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liaragaming · 3 months ago

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Lyrium Idol + Dread Wolf + Solas Theory

Solas and The Dread Wolf are two separate entities. The Dread Wolf is a pride spirit / demon. The Red Lyrium Idol is a conduit to The Dread Wolf (which is why Solas wants it back).

I was working up a post discussing The Hunt of the Fell Wolf codex where (apparently) Inquisitor Ameridan hunts a spirit-demon-wolf. It caught my attention because - you know what "fell" means?

adjective - fierce; ferocious; dreadful; savage; destructive; deadly

Basically, Bioware put a Dread Wolf codex in front of our faces and just used a thesaurus so we wouldn't notice. You find this codex in the Frostback Basin (one of the dlc's to Inquisition).

The codex has no given author. For context, I'm assuming this story didn't actually happen, that it's just a tale in which Ameridan features, like Varric inserting Hawke into a story because it needs a hero. Ultimately, I don't think whether or not Ameridan actually fought The Dread Wolf is as important a question as what the codex says about The Dread Wolf. So, that's what I'll be discussing.

BUT... then a friend came over, we started discussing the codex, they had ideas, and I grabbed my copy of Tevinter Nights. And the two actually back each other up really well. So...

Theory Breakdown - Part I - The Nature of The Dread Wolf

*spoilers for Tevinter Nights (only for "May the Dread Wolf Take You")*

The Mortalitasi's Tale

In this tale, the Red Lyrium Idol is used to pull various mages into the Fade (the exact reason why isn't important for this discussion). Almost instantly as the mages are pulled into the Fade, the Dread Wolf appears:

It was a beast unlike any I had ever seen. Lupine in appearance, but the size of a high dragon, with shaggy spiked hide and six burning eyes like a pride demon, and it came to us on wings of fire that resolved themselves into a horde of lesser demons as the Dread Wolf landed before us.

This matches up with the description of the spirit-demon-wolf in the "Fell Wolf" codex.

Favored like a wolf it was, In size like a Woodsman's Death. Within its eyes burned eldritch fire, The Fade in every breath.

The wolf is also described as striking out "with one huge paw, the monstrous thing" and having "jaws like a dragon's."

This horde of lesser demons is also present in the "Fell Wolf" codex.

Whilst elsewhere did Haron valiantly With demon-wards contend.

So, here we have two different sources collaborating the same thing.

CONCLUSIONS: 1. The Dread Wolf is massive in size (like that of a dragon) 2. It is accompanied by a horde of lesser demons.

The Mortalitasi's Tale (cont.)

The Dread Wolf yells at the mages:

"YOU MEDDLE PAST YOUR UNDERSTANDING, FOOLISH MORTAL MAGES, AND IN DOING SO, YOU THREATEN ALL CREATION. YOU USE MY IDOL CARELESSLY TO VANDALIZE THE SEA OF DREAMS. NOW FEEL THE PAIN OF WHAT YOU HAVE CREATED. FROM THIS MOMENT, SHOULD YOU EVER BIND A SPIRIT, THEN YOUR LIFE IS MINE."

The fandom has largely accepted that this is Solas talking. But, at no point do we seen the Wolf as anything but a wolf. The Mortalitasi also comments on the hypocrisy of the Dread Wolf forbidding the binding of spirits when the lessor demons would have needed to have been bound in order to follow Solas' bidding. And this just doesn't make sense because we know Solas is against binding spirits.

BUT, does it not make sense that lessor demons might willingly choose to follow and fight alongside a greater, more powerful one? I thought there was something in Inquisition about the other spirits/demons following the bidding of the Nightmare, but I can't find the specific dialogue.

In any case, going with this theory because it means there is nothing contradictory about what we know to be true about Solas's morals regarding spirit binding.

As to what kind of demon, we need to go back up to the Mortalitasi's description of The Dread Wolf, which specifically states it has "six burning eyes like a pride demon." The fandom has been pointing out that the eyes on Dread Wolf imagery look a lot like a pride demons and that Solas's name means "Pride" for years. I don't think I need to elaborate further - except to point out that the "massive" size of the Wolf makes sense for a Pride demon, as they are also huge!

CONCLUSIONS: (cont.)

3. The Dread Wolf is it's own spirit/demon entity separate from Solas (most of the time - we'll get to that). 4. The Dread Wolf is a Pride demon.

(Part 2 below)

Theory Breakdown - Part 2 - The Nature of The Lyrium Idol

In the "Fell Wolf" codex, Ameridan follows the Wolf to it's lair, described as a "labyrinth" (which is not a word often used in DA and interestingly is what Solas calls the network of eluvians in Trespasser). In the lair, Ameridan finds what I can only conclude is the lyrium idol - which (somehow) can slay it:

An idol of fade-touched stone, Which could prove the monster's doom.

There is nothing else on the traits of the idol. But suddenly afterwards, Ameridan has a "burning blade" (like Meredith's) which is later referred to as a "demon-stone" as Ameridan slays the Wolf.

This seems to imply the Red Lyrium Idol and the Dread Wolf are connected, somehow. (1) The idol is found "in it's lair" which implies it has special significance. (2) when Ameridan strikes at the Wolf, the idol shatters - which might actually be what defeats the Wolf, not Ameridan's blow. (3) In the Mortalitasi's Tale, the moment the the Idol was used, the group was taken into the Wolf's presence. The ritual wasn't even complete!

We don't see Solas interact with the Dread Wolf in Tevinter Nights, but we do get a story of Solas interacting with the Idol when he finally retrieves it (told by Solas, himself).

The Bard's Tale

He whispered something as he picked it up, tracing his gloved fingers gently along the crowned figure who comforted the other, but I could not make out the words for they were elven.

A lot of people have interpreted this as Solas "lovingly stroking" the Idol... which is not exactly what the text says. But I agree with the sentiment that there is something tender or perhaps more accurately affectionate here.

The Bard's Tale

The Idol's Journey is now complete, and it has found its master.

What we can be certain about the idol is that it is a weapon and a tool and something more - and it means a lot to Solas.

CONCLUSIONS: (cont.)

5. The Red Lyrium Idol is a conduit to the Dread Wolf.

Theory Breakdown - Part 3 - Tying it all Together

We know each of the evanuris is associated with an animal, and there has been theorizing that each of them had a spirit-animal companion. I can only conclude that the Dread Wolf is such a spirit that Solas encountered and befriended and is connected to in some level that goes beyond what we currently understand, somehow bound without binding.

The "Fell Wolf" codex describes the Dread Wolf as both a pride demon and a wolf spirit:

Beast and spirit—both felled at once, Though neither hunter knew.

"Neither hunter" is referring to Haron and Ameridan. They were hired to slay a beast but encountered something otherworldly instead. This part is pointing out that the true nature of the "Dread Wolf" is complicated. While it is a Pride demon, it's also more than that. It is both "beast" and spirit, whatever the nature of a spirit-beast may be.

And I do think it being a Pride demon is important to not forget because it put the events of DA2 into greater context. If the Idol is a direct conduit to an extremely powerful pride-beast - it makes sense that the thing has great appeal to Bartrand and Meredith (the two must prideful people in close proximity) so much as to consume them.

Which just makes the context of Solas being connected to this thing somehow even more interesting. For instance, this line in the Pride Demon codex for DAO stood out to me:

Be wary of how prideful you become, lest you find too much in common with such a fiend.

In context, the line is warning mages and templars about being too confident in their abilities and falling when facing a pride demon. Taking it alone at face value, it seems to be saying, "don't befriend a pride demon." Solas connected with this creature, found "too much in common" with it, and befriended it.

I'm not really sure why the Red Lyrium Idol was created, if it was blighted to begin with, or when it was made. Theoretically, Solas should be able to just find the Wolf whenever he wants, but maybe there's something more convenient in having a fast-travel method. And maybe the Idol is involved in a ritual that bound the two together. Maybe that's how the evanuris ascend to godhood.

There's also the question of how the Veil has messed with things. Maybe the Idol is more important than ever if the Veil is somehow interfering with this connection between the two.

But I do think Solas wants and needs the Idol because the two can merge into one being. We've seen that possessed mages (abomination and non-abominations alike) have increased power. I'm almost certain Solas would have needed an insane amount of magical power to put up the Veil, and merging with the Wolf would have helped. He likely needs it again for what's to come.

Part 4 - Extra Stuff

This doesn't fit into the theory but I need to point it out:

The words "Woodsman's Death" in the Fell Wolf codex used to describe the Wolf is really interesting. Call me crazy but, I think this might be a reference to The Woodsman and The Beast in Over The Wall. (DA has used pop culture references before, so it's not that big of a stretch).

Also, there is another reference to an eclipse in the Fell Wolf codex - the Wolf directly appearing after the sun descends and the moon rises.

an eclipse as fen'harel stirred

#solas literally has a wolf friend!#I am screaming!#jesus this took time to write up #so glad to get it out of my head #I am so CERTAIN of this!#adding it to my Veilgard bingo #may the dread wolf take you #my meta #red lyrium idol #dragon age veilguard theory #Solas & the Dread Wolf #the dread wolf #the dread wolf rises #dragon age theory #lyrium idol theory #done!

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angelsdean · 6 months ago

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Thinking a lot abt John and Mary's relationship this morning, specifically the "their marriage wasn't perfect until she died" of it all, coupled with what we know abt Heaven's interference and manipulation of their relationship, how they couldn't stand each other until Heaven intervened. Like one would think, okay Heaven intervenes and now there's no resistance, smooth sailing, and then, oh she's dead, well she already served her purpose, no need for John to be infatuated with her anymore. But that's not what happens. They have friction throughout their marriage while she's alive. Then they have the perfect marriage after her death. And like !!! I have so many thoughts abt this. Startng with:

John's whole revenge quest is also crucial to Heaven's agenda. It wasn't just about matchmaking Mary and John, it was about setting off the dominoes for this entire path. Which is why it's important to Heaven that John views their marriage as perfect after and remembers Mary as this idealized mother figure. These things are what fuel John's quest for revenge. She is supposedly his true love, cruelly taken from him and their children, so now he must avenge her and put this quest first, before everything. And all of this is so crucial to Heaven's future plans. It's important to Heaven that Dean and Sam have the childhood they have. Especially Dean, who is meant to be their sword. It's important that John raises them to be soldiers. It's important that Dean has all that sense of responsibility and guilt placed on him as a young age. It's important that Dean is made to be a caretaker and protector. Because ultimately that's the stuff they want to use to manipulate Dean into doing their bidding and saying Yes. They let Dean be molded into Heaven's perfect vessel. He's raised to already see himself as a weapon, as the one who needs to protect others (eventually the whole world), and also as someone expendable. John places a gun in Dean's small hands and expects him to put himself in front of Sam, and Dean learns to put the lives of others before his own. Now of course, Heaven / Chuck also seem to foolishly miss that by Dean being raised like this it also means the one thing he's going to really push against is the idea of killing his own brother. And like Heaven, John also makes this mistake when he tells Dean he may have to kill Sam.

Okay now the second part of my thoughts on why Heaven's manipulations continue to influence John so strongly after Mary's death: it's because Mary is no longer there to fight it. When she was alive I think her own free will would have been pushing up against Heaven's manipulations, as would John's, leading to constant conflict. If Heaven were able to simply "make" them act how they wanted then their marriage would have always been perfect. But we know it's not. We know they fought. We know that on at least one occasion John left. And I just think that while she was alive, both of them had their free will constantly clashing with Heaven's agenda. And the living, breathing, contradictory and complex Mary made it difficult for John to ignore her flaws and how the two of them didn't quite fit together. Once she was dead though, and in the complicated grief of it all, it became easier for John (and Heaven) to smooth over the memory of her. She became to John what she always was to Heaven: Mother Mary. She became the perfect, pure, saintly mother figure. John no longer had to reckon with who she really was, and Heaven no longer had to fight two sets of free will revolting against each other.

#john and mary #heaven manipulation #young dean #vic.txt #mymeta

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weepingchoir · 4 months ago

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DOCTOR WHO SERIES 14: A FULL SEASON REVIEW

Another decade, another frantic Doctor Who resuscitation. (Not that there were news of potential cancellation, but things must’ve been dire for the BBC to sell one of their most storied shows to the Mouse.) Chibnall is out, Moffat on retainer, Russell “Thee” Davies is in. The theme song is the best since Matt Smith, which, through weird and inexplicable coincidence, was also the last time I watched Who with any serious interest. Good start.

The Star Beast

While not technically part of the season, the specials preceding series 14 signal the beginning of a shift in tone and rules for Doctor Who, including the introduction of the new Doctor. Not yet, though. First we get an OLD DOCTOR FUCK YES DAVID TENNANT IS BACK.

I already know Tennant won’t stick around, and I’m glad. That would’ve stunk of Disney nostalgia-raking. Nevertheless, as a returning viewer, I’m grateful for the breakfall. “The Star Beast” doesn’t yet carry the magic that’ll characterize Gatwa’s series. It’s a standard scifi monster of the week serial, and the monster rules. Looking for returning companion Donna Noble, the Doctor runs into the Meep, a no-pronouns gremlin-Yoda puppet living in Donna’s shed, under the care of her daughter, Rose.

UNIT comes under attack by Kamen Riders. The Meep tears off the blorbo mask to reveal a genocidal dictator on the lam from the Intergalactic Criminal Court. It’s a hilarious turn in an episode whose emotional core relies on Rose’s transgenderedness. Pronouns are a real-time strategy game and evil space aliens are better at it than humans.

Quick dustup on weird plot shit: if Donna remembers the Doctor she dies. She has to remember anyway, in order to stop the Meep’s ship from taking off. Turns out that she’s since become immune to Time Lord neuron overload by offloading it on her daughter. Donna and Rose expel the toxic memories by harnessing their feminine emotional intelligence.

I don’t want it to land. Facing the Doctor, who was a woman one episode ago, Rose says that a man could never understand how she just harnessed the divine feminine. Nevertheless it passes, maybe because any representation of a transgender woman as through-and-through female is a gasp of fresh air. For better or worse, this also cues the season’s cardinal rule: what you feel is true is more important than what makes sense.

Wild Blue Yonder

The TARDIS crashlands at the edge of the universe and disappears when it senses danger, one of those things that it’s never done before and will only do again if it’s funny or cool.

The “edge of the universe” is a spaceship floating in ink-black, with Marvin the Paranoid Timebomb making its way down the hall, one step at a time. This is a great opportunity to ease us into the budgetful new Doctor Who, with sleek but understated shots of the spaceship’s exterior. When the Doctor and Donna split up to fix the ship, they converse with each other’s doppelgangers: “not-things” from beyond reality, looking to assimilate physics. Communication with the not-things goes awry as an eerie set of medium close-ups pull back to reveal their overlong limbs.

Backed with half a decade of set chemistry, Tennant and Catherine Tate ace all four characters in this bottle episode. Much of the runtime consists of the Doctor and Donna’s mind games against each other. It’s less a restatement and more a self-justifying exploration of why bother with a last hurrah for two fan favorites. Well-earned, too, as the Doctor nearly leaves the real Donna to die in the ship’s explosion. It’s impossible to be done exploring the fullness of a relationship. But one day, and soon, we will have to move on.

The Giggle

Two crucial stopgaps against the not-things. One, a line of salt on the floor, which the Doctor tricks them into thinking they can’t cross, since they’re sorta vampires. Two, cognitive dissonance. It’s hard enough for the uncreatures to assimilate beliefs, let alone simultaneous contradictory ideas.

The Doctor fears that, by invoking fiddly rules at the edge of reality, he’s opened a door for fell mythos. This episode stars the Toymaker, a villain from a partially restored First Doctor serial. Originally a Fu Manchu caricature, the new Toymaker is Neil Patrick Harris putting on a German accent, which he can always do, it’s never racist.

The Toymaker has snuck a mind-warping signal into every screen, starting with the 1925 Stookie Bill experiment. Now mankind is mad , reacting with explosive hostility at any confrontation. Over the last decade, as writers have moved from mocking subsets of people for being on phone to everyone being on phone, we’ve uncovered more cohesive portrayals of what 24/7 connection is doing to us. Writ large, more and more of us are looking to win arguments. Even losing is a thrill.

It’s a contrived plan for a villain whose power transcends mere limitless control over physical matter. The only thing that binds the Toymaker is the rules of the game. We can trace the evolution of TV drama by comparing his first appearance to his last, William Hartnell’s almost congenial gotchas to Tennant’s panic at genuine omnipotence. The Toymaker traps the Doctor and Donna in a theater for a puppet play about the many deaths of the former’s companions. The Doctor, ever the hero, denies them three times.

Well, are they dead? These specials have proven that, even in the megacorp mines, fan favorite returns don’t have to be Rise of Skywalker gruel. Donna, and the Fourth Doctor’s returning Mel Bush, bring necessary continuity to the transition into new-new Who.

Not everything, at least, has to end in tragedy. When the Toymaker commandeers the giant laser gun the government is cool with UNIT keeping in uptown London, the Doctor bigenerates, splitting into straight Tennant (presumably) and gay Ncuti Gatwa. Together they beat the Toymaker at catch, which banishes him for good.

From here on, we follow Gatwa’s Doctor. Tennant stays with Donna. There is movement in rest, organic, within. Their relationship may continue to develop, just where we can’t see it. Not everything is for screen consumption.

The Church On Ruby Road

Every time I see this episode’s title I get Hüsker Dü’s “Girl Who Lives On Heaven Hill” stuck in my head, except the Inter Arma cover because that’s the first time I heard that. The Doctor is fortunate enough to run into one of the few actresses that can match his energy, Millie Gibson as Ruby Sunday: songwriter, orphan and ingenue. Ruby lives a zoomer kitsch apartment with string lights on the walls, alongside her adoptive mother and grandmother. She suffers from a curse of bad luck, bewitched by an airshipful of baby-eating goblins.

The Doctor and Ruby stop the goblins from eating a baby, to the tune of an R&B paean to Jabba-the-Hut, the only logical step from the Toymaker’s Spice Girls lipsync sequence. The goblins retaliate by traveling in time to eat baby Ruby, abandoned by her mother on Christmas day on the porch of The Church That Lives On Ruby Road. Watching Ruby’s mother go, Gatwa cries his series-first tear of silent grief. He’s very good at that.

The Doctor’s rule of no self-interaction has fucked his opportunity to let Ruby meet her biological mother. Pay attention, this’ll be on the test. Other than that, “The Church” is an easy, fun, low-stakes introduction to the Doctor’s companion and many of the season’s dominos, only some of which will receive a proper knockdown.

Space Babies

The first real ostentatious show of Disney budget is a quick but lush visit to James Cameron's Mesozoic. A CGI diplodocus doesn’t have to be bad. CGI baby mouths, on the other hand.

Budget cuts strand a colony spaceship, replete with babies in a bizarre state of semi-suspended animation: they’ve been toddlers for six years. Only accountant Jocelyn remains. The babies are terrorized by the Boogeyman, a snot monster generated by glitched-out educational software. Jocelyn almost airlocks the Boogeyman until the Doctor reminds her that it’s kind of her baby also.

The Doctor’s memory of Ruby Road changes to feature Ruby’s mother pointing at him. It starts snowing indoors, another magic plot puzzle piece. Cue tear of silent grief. There’s not much else to say about “Space Babies”. It’s a lot of terrible ideas, executed with functional neatness: quoting a friend, the platonic ideal of a Russell T 6/10.

The Devil’s Chord

1925 again! There’s a whole pantheon of Toymaker-type evil gods. This one’s Maestro, the god of music, played by a spectacular Jinkx Monsoon. Over the course of four decades, Maestro ruins music so thoroughly that even Abbey Road sounds like dogwater.

The Doctor and Ruby negotiate with the Beatles, who make dodgy gestures towards the whole of music being an embarrassing business. It’s never made clear how Maestro has convinced the world of this, or, like the Toymaker’s giggle, why they bothered when they have the power to eat music itself. We’ve crossed into the realm of magic. It’s not about the method, but the goal: within a hundred years, musicless mankind will self-exterminate to vent its anger, leaving Maestro to enjoy pure aeolian tones.

It’s hard to agree that music is the salve keeping mankind from abject violence when contending with the history of, Burzum, Chris Brown or Meni Mamtera. Nor does the idea that Maestro can be defeated by a seven-note scale available to basic Western music theory hold much water. “The Devil’s Chord” is an altogether less cohesive “The Giggle”, and only three episodes after its predecessor, too. On the other hand, as a piece of musical cinema, it’s a brilliant watch for Monsoon’s performance, the playful metanarrative gestures, and the closing number, ‘There’s Always A Twist At The End’.

Boom

On the ravaged planet of Kastarion-3, there is only war. A landmine vaporizes a guy, attracting an 'ambulance' automaton to euthanize his friend Vater by reducing him into an awesomely gross flesh tube.

Gatwa leaves the TARDIS in a super-sexy leather jacket and steps on a mine. What follows is ten agonizing minutes of the Doctor and Ruby figuring out the logistics of the situation. The Doctor can’t move off the smart mine or exhibit high emotion. On finding Vater’s tube, Ruby convinces the Doctor to let her hand it to him to use as a counterweight, in a move that almost kills them both. The pressure is immense, achieved with nothing but close-ups to tears of silent grief and a silly prop of a landmine with LEDs.

Vater’s daughter finds the duo, triggering the flesh tube to generate a grief counselor hologram of her father. Ruby gets shot while managing a haywire ambulance. The only way to get the ambulance to treat her is to admit that the Kastarians never existed. With a full third of characters dead, Cyber-Vater betrays its parent corporation to end the war. This is the most stressful Doctor Who gets, in all the best ways. For a second, and against all logic, I was even convinced it might be the end of Ruby Sunday.

“Boom” is the closest Gatwa’s Doctor has to a companion capsule episode. This focus on their relationship might’ve gone over even better if it’d been earlier in the run, especially given “The Devil’s Chord” has the opposite problem. I suspect the prime reason why it’s placed in an awkward middle slot is to not give away the game: “Boom” front-and-centers Susan Twist, who’s played minor roles in almost every episode since “Wild Blue Yonder”, as the face of the combat ambulance AI. There’s always a twist at the end, remember?

73 Yards

The Doctor’s always stepping on some bullshit. After intruding on a ritual circle, he disappears, leaving Ruby alone with a mysterious woman that’s always standing 73 yards away. Everyone who talks to the woman flies goes no-contact with Ruby: a hiker, a bar-goer, UNIT, even, in a harrowing turn, Ruby’s adoptive mother. So Ruby spends the next twenty years alone. Without her family, and also alone in this ethereal way where she’s meant to be on startlit adventures, not half-there on a wine bar date.

Gibson carries this mammoth episode on her shoulders, evolving from panicked 20 year old to middle-aged, purpose-driven mercenary. The closest thing to a co-star is the cinematography, following her eyes towards the woman-shaped hole in the near horizon. This is one of the subtler metanarrative moments of the season: the woman is impossible to photograph, blurry in pictures just as she’s never in focus for the camera.

Ruby makes up a mission: save the world from ‘Mad Jack’ Roger ap Gwilliam, a presidential candidate whom the Doctor off-hand warned would lead the world to nuclear ruin. Infiltrating, Jack’s presidential campaign, she maneuvers the woman into manifesting next to him, which makes him run screaming from office. The world is saved. Ruby isn’t. As she lays dying of old age, alone, the mystery woman is revealed to be herself, traveling back in time to warn the Doctor off the circle.

This is the furthest Doctor Who can stray from its own standards before becoming a different show altogether. The theme song doesn’t even play (shame). Not a coincidence, it’s also the episode to most demand that we trust emotion over logic, and it pays back that trust with dividends. It doesn’t matter that we never find out why there was a shrine to Mad Jack atop a cliff in Wales twenty years before his time, or the mechanism by which Ruby created a closed time loop. The important bit is the emotional resonance, the click of catharsis when we discover just enough details to let it rest.

Dot and Bubble

I feared, as “Dot” opened on a woman so dependent on social media that she can’t navigate her immediate surroundings without GPS, that this would be the Phone Bad episode “The Giggle” had managed to surpass. The truth is more complex: Finetime’s residents can afford to spend all day Whatsapping because they’re the offspring of another planet’s leisure class, here on permanent vacation.

Giant man-eating slugs have invaded Finetime, and the Dot-Bubble navigation system is walking people straight into their maws. Our lead is neither Gatwa nor Gibson, but Callie Cooke as Lindy Pepper-Bean in yet another of the acting masterclasses that characterize this season. An ongoing tension point is whether Lindy can keep her Bubble down long enough to string together two tasks. This means the season’s highest ratio of close-ups to other shots. Cooke carries this focus with recidivist disdain, processing the situation in arbitrary bursts only to default to anger at the Doctor for intruding on her groupchat, or elation at meeting a celebrity singer.

The slugs are an invention of the Dot, which, after years of servicing Finetime, has learned hate. Huddled outside the habitat dome, the all-white survivors reject the Doctor’s 'dirty' safe passage, and strike out to colonize the wilderness, ‘like their ancestors’.

Laterally to Phone Bad, an ongoing trend in wronghead fiction is Rich Bad. Movies like Bodies Bodies Bodies portray the bourgeoise as a self-obsessed bunch who will fall snarling on themselves at the first provocation. This is not what makes the bourgeoise dangerous, but in fact the exact opposite: because the rich have everything to lose, they will close ranks against you, no matter how much good you’ve done for them, no matter what you could yet do.

Rogue

Before the season ends, anybody want to defend England one last time? Playing nobility at a Regency London ball, the Doctor runs into Rogue, a bounty hunter who mistakes him (at gunpoint) for a shapeshifting, murderous Chuldur.

The Chuldur are fans of Bridgerton, on Earth to cosplay it to death. In order to lure them out, The Doctor and Rogue publicize their whirlwind romance. If “Dot and Bubble” was a response to the idea that Gatwa might run into racism if he travels to the past, “Rogue” is its inversion: the plan works because the modern Chuldur can’t resist the titillation of wearing a black gay man. They run after the hypervisible Doctor, while the white Rogue becomes “the other one”. He’s less problematized, less interesting, the one you get stuck with if you don’t call intersectional shotgun.

After the trap is sprung by accident, Rogue's banished alongside the Chuldur to a random dimension of nobody’s knowing. The Doctor declares it’s impossible to find him. We’ll see about that.

For all its nods towards fandom, “Rogue” isn’t a po-faced condemnation of fan culture. Ultimately, the Chuldur too are defeated through cosplay. Plus, it’s a straight beat-by-beat of the strongest points in Who structure: strong side characters, scifi logistics, a villain as goofy as it’s horrific. Whether its back-to-back placement with its thematic mirror, or as a segue to the season finale, is ideal, is anyone’s guess.

The Legend of Ruby Sunday

The Doctor asks for UNIT’s help in figuring out why Susan Twist follows him everywhere. On 2024 Earth, she’s Susan Triad, tech CEO on the verge of releasing some kind of Alexa thing. But before we get to that, the Doctor decides now’s the time to meet Ruby’s biomom.

Using a ‘Time Window’, Ruby visualizes The Church That Lives On Ruby Road. Ruby cries: the Window refuses to show her mother’s face. The machine goes all creepypasta on some UNIT boot. Panicked, the Doctor chases down Triad, who reveals she can remember her past lives in dreams.

Triad pulls away to her conference. Though she’s live worldwide, her soundstage is empty, the crowd canned. Where much of this season has dealt with the phenomenons of mass media and TV, “The Legend” digs into a grief specific to Doctor Who, an ill-kempt archive of decades forever on the verge of cancellation.

Little else happens, for two good reasons. First, this episode is a two-parter. Second, much of its runtime is dedicated to extracting maximum stress out of the situation. Ruby is too compromised to act, while the Doctor and UNIT are late from the start, only just figuring out the situation in time to witness it unfold. The big reveal paying off all this anxiety, crossed purposes, fear and despair is, unfortunately, a CGI dog with a hat.

Empire of Death

Sutekh is a Fourth Doctor villain who’s been locked in the Time Vortex for thousands of years or a dozen seasons, whichever’s longest. He has spawned harbingers like Triad in every planet that the Doctor’s visited, and his “dust of death” has the power to kill nost just everyone, but everyone at every point in time. In the era of streaming television (and stream-only television), the C-suite can overnight erase all evidence that a show ever existed.

Through a bit of absurd circular logic, the Doctor declares that the Time Window’s memory of a TARDIS is in fact a functioning TARDIS. The crew escapes to roam a deserted universe. The memory TARDIS begs to tie long-dangling plot strands into knots of neat logic. Instead, a bunch of nonsense dialogue happens. When Ruby asks the Doctor why Sutekh has a The Mummy thing going on, the Doctor answers “cultural appropriation”, and fails to elaborate. Laterally, when Ruby casually lists the chameleon circuit’s AOE as 73 yards, the Doctor asks how she knew that. She’s not sure. Nothing comes of this.

Because Sutekh is incapable of seeing Ruby’s mother, the Doctor decides it’s all tied together and heads to a government office in Mad Jack Britain, containing the UK’s forcibly harvested genetic data. Much more cohesive commentary on racism than reminding us cultural appropration is a thing Doctor Who has done. Armed with knowledge, the Doctor baits Sutekh into the Time Vortex, where he forces him to, like, kill death and then die in turn.

It’s a fantastic turn of character for the Doctor, who oft makes a spurious point of not killing in order to condemn villains to fates worse than death, or adopts a ‘War Doctor’ persona which kills a bunch of people anyway. It’s a matter of framing, but also a genuine point of no return. As for less satisfying character beats: Ruby gets to meet her mother, who’s just some middle-aged Instagrammer with a bad haircut and a passion for rocky beaches.

So why was this character immune to everyone from the Time Window to Sutekh, and the unwitting carrier of Ruby’s inherited power to make it snow? Because, the Doctor explains, we cared about her.

Which begs the question: who is we?

The easiest answer is: the last people left alive in the universe. But Ruby’s been making it snow since “Space Babies”. Not proximity to the Doctor either, else the Doctor himself would have magic powers: on the contrary, he’s spent the whole season grappling with his limited ratfic ability to deal with the supernatural. And there’s millions of orphans out there. Ruby is, in this regard as in most else, not special.

Taken all together along with the season’s metanarrative overtures, which keep going right up to the last second of “Empire”, the only answer is that we are the audience. Or the audience and the crew, anyhow: the camera, the screen, Ruby’s protagonism and the people that accept it. We have imbued Ruby Sunday with transcendental power, because we would like her to transcend.

This doesn’t work unless I am more emotionally than narratively invested in Ruby Sunday.

Not that I didn’t get torn up when Ruby met her mother. But that’s just cinema trickery. A season’s worth of promises, a bit of music, very good acting: of course I was going to care. Not more than I care about finding out what the fuck was going on, though. As an explanation, this all rounds out to: what was going on is what was going on. Ruby’s mom was important because she mattered to us, and it mattered to us because she was important. Me, I refuse to be complicit.

There is an unpleasant extreme to the logical lens, the CinemaSinners combing through scripts, sacrificing the greater story to the tendentious idol of Plot Holes. Doctor Who has long been plagued by these types, pitfalls of being an easy-watching BBC show with a large audience. Series 14 scans like a concerted effort to not give these guys an inch. In overcorrecting, it created a maudlin mess of unfulfilled promise.

That is as far as the season's connected plotline goes. Fortunately, most of the episodes are gems, directed with a sense of fun almost unseen in the revival series’ longstanding gloom. The Doctor has turned into a killer, maybe for good. We are promised that his tale will end in tragedy. I hold out hope that, next time the story tries to hit me where it hurts, it’ll follow through.

7/10

#mine #doctor who #not a spoiler free review

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ladyluscinia · 1 year ago

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Izzy Hands Is Manipulative, But Not That Way

...or I finally finish that long ass meta post about why I love the fucking Navy Plot lol

The Izzy manipulation debate has been really interesting to me pretty much since it started, because I'd see a post arguing he's manipulating Edward and go "No, and he couldn't if he tried" and then the next post would say he sucks at manipulation because he's a blunt fucking instrument and I'd go "Yea- wait. Hmm. No, he can be targeted and tricky as fuck." Which does, on its surface, seem like a contradictory stance, but I swear it works.

Because the thing with Izzy - and this is such a fun thing imo - is there are two core types of manipulation that characters engage in, and Izzy fucking sucks at the one you expect his style of antagonist to focus on. But he's scarily good at the other.

Long meta under the cut, so get comfy.

...

From his role under Edward to the protagonist vs antagonist dynamic setup to his introduction scenes, Izzy is very much invoking the conniving second in command. We know this character from other media. He doesn't have the full power he wants so he's constantly scheming to get it. He can't or won't challenge his boss for some reason, so he settles for being the devil on their shoulder or working behind their back. He's the voice constantly ready to inflame insecurities and turn relationship cracks into chasms, and usually he's lying constantly to do so. His fingerprints are all over his boss's problems up to the moment they show some weakness, and then their loyal second goes right for the backstab. He is THE ambitious manipulator. The shady advisor. The snake.

And then you actually look at Izzy and he is not that guy. In fact, it's a testament to the strength of Edward's character arc how much his evil little henchman is not causing his problems.

So - Izzy and manipulation:

Izzy Can't Convince People To Do Things

Like. He really can't.

This interpersonal struggle is fairly fundamental to his character. And moreover, it's a skill that Izzy is intensely aware that he lacks, so usually he doesn't even try.

In his first episode he walks right up to Buttons and just straight up asks him for the information on his party. He doesn't even resolve to steal the hostages until he realizes that Stede has lost them in the bush already, and Izzy obtains them by buying them. When Stede confronts him they end up splitting the pair in a very above-board negotiation and he pretty much just goes with what Stede suggests.

Then in 1x03, people make a big deal of Izzy "manipulating" Edward by not clarifying that Stede didn't know who he was when he turned down the invite, but kind of importantly he repeats the damning line of the conversation faithfully. If he was going to lie, then why not lie? Why even go see Stede at all? And, if he didn't want Stede dead until after the conversation (understandable, tbh, since "Iggy" was stab-worthy), surely he could invent a better insult to rile Edward up. It makes his omission hit more like being bitchy about Stede not recognizing the obvious - namely that Izzy Hands works for Blackbeard and literally everyone knows this - than a slander campaign to get him killed. And once we properly meet Izzy and Edward in 1x04, Izzy's inability to manipulate becomes his main struggle.

Izzy's a blunt and direct person. He leans on authority bestowed by Blackbeard to take control of situations, playing the role he's supposed to play, and without it he lacks a Plan B. In 1x04 he doesn't have any authority over Edward, so his efforts to get him to take the danger of the Spanish seriously amount to "Well as bored as you might be, if you don't make a decision soon we're gonna fucking die." And this is true! There might be a very subconscious attempt at manipulation in his resignation speech before the "That's Blackbeard. I'm Stede, remember?" line - of the piss him off to get him to get his shit together variety - but Edward literally makes a joke out of it so not exactly effective.

And once Edward stops giving Izzy authority in general, his plan to make Lucius do stuff is still just... brute force. Which works at first when Lucius doesn't realize that Izzy's on his own now, and stops working as soon as Fang breaks ranks. His last ditch blackmail attempt isn't manipulative either - he just plans to tell the truth to Pete and assumes he'll be pissed about it. My guy loses a fight over the pirate equivalent of making an uppity employee clean the coffee maker while the boss is out. Not only does he fail to manipulate the crew in a conniving antagonist way... he doesn't even try.

I mean, the only time he (somewhat) succeeds in talking someone into things is 1x06. Getting Edward to agree to killing Stede isn't really manipulation - Izzy gets Fang and Ivan to back him in a very straightforward way because they all actually do have a stake in this - but he's passably able to push Stede to go through with the fuckery via fake compliments. It's not exactly high level work, though. Stede being vulnerable to ego-stroking / dares is pretty obvious.

So what is Izzy good at?

Well, if you can't make people do anything other than what they were going to do in the first place, you might as well lean into that.

...

Izzy Manipulates Situations, Not People

Situational manipulation is one of those fictional tropes that rarely can happen in real life, but there's not much resemblance because real life rarely gives you all the building blocks for a proper gambit and lets you loose. Too many factors. In narratives, though? It becomes one of my favorite ways of having a character be clever.

And before I get into this too much, a really fun sidenote - I think Izzy does situational manipulation more like the way protagonists do it. See, antagonists are usually emotionally and situationally manipulative (ex: provoking the hero to lash out and using it to frame them for a bigger crime), but it's not a good look when your hero drives the target to do something bad and then punishes them for it. So heroes lean on stuff like Batman Gambits - where the lynchpin of the scheme is the target fucking themselves over by behaving completely in character. They've written Izzy so ineffective at emotional manipulation that he pretty much has to rely on other characters' flaws or histories to cause problems, which has a very similar result. And it's wild.

...

Going back to the 1x03 confrontation in Jackie's bar, Izzy doesn't really do anything abnormal in how he conducts himself, but people are picking up on an agenda for a reason. Namely, the whole damn conversation quickly turns into a trap, and Izzy fully sits back and watches Stede spring it from sheer idiocy.

There's no indication that when Izzy walked up he wasn't going to carry out his task with all the bitchy professionalism expected of him, while probably hoping that Stede would eventually stick his foot in his mouth without Izzy's help (assuming he's the kind of idiot Izzy thinks he is). His first section of this conversation is nearly polite:

Izzy (about the Nose Jar): "I have a few colleagues in there." Stede: "Ugh. You again." Geraldo: "Mr. Hands, welcome. It's been a while." Izzy: "(To Geraldo) Yeah, because I hate this fucking place. (To Stede) But for some inexplicable reason, my boss would like a word with you. Bonnet."

It's not until Stede starts talking that I think Izzy clues in that Stede doesn't actually know who his boss is. He didn't introduce himself until the literal last second of their 1x02 interaction, so it wasn't obvious Stede wasn't literally bolting into the forest in horrified realization.

And Stede? He goes hard on being a bitch right out the gate. Brushes Izzy off, tells him to "get in line", calls him the wrong name, says he doesn't care who Izzy is...

Izzy so far has met Stede in a public place, in front of people who clearly treat Izzy with respect and fear. He doesn't bring up their previous interaction, Stede does. He doesn't even goad Stede beyond existing. He corrects him on his name, and watches it not register in the slightest. The next line is the clincher:

Izzy (slightly incredulous): "So I'll tell my Captain that you're declining then, yeah?"

As Izzy is speaking the conversation becomes a trap - he chooses a reasonable way to refer to Edward that isn't "Blackbeard" and waits to see if Stede will make this worse. The jump from "no I'm busy" to "tell him he has terrible taste in flunkies and he can go suck eggs in Hell" is all Stede, completely ignoring context clues as Geraldo stares on in horror. Hell, Jackie only refrains from later de-nosing Stede on the spot because Geraldo knows what's up, and Stede still doesn't pick up on the fact he should maybe be asking some questions (though I'll give him the knife was distracting).

Izzy returns to the ship, quotes Stede directly for his damning line, and waits to see what Edward will do with it. It's not good behavior on his part (and if he could have seen the future he might have tried worse), but switching mid-conversation to offering Stede an opportunity to fuck himself over is a very different mindset than simply lying to / provoking Stede or Edward to get what he wants. He's mostly being petty.

Stede did insult Edward of his own volition, after all, and just because Izzy fudges the truth to hide he didn't know he was insulting Blackbeard instead of just Izzy and a random stranger doesn't change that. All Izzy did to "escalate" that conversation was give Stede a second opening to do so himself.

But there is a far better example of Izzy masterfully manipulating a situation than this in-the-moment bit of pettiness, so let's move onto my favorite bit... explaining in extensive and slightly awestruck detail why the Navy plot. Fucking. Rules. Because it does. Ready?

...

How to Mastermind the Decisive Removal of One Stupid Fucking Stede Bonnet Over Drinks

Ahem. The Navy plot. Masterclass in intimate betrayal. Izzy's biggest escalation in the total collapse of Edward and Izzy's relationship, but also a completely fucking fascinating glimpse into whatever tangled web of codependency they've got going on, because Edward isn't even mad after 1x09. This wordcount is going to be insane enough without me getting into the Blackhands relationship connotations, so I will... attempt... to stick to breaking down the actual scheme.

And what a scheme it was.

Let's start at the beginning. Jack showing up to lure them into the trap at the start of 1x08? Nope, earlier. Izzy getting kicked off the ship and going to Jackie at the end of 1x06? Further back. Edward proposing the "kill Stede" plan at the end of 1x04, which is the domino that starts all this, right? Closer, but still no.

Izzy's first appearance on screen is in episode 1x02, and that episode is where the seeds of the Navy plot are first planted. See, during Stede's confrontation with Izzy, both of the hostages chime in:

Hostage 1 (Wellington): "Believe him, he's quite insane." Hostage 2 (Hornberry): "He does have the eyes of a madman. Sorry, you do."

Wellington says his line in a tone of voice that clearly indicates a story to tell, and it should also be noted that he is the same one who earlier jumped at the chance to tell the tribe chief about Stede murdering their captain - Nigel. And he's the one that Izzy leaves with, in a sour mood and wanting information about this "Stede Bonnet" character.

When Izzy later reaches out to the Navy, it's no coincidence that he finds Chauncey. He's known since right after their first meeting that Stede was directly responsible for the murder of an Admiral's brother and that the English Navy would know soon enough, since he was literally about to ransom a hostage back to them who would tell the story. And he filed that information away until it was useful or relevant like a clever pirate should.

Moving on to Jackie's bar in 1x03, Izzy gets more potentially useful observations / inspiration. Jackie is actually the first person in the series to make a deal with a naval power. Izzy and crew track the Revenge to the Spanish warship, which means they must see Geraldo sold out Stede to them. Izzy isn't stupid. He knows Geraldo and Spanish Jackie, knows that she's the brains and brawn behind this deal, and has seen enough of Stede that he'd absolutely believe that he did something to get Jackie pissed enough to plot his murder. File away Jackie wants Stede dead and details of how she nearly succeeded in offing him for later.

Izzy spends 1x05 up to the fuckery demonstration observing Stede's crew while waiting for Edward to pull the trigger. I definitely want to note the scene where they interrogate the Frenchman at the beginning of 1x05, because Izzy is staring directly at Stede as he leans away from Edward threatening violence (we know this will later be in his love montage so not actually a turn off, lol, but like... it looked like one). His opinion of the crew is that they like to fuck around without structure (1x05 during the party), probably that they enjoy more standard pirate levels of violence (not shown directly since they are kept out of the 1x05 raid, but fairly obvious), and that they are really easily awestruck by the chance to hear "real pirates" tell charismatic stories (1x06 ghost story).

Any of that sounding like someone we know?

And now to go back to Izzy in 1x06, when he gets sick of Edward being cagey about the plan to kill Stede and decides to "make" him stop stalling, he's straightforward again. Getting Ivan and Fang to back him isn't emotionally manipulative, but it does give him weight in the conversation. They are the ones who bring up the whole "love of a pet makes a man weak" thing, and they do it in the context of calling out hypocrisy. Izzy knows the standards Edward holds his crew to. He lets them convince Edward it's time.

Taking the chance to suggest Stede try a fuckery is a strong blend of situational and emotional manipulation, and later challenging him to a formal duel knowing he'd be overconfident enough to accept is more situational again. Even the terms of the duel are designed to take advantage of the situation. And then Izzy loses in the most comedy way possible, Edward lets him get banished, and Izzy decides that if he was ok with just sending Stede Bonnet on his way to fuck-off before... he's fucking gonna kill him now.

My guy is not a creative thinker, but he's definitely a logistical one. And as he rows away from that ship, all the pieces fall into place.

First, Spanish Jackie. Who listens to him bemoan his relationship woes because she likes him (Izzy gets Jackie in the divorce). Who wants Stede dead and has the clout to summon and deal with a distasteful ally - Chauncey. Together, they concoct an arrangement where a trap will be set and Chauncey gets Stede and only Stede. This isn't a tip-off or a free-for-all. Stede comes from Chauncey's world and they are sending him back. Permanently.

Then it's time for the trap itself, which needs to do two things: get the Revenge somewhere that Chauncey can corner it, and get Edward out of there. And Izzy? Izzy knows Edward. Knows there's one particular person in his past that will have no trouble integrating with the crew, getting Edward to act more like a pirate than a gentleman, and who happens to have a great ambush location on hand.

I've said this before but I'm gonna say it again - I don't think outside characters realize how hard and fast Edward is falling for Stede. The BlackBonnet bonding moments happen almost exclusively when they are alone. The place Izzy dramatically fails to manipulate the situation is not having the evidence he would need to predict Edward going back for Stede. He (and Jack) both think that a precise wedge between BlackBonnet - one that Jack delivers near flawlessly by playing into real issues - will be enough to remind Edward that Stede isn't his people. This isn't a plan to murder the love of Edward's life while his back is turned. It's a plan to get rid of Stede, and remind Edward why he was on board with doing that in the first place. "That's fair," Izzy says about a punch to the face.

Instead, Izzy's plot accidentally backs Edward into a corner and forces him to publicly pull a grand-gesture relationship level-up that he was not emotionally ready for, and the fallout from that explosion is way worse than any of our conspirators were counting on.

Still... you gotta admit. It was a really good plan.

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misscammiedawn · 7 months ago

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Ange Ushiromiya's Recontextualized Memory and Unprocessed Trauma in Umineko No Naku Kori Ni

CW: Full spoilers for Umineko, a mystery visual novel game which is best enjoyed without knowing spoilers in advance. The game and thus this essay will feature discussion of child abuse and suicide.

For those unfamiliar with my blog I have a tag called Media, Myself and I where I talk about positive/accurate representation of dissociative disorders in media.

Today I want to talk about Umineko No Naku Kori Ni the third and fourth titles in 07th Expansion's "When They Cry" franchise. The game is a multi-layered fiction that starts off as an Agatha Christie inspired closed circle murder mystery taking place during the weekend of October 4th 1986. The murder mystery displayed has no more than 18 humans stranded on an island in the middle of a storm and the audience is invited to try to work out the mystery of what happened.

As the story progresses the audience are presented with a number of different possibilities, each an in-universe attempt to rationalize the tragedy that took place and killed all but two members of the Ushiromiya family.

It is eventually revealed that to the eyes of the world, no more than 18 humans were on the island that weekend and only one returned to their life afterwards. Some in the world have been quite focused on working out what happened during that weekend.

It's a complicated narrative that has multiple layers and each layer communicates not only with the audience reading the game but an audience of people in-universe trying to solve the mystery as well. When we first experienced the game we had joked that it was sold to us as Anime Homestuck but it ended up being Anime House of Leaves.

The easiest way to describe the narrative structure is that the first 7 episodes of the game, each containing about 20 hours of narrative, have within them a fictionalized version of events written in-universe by people who may or may not have been present at the event with episode 8 is mostly its own thing. To explain in further detail would distract. The point is Umineko is a complicated narrative and there is too much to cover a play-by-play.

The narrative is intentionally convoluted and contradictory with part of the fun of playing the game being to work out what events are true and what the rules are for discerning "magic" from "truth".

Even with a concept as seemingly opaque as Truth, there is the often quoted "Without love it cannot be seen" motif, that our emotional connection to events will always color how we interpret events.

The story is remarkably long. How Long To Beat puts each half of the game up at about 60 hours. So that's 120 hours of pure reading with very little gameplay.

There are multiple plural characters ("Oh, I am one yet many", indeed) and we shall discuss them in due course, but for clarity I wish to focus my discussion today upon the relationship between a survivor and their histories. The novel has much to say on the topic.

The above image discussing the nature of truth is from Episode 4, the chapter where the protagonist is Ange Ushiromiya. Younger sister of the protagonist of the first Episodes, Battler Ushiromiya.

Ange, 6 years old at the time, was sick on the weekend of October 4th 1986 and was not present on the island for the massacre. One weekend she had a full and lively family and then in the span of a single week everyone she had a connection to was killed in unknowable circumstances, she was whisked away to live with her aunt, the sole survivor of the tragedy, and would live the life of a cursed child, forever haunted by the tragedy that stole away her life.

Ange's story takes place in "The World of 1998" where she seeks The Truth. She states multiple times how she is incapable of going on with her life until she knows The Truth.

The events of 1986 are presented via "forgeries", published stories which tell the story of the 1986 tragedy utilizing facts that are known about the family. Ange pours through them, attempting to uncover the truth. She suspects her aunt may be responsible. Why wouldn't she harbor suspicions? Aunt Eva was the only one of the no more than 18 humans to leave the island and became the sole inheritor of the Ushiromiya family fortune.

Complex Post Traumatic Stress Disorder is formed when an individual endures long-lasting and repeated bouts of ongoing trauma, typically in childhood. Survivors often find themselves caught in an inescapable cycle of grieving that lasts months and years beyond the loss and remains fresh and raw in spite of the time and changes that have occurred since the event. The individual is tethered to the past by an inability to move on from their loss. In psychology this is referred to as Complicated Grief and though it is most commonly discussed with death, it can present itself for grieving lost time, stolen youth and lives unlived.

Ange is riddled with Complicated Grief. Her story takes place 12 years after the events on the island of Rokkenjima and yet she constantly tells those around her that she is unable to live without knowing the truth. Ange's unprocessed grief is unearthed when her aunt, the only survivor of the massacre, passes away while maliciously refusing to give Ange any insight into the truth that she alone knew, twisting the knife as she turned over the family fortune to a child that was not her own beloved George.

Ange's sole reason for existing is to make peace with the tragedy of her past and Eva's final act was to tell her she would never have it and would instead live a cursed life of a victim in the public's eye. Eternally scrutinized and criticized.

Ange, now knowing that the only chance she had to be given the truth and still feeling that she needs it in order to live her life, runs away and starts a journey to either make peace with her tortured past or end her own life.

Ange's suicidal tendencies are played up dramatically and much of the final episode is the conflict between Ange's inability to live with her grief being played out in hyperbolic fiction. The stakes of the story amounting to "will she be able to live after learning The Truth."

But what is Truth? Would learning who is responsible for her family's death truly give her peace or would it only serve to trap her further in her endless cycle of grief?

Trauma therapy tends not to focus on Talk Therapy for the most part as such therapy indulges a survivor to dwell on their unprocessed traumas and will only serve to retraumatize the client. In many cases it is detrimental to perform Motivational Interviewing (reflective statements designed to display to a client that the clinician is listening and interpreting their words without offering direct guidance or intervention) or Rogerian "person centered" (a similar tactic designed to keep a client talking without engaging in a back-and-forth, every reply should be a prompt that inspires the client to continue sharing without boundaries and reach their own conclusions) techniques.

The reason why is that these forms of therapy have a belief that "the client holds all of the answers" and the clinician's job is to let the client get out of their own way and walk towards the answer. It is a solutions based therapy where the client is trusted to clear cognitive distortions and navigate around mental blocks between themselves and what they need.

Ange's stated goals are far from healthy.

In survivors their Core Beliefs are informed by their trauma. Those who were raised in a house of neglect may have an unresolved core belief that they are unworthy of love, those who feel shame and guilt for what happened/how they were treated may have a belief that "I should have..." - A helpful list of common negative core beliefs and positive beliefs that can be instilled, click here.

Trauma therapy contains an element of identifying these beliefs and where they originated and working to overcome them. There are many different therapies in the world that attempt to do this but they all include some element of processing trauma, accepting trauma and committing to the future.

In Ange's case she does not need to know what happened in order to live. She has to accept what happened and live.

To make this clear, should Ange learn what is presented to be The Truth it will break her and she will be unable to accept it and in doing so ends up unable to live.

All of this is a prologue to talk about acceptance and our emotional connection to memory.

Prior to Eva's death, Ange was raised in a boarding school where she was ruthlessly bullied by the other students. Both Ange and her aunt are in the public eye for the scandal associated with the Rokkenjima massacre and Eva actively despises Ange and refuses to give her the care, nurture and privilege that the other students of the rich academy enjoy.

She lives a lonely and cursed life. Her one solace is getting to find time alone to sit and read her cousin Maria's "Grimoire", her journal. When she reads the journal she can clearly picture her cousin in her mind and interact with her. A form of "magic" that Maria taught Ange back when the two of them were friends, prior to the massacre in which Maria lost her life. In the past Maria had created a magical society called Mariage Sorciere and Ange was one of the members before being excommunicated.

We'll discuss it further in a while however while introducing Maria I wish to note that she was most likely forming a dissociative disorder prior to the massacre. The series writer Ryukishi07 was a social worker prior to his career in visual novels. He does a remarkably good job of displaying how abusive and neglectful family dynamics can impact a young mind. Maria, despite being 9 years old, has speech patterns linked to an infant's maturity, she often switches into a "witch" persona and she will hold up her stuffed animals and voice out their speech, treating them like separate individuals. She is bullied at school and her mother hits her when she does this but she is incapable of acting any other way. It's who she is.

A small portion of the second chapter even having some of the cousins stop to discuss the possibility that her overactive imagination and play-acting may contain elements of dissociative identity disorder. It's never fully confirmed and she dies at age 9, but Ryukishi07 displays a convincing depiction of extreme childhood neglect that would lead to a severe dissociative disorder had she have grown up.

We learn throughout the story that her journal contains sketches of many magical entities impressed upon the servants of the island and toys that Maria has. These entities becoming the magical cast of the "Gameboard".

Though not the focus of this particular essay, each episode of the game is depicted as a chess match between a game master (representing the author of a murder mystery) and an opponent (representing the reader trying to solve the mystery) and these matches take place in a world of purgatory. This world is populated by a magical cast of characters each of whom is paired with a member of the mundane cast on the island.

The game often repeats that it takes "two to create a universe". There needs to be one to imagine it and one to perceive it and mark it as real. This is displayed on the gameboard but it is also displayed with the way that for every imagined character who exists as part of the magical cast, there is the one who imagines and then there is one who their imagination is displayed onto.

Maria is a child of extreme neglect, as we will discuss soon, she had no one to displace her imagination upon (spare for her mother who she imagined as being possessed by an evil witch when she became violently abusive) and so she imbued life into her toys. Bringing Sakutarou, her stuffed lion doll, and her band of toy rabbits to life. This earned her the title "Witch of origins".

The magic in the game's universe operates on a rule that "it takes two to create a universe" logic. The concepts of Magic and Love being intertwined. "Without love it cannot be seen" has many meanings but in terms of creation it means that anyone can apply "the anti-magic toxin" of mistrust/disbelief by simply rejecting another person's reality.

So much of the magic and love in this world is built on trust and being able to believe in that which is shared. The concept is explored from many angles throughout the game, Episode 6 focusing on love in the form of trust between a writer and a reader and the contract between them requiring a murder mystery to be solvable and for a reader to earnestly engage with the fiction and accept it as it is written.

Within Mariage Sorciere, this love is to accept that the characters and imaginings of its members. To be a member is to accept all as it is presented. Sakutarou is a magical lion boy who speaks. To doubt this is to be excommunicated from the order, which is why Ange was kicked out of the witches alliance. To say Sakutarou wasn't real was tantamount to trying to kill him.

Maria's love is without doubt. In Episode 7 we learn that she is not capable of viewing people as anything more than how they present to the world. Her imagination paints how she perceives the world. When her mother's behavior drastically shifts when she enters a violent and abusive rage she firmly believes that her mother has been possessed by a cruel witch.

When a familiar adult approaches her speaking as the Golden Witch Beatrice, she does not see the adult. She only sees Beato. This is vital to her testimony throughout the game regarding the murder mysteries.

One last thing I wish to go over during this analysis of Ange and Maria and their relationship to their traumatic childhoods. That is the title of witch.

By now I hope it's been made clear that magic is imagination and love is trust. Whether it be testimony being believed, the contract between author and reader or the inner reality of one being seen and regarded and acknowledged by another.

As someone with DID, I like this concept a lot. It would be so easy to simply dismiss our condition and the presentations. But with love it can be seen.

The game shows a number of different types of witch. From the witch of origins who can make new imaginings that do not require another person to validate them to the Golden witch who has enough money to make reality via sheer financial coercion or the witch of truth who can make reality by asserting it to be so or witch of resurrection who can keep those who died alive in their memory.

Each witch is using their magical ability to "create" by taking their imagination and moving it out into the world. The Witch of Truth is a detective whose deductions are believed to be fact even if the accused disagrees. The Golden Witch can take any scheme or desire and pay people to make it a reality.

And Ange, the Witch of Resurrections, can bring back the dead by remembering them and keeping their voices in her heart. They live on in her writing. In her words. In her memory. So when she reads Maria's journal she can bring the Maria of 1986 into the world of 1998. When she reads of Maria's magical companions they can accompany her.

With this context, we return to Ange in her teen years.

Lonely and consumed by grief she is only able to find solace in imagining Maria with her, imagining Maria having forgiven her for saying Sakutarou wasn't real.

As she accepts the role of apprentice witch she is allowed to perceive Maria and her menagerie of imaginary friends.

Though there's a certain amount of strain and physical discomfort in maintaining the thought process of so many at once. Maria is able to do it remarkably easy but Ange has to struggle.

It's okay, Ange, dissociation headaches are an absolute bitch. They get better after a certain amount of stabilizing and communication work.

All the while she reads about Maria's home life.

To break the essay structure and be real for a moment. This segment hit me hard. I choked up crying and needed to take a break from the game for a while. The depiction of child neglect and abuse was too real and I feel it serves the fiction to depict it as such but it is a hard read. Please be kind to yourself as you read on.

Rosa Ushiromiya is the youngest of the Ushiromiya children, furthest from the inheritance and least respected of Kinzo's progeny. She likely suffered a large amount of abuse and neglect in her own childhood both physical from the eldest sibling, Kraus, emotional/psychological from her sister Eva and a combination of both from her other brother Rudolf.

Children raised in abusive households are more likely to develop personality disorders born from attachment trauma. A typical display of this is dichotomous thinking, praising and devaluing the same subject in waves based on stimulus. Within Borderline Personality Disorder, for instance, this is where the concept of Splitting and Black and White Thinking come from.

For Rosa, this manifests with her mood swings that have her violently scream and hit her daughter before lavishing her with apologies, affection and attention.

Every character in Umineko is burdened with a painful past. Each character feels the need to displace that pain outwards and project it onto other people. For instance Rosa displaces her pain onto Maria. Both of Ange's aunts displace theirs onto her. Kyrie displaces hers onto Battler.

Generational trauma is a heavy theme of this game.

Rosa makes her way as the head of a small fashion design label though she does not see a lot of success in her role. Early in adulthood she had a relationship that ended with her pregnant with Maria. Maria's father, upon learning of the pregnancy, left.

Rosa is young, lonely and feels that having a child makes it difficult for her to find love; in the time and culture of 1980s Japan being a single mother was seen as shameful. She finds that the best way she is able to date is to act like she does not have a daughter and take extended vacations across the country on weekends with her dates.

Leaving her daughter home alone.

Rosa has a number of hang-ups about the optics of leaving Maria in someone else's care, she is shown on multiple occasions in the story to fly into a rage when her ability to be a parent is put into question and she has massive cognitive dissonance in that she cannot bare to be seen as a bad mother and so she acts like a horrible mother to avoid looking bad.

I have seen a lot of debate on the logic here and first off, anyone who approaches this story with a view of "it does not make sense that a character acted this way" lacks the Love required to enjoy this story in full. The author enters a firm agreement with the audience to work within the confines of the fiction and not to disrespect the fiction by rejecting that which is offered. He will deceive us but never lie. In that we have to believe in the story.

But it's also a sign of those who have grown up with a proud optics obsessed parent and those who did not. Sad to say, I have experienced a few of the things which happen in this chapter and I have no doubt that Ryukishi07 saw some of it in his social worker career.

When Rosa leaves Maria alone at home, for days at a time, she orders her to never make anyone aware of her situation. More important than anything else never speak to the police about what goes on in this house.

That. I have lived that one.

What Ange reads and what Maria shows us in this episode is a weekend where Maria is home alone, her mother having forgotten a promise that was made to her and Maria is locked out of her house. She spends an entire evening searching for the lost key and eventually needs to seek a friendly store worker who recognizes her to get help.

This leads to police intervention, a social worker showing up at Rosa's house and...

I glossed over a lot. This is a dense book and this story takes up much of Episode 4. Suffice to say, Maria's friend Sakutarou was murdered in retaliation for Maria summoning attention of Rosa's bad parenting. Rosa abandoned her daughter for a full weekend after breaking a promise and when she was locked out and defenseless she asked for help and was violently punished for doing so.

Another function of the witch of origins is the ability to break the cycle of generational abuse. She does not take her pain and push it into someone else, she creates an imagined evil mother to hate and fear while continuing to love her 'real' mother. This way she never has to doubt the love she has for the mother who she has happy memories of and who custom crafted a lovely plush lion just for her.

Which leads to the discussion of trauma, memory and processing.

Ange, upon reading this story is crestfallen. She views Maria as a pitiable child, only to be confronted by MARIA who defends Rosa. Arguing that she legitimately forgot her promise, rather than deciding that her daughter was not worth the time or effort.

She claims constantly that Rosa is a good mother and that she is happy.

Maria, a being who can only view the world with love, despite being abused and hurt; chose to be happy and so through her magic it was so. She was happy.

There's a misconception I have seen and I will admit I held for myself upon reading Episode 4 that Maria was preaching to deceive ones own self in order to be happy. That it was enabling and accepting of her own abuse.

But this is actually one of the deepest things Umineko has to say about generational trauma...

Chapter 8 revisits the idea with a version of the gameboard where the Ange of 1986 is allowed to be on the island, something which was impossible because in truth she was not. Not even the witch of miracles could change that which is certain.

In this game, set by Ange's older brother BATTLER, the 6 year old Ange is treated to a fun halloween party with her aunt Eva run by her loving family. Throughout the entire story Grandfather Kinzo was made out to be the source of all evil and in this episode he is displayed as a kind and loving grandfather.

The entire reason I wanted to write this post and include it in my Media, Myself and I series (in lieu of discussing the overt plurality in the game, even) was due to a conversation Ange has with Battler about this deception.

Source: LP Archives - The full conversation can be found on this page for anyone who wants the full breakdown.

The entire story of Umineko is a struggle for those who experienced horrors to be able to come to terms with their memories and process them. This is true for Ange, it is true for Maria and it is true for the other members of the cast also.

Memory is malleable and uncertain and can and does become distorted due to understandings and contexts gained at a later stage, particularly when bias is in play.

For a graphic of how this works please look at this:

Source

The more a memory is reactivated the more it is eroded of its initial context and additional contexts bleed in. For Ange's circumstance she remembers her parents through the lens of knowing that her father was embroiled in legal troubles from his womanizing behavior. It is unlikely a 6 year old Ange remembers Rudolf in this light but her view of her father is painted through this lens and thus when she retrieves these memories the present context forces itself into the past.

This is just how the human mind works.

EMDR and other trauma treatments are focused on hijacking this system. When a traumatic memory plays out the amygdala processes the emotions and sense of danger which activates the nervous system. This process does not even require a conscious recollection; should a trauma memory be associated with a certain scent the nervous system will activate upon smelling it even if the survivor does not recall the event attached to the stimulus, the amygdala most certainly does.

I have spent too much of my life considering which of our memories had lavender scenting…

For EMDR the process involves retrieving the traumatic memory without allowing the client to reexperience it while ensuring they do so within the context of the present while highlighting safety and security. This allows the memory to be filtered through without the activating the nervous system. In some therapies this can be a process of re-parenting in which the emotional absence is provided either by the self or via a proxy. The idea is to allow the memory to break association with the trauma and be decontextualize until the memory no longer has negative associations.

Where I had assumed Maria's choice to be happy and think the best of her abuser was an act of enabling and self-deception, I now see was an attempt to stop dwelling on the negatives of the situation and allowing the past trauma to become a defining point within the present.

Maria cannot choose what happened to her. She can choose how she intends to live with what happened with her. She cannot know for certain what Rosa's motivation was in her actions. In fact as we go through the game the audience comes to be given some sympathetic information which though can never redeem Rosa's terrible parenting, can allow one inclined to feel sympathy for her. Like everyone else in the game, she's a victim too. Quite literally in 1986.

There's no way of knowing if she maliciously lied to her child and went off on vacation abandoning her or if she legitimately forgot her promise. No one is arguing that what Rosa did was forgivable. But it helps Maria continue living a happy existence knowing that she was loved and that the good memories she has of her mother are true, even if the bad ones are also true.

Maria, filled with love as she is, elected to see The Good Mommy and The Bad Mommy. Is this right or wrong? It's unimportant. What matters is if Maria can be happy.

Sakutarou was a stuffed lion said to be handcrafted by Rosa. Given as a gift and beloved above all things for Maria. When Rosa destroyed the Sakutarou doll the lion cub boy died and could not be resurrected by Beatrice because it was a unique item created by Rosa.

In Chapter 4's conclusion, Ange does the impossible and resurrects Sakutarou. She does this because Sakutarou was never a custom made doll crafed with love. He was a mass produced toy sold in travel gift stores that Rosa happened to pick up on her way home. She lied. Ange never tells Maria this. The miracle of Sakutarou's rebirth is enough. Knowing that the beloved handmade toy was not hand-crafted would not make Maria's life any better. Sometimes believing in magic is the best thing for someone living in a world painted by despair.

Funny that Ange understood that much for Maria and yet still sought after the One Truth up until the very end.

The finale of the game comes down to presenting this option to the player and by proxy Ange herself.

In a world where you cannot change the past and you cannot fully accept what happened, is it better to continue digging up the past and re-experiencing the trauma in hopes that there lays a truth that will make it all finally make sense or to try to make peace with the past and find moments of peace to hold onto. Holding to hate and pain only serves to bring the pain of the past into the present.

Ange, the witch of resurrection, has the ability to keep her family with her long after their death. Should she be haunted by the family that she was deprived or be happy for the limited memories she had and not be tethered to a world of the past she could never have possibly been part of.

Healing in Umineko is accepting love and making peace with loss. It is learning to live unburdened by tragedy and do the best with what was done to us.

If we cannot let go then we'll continue living in the world of the past turning over the events over and over trying to make sense of it and even if we are somehow granted the magical context, the one and only shining truth... it will only serve to make things worse. You can keep the past alive without letting the past control your future.

And Umineko does a remarkably good job of showing that.

Gosh... that took far longer than I'd hoped. Umineko is a difficult piece of fiction to type about because so much of it is subjective and hard to present to a broad audience without providing ample context.

I'd hoped to talk about Yasu's DID but I suppose that shall have to await another update. My original draft for this discussion was to discuss the different forms of dissociative amnesia with Ange's story serving as an example of how recontextualizing memory works. I may yet go back and do a full amnesia based ramble in the coming months. I just needed to get at least one aspect of Umineko drafted as it's been living rent free in my brain since December.

If you enjoyed this breakdown and found it interesting, please check out some of my other Media, Myself and I essays.

Derealization in Night in the Woods and Metal gear Solid 2 - Describing the sensation of derealization where the brain stops connecting associations between the self and the things one perceives in their surroundings. One example displaying how this impacts a person living with DPDR and the other showing an example of a game attempting to make a player share the experience with the player character.

DID and the healing process in Mr. Robot - A run down of the experiences of discovery, exploration, rejection and healing within DID as displayed in each season of Mr. Robot, along with a disappointed rundown of why the final episode fumbled the ball.

Bruce Banner and the roles of his alters - A breakdown of the formation of The Incredible Hulk's DID and what roles his many alters play.

Romantic relationships with systems - A look at the marriage between Bruce Banner and Betty Talbot-Ross Banner in Hulk comics and a frank discussion between Betty and one of Bruce's alters about how relationships function in a system.

Personality Play in Penlight - A review of one of the routes for a hypnokink visual novel called Penlight in which the protagonist hypnotizes a woman to have an alter personality, along with some descriptions of how dangerous play like that works in real life and what the consequences could be.

#dawn posting #umineko #ange ushiromiya #maria ushiromiya #ahaha.wav #media myself and i #media essays

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rathayibacter · 7 months ago

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adventure time ttrpg

made in conversation with martin dubuque, @polychromaic, and @whinnylikeahorse

HOW TO PLAY

STEP ONE: CHARACTER CREATION to make a character, come up with a one-sentence description of a weird freak. your description must be at least one of the following: -FUNNY -WEIRD -CONTRADICTORY SLASH CONFUSING -SILLY come up with this description privately, then everyone share all at once. feel free to change your description afterwards if you'd like, but the goal here is to make a bunch of weirdos who don't make any sense together

STEP TWO: MAKE THEM MAKE SENSE TOGETHER figure out something your characters are trying to do. ideally this is a mix of short- and long-term goals (ie, we want to do X right now because we try to do Y in general). once you have an idea of what your game is gonna be about, figure out what your own approach to getting that will be, and how that approach is gonna run into problems. talk through those problems, see if someone else has a fun solution to them, and then see what consequences emerge from that solution. youre playin the game baybee

STEP THREE: BE AUTHORITIES ON THE ODDITIES OF YOUR WORLD the world around you is weird. it's weird in part because you're in it, and because it bends over backwards to facilitate the weird shenanigans you get up to. but it's also weird in a bunch of other ways, too. everyone has the authority to introduce new problems, obstacles, wrinkles, and oddities into the world as you go on your adventures, and those oddities stick around and interact with one another long after you're gone. whenever two people's ideas are in conflict, argue about which one is true in-character until you come to a fun conclusion you're both happy with.

STEP FOUR: GET SILLY WITH IT make bold, goofy choices, and then play around with the consequences. commit hard to stupid bits. bring back old jokes the moment you think your friends have forgotten about them. whenever something's not happening, pick a direction (literally or metaphorically) and run in that direction as fast as your little legs will take you. there's no such thing as a bad idea, because even a bad idea becomes entertaining when you follow through with it. hype up each other's ideas, build on them constantly, commit to the bit, and have fun.

#ttrpgs #because the adventure time dnd setting made me sad and frustrated #and i wanna channel those emotions into something cool

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olasketches · 2 months ago

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So the fight is really over...my glorious four armed giant spider is gone. Yuji really was foreshadowing about the slime thingy heh. I'm so happy to see the trio back and together again like you tell me this a year ago this is what was going to happen and I'd just give you a maniacal laugh. But I still don't know how to feel about Sukuna's end like we all knew he was going to die and in perspective it does feels satisfying. Sukuna being ripped apart from Megumi and his little convo with Megumi...yeah dude really is walking contradiction. Always saying he's living to die but actually doesn't want to die. Indirectly answering Kashimo's question. But his end just seems...eh? Like at first Kenjaku's end seemed like that to me too but it made sense later on. Kenjaku came in silence and went like that but Sukuna he was never like Kenjaku or Mahito so his ending being parallel to Mahito didn't really sit right with me and i actually wanted him to get anything but a glorious death but this feels...stale somehow? Idk he's still the same untrue to himself. Wish we could get more of his thought process. Or maybe this was it to show Sukuna's denial became his defeat. I just hoped for more emotionally charged defeat of his..but it's GeGe story I'm happy they're telling it like they want to.

Also Uraume and Hakari was funny too they fought all this time bonded, praised and just dipped. Makes me think if they had a binding vow with Sukuna too? Sorry for all the yap and incoherence. I'm just feeling underwhelmed? Overwhelmed? what are your thoughts regarding this chapter and Suku's end?

"my glorious four armed giant spider is gone" took me out sksksksk he's really just a bug when you think about it lol.

anyway thank you for sending me your ask. I really liked reading your thoughts and how you called suku out for being contradictory and a hypocrite till the very end AS YOU SHOULD THANK YOU!! honestly, this fact alone makes the whole chapter all the more special to me but on this in a sec cause I'm guessing the reaction to his demise is quite... well I guess ppl are not really happy with it..??? I mean some of them probably are and by "some" I mean *cough, cough* the haters *cough, cough* but well... I wouldn't know cause ONE I'm actually (and maybe surprisingly) super pleased and satisfied with this chapter and TWO, I didn't go and check others reaction to it lol I'm planning to keep it that way for now. I'm really not a big fan of twt fandoms spaces in fact I can't stand them... too much negativity and toxicity *shudders*.

so my thoughts... to put it simply, I loved it more than loved it actually. and yeah yeah sure he turned into a slimy lil bug which probably put many people off but hey let's not forget sukuna was basically like a parasite possessing megumi's body, so it makes sense that once peeled off only curse-like residues would remain... but I can understand why some stans didn't like that part. I personally found funny but that's just me lol.

and yeah the final seemed quite underwhelming, but I think that's what makes it so good. I didn't want sukuna's death to be the most interesting thing about his character and well it's not. rather than having a big an "after life" moment like jogo, gojo or kashimo, he spent his last moments with the only person who cared about the human sukuna so stubbornly tried to burry inside him.

I actually found his conclusion to be quite beautiful and moving, cause instead of being looked down upon by yuuji as many stans thought would be the case, he was offered something else entirely. something no one ever gave him - kindness and love. yes, I'm using the "L" word here cause in the end that's what it was... yuuji showed sukuna the true value of love. he accepted him and ask him to live with him despite everything sukuna has put him through. despite all the chaos chaos and distraction he caused him, yuuji still accepted him. he not only showed sukuna genuine empathy and compassion but also recognised that sukuna is really... just like him. when yuuji looked into (blop) sukuna's eyes (my beloved) he could only see himself. he realised that under different circumstances, he could've turned out like sukuna if he didn't have his grandpa by his side. he realised that if he could have turned out like sukuna then sukuna could've turned out like him too, that if only sukuna had someone who loved him and guided him and accepted him, he most likely wouldn't have turned into a curse, which is another thing I loved and cry about in this chapter.

sukuna only saw himself as a curse :")). he acknowledged yuuji and finally called him by his full name but in the end he still only think of himself as a "curse" not as human, not even as a god or king of curses but only a curse :")).

the reason why I loved just how "underwhelming" his death felt like is because instead of framing and defining his entire character by his his final moments, gege made the rest of his moments in the manga stand out EVEN MORE. instead of having a moment of reflection and introspection in this chapter as well as in chapter 265 or 266... and oh well entire shinjiku showdown basically, his character started to trip and reveal just how contradictory he is. sukuna claimed he was satisfied with his life and doesn't care about dying, he also claimed he doesn't care about ideals and even despised them, he also claimed he doesn't feel anything and he doesn't need others to satisfy him and then you have all those small moments when you realise "wait, that is not right" and you look back and rethink everything. sukuna does feel and he NEEDS others to satisfy him, cause that's what his entire "philosophy" hinges on.

"Every human has a unique and fleeting taste... which makes devouring them a perfect way to pass time until death"

he DID get excited when maki became the first person to ever give him a role

This is a first. You're the only one who ever forced a role upon me. (while grinning like a maniac)

and then megumi lied his bs out in the open and revealed that sukuna was afraid of death too, despite believing otherwise

Even something like you fears death...

this only goes to show that sukuna convinced himself (and many other readers) that he is not human, that he is above that, that he doesn't care about the things they do... but if even "something like him" feared death, got excited to be given a role, praised and encouraged others for their talents and skills and connected to them in one way another only to "pass time" or knew about flowers and caught a crayfish then that means... he must be human too.

and even if sukuna and the rest of the world couldn't and didn't want to accept that, there was one person who did. someone sukuna hurt the most, someone who saw him at his worst and at his weakest. someone who in the end still decided to show him love, because he belived sukuna is still worthy of love, despite everyone and maybe even sukuna himself, believing that he no longer is worthy of such thing.

"Even if no one else will accept you... I'll live with you" "Itadori Yuuji... don't underestimate me. I'm... a "curse"!

#god what a phenomenal chapter... absolutely loved it #also APOLOGIES FOR LATE REPLY ANON!!!#asks #jjk 268 #ryomen sukuna #itadori yuuji

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anglingforlevels · 1 year ago

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Salvation (Fem!Yandere Vampire x Reader)

CW: Yandere, yandere monster, captivity, death, non-con touching not proofread, dead dove

Minors DNI

There were too many vampires. Every story had to establish the kind of vampire, lest they’d drown in the sea of possible choices. Not a severe consequence in fiction, but standing before a real-life vampire, you found it frustratingly difficult to navigate between so many contradictory options.

Subtleties had never been your specialty. That’s why, standing before the pale woman, you asked her directly.

”What kinda vampire are you anyway?” You crossed your arms. She seemed almost taken aback by the question, quirking an eyebrow, which earned a huff from you. “You know, what type? Like a Dracula, or old-school horror flick type, or hell, the sparkling kind?”

At this, her face lit up. “Oh. Fancy your chances with any of the options?” You really didn’t, but there were some that were worse than others. She took a few light steps closer to you. “How about a guessing game?”

You sneered. “No thanks.”

“Aw, not even pretending to think it over?” she smiled a cat-like smile, her fangs peeking out. You pretended not to notice but she could probably hear your heartbeat increase.

You had met Albarina while touring the countryside, with hair so golden it seemed spurn out of gold itself, the golden threads framing an elegant face, with fine, pale skin and rosy lips. You had been struck by her intense yet playful gaze.

You, entirely too flustered at her attention, and when she had offered a personal tour of the area from a local, despite only having had a brief conversation, you had agreed much too fast. She had laughed at that, that pearly laughter that rang out with no abandon. Back then it had made you blush, now it made you gnash your teeth in frustration.

She hadn’t brought you to any obvious sightseeing spots, rather, she had brought you to a secluded house. Even while enamored, you had known better than to enter a stranger’s house, but by that point, it was too late, and she had revealed a snippet of her true self, which still lingered in the stinging holes in your neck.

You had fallen unconscious at some point during it and was shocked to find yourself alive still, when you awoke with your head in her lap. Now, you were starting to think it would have been better to simply have died.

Each attempt to escape had been swiftly dealt with by a predator who seemed all too happy to play around with and crush your hopes. By now, you knew any escape attempt would need more planning or better timing, and reluctantly, you had calmed down.

“Oh well,” Albarina said, “With you all settled in, let me show you your room.”

“My room?” You were taken aback by that, you really hadn’t considered any practical elements to this, having spent majority of the day on freaking out and majority of your thinking on how to get away.

“Unless you’re planning on being kept outside on a leash, I think a room would do you good. And a sweet thing like you are best kept indoors. Now, come along.” She hooked her arm around yours, giving you little choice as she led you down winding hallways.

“Why would you even want me around here long enough to warrant a room?”

She hummed contemplatively. “Suppose it’s ‘cause how cute you are? I wasn’t intending for much more than a meal, but you sounded so sweet, just like a songbird. And little songbirdies are best kept rather than cooked.”

She lit up, her eyes glinting with anticipation. “I’ve even gone through the troubles of preparing a nest for my darling little birdie. I’m almost too kind.”

“Too kind?” You mumbled dubiously, as she led you to a door.

“Why thank you. Well, here we are.” She smiled, opening the door. There she revealed a grand room, with gorgeously carved wooden furniture, and a huge bed featuring its own canopy. There was two big issues however:

1. This room clearly already had someone already using it, based on the clothes sprawled out on one of the chairs and the various knickknacks around. Given she had mentioned living alone, who was not hard to figure out.

2. Next to the big bed was a big, golden cage, the floor adorned with soft-looking pillows and blankets.

You gave her a sharp look. “No way. Are you expecting me to sleep in a cage?”

She threw her hands up in the air in mock-defense. “Goodness, no. Most nights will be spent in the bed, the cage is simply a substitute bed for special occasions, or when you’re feeling especially rowdy.”

You were appalled at both suggestions. She raised her eyebrow and smiled cruelly. "Given the situation, you should be happy you're getting to sleep in a bed at all. But it's your room, you can cry if you want to."

And thus, whether you liked it or not, a new chapter of your life had begun.

For most parts, Albarina seemed content simply teasing and playing around with you. Not demanding much more of you than your attention, and at times, your blood. She let you pick the cage over the bed without much more than a small comment, something about you really being like a caged bird, and mean remarks on whether it was even necessary to unlock it at all.

You hoped it never became more than comments, even if you knew by the way the comments grew more pointed, that it annoyed her ever so slightly.

“Little birdie?” Albarina was currently lounging on one of the sofas in the house, a bored expression on her face. You, through no choice of yours, was sitting next to her. “Gotten any closer to figuring out the kind of vampire I am?”

You furrowed your eyebrows, before letting out a small “ah”. Right, the question you had asked the first day. You hadn’t quite figured it out yet, there was small things you had noticed here and there, but with the way she liked to throw out bait, you weren’t sure how much of it you could trust.

The only thing you knew for certain was her taste for blood, along with her abnormal strength, speed and senses. You had yet to fully assert any of the weaknesses, not for a lack of trying, you had attempted to fish out details in conversations, or even lay out small traps that might reveal it to you – but subtleties weren’t your strong suit, and she promptly realized what you were doing each time.

“An annoying one.” Was all you could say, it felt less bitter than to answer no.

“Perhaps,” she changed her position, now leaning over you, her breath fanning your face. “I’m the type that can hypnotize with a glance?”

You shifted uncomfortably, the close proximity of your faces and bodies making you self-conscious of each breath and movement of yours.

“Your heart is beating so fast, darling.” You eyes unconsciously were drawn to her lips.

“Scared I might be able? Or perhaps…” She gently held your chin, lifting your face, and forcing your eyes to meet her mirthful ones. She drew closer until you turned your head away with a frown, hoping she wouldn’t comment on the way your face was starting to match the rosy color of her lips.

All she did was laugh, and for once, you were grateful to hear it.

It had been weeks by the time you finally saw an opening to escape. One that wasn’t in the form of another hapless traveler that she had just happened to give a personal tour leading directly to her own home, or a dinner invitation, that left Albarina full and satisfied, and the travelers… Less so.

In those time, Albarina would just laugh and coo at your “sour reactions”, as if a distaste for death was another silly trait of yours.

But this time was different. You had woken up to a bang, and after a few seconds to regain composure, you realized it couldn’t be Albarina. She didn’t own or use guns. From the looks of it and the way the cage still was locked, you were guessing that Albarina wasn’t home yet from one of her feeding trips, for when she preferred to be the traveler, or as she put it “wanted something exotic”.

This meant she hadn’t returned home, at the very least, despite an increasing lack of patience, she hadn’t actually made true on her mean-spirited jokes of locking the cage for good. Then, who was in the house now?

The sound of thundering steps seemed to compete with your heartbeat. You weren’t sure whether to prepare you to warn someone of a terrible fate, perhaps a burglar who had picked a terrible target, or to fear a threat in another shape. In any case, you felt restless as the sound came closer.

You jumped a little when the doorhandle rattled. Evidently, the door was locked, and the rattling stopped. There was silence for a moment, before another loud bang sounded, and whoever it was, had shot through the lock.

The door opened revealing a large figure, their features obscured by a mask and scarves carelessly wrapped around. On their back, one large sword and one large gun crossed, though the gun they had used seemed to be the small one in their hand. You pressed yourself further into your cage, scared senseless. The figure looked around a bit before their focus inevitably landed on the golden cage, that stuck out like a sore thumb.

They crouched before it, and while you couldn’t see their eyes, you still felt their stare on you. “Did she do this to you?” They spoke with a deep, gravelly voice, resentment lathering their words. It took a moment for you to connect their words, to make any sense of them, when you finally did, you nodded frantically.

“The key?”

“Oh, right. I think there’s a spare in the drawer.” At least you hoped so. You had once seen Albarina misplace the key somewhere, and after pretending to leave you locked in the cage for a bit – and sighed at your lack of response to her inspired comedic work – before fishing out a spare key from a drawer. You figured she didn’t care that it was in reach, given she had good enough hearing to hear you open the drawer, whenever you were free to roam.

The figure put the gun on the table as they looked through the drawer, finally finding a small golden key. As the lock clicked open, you carefully made your way out of the cage. Relieved at having been rescued but still intimidated by the figure that dwarfed you in size.

“Where’s the monster?” You looked up at them, and they must have sensed the uncertainty because they decided to elaborate. “The vampire. Where’s the vampire?”

“You mean Albarina? I… I’m not sure. Somewhere, feeding.” You had talked about Albarina’s feeding habits before, but never had you said it out loud to a figure who treated them with the serious disdain they deserved, the full weight of them hitting you now that Albarina’s dismissive lilt wasn’t there to distract. You shuddered.

“And you?”

“Me?”

“Why are you being kept here?” They stepped closer, and it felt as if the room grew colder. Your head spun trying to keep up with all the possibilities, as you with a sinking heart began to fear if this figure was a threat to you as well.

“I- I don’t know.” You hadn’t realized that you had begun to cry until the figure finally turned away, awkwardly offering you something to dry your eyes with.

“Another cruel whim from a heartless monster then. Or emergency rations perhaps.” They mumbled and turned back to you. “I’m here to deal with monsters like her, you’ll be free soon enough. She won’t lay a hand on you.”

Hope fluttered in your chest, but you didn’t dare trust it yet. “And you? Who are you?”

“A vampire hunter. It’s my mission to eradicate the filth that leeches off humanity. I’ll bring judgement to these vile monsters that seek to stain humanity.”

…

Well, you saw about a million red flags right away from that talk but hoped it wouldn’t manifest in anyway there affected you. Hopefully, this encounter would end with you being rescued and never having to think about these things again.

“…Awesome. Thanks.”

There was silence for a beat, and you were about 70% sure you hadn’t picked the right response.

“What’s that?” They finally broke the silence, pointing at your neck. Reflexively your hand shot up to touch, feeling the puncture marks.

“Biting marks?” You said with a creeping nervosity, it seemed fairly obvious to you that these were bite marks, so you couldn’t comprehend the foreboding air that had followed the question.

“A vampire has drunk your blood?”

“Well, yeah. I have been stuck here with a vampire, so… Seems par for the course, no?” You laughed nervously, though your attempt to answer lightheartedly did nothing to break the tension. Instinctively you backed away, until you hit the drawer.

“It’s unfortunate that I was too late.” The figure sighed. An uncomfortable knot formed in your stomach as you swallowed hard. You hadn’t asked a question, but you didn’t need to ask any to know you were in danger. Your hands blindly fumbled behind you.

“You’ve been infected by its blight. I will bring you salvation.”

Bang!

Blood splattered over your face, and the gun clattered to the ground along with his silhouette. Staring out in the air, unable to move your stare down to the hunter or the smoking gun, you continued to stare out.

With just a single movement, you had taken a life. With such ease, your hands had snuffed out the decades he had left.

“Oh, seems my cute birdie might actually be a bird of prey?” Albarina, who as suddenly as always, stood next to you, cocked her head at your lack of response. Then she rolled her eyes, before smiling sharply. “Oh, don’t pout, with a lifestyle like that, he didn’t have much life left. Really, given who his next opponent would have been, you’re the one who brought salvation.”

She leaned down to you, a mischievous smile on her rosy lips and a mean glint in her eyes. “Say, you reckon me the type of vampire to count obsessively? Let’s see.”

“Huh?” You finally moved your head towards her.

“One droplet,” she said and licked off a blood droplet off your cheek. “Two droplets.” Another lick. “Three droplets.” You shuddered and pushed her head away, she was only being playful, so she allowed it, and only laughed that terrible, pearly laughter. “Don’t fancy that kind, dear?”

“Stop.”

“How inflexible of you, darling. You’re the one asking me. I suppose you could ask someone else, vampire hunters for one, are quite knowledgeable – oh.” Her mouth formed a little “o” as she feigned realization, before giving a pointed look at the corpse. “I guess not.” She shrugged with an airy sigh.

“You’re such an asshole.” Your voice felt hollow, but Albarina paid it no mind, nuzzling into your neck, you could feel her smile against your skin.

“Seems your cage’s gotten dirty too, no matter. It was about time you began using the bed anyway.”

#yandere monster #yandere #yandere x reader #female yandere #yandere vampire #bad writing #not proofread #minors dni #tw death

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the-crimson · 1 year ago

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I was thinking about this while falling asleep last night so I want to try and untangle the web Bad has been spinning to better understand what he’s doing cuz in some aspects it seems completely random and disconnected

Bad’s plan rn is to disseminate a bunch of different - at times contradictory- information across the island and watch how it spreads. The goal of this is two fold; to discover who is trustworthy and to find the (probably unknowing) federation spy.

His plan began way back with the magma cube prank. At the time he said he wanted to pin the prank on the fed to turn everyone against them but… the way he went about it didn’t make sense? Giving a cube to everyone at once pretty much confirmed it was a prank - fit recognized that immediately - as well as writing the books in French and Portuguese. Not to mention Tina would clock him immediately since he pulled this prank on her before. So what was the point?

So Bad could watch/listen to the islanders as they tried to figure out who it was. Many of them immediately clocked bbh for a number of different reasons and he confessed to several different people (mainly the French) that it was indeed him. He could watch the web of information spread to discover who talked to who and who could keep secrets.

Over the last few weeks Bad’s been much more subtle with this. He’s told conflicting information about various things to a bunch of people - telling some people he is the one responsible for the mines at spawn and others that he isn’t - and the web has just gotten more and more complex.

Then on top of all of this, he’s testing people with very specific and unique obstacles.

Bagi’s test was the first one I noticed several days ago and is what got me paying closure attention. Bad pretty much explained it yesterday but I’ll recap. He knew Bagi was worried about him so he told her he was seeing a ghost (which was true) and asked her to keep it a secret. She did not - as Bad predicted - and you can tell in the conversation that Bad knew she didn’t and was giving her the opportunity to come clean - which she did. He praised her and thanked her out of no where for keeping this secret (I thought this was weird at the time, the way he was talking, and this is why) and she told him that she didn’t. This proved to Bad that Bagi was more interested in being honest then trusted which meant that she passed the test.

The next obvious one is Baghera. Bad is testing Baghera’s resolve and trust. He showed her Ron knowing full well that Baghera could have turned on him and tried to interfere but he trusted that her sense of justice and care for him would balance out and that she’d find a solution where they both would be happy. He knows he is hurting her but it’s necessary in his eyes.

Then is Forever. This one is a bit more tricky. I don’t think Bad has really started testing Forever before the gun theft. This felt like an improvised test to see how far Bad could gaslight and push Forever before Forever gave up on their relationship. The gun was returned before we reached that point but there was another immediate point of contention that - again - was out of Bad’s control. Tubbo. Forever correctly believing Tubbo that bbh kidnapped the worker was the pay off for Bad’s previous abuse. Forever doesn’t believe a thing that comes out of Bad’s mouth anymore. The nail in the coffin for this test is Forever thinking that Bad is ill and needs to be saved, which means Bad is probably never going to bring Forever into his plans like he did Baghera. Forever wants to save him but Bad doesn’t want to be saved. He walked into this hell with eyes wide open and it’s far too late to turn back.

Aypierre’s test began yesterday. Not only did Bad “confess” to having a fed worker in his custody, he also tasked Aypierre with spying on Tubbo. Bad trusts the French as a whole more than anyone on the island (I’ll come back to foolish in a minute) and he knows that Aypierre, Antoine, and Etoiles would either be ambivalent or positive about the man in Bad’s basement. Bad would never straight up confess to this crime “I would never touch the federation” but he’s willing to confirm their suspicions. He also told Aypierre to be wary because someone is protecting Forever and… I’m pretty sure this is a lie. A lie to test what Aypierre does. Who does he tell. If the feds find out and start snooping. I think Aypierre’s test is to prove without a doubt if he can be trusted/who he trusts and that he isn’t a fed plant/hasn’t been bugged.

Lastly, and most interestingly, we have Foolish. Foolish is the only one Bad has told everything to. Sure, it’s through three layers of obscurity and metaphor but these two only know how to communicate through mind games. Bad knows how intelligent Foolish is and he knows what Foolish wants. Yes Foolish is a snitch but he has no loyalties to the fed, only to his family and himself. Foolish would be the obvious spy but Bad knows Foolish is just chasing the rush of excitement and entertainment and that watching Bad stop holding back is prime time entertainment. He knows Foolish will eventually turn him over to the feds but that’s what Bad wants. Foolish will be up front about it and will want a front row seat so if Bad gets arrested without the fan fair, then it proves that someone else is the puppet (if bad gets arrested at all)

Lastly lastly, I think Bad has caught onto the fact that the federation doesn’t want to touch him. First giving him a slap on the wrist for griefing the presidential office then warning workers to stay away from him instead of removing him as a threat. Bad wants to push them. Ever since Tubbo spilled the beans about the worker going missing, Bad has been acting so much more suspicious and threatening than before. He’s intentionally making himself look more guilty without out right stating that he is guilty. The federation has to know it’s him right? They have all the pieces they had to have been able to put it together so why? Why haven’t they acted?

Well, Foolish promised Bad he’d be getting arrested soon and Bad keeps making himself look more sus to Tubbo who has a friend in the fed - who resembles the exact person Bad wants to nab - so Bad is also probably keeping an eye on Tubbo if he snitches (which he did lol). If the federation continues to do nothing that’ll give Bad massive leverage over them while also giving him another mystery to solve.

Bad said his plan is almost complete, he just needs a few more pieces to fall into place before he can find the puppet and follow its strings back to its master. I have no idea what’s going to happen or what pieces need to fall into place but i am so curious to see what he does next. Is capturing Fred still part of his plans? Is he still banking on getting put in jail? How is he going to narrow down who is the puppet when he hasn’t tested more than half of the server? Hopefully we’ll get some answers today.

#qsmp #crimson speaks #badboyhalo #I am eppy #because I was think about this all night #XD #there’s probably things I missed #but that’s fine #I’m excited for today #this web he’s spinning is so fascinating #he’s a spider trying to catch a specific fly #but he doesn’t know which fly is the correct one #and he isn’t afraid of trapping/hurting innocent flies in the process #he’s so messed up #and I want him to keep getting worse #lmao

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thisnameisnotspokenfor · 23 days ago

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The Breaking point Analysis

Warning: do not read this post if you have not read chapter 36! You have been WARNED

Also I wrote this when I was sleepy at 2 am so sorry if it doesn’t make any sense.

Now I usually try to avoid making posts where I openly discuss stuff in my story- but after all the issues this chapter gave me- I wanted to do this.

The breaking point is a weird chapter for me it’s both one of my favorite and least favorite chapters- but it’s a contradictory chapter within itself. It’s one that is both a payoff and build up in a sort of way…

Think about it in Chapter 33 Tomas writes this in his journal:

‘To die and leave behind so many unfinished things was my worst fear. A fear that may very well become a reality given my current situation. “You expect me to still be alive by then?”

What was Tomas’s worst fear became Asha’s breaking point, and it’s all so tragic when you realize the similarities between the two. Both were fairly young when they got to meet the stars and ended up running into trouble with the crimson court or a seperate entity armed with similiar powers. Both being novices had to rely on a yellow/blue star to keep them safe while said star worked with an ulterior motive.

It’s strange right?

We don’t know how Tomas’s adventure or experience with Sirius ended. All we know for now is that he did not want his daughter to get involved in his past/legacy. Which ofc in and of itself can and does bring up a lot of questions but the worst part is that Tomas is gone and now he’ll never get a chance to fairly explain himself to his daughter. Their relationship and perhaps even her perception of him will change because of this which is something I think we could all say wouldn’t have been something Tomas would have ever wanted.

For all the work Tomas put in to build and help others he couldn’t stop his worst fear from coming true- and that’s what makes it all even worse.

But the tragedy or rather my favorite part of the breaking point isn’t just there- it’s in everything Asha doesn’t say, or rather what she inadvertently confronts herself with.

When Asha’s justification for the past 5 years of her life unravels who do we see appear before her? Everyone higher on the social ladder, with even the apprentices making sneer remarks on how Asha was never one of them, how she’s unwanted or mocking her for Cepheus. It’s a sharp contrast to how she dismisses their mistreatment of her, but deep down she does care and it really does bother her

So many things she’s told Ceph that she’s seemingly gotten over comes back to haunt her in this conversation- not having powers, not having a noble title or not being able to win Ignacio’s heart, not being able to believe in wishes after the power failed to save her father and grandmother but it’s not just her realizing it, but it’s her hating herself for it.

She hates herself so much that she believes all the mistreatment she receives is justified because of it. She hates herself for purposelessly existing in a world with so many fantastical beings and people. But most of all she blames herself for not being able to save her father and grandmother.

Remember this line from Chapter 33? It’s the question Sabino confronts her with:

“Do you think your father would’ve valued this kingdom over the wellbeing of his only daughter?”

And Asha cannot answer. She in fact just changes the subject!

But it’s worth mentioning the things she thinks in that moment:

The answer seemed so obvious, but their unfinished star maps and broken dreams had made her wonder.

Shes doubting the love her father had for her (which has aged like cheese lol) because remember she could plan to make star maps in advance with him but all magnifico had to do was show up one night and her father would promptly cancel with her. We see this in one of her dreams:

Chapter 12: the dream

“Papa?” she whispered.

“Tomorrow,” he said softly, in a tone that made her heart sink.

That was what he’d always tell her on nights when he was too busy to take her stargazing. When his friend would come to whisk him away for weeks, maybe even months at a time.

Her heart began to ache as she cast the beautifully clear sky a glance, knowing that tonight would not be the night she’d spend perfecting her star map with her father.

It’s an arguably selfish realization to reach, but I suppose in the mind of someone with deep insecurity and terrible self loathing it’s just a hint of the cracks about to form in their relationship. given what we know now it’s one that I think has aged with a terrible vengeance as Asha’s mind seems to think that the reason why her father wouldn’t let her know about his legacy is because she’s a disappointment.

You can even see it here in how she contemplates the question.

Why wouldn’t he? Between her and the kingdom, at least the kingdom had offered a sense of refuge and hope for its people. What had she done? Other than crying, failing, and running around aimlessly, not much. Everything she’d achieved and promised had only been because of the star, not herself.

What is said in chapter 36:

“Are you?” the king asked, watching as she hesitated . “Because the last time I checked, you and your lack of powers weren’t the reason that it got fixed.

“Or the reason that the market got decorated,” Lady Allard sobbed, as she gingerly held her bandaged arm.

Chapter 33:

There’s a reason why her father’s projects and dreams had never gotten off the ground. How could they when he had an unspectacular daughter like her at the helm of each project? Her poor father, if only he’d known just how doomed his projects had been when he’d promised her that they could build them together.

What Velius tells her in Chapter 36:

“You accomplish nothing yet you still manage to cause more trouble than you are worth. Then you wonder why people struggle to believe in the projects and ideas you helm.”

What Asha thinks in chapter 33:

Maybe he should’ve wished for a better daughter…

Whats said in chapter 36 by the king:

Maybe your grandmother and father still would’ve been here as they’d not only have the child they deserved but one that could have ultimately saved them…”

((I don’t think it’s a coincidence))

But it’s very funny to see it when you realize that last chapter (chapter 35) she tells Ceph this:

“But that resilience wasn’t enough to save her from a broken heart…our wishes weren’t enough…nothing we did was enough!..” she nearly yelled as her eyes narrowed. Disgust and anger filled her as she spat, “After that…I just couldn’t bring myself to believe in them again…how could I? All I’d ever wanted was for my Dad to be healthy again, and for my family to be whole once more…Was that so wrong to wish for?

But now we see that it’s Not just the wishes that isn’t enough, but herself. And maybe that’s why she can’t wish for anything because deep down she feels like it just won’t come true because she isn’t deserving of it.

That’s why she doesn’t bother challenging magnifico about his wish granting despite knowing that he’ll definitely pass over some urgent wishes. It’s not because she inherently agrees with it but it’s because she doesn’t think she has the place to say otherwise especially to someone like magnifico who is the opposite of her.

Then there’s the part about her feelings for Ceph. Hearing that he was entertained and pursued by princesses has to be absolutely crushing when you realize Asha’s financial situation and the girls she notices he happily entertains.

But that’s not even the worst part- notice how she calls out her grandfather for this:

“Mean?!” her grandfather stammered. “He’s the one leading you on and making your life harder, yet you call me the mean one?!”

She responds with this:

“Cepheus isn’t leading me on! Saba why can’t you just understand that he’s only trying to help me because he’s my friend?!”

And later confessed that Cepheus is one of the few bright spots in her life:

“He’s the only reason you got out of that forest unharmed!” Asha cried as she pointed at her grandfather. “The only reason why I got to stay home…and the only reason why the tree got healed! If he hadn’t been there then…then…” her voice trailed off as she took in the shocked expression on her grandfather’s face. But it had been the disappointment in both the eyes of her mother and grandfather that had hurt her far more than the assassins had as she lowered her head, whispering, “I…I can’t take it anymore! Everything has been so terrible for me lately, everything except for this, for him!

But ironically we see later on that her argument is used against her.

The guilt over the Clariveaus, the queen, Julian and lady Allard also eat away at her as well, reminding her that no matter just how much she comes to care and Cepheus, that deep down she’s just as responsible as he is for the suffering he’s caused.

She even hears the figures say that Cepheus is incapable of ever loving her back or is only using her for what he wants. She likens it to her experience with Ignacio, which if you think about it does sorta share some similarities.

Then there’s the helplessness she feels despite giving him credit. Even before Asha spirals you can see it usually eating away at her as she starts to think that maybe Magnifico’s advisors had a point. And it’s not just a point she hates conceding too but rather one that haunts her so badly that she fears that if she moves elsewhere her experience will repeat itself.

“I don’t think you can. You could move away, but the results would still be the same. I don’t need you, nor does the world for that matter. Our power far exceeds anything your little science could compensate you with…

On a side note I honestly feel as if jealousy is an unspoken facet of Asha’s character because it’s so deeply hidden behind the insecurities that it’s hard to tell. But I think the jealousy is born not so much out of a yearning to have but moreso a yearning to belong. She wants so badly to be trusted, to be understood and maybe even loved, but after so many failures I think she’s come to realize that it’s not worth the risk. She’s terrified of failure and the burn that comes with it.

She compared herself to Icarus at one point- reaching for stars that would consistently burn her. But isn’t there something ironic about someone who is so deeply insecure, so self-loathing who doesn’t even think she deserves the most simplest of things to compare themselves to a cautionary tale of overconfidence, and ambition?

But there’s one more thing I would like to bring up:

Why would Asha want to burn her storybook? It’s full of fairy tales isn’t it? Something similiar to the world she lives in and wants to be apart of. But the reasoning that the ‘king’ gives to her is that ‘she doesn’t deserve it.’

I personally believe that this sorta extends beyond the physical sense- so it’s not the king saying she doesn’t deserve to physically have the book but moreso she doesn’t deserve to entertain herself with fairy tale like dreams when none of hers ever came true. It’s her self loathing in full display because that book used to be everything she ever represented, and she was going to burn the symbol of who she once was, who she once dreamed to be in a perfect world along with the book of her dreams for how she turned out in the real world. Completely and utterly destroying her future and aspirations because she no longer knows who she is.

It’s not until she sees herself in a mirror looking completely worn down and broken just like how the rest of the world sees her, and maybe like how the audience sees her, does she stop. Because now she realizes that she no longer knows what she’s doing.

And for someone like Asha who never usually confronted a problem without some semblance of a plan, who always bore things with a smile because she believed in an ultimate purpose, perphaps that’s the saddest part of it all.

#the kingdom of the stars #wish au #writers on tumblr #kingdom of the stars #analysis post #asha #im rambling now

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mdhwrites · 2 months ago

Note

https://www.tumblr.com/everysongineverykey/709979889023008768/the-owl-house-was-really-like-oh-yeah-by-the-way-a?source=share

Thoughts on this post?

So my immediate thoughts were two things: One was that I always feel awkward responding to other posts because I try not to shit stir most of the time. Two though was that I just agreed with it. The reality of the Hexside kids is purely played for laughs despite being horribly traumatizing on pretty much every level. That's just true.

Then I saw the tag saying it wasn't a criticism.

So was it okay for Hexside to be treated like this? Wartwood had a similar rebellion and it had its own silly things like a themed food Friday and people still being their quirky selves. It works there however because while dealing with what life throws at you is a theme of the work, trauma specifically isn't really. It's there, I've talked about how smart Amphibia is with it to keep its tone consistent but that subtlety also makes it so that not dwelling on it is fine.

If I were to give TOH S3 a theme of some sort... It WOULD be trauma. I don't think it does this theme well, at all, but it is a consistent motif. Hunter's trauma about Belos, Luz's trauma about... Fucking everything if I'm frank but her core trauma is resolved at least once in each episode, technically twice in the finale. They graft on trauma out of nowhere for Willow. She's never dependable Willow, soft spoken and never complaining at all times, but now she is so she has some sort of trauma to deal with while also dealing with Hunter's new trauma of losing Flapjack. One could even argue that Belos has it running throughout because his desperation is potentially fueled by trauma of losing his brother and having his world shatter around him by his brother betraying what ostensibly would have been both of theirs core beliefs. You even have the Collector going through his shit with having been trapped alone for so long.

And then you have Hexside where no one cares about how traumatic all of this has been... Except Boscha. And Boscha is played subtlely, much closer to Amphibia, rather than the capital t TRAUMA that the rest of the cast is going through. As such, most people who watched didn't give a shit and just saw it as a half baked redemption arc rather than continuing a theme because yeah, why would you? What does she even have to say about trauma? That you'll get kicked even harder while you're down and the only option is to move on by yourself and just pretend like it didn't happen?

And that's honestly a problem with the theme in general. So much of the answer to "How do I deal with this," for TOH is to go "I'm awesome and amazing and fuck you for ever thinking otherwise!" It's the conclusion for Hunter's trauma with Belos, we don't get a conclusion with Flapjack really, it's the statement that Luz makes for her character finish of just how much she wants the entire world to recognize she's a bombass nerd -_-, and it's even how the series wraps up with only Luz getting the Titan's power and only her, while she quotes her favorite books, actually attacking Belos. This is your reminder that all the co-op attacks with King and Eda were done far away from Belos, fighting random slime for literally no reason besides the fact that both Luz and the show got lost for about a minute. Willow is the only one where compassion for needing to actually, you know, process your pain and be supported and helped with it might be the answer but again, it's not a core trauma to the character. It's a clumsily grafted on element that also has Willow force Hunter to confront his trauma with Flapjack which IS the answer for him so it's also contradictory. It's not given nearly the same weight as the stuff with Hunter and Belos or ALL OF LUZ where their answers are just 'deal with it'.

(Bonus points to Luz's core problem theoretically being that she was WRONG about Philip and at least two of the endings to that trauma, with her friends and with the Titan, are her being told "You're wrong for worrying," like that would help at all.)

So then you have Hexside where their trauma is ignore and played for laughs so you can just do normal fantasy rebellion stuff mixed with teen rebellion stuff. It's not bad when measured that way but it's contradictory to many of the points that the whole abridged season is trying to make. It's an element that conflicts with your core theme. It's akin to how we're supposed to take Hunter leaving the EC seriously and as this grand pain of his... And then also have people mocking Lilith for it and even having her go "I'm realizing I was bad at my job" back in S2 because fuck her and her trauma I guess.

And don't tell me it's because it's a kid's show. Boscha could have easily been the surrogate for all of Hexside and then you kick out Miki and just have Boscha to deal with. Focus the episode around getting her to open up, be defenseless, maybe almost get turned into a puppet for it as it seems her fears were justified... Before she looks up to find she's behind one of Matt's pillars and everyone is coming out to help protect Boscha. Because the only reason they've gotten through this is together and while they're happy Boscha has actually helped them despite her pain, she shouldn't be dealing with this alone. All of them will do better if they share this pain and so we get them kicking the ass of one of the Collector's hunter stars and the plan be to ride it up to the Archive for the main crew before they get snatched off of it. It has more to say about the complexities of trauma and how you can't just power through it, allows an acknowledgement of what this world has done to these people, all while still allowing the rest of Hexside besides Boscha to be silly and upbeat because they've been doing what they need to handle all of this.

So yeah, I think the blog itself is correct. I think calling itself not criticism though means ignoring what all of these conflicting elements mean for the season overall. Yeah, it's a cute segment as is but when you have a show like TOH that is trying SO HARD to say something... Shouldn't we be critical of when it's failing to do that or even muffling it's own voice?

Because the hex on this side of the Isles could have been used to do something more but instead was treated like a cute charm to fill time. That's not okay. See you next tale.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

#the owl house criticism #toh critical #toh #the owl house

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