatiable power lust (hey, he isn't defined in the narrative by lust and pride for nothing).

Earlier in this same chapter, Tolkien wrote that Sauron could "...deceive all but the most wary." This is in the specific context of his physical shapeshifting. But, I would argue that this can also be tied to his lies. Tolkien has a specific ethic of beauty, where physical perfection is equated with moral goodness. Sauron completely inverts what is otherwise a hard and fast rule within Tolkien's writings by being the character most frequently described as "fair"--seven times to Lúthien's six, and she was the most beautiful woman to have ever lived!

(Side note: I have another post on Tolkien & beauty in the works where I'll get more into this idea)

Why does this matter? Even though this interaction with Eönwë takes place in the First Age, Sauron could at this point be in the demonic form Mirdania describes in the forge. And, I am inclined to believe that Eönwë, as the head Maiar and herald of Manwë, would be a pretty wary guy, and thus able to sense any of Sauron's trickery. I read this to mean that Eönwë looked at Sauron and saw his potential to be Mairon again, either in absence of his evil form or in spite of it.

Because Sauron is incredibly beautiful. And even if it is a disguise of the true, depreciated form of his spiritual essence, he presented himself to Eönwë at his most beautiful. He wanted, even in his act of repentance, to make himself more favorable in Eönwë's eyes. To show up as Mairon (who was likely close friends with Eönwë before everything went down, since they are considered to be two of the most powerful Maia and would have worked closely together).

But I don't think this was all manipulation on Sauron's end. I agree with the scholars mentioned in the text who believed that Sauron was truly repentant--which is why Eönwë even bothered referring him to Manwë instead of kicking him into the Void with Melkor.

And this is the tragedy: Sauron is told exactly how to repent, and believes fundamentally that it is an impossible path for him. And yet, he still longs so intrinsically for it! He was, under Aulë, a Maia of precision, perfection, and order. Under Morgoth, he feels disordered, dis-regulated. He needs to correct the fundamental imbalance within him, so why does he flee Eönwë?

It comes back to Sauron's pride.

If he follows through with this path of reconciliation, there is no way he can hide or pretend his actions away. If he cannot trick his fellow Maiar, he certainly cannot trick the Valar. And he cannot stand the idea of submitting himself back under their rule, especially now that he has tasted power. This is a pride wound; it is why the idea of confessing to Manwë would be humiliating to him as opposed to just upsetting/uncomfortable.

Again, the pivotal moment: he is told how to make amends for crimes and determines that he cannot do it. So he returns to Middle-earth and stews in his own self-hated and self-pity for a few years. In that time, he consciously or subconsciously latches onto Eönwë's offer--forgiveness from penance. It is the way forward. And if he cannot earn penance at Manwë's hand, he will do it on his own.

The Prodigal Son

This is where we have to talk about the Catholic roots of Tolkien's work for a moment. The scene where Sauron approaches Eönwë mirrors the biblical parable of the prodigal son. In this story, a man abandons his family, spends all his money, and falls into ruin. But when he recognizes his failings and returns to his father to get help, he is welcomed back into the family without question--in other words, he is forgiven and restored to his former position.

17 But when he [the prodigal son] came to himself he said, “How many of my father’s hired hands have bread enough and to spare, but here I am dying of hunger! 18 I will get up and go to my father, and I will say to him, ‘Father, I have sinned against heaven and before you; 19 I am no longer worthy to be called your son; treat me like one of your hired hands.’” 20 So he set off and went to his father. But while he was still far off, his father saw him and was filled with compassion; he ran and put his arms around him and kissed him. - Luke 15:11-32, NRSV CE (emphasis mine)

The parallel is clear; Mairon, the repentant Maia, returns home with hopes of reconciliation. He is prescribed the same task that the prodigal son offered to his father: he must be bound in servitude to his father/creator in order to pay off his debts. This is a deliberate allusion from Tolkien. The story of the prodigal son models the path of reconciliation that Eönwë describes. Tolkien seems to be drawing a line in the sand with this: Sauron is unwilling to do the work required by the Valar for repentance, so he is unable to receive the grace of a warm welcome back into the fold of the Ainur. Since he did not humble himself, he has to be told to do it. And he does not want to! He wants to be loved, but he also wants his power--evidence, in a way, of how his character was fundamentally altered in his time with Morgoth.

His pride--and his fear--cut him off from the potential of grace. He does not know for certain that Manwë would subject him to servitude (though I would argue that it's textually evident that it is a custom), but this assumption leads him to flee, which allows him to slip back into his old ways.

He wants to be Mairon (admirable) again, not Sauron (abhorrent). He wants to be accepted and loved, but not punished. He wants the benefits of reconciliation without the work he would have to do to earn it or the shame he would feel as he did. It's pride, but it's also deep shame--the flip side of his extreme ego is an implicit self-hatred, one that we can see in the subtext of how he speaks about himself and about his time with Morgoth.

Even the language Tolkien uses is heavily shame-coded, especially in a Catholic context; Mairon did not go willingly, he was "seduced." He admits to Celebrimbor that he was "tortured by a god". It becomes exceedingly clear through both text and on-screen canon that Sauron was routinely broken and abused for centuries. This has fundamentally damaged his self-perception, which is ultimately what leads him to "[fall] back into evil"--whether due to pride or shame, he hides, perhaps because he consciously or subconsciously does not believe that he deserves forgiveness, no matter how much he craves it.

Naked in the Garden

His flight back to Middle-earth after meeting Eönwë is reminiscent of another biblical scene, where Adam and Eve, after committing the first sin, hide from God in shame and fear (emphasis mine):

7 Then the eyes of both were opened, and they knew that they were naked...9 But the Lord God called to the man, and said to him, “Where are you?” 10 He said, “I heard the sound of you in the garden, and I was afraid, because I was naked; and I hid myself.” -Genesis 7-10, NRSV CE

The image of nakedness is, here, one of vulnerability, and Tolkien establishes that Sauron fears that which he cannot control. He needs the Rings under his power. He needs his armies and his enemies under his watchful eye. He is petrified of letting his power slip away (possibly due to never wanting to feel powerless in the hands of a Vala, fallen or not, again).

The biblical allusion here hearkens back to the fear Tolkien describes Sauron as feeling regarding his return to the Ainur. In the religious system Tolkien has established, which is likely inspired by his own religious beliefs, Sauron has sinned, and must make penance. But he is afraid of God/Manwë, and does not want to "let go" of his sin. In other words, he is not truly repentant. This reflects the Catholic sacrament of confession, which requires self-reflection and resolve to never commit the sin again.

Instead of shame driving him to contrition, it drives him to isolation.

But he still wants forgiveness. So, in his years of hiding in Middle-earth, he decides to earn it himself. His own way.

Enter the Rings.

Sauron wants to perfect the wrong he wreaked so that he can both earn his way back into the Ainur and keep his power. But what he does not realize is that this does not work. Eönwë is clear that he must forsake his true temptation--absolute power--through penance by submission. Yet Sauron in his pride thinks he can have it all. Sauron is a very carefully controlled villain, and the only times he snaps or makes significant mistakes are when his inflated self-perception is challenged, revealing the self-loathing and/or self-pity underneath. The best example of this is when he kills Celebrimbor prematurely, and cries afterwards. Why? Because Celebrimbor was right about him, and he hates it. He hates knowing that he is nothing more than the Morgoth's shadow, because Morgoth was his master as much as he was his tormentor. As Sauron puts it, his relationship with Morgoth was often defined by pain as a test to see "whose will was the mightier":

This image carries more shame, both in its implicit sexual connotations and in the simple power dynamic of it. Sauron, even though misguided, is rallying against Morgoth. He wants to break what Morgoth has created and build something new, something better, something apart from his old master entirely. But Celebrimbor confronts him with reality: he has not created something new, and perfect, and special, as he so wanted to--he can only act in imitation, not in generation. And when he got close with the Rings, it cost him everything. It's almost like he wants the power of a Vala, and loathes that he cannot attain it.

And this is why he becomes so singularly obsessed with Galadriel.

She’s his foil. They both crave power and adoration, but in the end of things, she does not fold under his temptation. She turns down everything she has ever wanted for the greater good and for the sake of her own soul. Sauron looks at Galadriel and perceives that she would have succeeded at Eönwë's test because she is willing and able to humble herself. This maddens him to the point of both desiring her and desiring to break her.

She learns that she is easily tempted and becomes strong enough to handle it (through a lot of tough love from Elrond & co.). She has to learn how to do it, but she is able to.

She grows from someone who resisted and rejected authority to someone who is trusted as an authority because of her ability to wield it wisely (see: Gil-galad allowing her to answer for him in 2x08).

In other words, she earns the trust, love, and support of her community. Sauron has to force his to comply—it is an illusion of love.

His possessive obsession with her also stems from her fairness. She was the object of her uncle Fëanor's obsessive desire for creation as well. Her hair was the inspiration of the Silmarils (see: The History of Galadriel and Celeborn; The Shibboleth of Fëanor - source with page #s here), which Morgoth desired more than anything to possess.

Sauron, wanting to spite his master, wants one better--to own that which inspired the Silmarils, to own the image of fairness (and thus of moral good) completely. This is why he wants to bind himself to her. This is why he needs her. He sees Galadriel as his mechanism of repentance, and his last triumph over Morgoth. Winning her is his salvation as much as it is proving that his will is the mightier. It is his way of dominating Morgoth. This starts, I think, as a genuine effort at proving himself to the Valar, but quickly consumes him entirely. He is overcome with the desire for revenge, just as Galadriel was at the beginning of the First Age.

And he sees this in her. Sees their similarities. Sees that she, too, is angry and lonely and so afraid of losing her power. And he leverages that to befriend her. This is where it gets ambiguous and you can read RoP as either painting the image of Sauron being earnest but completely misguided in his proposal, or you can see it as him being entirely manipulative.

I think the truth of that scene probably falls somewhere in the middle; just like when he presents himself to Eönwë, he is sincere in his desire, but only knows how to present it in an inherently contriving way. He does want to bind her to him, so he tries to only reveal to her the good aspect of that desire (and also of his desire for power, which he allows her to see because he believes that it is good and also because she understands it), and not the ugly underside of his internal struggle against Morgoth, the Valar, and himself.

And I do think, in his own way, he cared about her. Galadriel consistently shows kindness and compassion to him. In S1, they grow to know each other's minds and souls, and she considers him a close friend. He finds comfort in this, that someone could see the blackness of his heart and care for him anyway. He thought, in his isolation, that he lost that chance when he fled back to Middle-earth. And here is the very picture of the light itself telling him that she supports him, that she sees the good in him, that she wants to help him set the world to rights! Of course he is infatuated by this. Of course he also wants to use it. He is Sauron.

But Galadriel succeeds where he fails, so he stops playing nice and tries to forcibly drag her down with him. First, by baiting her with the image of the man she cared deeply for:

Then, by reminding her of all she is losing by rejecting him:

And she is still strong enough to say no. And not just to say no, but to shut the door completely. To look in the face of everything she has desired for centuries and turn it down, understanding that it will ruin her. Yes, she hesitates. Yes, she still wants it (wants him). But she wins the day by holding fast to the light that Sauron wishes so badly to bind himself to.

Because she has lost everything--her brother, her husband, the station as commander, the trust of her high king and best friend--and earns it back only through her resistance of her greatest temptation. It is a struggle, it is painful, it nearly kills her--but she does it. She wins the test that Sauron could not even bear to face.

In their headlong, self-sacrificial tendencies, they are the same. Both view themselves as fundamentally stronger/better than their peers while also being deeply lonely due to their self-imposed isolation (Galadriel's laser-focused hunt for revenge, Sauron's exile in Middle-earth). But to Galadriel, the light is more important than her pride.

For Sauron, the light is his source of pride. He desires it more than anything, but condemns himself to never being able to touch it due to his rejection of Eönwë's offer. Paradoxically, he tries to grasp at it through Galadriel, the living silmaril, and succeeds only in darkening her. We learn from Gil-galad in 2x08 that his crown piercing her flesh in an act of brutal domination nearly strips her soul from her and pitches it into the unseen world. In this, Sauron is saying: If I cannot have you, I will force you to need me. I will break you into loving me.

He says this to Celebrimbor as well. He no longer knows how to love properly. He only knows how to inflict pain until this object of his obessive desire needs him--just like how his immortal spirit was broken into submission by Morgoth. And isn't this revealing of his own sense of self? He refuses to suffer the path of light, but willingly suffers the maddening path of darkness because it is a comfortable, familiar suffering. One, he tells Celebrimbor, he even grew to enjoy (2x08). As the path of the Rings drive him madder and madder, his desire for the light (Galadriel) and the return of his power (Celebrimbor) become further disordered and corrupted until they culminate in him destroying them--and his chance at earning/owning them--entirely.

And this is Sauron's ultimate point of no return (which we will hopefully see in S3 🤞). The razing of Eregion and slaying of Celebrimbor were acts of petty rage he committed when his pride was injured. This was the final nail in the coffin. Galadriel, in her rejection of him, ruins what he sees as his true chance for redemption.

Galadriel, now stepping into the role of Eönwë, re-opens the invitation: "Heal yourself!" (2x08). But in rage and shame and stubborn pride, he turns it down again. I believe this is where his desire to heal Middle-earth shifts fundamentally into desire to dominate Middle-earth. He always wanted to rule, but now he wants to own.

[secriden]

love sea episode 2 rewatch thoughts:

in hindsight, this opening should've clued us in that this episode was going to be horny as fuck.

ok so if episode 1 was about establishing mahasamut, i think the purpose of episode 2 is really to give us a much more nuanced introduction to tongrak. what's fascinating is that the show chooses to impart this insight to us through a rather unusual medium: sex (and, specifically, tongrak's attitude about sex).

we open with kinky kinky beach sex and it tells us that tongrak is impulsive, hedonistic, and tends to give into the emotions of the moment (something that, as the series develops, he does with increasingly self-sabotaging results; eg. when he lashes out at mahasamut after the 1st run in with prin or when he runs off to appease jak when he gets fearful in episode 9).

it also tells us that tongrak is very comfortable with his physical wants and needs. sure, mahasamut kinda flusters him because he awakens desires that are more intense than he's is used to, but tongrak's still grounded enough in his sense of self that he can roll with it pretty quickly and becomes an active, willing, even enthusiastic participant. (it's not going to be his physical desire that drives a wedge between them; its going to be the emotional connection that ends up being terrifying to tongrak.)

this episode also lays a ton of groundwork to set up why and how intensely mahasamut and tongrak are drawn to each other.

a lot of it, early on, is purely physical.

mahasamut and tongrak clock that they're compatible in their (D/s) kink immediately and they embrace this with gleeful abandonment. other people have made this point a lot more clearly than i could ever hope to (see @williamrikers excellent analysis of mutrak's kink dynamic), so i won't belabour the point, but i would like to point out how thoroughly the show wants the audience to know that these two are a perfect match physically and sexually (specifically with their particular kinks) and that they are incredibly comfortable with that.

(an aside: one thing i adore about peat's portrayal of tongrak's submissiveness in the beach scene is the way he starts out being the initiator in the kiss - in the gif above, it's tongrak that grabs mahasamut and yanks him into the kiss at first - but once its clear that mahasamut is on board, tongrak is almost constantly angled up, head tipped back, responding to mahasamut's cues but making no attempt to direct whats happening. there's so much surrender in the pliant way peat holds himself as they kiss and the way he goes from pulling mahasamut into the kiss to just clinging to his torso as he lets mahasamut take control. even when he reaches for mahasamut's dick, the second mahasamut pins him down and gives him an instruction, tongrak makes no attempt to redirect and just goes with what mahasamut wants. there's just such great detail in this portrayal of surrender.)

but what makes this encounter different (from the many, many other ones they've both had) is going to be how neither of them were able to keep this connection as purely physical for very long. (this is what episode 3 is for, though, so lets put a pin in that thought.)

back to insights into tongrak's character: we also get an escalation/confirmation about how tongrak views sex (and relationships) as purely transactional. tongrak's entire backstory is grounded in the idea that 'everybody has a price' because that's what his parents showed him. to tongrak, every human interaction is about finding the right things to give (usually money in his case) to get what he wants and this has allowed him to rationalise that feelings and emotions (both his own/the other person's) don't matter.

tongrak firmly believes that as long as he's offering something of sufficient (monetary) value, he's perfectly within rights to demand what he wants without consulting mahasamut's feelings, wants, or thoughts about the matter. in fact, he thinks of mahasamut as kind of an object for his sexual gratification and/or convenience. this is why he feels no remorse about kicking mahasamut out after they have sex even though mahasamut clearly wants to cuddle/come down from the physical high together. the next morning, it never pings to him that he should be guilty about how he treated mahasamut.

(look at his face. he's such an entitled diva. i love him so much.)

not only is this attitude - in reality - a very inaccurate way to view human beings (because as a species we are creatures very much led by our emotions), but it is the source of tongrak's own dissatisfaction and unhappiness. he never acknowledges any of his own emotional needs and so cannot manage or address them in a meaningful or healthy way.

so to summarise tongrak understands and is comfortable with his physical desires but does not know how to even acknowledge his emotional ones whilst impulsively being led by them in the heat of the moment: already we can see that this is a recipe for disaster and tells an unspoken story of pain and trauma.

(i also want to mention how well mahasamut continues to respond to tongrak's specific brand of caustic entitlement. he doesn't bother making a big deal about tongrak throwing money at him, but he also never names a price for his 'services' either. he blatantly refers to tongrak as his "owner" but also makes it clear that it's not tongrak's money that's keeping him around, but rather mahasamut's own desire for tongrak. it's like he'll act in tongrak's play but he won't quite stick to the script either. its so, so effective because he doesn't trigger tongrak's fight or flight response but he's still undermining and proving tongrak's assumptions wrong at every turn. this is what allows mahasamut to worm his way behind tongrak's walls whilst simultaneously chipping away at them.)

one last little bit of (this time non-sex-adjacent) insight into tongrak: he has a great capacity for compassion. (which will, eventually, turn into love.)

mahasamut, at this point, is mostly just an incredible lay to tongrak. but already he shows care and concern for mahasamut that's separate from what he can offer tongrak. he's concerned at a (relatively minor) hint that mahasamut has been mistreated in the past and then again concerned that mahasamut will suffer the repercussions of any hit to his reputation. [note: this is informed by a backstory regarding homophobia on the island that's from Khom/Connor's story in Love Sand, but even without that insight we can see tongrak's concern is for mahasamut.] (again, this is something the show is setting up to callback to later when tongrak gets offended on mahasamut's behalf when he thinks the waiter made fun of mahasamut.)

these little glimpses give us such a contrasting perspective on tongrak compared to episode 1, where he was mostly just a rich, entitled, and fairly unlikable character. we're being shown that what we've seen so far is really a mask as tongrak's true character slowly starts bleeding through as he has more interactions with mahasamut.

and then the episode closes on heartbreak: You're aware aren't you? Love is just a figment of our imagination.

tongrak's expression right before he says this is filled with resignation and disappointment. he hates that he has to say it but he feels its his duty to burst mahasamut's bubble. he genuinely believes this and so to him he's just doing mahasamut a favour by telling him a Truth about life. for us, this is the final crack in the mask and we see just how lost and fragile and hurt tongrak truly is.

(and the way peat sells this part - the cold almost clinical look in his eyes when he says the line. the tiny pout of his lips like tongrak can't help but feel sad about it, even though he accepts it as reality. the cold, flat tone peat uses to deliver the line when tongrak's usually quite expressive and uses lots of inflections and intonations in his speech. ugh <3)

but this is also really important because this is why we, the audience, start to care about tongrak. mame takes us on this journey, sets us up to wonder why tongrak's the main character when he starts out kinda of awful and then shifts the ground out from under us by showing us his soft, wounded underbelly. we can't help but want him to be loved, now, and this is why we become invested in 'tongrak mahasamut'.

[coquelicoq]

what i love about the Famous Actor Natori Shuuichi of it all is that...it's not just that he's famous and therefore widely recognizable wherever he goes. like yes that is very funny because he was an exorcist before he became a famous actor, which means he CHOSE, on purpose, a day job that would make it harder to hide his double life/secret identity from the hordes of his adoring public, but it's more than that. it's not just that he's famous, it's that he's famous specifically for being an ACTOR, aka a person whose job it is to dissimulate, to make believe, to inhabit roles and emotions other than his own. like he decided he was going to become as visible as possible (which again was literally not necessary! he could have gone into any other career for his day job!!) but in such a way that everyone would see him but no one would see him - they would just see his various made-up personas, including the Famous Actor Natori Shuuichi persona. i can't decide if he's a genius or if he just made so many absurd decisions that they canceled each other out and circled back around to working out. he's either playing 9-dimensional chess or he's eating the pieces. too soon to say.

[schromp-lee]

Pav's family dynamic / possible siblings

is it just me or does pav give off some serious middle child vibes?? 🤔

like, the "if i'm not the center of attention 24/7 i shall surely perish" is strong with this one

and then there's that comment he makes to abella about mature confident women which imo just screams "my formative years were filled with neglect by authority figures so now i trail after caring, even-keeled people like a yappy, needy little lapdog looking for attention because i WILL take negative attention over no attention at all"

like is it just me or?? hmu if you have any thoughts or headcanons or info on this please i'm literally begging

[bigmilkagenda]

Of the many, many plates of pancakes* that were offered to the listener in magp 1-07, this one may be my favourite

[ID: A screenshot of an unofficial transcript to The Magnus Protocol. CELIA is saying "Yeah. I mean, it's an old system, but it could have been worse. It's not like we're wrestling with tape recorders and manila folders." /end ID]

When we meet TMA-Celia for the second time, she's lost her name. She was Lynne Hammond, and now she's not. She doesn't seem to remember Martin, either, but it's not clear how much of herself and her life from before the change she does remember. She's freaked out by the tape recorders that start showing up, and there's no indication that she associates them with the Institute specifically.

If Celia Ripley is, as we are clearly intended to believe or consider, the same Celia as in TMA, why is she making knowing comments about manila folders and tape recorders? Tape recorders in particular are hardly standard equipment at what seems to be mostly a text data-entry and cataloguing job. She could have said typewriters, or carbon paper. Fax machines, if we're dunking on Freddy specifically.

She says "tape recorders and manila folders." Celia Ripley is referencing The Magnus Institute, particularly the outdated technologies in use in the Archives.

Maybe she learned more from Melanie about what the recorders were and did at the Institute, sometime after MAG 190. Maybe she has those specific memories of giving her statement in MAG 100, and little else. Maybe Martin grew an apocalypse beard and she remembers everything, but just didn't recognise him out of context and in a tunnel and during A Pretty Weird Time Overall.

Maybe she stuck around with Melanie-Georgie-Basira for a while after things returned, and that's how she learned about the particular significance of tape recorders.

Maybe she found some tapes and listened to a couple hundred of them.

Or maybe she's simply an AU Celia, with a knack for oddly specific and kind of clunky comparisons, drawn into this through the powers of metafiction and string theory.

Or maybe someone filled her with spiders and sent her to finish the job of spreading Fear to this particular world.

And the reason this particular plate of textual pancakes** (short stack, butter and nightmare syrup) is one of my favourites from "Give and Take" is because I genuinely have no idea! None of these are theories because there isn't enough evidence to point me in any particular direction. It's a mystery!, Jon voice, etcetera.

If you cornered me and paid me to have an opinion about it I could say which options I thought were more likely, I guess. But the odds are high that I'd be wrong, and I think the boat for me getting paid to interpret texts probably sailed fifteen years ago, besides. I'm in this for the love of the game.***

November is the true spooky season in the northern hemisphere.**** Yeah, October ends with Halloween, but you know what month starts with Halloween? Mmhmm. By November of 2019 TMA had been on my list for a few years, and someone I was getting to know and really liked recommended it to me specifically in the days after 159 aired. The conditions were correct for me to get into something new, is what I'm saying. I still remember listening to "Anglerfish" for the first time, walking home from my office job in the blustery November dark. I got home starry-eyed and red-cheeked and thrilled by the story I'd just heard.

It took a couple of months for me to catch up, and though I loved having so much to listen to there were times when I wished I'd started earlier, to have the experience of seeing things unfold.

And now we're back at a beginning, and get to experience the horrible joys of finding out.

[ID: A screenshot of an unofficial transcript to The Magnus Protocol. LENA is saying "Of a sort. I hope you're as ready for it as you think you are. Consider yourself "in." /end ID]

*Sabrina pancake meme

** the best kind, especially if it's a contest between textual and fluffy pancakes. Keep those spongy bastards away from me, I'll take the kind with a typeface instead

***Being a huge nerd

**** For more of my opinions on November, see https://www.tumblr.com/almostmolly/188799234276

[shadystranger]

this moment so fucked up💀

[oshiawaseni]

Trails of Love Hori's been paving down in the build up for the series' ending

Part II: Decoding the love story being told through other characters

Part One | II. KamiJirou | Part Three ->

.•° ✿ 5. "I̥̰̟͈̣̮͑̑͐̓̌z̴͉̙̲̋͗͌u̶̫̝̒̊̐Ocha" ೋღ

Oh look, time to defeat the raid boss of BNHA: IzuOcha. (I wrote this meta in March, and after reading it now, I didn't feel I needed to change anything, but I added a small bonus section at the end. Hope you enjoy!)

I have a lot of things to say about why Ochaco was never meant to be the one... but I'll try to stay concise and on topic with regards to this meta. Ochaco appears set up as Izuku's love interest from the get-go, but is that really what Hori wanted to do? I'll be taking a dive into their themes and in part three of this meta, I'll be explaining why the answer to that question has been a resounding: NO!

When I compared the feedback Ochaco got from Aoyama, Toga and Mina about her having a crush on Izuku for wanting to be like him, to Izuku, who didn’t get any feedback for all the times he did the exact same thing and copied Kacchan, it felt very unfair.

See what I mean? It is completely unfair. And this was such a hard topic for me to navigate and answer for the anon at that time. But then I did some thinking.

Compress, Gentle/La Brava, Kamijirou and finally Kirimina (which came as a pleasant surprise, and for me, cemented Hori's intentions with all of this)... all of these characters have been written to highlight various things about BkDk's relationship.

Then, there is Ochaco's admiration of Izuku and she always gets told it's a crush, and it's so weird of a plot to begin with. This very one-sided "crush" also felt out of place with the rest of the themes going on. I eventually realised maybe we had been looking too closely at the admiration issue all along. By attempting to explain the meaning of the tree and why it's different from this other tree, we didn't see the forest it's connected to and that there was actually something bigger going on that Hori had been crafting.

Scale it back and you’ll see: It’s not that Izuku didn’t get his own feedback about his feelings for Kacchan in the various ways he shows he wanted to be like him, but Ochaco’s conversations with Aoyama and Mina and Toga were his feedback!! It was one of the biggest AHHHHHHHHHHH SO THAT'S WHY pin drop moments I've ever had.

No one was calling him out, because they didn't need to! Calling out Ochaco for that behaviour was all Izuku's same behaviour needed!

Chapter 15 is the first time Izuku displays this behaviour of wanting to be like Kacchan. In Chapter 48 Izuku trains his movement after thinking of "Kacchan and the others". His movement mimicking Katsuki's is first noticed by Iida in Chapter 52.

We spent so much time worrying what the difference is between Izuku and Ochaco’s admiration, but we tackled the problem all wrong! In fact, we didn’t need to tackle it at all.

Because not only did Ochaco’s crush sideplot serve as a red herring to veil the real love story going on from the average reader, it was also used as another tool to highlight it.

In chapter 58, Izuku showed off his new movement style and everybody, even Katsuki, noticed it was copying the way Katsuki moves. The fact we get another Ochaco shot of her watching Izuku mimic Katsuki really does add credence to the theory that she noticed Izuku's feelings because he's also copying the person he loves. And if their logic was true for her, then why couldn't it be true for Izuku too? Izuku's mimicry being such a non-issue for 1-A was surely done on purpose for us to see this hypocrisy one day: That her mimicry gets called out as love by everyone, but everyone sleeps on Izuku's own mimicry simply because it's between two boys.

Our take away was never meant to be “what’s the difference between their admiration/love”, but simply that Izuku was both wanting to become like and inadvertently becomes like Kacchan because he loves him so much and a way to keep Kacchan close to him was incorporating both his attitude and movement style into his own.

Hori was linking the two concepts of mimicry and romance together with commentary from Mina/Aoyama/Toga while having Izuku do this EXACT THING they were talking about, with Katsuki, right in front of our damn salad!

Because what other characters noted about Ochaco's behaviour... Izuku was also expressing towards Kacchan. (Hori even brought it up again in DvK2 just to remind *everyone* that Izuku is very conscious of doing the exact same thing as Ochaco)

Even if Ochaco later reveals their logic to not be true FOR HER (which I wholeheartedly believe in. BkDk+TogaChaco end game LETS GO), we know for sure this logic has absolutely been true for Izuku. And the feedback Ochaco got also fits Hori’s framework of;

Bkdk -> are the actions

Other characters -> are the words for their feelings and actions.

Ochaco never was a raid boss to begin with... she only had the appearance of one. All to get BkDK through to the finish line.

Ochaco talking about "putting the All Might doll away" here used the same verb as "shutting her feelings away" and her scene instantly jumps to Izuku looking at his black whip - a quirk he has also "put away" behind a locked door that represents OFA. Black whip is a quirk which emerged from the feelings he has for Katsuki, that Izuku has also had to "put away" because what happened to him was so traumatic. I think Hori wanted us to see their two stories of "locking something away" were actually the same in essence, and it wasn't just black whip itself that Izuku had to lock away, but also his feelings for Katsuki... because we lost Izuku's POV towards Katsuki after the "I'm too blessed." scene. Most likely to hide the romantic love Izuku feels towards him from the reader.

I realised the same logic of the other couples also applied to Ochaco too a few months ago, while I was putting together this meta about all the ways Hori has indirectly shown readers what Izuku’s feelings for Kacchan are. Hori couldn’t say it outright because of his demographic and the current expectations society has that BL should stay in it's own category and far removed from shounen.

So Hori gave bkdk their moments without a whole lot of context and developed the idea of them simultaneously in another language, by getting other various characters to do the talking. And he used these characters to indirectly spell out bkdk’s love story in conjunction with bkdk’s own behaviour, all for the sake of his big bkdk reveal in the series' finale.

And to think he’s been doing this almost since the beginning blows my mind. (Chapter 15! Chapter 15 was the start of WWKD: What Would Kacchan Do) The man is a genius. A lot of this feels like he had needed to release his feelings about bkdk, so he left these trails of code throughout the manga... and we’ve finally cracked the damn thing.

We did it. We realised Hori’s 2nd language and roundabout method of telling one of the greatest love stories in shounen history. And I’m sure there’s even more examples of it to discover, that all our fandom's talented, keen-eyed bkdks find every day.

If Horikoshi Kohei-Sensei wrote this story because he wanted to cement his mark in jump history, he has deservedly done just that!

Part B - The real ship of dreams

(It felt too good to be true, yet I was quietly hoping...) .•° ✿ 5. TogaChako ೋღ

Circling back to the first part of this meta, "The Shape of an Eternal Bond" ... Do you remember when I talked about how BkDk couldn't imagine a world without each other, and the sense of an eternity they both exude together? Something that has always been, something that will always be. It seems more themes and feelings we get from bkdk's relationship have now been thrown into the Togachaco fight.

Ochaco gave Toga what is essentially a marriage proposal to a vampire, and then her wires made the shape of the infinity symbol. Toga expresses to her "I can't stand the thought of you not being in this world anymore." This is 1. so touching 2. bkdk as HELL, and I am certain that Katsuki and Izuku will confess their desires to be together forever before this manga ends.

I mean, this just goes to show you how us bkdks and Hori are literally on the same neural link, and we've been right about his methods of storytelling and how he's leaving trails of love inside these other couples to express concepts that are present in bkdk's own (soon to be) very romantic relationship.

It's a fun thought exercise to look at Togachaco's fight and predict what certain themes of theirs Hori will install into bkdk's talk/feelings they will express to each other... but there is a certain one, other than "forever", I feel very strongly about and will focus on here...

And that is Izuku's smile.

Something Katsuki once detested became the thing he most advocated for and longed to protect. His thumbs pointing to himself while talking about smiles... no wonder this had an air of Katsuki, himself, being the biggest reason Izuku smiles. "How could you leave me and choose this for us - a life of no smiling like that?"

At the start of the series, Katsuki couldn't stand Izuku's face or the smile he made at him. Whenever he saw it, he could only think of it as somebody laughing at him, looking down on him... but then DvK2 reframed Izuku's wide smiles at him and turned them into something pure, and genuine, and I think that's when Katsuki started to realise how much he was being loved the whole time.

And how could Katsuki possibly not reciprocate those earnest feelings from his special person who helped him find his heroic heart?

And this seems to be something Ochaco has noticed about Izuku? Ochaco, somebody who loves when people smile, noticed how big Izuku smiles when he talks about heroes... but especially the besotted faces he makes whenever he's with Katsuki... Of course she did.

On the Weekly Shounen Jump cover that featured bnha chapter 394, most of the characters on it are happy and smiling. Izuku isn't, however. That's because he's lost the ability to smile because Katsuki is still dead in the manga... Hori used this jump issue to build on this theme in the manga - that if you take Katsuki away, then away goes Izuku's smile, too.

Because Katsuki's very existence gives Izuku his happiness.

These two panels were supposed to be compared to each other - "Blood" and "Smiles" are two concepts mirroring each other in Togachaco's story. It's their different love languages. Toga felt like she couldn't ask Saito-kun for blood because he'd never accept her, Ochaco felt like she couldn't ask Izuku for his smile... because he'd also never accept her... she knew this was because Izuku already had somebody who gave him his sweetest smile... the same person who knew him more than anyone.

Chapter 395's title, 'shiawase no ue ni' was an interesting one that feels nuanced with Ochaco's feelings towards Izuku. It can be read as "Above (my) happiness..." I think this title is describing the concept of prioritising something else BEFORE one's own happiness. It's the perfect concept title for self-sacrifice, like Toga putting Ochaco's life above her own, but could ALSO be referencing Ochaco placing Izuku's happiness with Katsuki before her own feelings for him!!

Ochaco's story, at present, appears to be about putting aside unrequited love for a person she didn't quite understand, and instead placing her efforts into an attainable goal - rescuing somebody's heart from despair, and in doing so, becoming each other's important person. And then neither have to journey through life alone anymore. Ochaco knew this is something Izuku and Katsuki found in each other. In the image above, the girls are looking at Izuku and Saito, who won't turn their way, because they are both looking at a blonde boy next to them. Their "Sometimes Saturday." Katsuki.

The hidden face as Ochaco says she "came to like" Izuku Midoriya is quite suspicious. It belies what she's saying and she seems to either be hiding something negative or she’s not being truly forthcoming about her situation and feelings for Izuku. There are also themes of envy that finally showed up in Togachaco's dialogue which may be foundation Hori has laid down for the reveal of Ochaco's feelings later, as well. Envy about the attention Izuku received from others as a hero. Envy towards Izuku's innate passion for heroes, and the adoring faces he makes for Katsuki, perhaps.

So this smile that Katsuki has always misunderstood as something negative aimed towards him ended up turning into something... very lovely and important to him, as shown in Izuku's panel and how Ochaco described Toga's smile right afterwards.

And honestly... if we get little snapshots of the many smiles Izuku has made for Katsuki, while Katsuki is thinking about how adorable Izuku looks just for him when they're talking, I don't think I'll make it out of this bkdk reveal alive. Hori is going to obliterate us with whatever he's got cooking for them.

With all the major bkdk-alike couples now finished, the next post of this meta series will be: Part III, and the conclusion of this meta series ->

Back to Part One

[withthewindinherfootsteps]

Wang LingJiao used the chance to scramble out. She took out a cylinder of fire-light from her lapels and shook it a few times. A light shot out of the cylinder. Along with a sharp whistle, it rushed out of the wooden window and exploded in the sky outside. Then, she fumbled out a second one, a third one. Hair tangled, she mumbled, “Come… Come… Come here… Everyone, come here!” Through the pain, Wei WuXian pushed Jiang Cheng, “Stop her from sending any more signals!” Jiang Cheng let go of Wei WuXian and lunged in the direction of Wang LingJiao. Yet, at the same time, Wen ZhuLiu was closing in on Madam Yu. He looked as if he was about to knock her down. Jiang Cheng hurried, “Mom!” He immediately gave up on Wang LingJiao and threw himself over. Wen ZhuLiu didn’t even turn his head as he struck, “Not even close!” Jiang Cheng’s shoulder suffered the attack. Blood immediately burst from his mouth. Wang LingJiao had already let out all of the signal fire-lights. Sharp whistles and bright sparks filled the entire grey-blue sky. - Chapter 58, EXR

It's quite interesting how, in this moment, Jiang Cheng does exactly what he's always criticised Wei Wuxian of doing: endangering the Yunmeng Jiang sect by 'playing the hero'. That's not what either of them are doing, of course – it isn't a motivation for Jiang Cheng here, it's not a motivation for Wei Wuxian anytime else, and the motivations they have definitely make sense – but it's exactly the sort of behaviour Jiang Cheng would criticise Wei Wuxian for, with those exact words.

Yet, no character ever criticises him for this – Wei Wuxian doesn't, even when it was his (necessary) advice that was disregarded; Madam Yu doesn't, even when her sect suffered as a consequence. Even when it very likely played a role in Lotus Pier's downfall (at least in getting a lot of Wen sect cultivators to get there very fast), it's never brought up by any character ever again... whereas Wei Wuxian's action of saving Lan Wangji, Jin Zixuan and Mianmian in the Xuanwu cave constantly is, even when the Wen sect was pretty certainly going to attack Lotus Pier anyway*. That's not to say Jiang Cheng should be blamed for the fall of Lotus Pier, either – that's on the Wen sect, and regardless of both of their actions, the attack was probably going to be a success. And can we blame someone for making a panicked decision protect his mother? – but one's action is definitely more direct than the other, and it's not the one that's constantly blamed.

The aim, though, isn't to compare the actions so much as the attitudes of the people involved, and this is another little detail that shows the imbalance in Wei Wuxian and Jiang Cheng's dynamic. Again, Wei Wuxian doesn't say anything about this afterwards, and doesn't seem to blame him, even when it's his words that were disregarded, and when the Jiang sect and Lotus Pier were undoubtedly very important to him as well. Which is good! That's a good thing and definitely the healthier option for both of them! If the roles were flipped, and Wei Wuxian saved a(n admittedly non-Yu Ziyuan) person, disregarding Jiang Cheng's orders while leading to more danger falling on Lotus Pier? Jiang Cheng would never stop blaming him or bringing it up. Even after the many years that passed between then and Wei Wuxian's resurrection, he still blames Wei Wuxian for the fall of Lotus Pier due to his actions in the Xuanwu cave** – once again, a much less direct scenario.

--

*Very strategic location (trade hub etc), they attacked the Cloud Recesses already, Jiang Cheng's internal narration literally admits this:

In his heart, Jiang Cheng knew clearly that back in the cave of the Xuanwu of Slaughter at Dusk-Creek Mountain, even if Wei WuXian hadn’t saved Lan WangJi, the Wen Sect would have found some reason to come over sooner or later. But he had always felt that, if the whole thing with Wei WuXian didn’t happen, maybe it wouldn’t have been so soon, maybe there would’ve been some way to turn things around - Chapter 59, EXR

Yet there was some time between the end of the Wen indoctrination and the Fall of Lotus Pier, and we never even saw attempts at security adjustments!

**As we see in the Ancestral Hall:

Jiang Cheng mocked, “Look how forgetful you are. What does unwelcome people mean? Then let me remind you. It was because you played the hero and saved Second Young Master Lan, who’s standing beside you right now, that the entire Lotus Pier and my parents went down with you." - Chapter 87, EXR

[sisterdivinium]

You know, for a show with so many female characters that so many of us love given how they all get time in the spotlight one way or another and they fill that time up rather wonderfully since they are deeper and more developed than what we're used to seeing in general media, it is peculiar (to say the least) to see so few "alternative" ships to the main one.

I'm not saying the canon ship doesn't deserve its attention -- I'm wondering instead why the canon ship and it alone seem to guide the WN fans who just so happen to enjoy writing/reading fic or fanart or whatever.

You'd think all these cool women would inspire more ships or combinations thereof, but those of us who aren't invested in avatrice just... Float along, around one another, ignored (and, yes, mostly undisturbed too; being unpopular does have its advantages and that includes a lot less weirdos leaving you strange or awkward messages -- it does not, however, shield us from people flooding our goddamn tags on AO3 with fic that has nothing to do with our little ships and I do wish such negligence of the pairing itself meant we didn't have to deal with this spam...)

I am also not saying that fandom activity should be based solely on shipping (and recently someone on Reddit was rather confused by the fact that a lot of it is, which is quite an interesting topic to discuss in itself -- after all, there is more to fan creativity than shippy fic... Or there used to be), merely that, here, it appears that a canon relationship can outshine interest in the other, non-canon ones. It's already there and it was doubtless well-done by the show, so it's natural that it should claim people's attention, sure. It's just that being canon was never the parameter for whether people were interested in these or those two (or more) characters maybe being involved and trying to explore what that could mean through fanwork.

There has always been a complaint haunting fandom spaces concerning the minuscule amounts of f/f fic, art, discussion, w/e based on how few (interesting or sympathetic or relatable) female characters there are in media at large. So what I'm curious about is why fan creations made around WN -- a show that finally gives us a whole cast of female characters that are what we have been craving for decades -- don't also reflect its diversity.

There are alternative ships (I'm here, all happy in my tiny Doctor Superion bubble, and I know there are Camila/Lilith, Ava/Lilith, Mary/Shannon, Mary/Lilith shippers out there, so a warm hello to you if you're reading this), but go on AO3 and compare the numbers of things tagged with these proper pairings to the grand total of WN stories. Better (or worse) still, do so with the "otp: true" trick or simply by excluding avatrice from the search to see how many are left.

It's... A considerable difference. And a mystery, at least to me.

[dxxtruction]

Do you think - all speculation here but let's indulge a bit anyway - do you think, from Armand's perspective when he's in all likelihood just heard Daniel voice his complaints and beg to be turned into a replacement for all Louis' lost, that that could be a part of his choice to then come in when Louis' on his neck? That a part of him was thinking... even if Louis is angry in the moment... that Louis would inevitably do it? (He could, at least?)

He kept him alive all this time. He'd shared with him things he never shares. It's morning and he'd still kept his attention. He's special, Armand knows without needing to hear it out of Louis' mouth.

And like, from his perspective does he see this replacement as the last thing Louis needs? Considering how well filling a void by making another vampire had turned out for him the first time. How he'd been filling a seemingly un-fillable void as it is. How he's unstable, and not in the right mind to be taking on such a responsibility. How it's a bad idea doomed to fail, only a more disastrous mess to clean up in the end if he doesn't stop this now. Or, maybe let's say he's only at all concerned with himself, Armand has many selfish reasons to want Louis to move on. So, he at least finds Daniel, the potential of Daniel, to be a threat because of what he'd be replacing - leading to Daniel as this wedge between something that was already splitting hairs as it was. Maybe it's a bit of both, and either way, whether it's a success or not Daniel poses something Armand can't handle.

Anyway it'll be interesting to see how, or if, they bridge the initial feelings towards Daniel on Armand's part with the Daniel we have now. Cause there's a lot of questions there. There's a strange sense of fondness towards him? At least this is something I'm seeing in their interactions so far.