#internet analysis

[rowanellis]

Sad Girl Vibes: The Double-Edged Aesthetics of Mental Health

From tumblr edits to TikTok trends - mental illness has always been romanticised and glamourised on the internet - but is this really always a bad thing? Let's dive into the controversial and paradoxical discourse surrounding mental health aesthetics...

[welcometololaland]

Hey hey it's Nice Ask Day! (Or at least it is on this side of the world.)

So: What’s the best thing about the internet?

xoxo MJ/kiwiana-writes (my kingdom for the ability to send asks from a sideblog)

MJ, what an interesting question! thank you for this!

in my opinion the best part about the internet is being able to stay connected to people instantly in a way you wouldn't be able to without it (for example, timezones). but I also think the constant connectedness is one of the worst parts about the internet - it kind of sets this expectation that we should be constantly available to contact and constantly interacting and I think that (for me personally) can be quite anxiety provoking! also it really makes me unable to just sit still anymore lol. I think the internet has given me bad habits.

would be really interested to know other answers to this!!! anyone feel free to jump in!

[sunny-boooo]

I'm jumping off a bridge. Their backstory is so tragic, I can't.

The fact that even Queenie being in the state she was, Kinger still found humanity in her, the fact that he risked his life knowing she could go crazy and attack him just so he could touch her one last time.

And the fact that Queenie allowed him to do it, the fact that she was able to keep control as a abstracted just so she could feel him. Because she loved him and he loved her back and both of them knew her fate, but in that moment, it was just them, their last moment together so both made it work.

This is such a powerful image I want to hug both of them.

[whereserpentswalk]

Just saw a "feminist" video essay (by someone who just happens to only talk about feminism in relation to cishet white able bodied women) say that the Hays Code was good for women because it "prevented them from sexualizing women by preventing onscreen depictions of sex". Never before has a video said something that made me vocalize my disgust of it's takes, but this did it.

I didn't think I would have to say this but if you defend the Hays code you are horrible and not in any way progressive. And if you don't know what it is please look it up because it's probably the most important piece of history when it comes to all media analysis in the western world.

[redrocketpanda]

Something that has been driving me insane about the credits are these sections with the fish so please bear with me whilst I do a mini deep dive (hehe) into fish discourse because YO, we need to talk about these fish!

Notice how at the beginning of the credits we actually have two white fish swimming along beside one another; one with bright turquoise eyes and the other with black.

A little while later the fish begin to circle each other and a droplet falls into the water between them. As the disturbance ripples out from the center, one of the fish dives deeper into the water and changes its colour to black; symbolizing Geto's change and descent into darkness

Then we have this heartbreakingly beautiful moment with Gojo and Geto:

I cannot stop thinking about how long Gojo watches the black fish for as it swims across the screen, whereas Geto's eyes are lowered the moment the white fish appears and he closes them as it swims past.

Gojo cannot bear to tear his eyes away, whilst Geto cannot bear to look

Throughout the credits, Gojo and Geto have been making their way towards each other through the pouring rain (or mostly sitting and waiting in Geto's case). At the end, they meet each other under a bridge and as they walk away together we see the fish a final time, swimming together again in a puddle formed by the heavy rain.

Geto walks on the left in the light, as the white fish swims close to his head, almost invisible in the brightness of the light. Whilst Gojo walks on the right in the shadow with the black fish swimming further away but still close by.

The fish speed after the two men before disappearing completely under the water just before the camera pans up and we watch as Gojo pulls Geto in for a hug as they walk away, before he's playfully shoved away by Geto.

There's a lot going on the credits (+ opening) that is absolutely killing me but man, these fish?! Breathtaking.

[an-android-in-a-tutu]

if during drunk driving discourse people were allowed to say don't way in if you don't drink then I'm gonna need everyone who doesn't work in trades to stop talking about blue collar Dean Winchester

[gnomeniche]

you Will read 3d workers island. it’s so detailed and rich. it captures an atmosphere of old internet rumors and creepypasta very well WHICH ties into the narrative’s themes of what outsiders see/don’t see in familial abuse situations + interpreting media and seeing a reflection of one’s experiences

i love the open-endedness about what is real or fiction. it works thematically whether you choose to see the creepiness as real or a rumor, whether the program is alive or not. i also love that even if nothing nefarious is there it’s still meaningful to the people who see themselves in amber

[johnskleats]

Azula would have lost the Final Agni Kai no matter what. Here's why:

Azula is insecure. That's why she takes cheap shots. She did it with Katara, and she did it with Aang in CoD, AND she did it with Iroh striking him with lightning. One could even argue that her behavior in CoD foreshadows some of what happens in the Agni Kai, where in CoD, Katara fights Azula, and Zuko saves her, whereas in the Final Agni Kai, Zuko fights Azula and saves Katara. It's a little mismatch of dynamics.

Azula cheating (constantly), is a staple of dishonorable behavior, which I think is interesting.

We see her "play with her food" like a cat, with the Dai Lee and other opponents she encounters. She tricks them and manipulates them and there's no threat. Killing Aang with lightning was SUPREMELY stupid on her part, and she wouldn't have done it unless she was cornered. She didn't even stick around to make sure he was dead or have any of them followed-- because she was scared. Zuko NEVER flees in fights out of fear. He doubles down like a lunatic and tries to get himself killed instead. Azula is not willing to risk her life, and that's why she's a worse fighter. The insecurity gets to her head and she psychs herself out

Azula has a lot of fire power (lol), but Zuko has the heart and commitment to see actions through to the end. That's why he would have won, had Azula not cheated.

By the end, they were evenly matched in firepower anyway. They did the Raging Line of Flames Competing Colors thing and met in the middle, and stayed there. That's how animation tells us about their ability.

Azula's seat of power in her firebending is spite and fear. She's not even mad, bro.

Zuko's seat of power, at the end, is light and life and love. One is a powder keg that runs out after you blow it up once, and the other is like an oil fire in a parking lot. There's essentially infinite fuel there.

Zuko would have certainly outlasted her. And did, if you think about it. Because she panicked.

Azula's entire persona is a mask, just as Zuko's bravado and pettiness in the first season was a mask. (Funny, that he can only be himself when he's hidden the scar with the blue spirit mask, therefore freeing himself of the shame and the mark that brands him as a villain)

They show us that Azula's mask is not only slipping, but cracking, crumbling in the mirror scene. That's why it's there: to show the audience that all of her running has finally caught up with her.

This world that Azula created has been a sham from the beginning. Castles in the sky to make up for what she lacks: love.

Which is why she would never win against Zuko if they both reached their full potential, as they did during the comet.

[courtrecord]

honestly i hate how that “maybe the curtains are just blue” post has become shorthand for anti-intellectualism and shit bc as someone who has an utter passion for media analysis now, I WAS THAT PERSON IN HIGH SCHOOL ENGLISH CLASS.

english class never taught me how to analyze stories, it taught me how to remember what things the teacher said were “symbolism” and how to take quizzes where we had to match a quote to the character who said it. i didn’t give a shit about any of it, bc literally why should i. it was bullshit.

there’s this idea online that people are forgetting or rejecting what they learned in english class when they’re bad at media analysis, and maybe that’s a little bit true, but i think the much bigger problem is they never learned it in the first place. cinemasins & “maybe the curtains are just blue” aren’t convincing people to abandon an intellectualism they already had, they’re filling a void.

when all you learn in high school is to write on the test “blue = depression”, why is it surprising that so many people don’t give a shit about the curtains.

[childofbriseis]

"oooh but katniss everdeen could have shot trump" you idiots. you fools. ye folks of tiny brain. katniss everdeen Could have shot trump but she Would have shot biden instead, leaving trump to be trampled to death by hordes of screaming republicans

[ivyithink]

posting this little thing, while I’m neck-deep in iwtv wips…

[corviiids]

If i ask nicely, would you consider writing the core of Light and L character like you did for Shuake? (IT'S BRILLIANT BTW!! You're so galazy brain. I love reading any meta or just silly posts you posted here <3) because you mention Light a couple time in Akechi's part and now i need to know your thought on him and L.

(Also, about the death note wip you're cooking right now, is it a oneshot or multiple chapters fic? Im super excited for it!)

i ABSOLUTELY would thank you so much for asking and for your lovely kind words. and im sorry this took me seven years to get to i just kept psyching myself out.

here's the ren & goro post this ask refers to for anyone wondering. the 'core' refers to my answer to a writing meme:

26. What would you describe as OOC? [...] it's the same approach i take to language tbh particularly in pronunciation. once you understand how a language forms its sounds at a base level, you dont struggle with the accent on particular words, and you can encounter words you've never seen before and understand how they're likely to be said/spelled/etc. so once i learn to 'speak' a character they come more naturally. idk if that comparison makes sense to anyone else but it does to meeeee all this to say i think a character is ooc if they do or say something i cant reconcile with that core!

the death note wip is a multichap!! thank you for your interest!!! ill talk about it more once i've stopped tying myself in knots plotting it!! broadly it's a what-if type au which has led me to replot an entire series from scratch dont look at me

anyway lawlight below. i will say ive been really desperately wanting to do like a video essay or something about death note which would be a lot about L and light specifically and how i interpret their characters so ill try and not go toooooo insane in this post but maybe ill go more insane later. in a video. with my human voice.

(edit: i failed i went insane)

light - one-way road to the sky

ok let's talk about one of my favourite scenes of the entire series, which i think is widely not super well understood but honestly to me holds the key to light's entire character. it's right there in volume 1

sorry, the only digital copy ive got on hand is the scanlation. for comparison the official print copy reads:

bubble 1: hey, maki, wanna party tomorrow with some guys from s. college? ten o'clock. bubble 2: yeah, totally! bubble 3: hey, can i go too? bubble 4: my mom isn't here yet? what's that nag doing, geez! light (thinking): damn... light (thinking): start looking around you... light (thinking): and all you see are people the world would be better off without.

this happens within the first 40 pages of the first volume. and it's like. haha hey light what the fuck? this is a totally normal scene in everyday life. people are talking about living their lives. nobody's done anything remotely reprehensible in this scene. and light's just walking through the streets experiencing apparently unprompted and quite extreme misanthropy. what's wrong with him

ok let's have a quick look at the first time we meet light in the anime.

[...]

[...]

cool cool cool im gonna pivot again let's look at the first song (besides the overture) in the musical.

ok rook! we get it! light yagami is out here like damn we live in a society time to kill people about it. this is news to nobody! we all know this!! that's what the series is about! why are we rehashing all of this

great. cool. awesome. let's look at all those scenes one more time. but this time don't look at light. instead let's look at the people around him

in the opening shots of the anime (after the shinigami world, which actually is much the same theme): news of brutal murder is narrated over establishing shots of tokyo. light is shown dead-eyed, going about his ordinary life, surrounded by random other civilians doing the same thing.

in the musical, light isn't angry that murders happen. he's angry about the inaction and complicity of the ordinary people around him.

these scenes aren't highlighting that light thinks crime is bad. we all know crime is bad. the point of these scenes is to contrast light's frustration and fury against the reactions of the people around him. here's what light yagami is seeing: we're surrounded with rot. but nobody's reacting. and then life just goes on. so suddenly all those completely normal scenes of people being concerned with the superficial details of their life aren't just normality, they're complicity. day in, day out. so the world is rotting, and to light, it seems that everyone is completely ok with that. that's just the way things are. and that disgusts and depresses him. on top of than that, it isolates him: he feels like he's the only one who sees or cares about this, that everyone dismisses him as naive, that no one else can be trusted, that everyone else is able to ignore something he sees as inexcusable. this is a sentiment he repeats again and again. it reads as arrogance, and it is, but it's also isolation - after all it's lonely at the top and just as lonely to feel like you're at the top even if you arent

can i talk about the iliad again? is that ok with everyone. im gonna talk about the iliad again

in book 1 of the iliad, the commander of the greek army insults achilles by publicly and unlawfully taking a prize (the girl briseis) who rightfully belonged to achilles. achilles reacts by withdrawing his troops from the army, dooming the greeks' campaign. achilles had a lot of friends in the army, so why would he essentially sentence them all to death for something that only agamemnon did? well, (because agamemnon did something publicly that everyone knew was wrong, and yet nobody was willing (or at least able) to stand up for achilles and stop it from happening. achilles, disgusted by the inaction of the bystanders, turned his back on all of them. fun fact i nearly wrote a mini thesis (an academic one not just a long post on tumblr) about the intersection btwn this book of the iliad and legal theory but law+classics is such a niche interdisciplinary field my professor couldnt find anyone who could supervise me so i couldnt do it. anyway that's not the point

is this right or fair? who cares, not the point. what im interested in is what that kind of behaviour says about the individual. light, like achilles, is a highly idealistic person. we all know that in the abstract, but take a second to really really dig into it, because it's actually quite an interesting fact about a character who is popularly understood as being cold and unfeeling or flatly psychotic and on a power trip. idealism isn't naivety, it's not optimism, it's not even really a happy thing. idealism is simply a firm belief in the way things should be at the cost of refusing or being unable to accept what is.

this is the core of light yagami to me. light doesn't become kira because he's cold or destructive or crazy. he doesn't actually even do it because he's spiteful or misanthropic. it's very much the opposite. he's misanthropic because he believes in the world so much. isn't that a great contradiction! ok here i'll show you some proof.

in an early scene (also in volume 1), light describes himself as an optimist and ryuk finds that interesting.

so light is an optimist. he believes in a bright future for humanity. he wants to protect humanity. he likes humanity. no, he doesn't believe that people are inherently good, but he does believe in some goodness as a part of humanity and wants to protect the best of people, in an egotistical way:

how do we reconcile that with a young man who walks through the streets listening to completely ordinary conversations by ordinary people and reacts by wishing death on everyone talking?

let's split out what's going on here. remember what's happening in light's head. light yagami is 17 years old. he grew up with a police chief for a father (in a fictional world where the police are the literary stand-in for law as justice so just pretend for a second that police are good im sorry), watching his father work tirelessly to fight crime - but crime continues, making this an endless, thankless task. and while crime continues, so does the world around him. every day light sees atrocities on the news, and he sees atrocities brought home, and then he lives his ordinary life and watches the people around him apparently not give a shit, only concerned with the petty details of their own little lives. bystanders watching wrong happen, selfishly unaffected. day in, day out. that idealism is getting colder the longer this unendurable injustice goes on. so achilles condemns his friends to death.

what human trait is being exhibited? realistically it's helplessness. would being miserable about crime help to end crime? of course not. people have to go on with their lives, that's a fact, it's even a strength. even light begins the series completely unable to do a thing about the rot he sees around him, which is part of why he's so depressed. but that's not what light is seeing. light is seeing ordinary people appear to choose not to give a fuck about injustice. the thing that's sparking his disgust is apathy, real or apparent. light yagami is an idealist. he wants a better future - a utopia that only he can imagine - something that can only happen if either everyone becomes as good as he is, or he takes control.

if you leave an idealist in an unwinnable situation for too long, their pure belief will start to curdle. it will not turn to realism. they will not accept what is. they will only become more and more bitter that what should be, isn't. they will become a cynicist. this is really the heart of my argument and ive made it a million times and ill make it again. idealism and cynicism are not opposites, they're not even two sides of a coin. they are two points on the same line which moves very quickly in only one direction. this is where i start when im writing him: how do i make someone who believes so hard that it's killing him? someone who believes so hard it makes him believe in nothing?

then we find the third point on that line, which someone can reach by gaining sudden power - for example, a magic notebook that kills people: radicalisation.

how do we reconcile his desire to protect humanity with the fact that what he's trying to protect against is also humanity? how can i say light loves humanity when he has such disdain for them? easy peasy: light sees himself as the messiah. my bumper sticker that says ask me about light's martyr complex PLEASE ask me about light's martyr complex i wrote a song about it ask me about light seeing himself as the sacrificial lamb on the (and then the bumper sticker cuts off)

light loves humanity the way a twisted shepherd might love his sheep. something to be protected, but something beneath you that can't be trusted to know what's best for them. humanity is something he loves because it's endearingly pathetic, something to pity and save. repeatedly he refers to becoming kira as a personal sacrifice, something that costs him his soul but that he has to do. it's a delusion of grandeur driven by dual purposes of ego and some desperate wish to change a status quo he's been despairing about for years.

tl;dr: light believes with all his soul in something he thinks is impossible, and it's killing him slowly, and then a chance to change the world just falls out of the sky

L - isolate yourself until you can make believe it's just a game

steeples fingers. i have Things to Say about L Lawliet.

ok listen. listen. Listen. listen. are you listening? listen. in general i think people kind of misunderstand characters who are hyper-intellectual and/or behave unconventionally in social settings. you're all going to fucking kill me for this but i think there's a tendency to like... accidentally turn any character who falls vaguely in this broad category into sheldon cooper. god im sorry i feel like i just shot everyone's collective dog

specifically what i mean by that is that 'awkward' gets flanderised in a way that eventually becomes a caricature of itself, because there is so much nuance to actual social awkwardness that it's very easy to kind of pick a template and stick to it without really thinking about what makes that character 'awkward' and what the root and type of awkwardness is, unique to them. so instead we just get, like... generic big word user. generic driven by logic and logic alone guy. generic guy who doesn't Do Well with other people, for Smart Reasons.

here's a list of true things about L which i think are safe to say are uncontroversial

intuitive

logical, master of deductive reasoning

competitive

behaves in an odd way that draws attention

is aware of that fact

focuses extremely hard on his cases and only cares about being a detective not anything else

isolates himself and doesn't like talking to people partly for his own safety partly because it's boring to him

here are things i have seen in characterisation of L which i would like to dispute

makes decisions and draws conclusions based solely on logic and evidence

doesn't understand social cues

here's a list of alternate interpretations which i would like to propose and that i am willing to back up with evidence and/or by physically fighting over them

is driven primarily not by logic or evidence, but by incredible intuition which is supported by logic and evidence when it suits him

has a keen understanding of people, interpersonal relationships, and social norms

leverages that understanding frequently to his benefit

feels that he is not capable of / not a part of emotions that he sees as being typically human (see his speech about being a monster)

and yet in an abstract and self-contradictory and low-priority way still kind of desires connection, leaving him emotionally isolated

chooses to behave oddly on purpose, not because he doesn't realise he's behaving oddly, but because it is not a priority for him

those might seem like fine distinctions at some points, but stray slightly off the mark and his characterisation begins to vary wildly. for example, interpret L as being bemused or unaware of social cues, and one possible characterisation that may stem from that understanding (which i have seen) is that L doesn't understand sarcasm or jokes - which is demonstrably untrue. L demonstrates weak social skills because social skills aren't a priority for him, not because he doesn't understand social norms. after all he does a reasonably convincing 'i am a normal dudeguy' voice on at least two occasions (suzuki the information line guy and asahi the calling matsuda for drinks guy). even with the taskforce, when his behaviour is more of his usual bizarre self, he still makes the effort to treat them respectfully and meet them where they are, explaining himself when they ask, chatting with them, holding ordinary conversations. you can read this any number of ways but my point is that he can do all of this with relatively little struggle

it's also very much not the case that L doesn't have feelings or care about other people. he's ruthless and he's cool with causing people to die if he has to, but he reacts with visible distress to the deaths of the FBI agents, to ukita's death, to the prospect of other members of the taskforce dying. he does care, he's just not morally driven as a priority.

ok but if he can cosplay as Normal Dudeguy with no trouble then why doesn't he. why does he conduct all his business in dark rooms apart from the entire world forever. is it gauche to use a section of my own fic to explain my point? im going to do it anyway

It is easy to identify in Light what he has long known in himself. That little pearl of disruption, grown around an irritating grain of something just unique and tremendous enough to be uncomfortable to the more ordinary around them. L has hidden it by hiding himself. Light has hidden it by hiding within himself. L's black letter is to Light’s vapid smile is to Kira's invisible bullet.

(honestly a lot of what i have discussed here is also covered in this fic so in case this fucking three thousand word essay is not enough for you you can go read that.)

something L and light significantly have in common is that their intellect and unique way of thinking really set them apart from everyone in the world, which is incredibly isolating. but while L has the 'benefit' (arguably could be a detriment but i think he sees it as a benefit) of a unique upbringing which allows him to use his skills to their full extent without worrying about really anything else, light is very much trapped by social convention. while light's life is privileged and materially perfect, he's stuck inside what society expects of him, while L is able to exist completely outside that paradigm. the result is that light has retreated within himself and spends all day playing a part, barely tolerating the monotony and apathy of the world around him by mechanically performing as expected while smothering the part of him that never has an opportunity to truly come out until kira. L, on the other hand, has no reason to put up with a society that is, for lack of a better term, really just beneath him. so he retreats. remember that the first volume/chapter of the manga is called 'boredom'.

you can see that even in his comparatively limited interactions with the task force, he is having to exercise a level of patience to explain to them what he's thinking at every stage, to have to defend his methods, his instincts, his decisions, etc, needing to step through every stage of his reasoning so that the others can follow and won't object. this is NOT just about masking his odd behaviour, it's also very much about having to step through his morals and his process, which is second nature to him but is new to everyone else and needs explaining. it is visibly exhausting to him, and this is with people he actually seems to like well enough. eg during yotsuba arc when light and soichiro keep raising moral concerns, and he has those little "here we go again" moments (which i love SO much and are so telling of him to me) even though he doesn't let his frustration show. which is why he usually does not bother with it and prefers to work alone. he sits the way he does even though he knows it's odd, because he feels he need to sit that way. when light calls it out, he doesn't question that people will think he's strange, so he's clearly aware. he just explains himself.

but if he were out with people on the regular, he'd need to defend himself constantly. the things L does are not conventional. yes the sitting is just an oddity of his so it's a good example, but it's not just the things that are odd that cause a problem: he frequently makes decisions which seem to make massive leaps of logic nobody else (except light) can follow, and often his actions are morally questionable or even reprehensible. all that is because L is extremely pragmatic and results-focused. it kind of doesn't matter to him how he gets from A to B as long as he gets to B. but the way his mind works is that he makes big jumps that make perfect sense to him but would draw curiosity or objection from anyone who doesn't think the way he does. it would be absolutely exhausting to have to constantly defend every strange or questionable thing he did, so he just retreats.

when he works with other people, i think it's worth noting that the team dynamic never actually struggles for L's awkwardness. this is something i really like about death note honestly - L is quirky and strange, but the series doesn't do that thing where it's like He's A Genius Of Course He's Rude To Everyone. he's actually not. for the most part, L is courteous, patient, and polite. he's sometimes blunt or abrupt, but he very rarely does the thing where he's obliviously cruel or brushes people off. he's considerate of people's needs, he's visibly compassionate of other people's emotional difficulties, and he very rarely loses his patience. when matsuda tries to tell the locked-up light about kira resuming activity, L snaps "Matsuda!" to stop him, and then immediately corrects himself to go "I mean, Matsuda-san." it would have been really easy for the series to do that tropey shit where he's so smart that he doesn't bother with politeness, but he factually does. he makes the effort to treat people politely even when he's not actually being kind. when he's asked to explain himself, the reader can see he's tired and annoyed, but he doesn't take it out on people. on the odd occasion he does make fun of someone for being slow, he does so in mostly light-hearted ways. so he is very capable of dealing with other people directly. his lack of social skills aren't for lack of understanding. he just can't be bothered. it's a waste of energy to try and behave 'normally' or to do things that other people find acceptable, whether that's due to social norm or common morality. it is so, so much easier for L to do things alone. without the need to explain or defend his behaviour to anyone, his isolation turns real world problems into something almost purely theoretical. so it really is like a game for him, at least at first.

whatever

i think it's really important for a character like L to not be fooled by the surface-level categorisation of 'smart awkward character'. we really need to find what's driving his awkwardness. it's not ignorance, it's not even really disdain, it's exasperation. he's tired of being surrounded by people who just can't keep up with him, and he does not have enough energy or interest to spend his time handholding everyone through his process, so he just does whatever the hell he wants and avoids people as much as possible so he doesn't have to deal with it.

look i know this is a really long way to say stuff that people mostly already know, but i think L is one of the most finely nuanced characters in the series because he looks like such a simple expression of a known archetype and the ways in which he subverts expectations are so granular that it's easy to completely miss them even while appreciating how interesting he is. the way this translates into how i write him is that he's polite and has a lot of patience until he simply doesn't, at which point he'll inwardly or subtly express that he wishes he didn't have to bother with this shit, that he picks up on fine social and emotional details that other people will totally miss, but that he'll always put his own whims and plans before anything else.

tl;dr: L behaves like someone who is constantly moving at his own pace and for whom dealing with people is rarely worth the effort, but this does not make him inept or unkind.

[weepylucifer]

One reason why i fuck heavily with disco elysium is like... idek how to describe this phenomenon, but usually when i read Fantasy or Sci-Fi there always has to be this protective layer of Allegory where like, we can't possibly call a thing what it is lest it get too Real so we have like, The Empire. The Dark Lord. The Federation. The Culture. The Ministry. The Shmeebus Bleebus. YOU know. But DE is the first narrative i ever encountered that'll just straight up say "This is about communism. This is about fascism. This is about centrism. This is about nihilism." Like actually use the grownup words for it, you know?? And trust that the audience won't faint away with shock when confronted with ideologies

[velvet-vox]

Why King Candy has been so underrated and misunderstood for a long time (Still is, but to a lesser extent)

(All the images in this post come from the video linked below)

Hi everyone; so, usually, I'm not a trend chaser, in fact, I completely missed out on the hype of the Murder Drones finale by not releasing something for the occasion, as I have been very busy this past couple of months, and still am, but I've decided to make a special, out of program post just for my new current hyper fixation, that being King Candy from Wreck-It Ralph, who, for the past couple of weeks, has slowly risen up to become my third favourite Disney movie villain of all time.

And all of that, as some of you might have guessed, happened because I watched @king-crawler 's two hour long video essay on the character and the movie that he comes from.

Needless to say, just like many others before, it inspired me to add my own two cents to the conversation, and talk about some points that I haven't seen mentioned anywhere else.

This is probably the only Wreck-It Ralph related analysis that I'm ever going to make.

I even thought about scrapping this whole analysis, because midway through development I thought that I was just spewing out nonsense, but I kept going because some of my points may give food for thought to someone who understood this character way better than me.

I may reblog some analysis/art posts of this character, but I'm not going to turn WIR into a staple of my blog; however, if I see a lot of people in the comments or the reblogs adding stuff or points to my arguments, I could always make a sequel post to this one.

But first, I need to get something out of the way immediately.

Spoilers below the cut if you never saw this movie, kind of important, as it is the movie's major plot twist:

King Candy is Turbo.

Who's Turbo? Watch the movie.

With all that said, enjoy the read, I'll now elaborate on the meaning of my title, also, here's the video in question; I highly encourage everyone to check it out, as it is a way better sequel to Wreck-It Ralph than the one who was lost in the depths of Lake Laogai:

Clarifications:

Wreck-It Ralph is an amazing movie, but one for which I've never had much to think about.

Don't get me wrong, I always considered it to be the smartest Disney movie ever made since my first watch, but I saw it for the first time relatively late, after I had consumed other Disney movies as childhood classics and other crossover movies featuring video game characters, so it never had neither a nostalgia nor hyper fixation factor as reasons as to why I should have put the story under a microscope after that.

Also, as Rando says at the beginning of their video, it is not a movie that blew me away after my first watch. Or the second. Or the third.

Why is this section important? It is important because these are my subjective opinions of the movie, which are unfortunately going to subtly influence what I'm about to say in one way or another, regardless of me trying to speak from a place of supposed "objectivity".

I'm really passionate about this world now thanks to Randomalistic, but you won't get the same vibe from this post as you would get from one made by long time fans of this movie.

Ok?

Good.

Next:

King Candy/Turbo has always been... in a weird spot for me.

Just like the movie where he comes from, I never really cared about Turbo until a month ago, despite always feeling like I should have loved him a lot more, especially since Deltarune chapter 2 released a while ago, and the character of Spamton G Spamton is someone for whom I have very strong feelings about; and Turbo, in a technical sense, is literally the spiritual predecessor of that guy (actually, Turbo is the spiritual predecessor of a lot of similar characters, he kinda was ahead of his time).

If I had made a Disney tier list for their movie villains, a completely subjective one for that matter, I would have put him in A tier, but thinking that he should have gone in B tier... while also feeling like neither were appropriate placements for him.

Randomalistic's video finally helped me fall in love with the character; so much in fact, that it got me thinking:

"Damn, if Turbo is actually this amazing of a villain, why was(is) he so underrated and overlooked by general audiences, when he admittedly is, in my opinion, one of the best Disney villains of all time? Frollo is by and large considered the best villain out of any Disney movie, and the HOND was nowhere near as successful as Wreck-It Ralph when it first released, so it can't just be a matter of first impressions (?). Maybe there are other factors, that stop audiences from recognizing Turbo as the Magnum Opus of villainy that he truly is..."

... And that's exactly what I'm going to discuss!

Let's get right into it.

The minor stuff.

First things first:

He's ugly. I'm sorry to all of the people who ironically and unironically simp for him, but that's a design only a mother could love.

On a serious note, KC and Turbo's designs always felt... not very eye-catching to me? (The bug form is excluded from this conversation)

I'm not saying these are bad designs, far from it; but each form has on them a certain amount of design decisions that, by the authors own decisions, make them unappealing to a viewer like me (I'm using myself as reference point because the topic that I'm talking about is inherently subjective).

Starting off with King Candy, is design has to balance a lot of different aspects simultaneously: it has to be eyecatching, so that the viewer can pay attention to him as an antagonist, and believable enough so that the watchers buy the fact that he is the King of Sugar Rush and not someone else, but it also has to be generic and fake enough so that it can later on add up to the fact this is just a performance, a facade, a ruse, a costume, and not the real character, it also needs to be friendly enough so that the audience can be manipulated together with Ralph into believing that he actually is a good guy;

I could go on and on listing off all the amazing things, that the King Candy facade pulls off simultaneously, but exactly because the design has to feel real and fake at the same time, it also, by proxy, ends up feeling weird, and that inexplicable sentiment can end up alienating the viewers who are watching the movie and the ones who have finished consuming it without thinking too deeply about what the meaning of the KC's facade actually was.

In the case of Turbo's design, all the people working behind the movie did such an amazing job making him look as scary, ugly, alien, and deranged as possible, all the while keeping him relatively PG friendly; the result clearly paid off, but Turbo's ugliness is not as slick as the likes of Ratigan's, nor is it as nightmarishly horrifying as the Other Mother's.

The most nightmare fuel qualities of Turbo's design are hidden out of plain sight, which is basically a recurring theme with his character.

To put it in a funny way, his looks neither end up in the conventionally attractive territory that most other Disney villains fall into, nor do they grab the attention of the Monster Fu###rs crowd.

I have zero things to say about the Cy-bug form, but I do have a section later on where I talk about that entire scene in and of itself.

All in all, it might just be me, but the first impressions of this character's design don't really do him any favours when it comes to his popularity.

I now love both designs, but before, they just didn't click with me, and I think some other people might understand what I'm talking about.

Admittedly, I could have explained this section better, but these were mostly my personal opinions and they are not really important in the grand scheme of things, unless somebody else agrees with me, in that case I'd have to take a closer look at the situation.

Second of all:

The marketing.

To be honest, I feel like what really elevated all of the most iconic Disney villains into pop culture status was a joint push from the company and the artists to include these characters into more stories and products.

Like, sorry to all of the Oogie Boogie fans, but that character is barely in his movie and doesn't do a lot, and he wouldn't be nearly as iconic as he is if Disney didn't use him again multiple times after his first debut.

And the same can honestly be said for all of Disney's most popular villains; they got used multiple times in multiple different projects, that either kept them mostly the same, changed them with some unique twists (that change in quality, but that's up to you), expanded on their preestablished characters, or put them into unique situations that showcased just how versatile they are.

Kingdom Hearts, The House Of Mouse and Descendants are very obvious examples of what I'm talking about, but even appearances in lesser known stories like Lady Tremaine in Cinderella 3, Captain Hook in Jake and the Neverland pirates, or the entirety of Disney Twisted Wonderland help solidify these characters as pop culture icons;

All except Frollo.

Frollo is the only one whose hype and cultural recognizability wasn't built up by the company or the media in which he was featured, but by the fans of the original movie.

And despite Disney almost never used that character ever again after his debut, he, his movie, and Hellfire still get a lot of prise and are talked about classics to this very day.

Because Frollo is just that freaking awesome.

Turbo, on the other hand... is barely in anything.

Let's get the most obvious stuff out of the way first: King Candy is a relatively new character, released in an era where Disney was slowly starting to integrate the new, corporate ideals that we see today.

All of the villains that I've mentioned previously already became tried and true successes by that point, so even if the company doesn't care about having good villains anymore they still use their likeability because it has already shown in the past to bring in audiences.

It's also the main reason as to why Mother Gothel is used so rarely: King Candy, as the last truly great Disney movie villain (excluding Tamatoa, who's barely used anyway, and movies not produced by their main animation studio), arrived at a point in time when the company wasn't pushing for their villains anymore, and instead actively sanitized some of them in their new stories (you know what I'm talking about); therefore, Turbo, being actually incredibly dark on second look, and with no actual intention of tuning him down like Jafar because he hadn't already reached the iconic status by that point, had no reason to make any big appearance ever again or be paraded around as much.

There are some more reasons as to why Turbo likely doesn't have more stuff dedicated to him, like the fact that he is technically 3 characters at the same time, but I don't want to prolong this section too much.

So instead, how about we take a look at some of his other appearances outside of Wreck-It Ralph?

Let's see...

He has various cards in Lorcana, which is his most recent appearance, mind you;

He became a playable character in the 7th season of Disney Speedstorm, a game where I was hoping he would be the main villain, due to a variety of reasons, but hey, that's perfectly fine;

And he was mentioned multiple times in Disney Heroes Battle Mode, a game where he hopefully is the secret main villain, as it would pay off a large amount of story and design decisions chosen for that game, but it's probably just wishful thinking and unless the game's plug is pulled, I doubt we'll see him anytime soon.

Ok, it's more than nothing, but it's also not that special if you ask me.

But hey! At least he got a boss fight in a Kingdom Hearts game! That's more than Randall can say! He was a major boss in Union Cross... the mobile game... that you can't play anymore... and since KH adheres strictly to its own canon most of the time, it also probably means that we'll never get to play through the storyline of the first WIR in any future mainline game, and we're more likely to see a world based around the second movie instead.......

Yeah.

That seems to be it, unless I'm missing something huge (feel free to let me know).

This section is important because Cruella De Vil became one of my favourite Disney villains of all time not after seeing her in the original movie, but after I saw her in 101 Dalmatian Street, a niche show that almost nobody knows; so other medium appearances are important to these characters popularity, especially when not all of these villains are Frollo.

ALSO, PLUS 1+, I was originally going to cut this point, but I decided to add it anyway: the Italian voice actor.

After recently rewatching this movie in English, (I'm Italian, we in Italy translate the movies to our language because it's easier than learning an entirely different language for them), I have to really admit that Alan Tudik's voice performance really does a lot of heavy lifting for the character's memorability.

This is not to say that the Italian voice dub sucks or that King Candy's Italian voice actor does a bad job, in fact, the voices are actually quite similar to each other, it's just that Alan's performance has that small edge of hidden bitterness that really brings the character together; though I do prefer Turbo's Italian voice for its twist reveal: the more raspy, heavy tone of the actor really highlights the vicious, alien nature of his character, as well as the sense of dread that Vanellope is feeling in this moment; I encourage you to give it a watch.

Again, this is extremely minor, and it really only affects me specifically, but don't worry, it's not going to have influence over the rest of this post.

These were just additional points and not the actual meat of my argument, so now I'll start discussing what I actually wanted to talk about from the very beginning:

Who is he?

I think that one of the main reasons as to why Turbo is so underrated is because we spend way less time than with most other Disney villains (before him) to know him as a person.

Think about it:

Most other Disney villains, or at least the most popular ones, all have moments where they are doing nothing to progress the plot, that are dedicated solely to get us to know them better.

Hades has several moments with his minions to show off his personality and anger, Jafar has silly little moments with Iago that show off his depravity, Maleficent has talks with her crow that make her more dynamic, Ursula has her introduction scene where she spies on Ariel and does nothing but talking, and Captain Hook... has 30% of his screen time dedicated to just that.

Heck, Hellfire, one of the most iconic sequences in all of Disney, is just a character set piece for Frollo, and it's arguably completely disposable, as it doesn't really do anything to progress the story, it just explores Frollo's character in deeper depth and that happens to make the big difference when it comes to him.

King Candy doesn't really have an obvious character centric moment, something easy for the audience to quickly latch onto: every time we see him, he is always doing something to push the plot forward.

Yeah, there's that small character interaction with the Donut cops when he gets glasses, and other small moments here and there, like the would you hit a guy with glasses joke, but nothing truly character-defying.

I also don't count King Candy's first scene as a character centric moment, as that's more of an introduction rather than an elaboration, but it is technically valid, even if it ultimately is just a facade that he puts up to serve his needs.

Speaking of which: the fact that most of what we see of Turbo throughout the story could be entirely fake is definitely something that I could use to make the argument in this section stronger, but I'd rather save it up for later.

Also, side note:

I think that the moment most dedicated to him only, to show off a different, "true" aspect of his personality, is when he is walking back and forth in the castle waiting for his cops to show up again.

This moment is so interesting on rewatch, as it is one of the few moments in the entire movie where I can safely say that Turbo is being 100% genuine and isn't putting up any facade whatsoever, as there really is no benefit to him appearing distressed in this situation.

In general, it's funny to think that Turbo's most genuine reactions are of fear.

Back to point one, do you wanna know why Maleficent was given a crow in Sleeping Beauty? The reason as to why was for her to have someone to bounce off, a way for the writers to showcase more facets of her character, and while Candy has Sour Bill, the movie never uses the relationship between the two to show off a different aspect of his character.

To be clear, I'm not saying that Turbo is a worse character than these other Disney villains, or that without these moments of calmness he doesn't work, one great example

Do you know that Calhoun in early development had a camouflage ability, meant to highlight how she hides her feelings but was scrapped because it made her harder to relate to? Well, let's just say that Turbo's entire character is a What If scenario where that idea actually went through.

It's a double edged sword: King Candy is so interesting because he is so mysterious and surprising all throughout the movie, but exactly because he has to be so mysterious, he is not a character as easy to understand as some of the other villains from the company; it's incredibly easy to miss out on just how cruel he is and the full scale of all the damage that he has done.

I, AM, .......the twist villain.

There's also something to be said about how popular to the conversation the twist that King Candy is Turbo became.

Everyone loves this reveal, am I right?

It may not be the best moment in the movie, but my god if it isn't hype, all thanks to the music, the lighting, the setup, yada yada yada....

But the identity reveal scene is to Candy what the Genocide Boss Fight is to Sans: it's the most impactful moment about his character, to the point where it becomes the entire baseline where most discussions are built around, which, more often than not, lead a lot of people to overlook other things about Turbo.

Let me explain: how many analysis videos have you seen where the person making it talks more about the setup and subtle hints present in King Candy's earlier scenes that slowly build up to the twist and less about the events happening in it?

The reveal is amazing, don't get me wrong, but if Rando's video didn't come along to dive deep into King Candy's earlier scenes with the twist already in mind, the true impact of what Candy had been doing throughout the entire movie up to this point would have been lost on me, and I can imagine someone else feeling the same, as me, casual enjoyer of WIR, have been conditioned to think of Candy more for his well planned out surprise, rather than for how that surprise makes the character more engaging (I hope this makes sense).

I also want to mention this video ranking all the different twist villains from Disney and Pixar where CellSpex says that the Turbo twist is useless, since the movie doesn't do much with it afterwards.

Now, aside from the fact that CellSpex is clearly in the wrong and she's missing the point, I think this lack of reconsideration highlights that casual viewers care more about the Turbo plot twist than they care about Turbo himself.

But honestly, I don't believe people focusing too much on the twist is that big of a problem, more so, the problem stems when you want to use the twist... to discuss something else.

Now, I think it's perfectly fine if you want to use Turbo to explain why other Disney twist villains don't work, but when the villains that King Candy is compared to the most are Hans, Yokai, and Bellwether, you kind of start to think that he is only the best of the worst, and not an actual amazing antagonist in his own right.

It may not be a message that was intended to be sent, but it is something that may subconsciously cling to someone's brain, especially when you consider that there might be a huge audience of people who watch these videos because they saw Hans in the title (wishing for the video to bash him), and have seen Frozen, Zootopia and Big Hero 6, but have never seen Wreck-It Ralph in their lives, and they get all their knowledge of Turbo from them.

It's exasperating, especially when King Candy has way more in common with renaissance Disney villains than contemporary ones.

Yes, through technicality, he is a twist villain, but he's more so a hybrid antagonist to be honest.

And even worse than people just grouping up Candy with a bunch of morons, as I've just discovered by reading a comment from this Turbo Tribute, is that some people apparently despise him for starting the Disney Twist villain trend: even if he's leagues better than his competition, the simple fact that you can attribute some of the blame for the fall of villainy onto him, is enough for someone to despise him.

King of the Cy-bugs (feat Rockotar):

Very recently, I've rewatched Rockotar's video analysis of the first Wreck-It Ralph, and when he arrived at the "Welcome, to the Boss Level!" scene, I decided to analyse all the possible reasons as to why he (and possibly many others, such as, admittedly, myself) wasn't as entranced by it as basically any other scene from the movie, who he had been praising non-stop up until this point.

And I think I understood why: aside from the fact that this scene is only a setup for Ralph's sacrifice (and I wished the actual boss fight to be longer and more creative), the Boss Fight is less of a climax for Ralph's journey and more so a character study for who Turbo/King Candy is.

In my opinion, this is the closest we ever get to a "villain at rest" moment with Turbo because in every other scene of the movie, King Candy is always doing something, he's always active and we never see him doing anything that doesn't coincide with his role.

And, paradoxically to what I've just said about this being a "villain at rest" moment, in this scene, he is still doing something and being active in the plot, only that this time, instead of advancing the story, he's holding it back from its conclusion.

This scene simplifies Turbo's character to his most bare bone essentials: he's a short-tempered jerk, a power hungry murderer, a virus; it's all pretty interesting stuff once you take a sweet moment to break it down.

However, there's a point that I briefly mentioned before that I want to bring up; this creature that we are laying your eyes upon, is now three different people all at once, King Candy (anxious, quiet and manipulative), Turbo (short-tempered, competitive and spiteful), and now this Cy-bug hybrid.

To reiterate what I've said before, if you don't think about it for long enough, you aren't going to understand who either character is exactly.

Because that's the big thing: all of his facades, implied development off screen and reactions are so well constructed that at certain points, it feels like we're following two different characters simultaneously, which fits perfectly with the narrative that so called "real" Turbo died and now he's no longer himself, but...

I'm scratching the bottom of the barrel to bring up other possible points as to why this character is so underrated, and the lack of a clear identity seems like a pretty obvious thing to me.

But that's only two out of the three characters I mentioned; we need to take a second look at the Cy-bug form, who, in many ways, is simultaneously the thesis and antithesis of his character.

In particular, there's one thing I want to consider:

There's this theory made by somebody else that says Turbo, upon getting eaten by the Cy-bug, didn't take over the animal's conscience and control his body, instead, upon eating King Candy, the Cy-bug took upon himself his mannerisms, meaning that, according to this theory, neither King Candy nor Turbo technically survived the encounter.

If we accept this theory as true, then that means that even during what is supposed to be a character study, the character that the movie is highlighting may also be just as fake as the act that was put up until this point, meaning that, in a sense, we never saw the real Turbo in the movie.

He was three people at once.

(Yes, I've been spamming this image everywhere, and I'll keep doing so because I can)

In Conclusion:

Turbo is, ironically and unironically, an incredibly subtle character, and that makes it extremely easy for a lot of people to overlook and miss out on the most subtle details and characteristics that make him truly exceptional;

Him being so deceptive and mysterious helps and hinders his popularity, as some either love the mystery surrounding him, others fail to get a good grasp on who he truly is and become disinterested.

He is, by design, a building block, a puzzle to be solved, a character to piece together, that makes him so much fun!

But also, if you aren't interested in putting the pieces together, then he may not be up everyone's alley.

I definitely feel like the best thing that @randomalistic did in her/their video on Wreck-It Ralph was create an easy jumping point for new fans/casual watchers of the movie to get insanely invested over the story and characters;

I'm sure it was incredibly easy for many other people like me to focus only on the most talked about aspect of Turbo, aka the plot twist, and overlook all the other things that were not as much in your face as that; I was blinded by the spotlight, and it made it hard to see the genius that was put everything else;

Now, thanks to Random highlighting King Candy's cruelty and repulsive behaviour, my favourite thing about Turbo is how he weaponized the "disability" of a child to marginalise and persecute her, discriminating her for it all of her life WHEN HE'S THE ONE WHO MADE HER "DISABLED" IN THE FIRST PLACE.

This man, is so HORRIBLE, and he deserves to be publicly exposed for all the heinous s##t that he did, not just for being the best of a bunch of villains who frankly he shouldn't even be attempted to be compared to.

Anyway, I hope someone had fun reading this. I definitely felt like I started to write this with some really good ideas that I wanted to share, but in the end, I feel like they weren't all that interesting to begin with.

Feel free to share your own opinions, and have a great day!

[shimylli]

So after some time to think about it, I will share my own though on Solavellan ending in Dragon Age The Veilguard, so SPOILER ahead.

ON ROOK AND SOLAS

First I would like to share a bit about them, because I really enjoyed their dynamics on the game.

« – Letting the veil collapse... – ... Is what you want. Making amend isn't about what you want. »

I wish so bad those words, and the whole cinematic would have been from my Inquisitor perspective. That she could be the one angry, and also saying the right word, she derseved it, after all this time.

But I am not angry at all, because like I said, I enjoy Rook and Solas relationship.

Solas treat Rook the way he would have never treated Lavellan. There is such a cruelty in trapping someone in an eternal and lonely prison, and Rook - specially if you play it as a supportive and forgiveful one - is one of the least to deserve it.

Rook see the manipulative, abusive and cruel side of the Trickser god. Solas never really let is guard down this time, He doesn't allow it considering how close he was to stop everything by the time of Inquisition.

Rook forgiving and believing in Solas, still, despite everything he has done to her, was also really impactful and satisfying. And for Solas, it was the first step through healing.

INQUISITOR INTERVENTION

As he still proceed on his plan, he hear the voice of the Inquisitor, and turn so fast.

It is so hearbeaking, and after all this time, he still calls her " Vhenan ".

And for her, he lets his guard down, again.

« – You think you've come too far to come back, but you're wrong. »

Lavellan plays a really mature and forgiving part, and I think it makes sense. In Inquisition, I played an angry Lavellan, the one who scream in elvish and then say " I would have had you trust me " while angrily entering his personal space. But it has been 10 years, and like us, she had time to think about it, to take distance and make peace about their relationship.

Solas is looking for every way to proove that he is undeserving of her forgiveness, give many excuses.

«– I forgive you ! »

I was so happy about the Voice Acting, when Lavellan assertively cut him and scream at him this sentence. She already failed 8 years ago to convince him to stay, and she will not let her second chance pass.

And then...

MYTHAL AND SOLAS

Ugh. Where to start.

I like what they did with Solas and Mythal relationship, seeing how abusive and manipulative Mythal was. In a way, it makes the time between Solas and Lavellan in Inquisition even softer, as she accepted him for the person he was and wanted to be. A person who gave advice and share his wisdom. An equal.

I also don't think that Mythal and Solas were romantically involved, and it would have been better to avoid the companions comment about it, making it moreconfusing. Actually, it would have been even better to not have the team reuniting to watch and comment the really personal memories of Solas like a TV Show.

Mythal is the third to offer forgiveness by sharing the weight of their mistakes, and even so I wish she would have been an optional intervention, I have to recognise that the scene is intense and painful - positevily - to watch.

This is the moment the Lost Elf theme start to play as the same time as the main DA TV theme with violin, they managed to make it even sader.

His body language. He is breaking, getting crushed by the weight from his pain. To see him, so vulnerable, so small, it was heartbreaking. And when Mythal release him, say the last word that finally free him, is like he can no longer stand, he fall crying.

Obviously, he was no longer bounded to Mythal since long, and every bad decision he took in the past were taken freely. Still, metaphorically, it was really symbolic. The guy has been suffering for thousand years.

SOLAS AND LAVELLAN

«– Banal Nadas Ar lath'ma Vhenan. »

And then Lavellan walks slowly towards him, and softly kneel to look him in the eyes. She is caring and supportive, and start saying reassuring words in elvhen. I feel like them speaking in elvhen makes so much sench, has it is kind of their tongue of truth and sincerity.

I love that Lavellan grew to be this person Solas could trust, and could be there for him, show compassion. She does not look submissive, but caring. She definitely is in control of the situation, and she chose to be here for him. Despite everything.

And again, the animation. The emotion in their looks. The tears in Solas' eyes.

The sadness of his gaze while he decide to take the hardest decision, and pay the consequences of his actions.

And while Rook and Morrigan look at him, proudly, there is this little frame.

Lavellan, smiling, lookind down. A bit of sadness in her eyes. I think it is the moment she realise that she have to take a decision. See him take his responsability, keeping him as dear memory, or leave everything to be by his side. And my head still remember what she said to him after the Well of Sorrow mission : " No matter what, you will be by my side. ".

I am not upsed by the ending. This is exactly what I had envision before the release of Veilguard.

Sure, Solas was the victime of Mythal abuse, but the pain and suffering he caused around him were all from decisions he took freely. He needed to make amend, and not a sacrificial reparation. The decision is even harder as it mirrors his fear that we know. Dying alone.

Every other ending is painful to watch when you remember that.

So for him to take his responsability, knowing that he would lead him to a life of solitude. Only, when he chose this path, with the end that awaits him, does it makes sens that the Inquisitor offer to follow him. The world is saved, she leave it in the good hands of people she trust, and she deserve to finally take a break.

And again, the game let you decide if you want to follow him, you can have a Lavellan who think that it was too much for her. But to me, it is the culminent point of their story taking a mythical level.

«– Ar ghilas vir banal. »

Solas speaking elvhen sounds so beautiful. Again, he rejects her, telling her that only terrible thing awaits her if she follow him. He wants to protect her, she doesn't have to face the same consequences as him, she has done nothing but trying to repare his mistakes. I think it shows that he still care, that he would not make her selfishly take the same burden as him.

I know, it is not a grand gesture, but the way he looks at her. I do believe she means everything to him.

And the kiss was so soft. I think us, solavellan fan are not use to it. And it bugged me also, as we had in the past more intimate scene. I think I would have prefere if he at least hugged her while kissing. Still, I think it goes well with the caring and softness of Lavellan, in this specific situation, who is in front of a bruised man.

I kind of count on the artist to make something more emotional.

So far, I enjoyed the ending, I just have a problem with the execution, and now that I am writting all of it, I realise that I even enjoyed the cinematic, I just think I was expecting more. A Trespasser level ending, that would feel more personal.

But I am also in peace with the ending, this is exactly what I wanted for them, and I am sure that they will make of this fade prison a special place for them to grow happy.

And again, thanks to the Solavellan fan to provide us with content that should be in the game. The way he looks at her :

I think this picture alone help me make peace with the end.

And I will just finish with my Lavellan and Rook smiling. I love them so much.

[lesbianwyllravengard]

I love how whenever I see people discuss wyllstarion, in the context of "justifying" why one ships it, there's always that of why Astarion would love Wyll, extensively; bringing up that Astarion said he used to dream of marrying men like Wyll, or that Astarion said wants to feed off of Wyll, or that Astarion would want someone chivalrous and kind who would put his needs first and who would respect his boundaries and his past. Astarion is the fave white boy and so he's shipped with many different people, and this is how people who ship wyllstarion express why he'd choose Wyll. But I almost never see extensive explanation of why Wyll would love Astarion, because of course he would. Of course he'd love Astarion.