#is this analysis? i guess it is

[24bughours]

Little things I've noticed while watching Fionna and Cake episodes 9 and 10

(Potential spoilers and general ramblings)

• Shermy and Yumyulack share a VA :-D

• Betty was on the newspaper the squirrel ate in Fionna and Cake's world.

• Shermy Simon recieved guidance from Beth, the descendant of Jake the Dog, who is iconic for giving great advice.

• When hiding Casper and Nova's story, Betty knew exactly which book Shermy Simon was gonna grab at the library. I'd like to think she didn't have to rely on her omnipotence for that.

• GOLBetty is most DEFINITELY living in a non-linear timeline/doesn't abide to time at all. She uses concepts from the future to talk to Simon. She refers to her life with Simon as an "experience" as if it was just a moment in time

• Barely any Simon and Marcy :'-( Hopefully we get more of them if we get a season 2

• Simon turning away from Betty when he put on the crown. I may be overanalyzing the hell out of this but I SWEAR this must mean something about his guilt or his innermost intentions or SOMETHING

• The statue in Fionna and Cake world changing into GOLBetty (pretty obvious but it should be mentioned)

• The name GOLBetty becoming canon 😭

• Fionna and Cake finding magic in the world they already knew <3

• Little Destiny and Jay living in Fionna and Cake world doesn't cause issues? Is it because Jay is related to Finn? Idk maybe we'll see something about them if a season 2 comes out

• Simon gets therapy (real edition)

• SIMON LEARNING TO USE KAOMOJIS WHEN HE TEXTS FIONNA??? HOW CUTE HE'S SUCH A DAD

• Simon borrowed Astrid's motorcycle-thing in the finale montage. He was also showing her 90's stuff. Maybe they become friends

• ASTRID DRAWING CASPER AND NOVA IN HER SKETCHBOOK. THOSE ARE HER OCS. BETTY IS AN OC THIEF LMAOO

• Baby Finn and Peppermint Tank still being together hehehe

And now, something random I noticed while watching Adventure Time:

SEASON 1 MARCELINE AND WINTER KING HAVE THE EXACT SAME BOOTS!!! HIS ARE JUST BLUE!!!

IS THIS A STYLE THING OR WHAT?? IDK I JUST THINK ITS NEAT

[counting-stars-gayly]

[pesky--dust]

the "diagnosis" Chilton gave Will during his trial was the one closest to the truth ("Will Graham has never been diagnosed. He won't allow anyone to test him. He has carefully constructed a persona to hide his real nature from the world. He wears it so well, even Jack Crawford couldn't see past it. (...) There is not yet a name for whatever Will Graham is.")

unlike Alana Bloom or Jack Crawford, he saw what a manipulator Will was and that in front of them he played a poor, confused, wounded bird ("(...) A particularly-manipulative one at that. Poor, confused, wounded bird for Agent Crawford and Doctors Lecter and Bloom. And for me, well, I get the psychopath's triumvirate: charm, focus and ruthlessness. The charm, of course, being debateable.")

he believed Will that Hannibal may be the Chesapeake Ripper and said Jack Crawford: "Hannibal once served me tongue and made a joke about eating mine. It's hard not to at least consider it.". Jack ignored him. (I think Jack was already planning some large-scale action against Hannibal, but that's a topic for another post)

he called Dr Lecter "Hannibal the Cannibal"

he understood that Will Graham was alive because Hannibal Lecter liked him that way

criticized Jack for letting Will and Hannibal get closer to each other and then leaving Will alone ("You dangle Will Graham and now you cut bait. You are letting Hannibal have him hook, line and sinker.")

when Jack expressed hope that the relationship between Hannibal and Will was one of those friendships that ends after the disemboweling, Chilton told him: "I would argue, with these two, that's tantamount to flirtation. Will is going to lead you right to him." and let's be real, he was right.

[lifeinked]

Why I Love Caitlyn, and Why You Hate Her

⚠️ READER DISCRETION: I am not condoning Caitlyn’s actions and behavior, I am simply exploring the depth of her character and explaining what motivated her pursuit of revenge.

There’s no denying the gravity of Caitlyn’s actions as they are unquestionably wrong. However, her character cannot be reduced to these actions alone. This sudden, devastating behavior of hers is shaped by a thread of complex motivations and circumstances, but many choose not to acknowledge this simply because of her elite background. 

Like many others, I initially overlooked the point of the gassing in Zaun, which I think is a crucial thing everyone must first understand before diving into the discourse over Caitlyn's character. 

The Grey, often misunderstood as being used indiscriminately, was strategically deployed against the Chem-Barons to limit collateral damage. Caitlyn chose precision over chaos, targeting those directly responsible for Zaun’s turmoil. Furthermore, Caitlyn didn’t kill the Chem-Barons; she captured them, with net-deploying bullets. While her methods are controversial, they reflect a calculated approach; mischaracterizing her raid as a reckless attack ignores these details.

This isn’t to deny or excuse the fact that Caitlyn did, indeed, gas Zaun. Who’s to say that gas didn’t seep into the streets where innocent Zaunites roamed, harming them in the process? It’s entirely possible that innocents were affected and devastated. However, my brief explanation is only added to gain better perspective over the objectives of the gassing itself.

Now moving on, despite her privileged upbringing, Caitlyn shows a genuine effort to understand and connect with Zaunites. She places her trust in Vi, a Zaunite she’s never met before, to guide her in her search for Silco. Her journey through the undercity opens her eyes to the struggles of its people, challenging her perspective.

In S1E4, when investigating the airship attack, she encounters an undercity resident and reassures him, “I can protect you.” Later in the season, when Vi gets stabbed, Caitlyn encounters someone formerly connected to Vi. He’s grown a distaste over himself due to his appearance, and yet Caitlyn embraces him with compassion and tenderness, as a silent sign of gratitude. Then, she surrenders her cherished firearm—her only means of protection—in return for a healing potion to save Vi. In S1E7, Caitlyn’s heartfelt monologue in her conversation with Ekko perfectly captures her hope and determination: “This city needs healing. More than I ever realized. Please, let me help you.”

When Caitlyn and Vi stand in front of the Council, Caitlyn declares: “Councilors, this is Vi. She was born in the undercity. Even though we failed her in countless ways, she risked everything to show me what life is really like down there. People are starving, sick, ravaged by Shimmer. They live in constant fear of the coordinated efforts of violent crime lords.” This monologue alone shows how Caitlyn embodies optimism, believing in the inherent goodness of people, even Zaunites. It also shows that she is very willing to fight for them; she sees helping Zaunites as an act of bringing justice and equality into this world.

Many overlook the depth of Cassandra and Caitlyn’s relationship, reducing it to a simple narrative of a daughter mourning her mother. However, Caitlyn’s mourning is more layered than that. Throughout her life, she has been rebellious, driven by a desire to uncover the reality her mother tried to shield her from. In S1E4, Caitlyn reflects on this by saying, “She’d do anything to keep me from seeing the real world.” Caitlyn’s defiance wasn’t just rebellion for its own sake—it was a stand for her ideals. She sought enlightenment and understanding, even if it meant stepping outside the privileged bubble her mother built for her. By venturing into the undercity and aligning herself with Vi, Caitlyn rejected her mother's own ideals.

Here's another scene in S1E8 that emphasizes this:

Cassandra: You're a Councilor's daughter. Your actions reflect on the entire body. Caitlyn: My actions? You know what else reflects on the Council? Its citizens living on the streets. Being poisoned. Having to chose between a kingpin who wants to exploit them and a government who doesn't give a shit!

In a way, her actions mirror Vi’s: just as Vi betrayed her people by working with the enforcers, Caitlyn betrayed her own mother by involving herself with Zaunites. Remember: The last time we see Caitlyn and Cassandra interact on-screen is during Caitlyn’s plea before the Council. And in that moment, Caitlyn was fighting to protect the very kind that would soon kill her own mother.

You say that Caitlyn’s drastic shift is unjustified, as she’s only experienced a fraction of the suffering Zaunites have been enduring. But that’s precisely the point! Her transformation shows how personal loss can drive the change of one’s entire character; she’s never experienced loss before which is why it feels so heavy for her. And unlike Zaunites, Caitlyn actually has the power to act on her grief. Zaunites have only known misery their whole lives. When their loved one dies, they know there is nothing more they can do but grieve. They don’t have an inch of the privilege and military support Caitlyn has. If you had given them the same resources as Caitlyn, they wouldn’t hesitate to bring ruin to Piltover. Simply put, they don’t fight Piltovans because they don’t want to, but because they can’t.

When Jinx takes her mother away, her compassionate ideals completely shatter. Having always sought justice and understanding for Zaun, Caitlyn feels deeply betrayed, as her faith in the good within every Zaunite is overturned. Her mother’s death becomes a turning point—driving her to abandon her ideals and adopt Piltover’s disdain for the undercity, finally understanding the resentment many Piltovans harbor.

We also tend to forget that, aside from losing her mother, Caitlyn has directly suffered under the hands of Jinx. Caitlyn was held captive by Jinx in Season 1—and God knows what was done to her during that period. In the tea party scene, we see Caitlyn break down in tears, visibly flinching when Jinx moves toward her. It’s clear that Jinx has traumatized Caitlyn not just once, but twice. These experiences deeply shape Caitlyn’s actions moving forward. The pain and fear she’s endured push her to a place where she’s willing to sacrifice almost anything, even if it means putting a child’s life at risk (Isha's) or severing ties with Vi.

While they share their differences, Caitlyn and Jinx are the perfect example of foil characters. Here’s an instance which proves this: Both allow themselves to be influenced by manipulative, powerful figures all while being in a vulnerable state of mind.

Jinx is haunted by guilt; her attempt to save her family only ended up killing them, leaving her with the crushing weight of self-blame. She clings to Silco, not because he was the father she needed, but because he was the father she wanted. Silco indulged her destructive tendencies, keeping her at an all-time high on the edges of chaos. Fragile and broken, Powder crossed paths with Silco at the right moment; he saw the perfect chance to mold her into someone bewildered, unrestrained, and astray.

Caitlyn has her own Silco: Ambessa, the ruthless Noxian leader with a brutal philosophy of war. Ambessa enters Caitlyn’s life at a pivotal moment, stepping in just as Caitlyn is grappling with the devastating loss of her mother. In a spiral of self-identity, Caitlyn struggles with the weight of Piltover’s expectations and her unresolved guilt over her strained relationship with her mother (as explained in previous paragraphs). Just as young Powder mourns her family, Caitlyn blames herself for the death of her mother. Caitlyn got herself involved with the Zaunites even when she was warned not to, and at the expense of her defiance came the death of her mother. Driven by guilt and a thirst for vengeance, Caitlyn steps fully into her role, declaring in S2E1: “I am a decorated officer. Leader of House Kiramman.”

Jinx and Caitlyn share a tragic parallel: they both lose everyone they hold dear. Jinx loses Vi, Vander, Claggor, and Mylo. Caitlyn is left without Cassandra, Vi, Jayce, Mel, and Tobias. Stripped of their support systems, they are left isolated, with no one to confide in or rely on. They become vulnerable, used as pawns in the larger schemes of Silco and Ambessa’s strategic games.

Caitlyn's inner turmoil is exactly why Ambessa’s manipulation is so effective. Caitlyn is compelled to take revenge, but she doesn’t know how to. And without anyone else to guide her, she places her complete trust in Ambessa's expertise. Ambessa doesn’t just give Caitlyn the authority and power to avenge her mother; she teaches her how to use them to their full potential. She toys with Caitlyn's vulnerability, making her adopt the Noxian values of wrath, bloodshed, and ruthlessness. 

It’s easy to downplay Caitlyn’s grief since she comes from an elite upbringing. While Cassandra Kiramman is laid to rest in a golden casket with a proper burial, countless innocents in Zaun become victims of merciless violence, being left to die on the streets. After the timeskip however, Caitlyn is shown to recognize the moral cost of her actions. Though the series portrays this realization subtly, it becomes evident that Caitlyn is grappling with the inhumanity and immorality of her pursuit of revenge. In S2E4, this internal conflict comes to light during her conversation with Ambessa. When Ambessa attempts to stoke her fury again, Caitlyn disarms her with a piercing question: “Why is peace always the justification for violence?”

Here's another scene that subtly depicts her realization and remorse:

Caitlyn: You're a monster. Why? Why do all this? Singed: Why does anyone commit acts others deem unspeakable? ... For love.

When Caitlyn steps further and sees Orianna, she realizes that Singed's revenge is a reflection of her own: a person grieving the death of their family member. Here, there's a saddened glint in her eyes. She finally understands now, that love and grief made her do things that once seemed so foreign to her. In this case, going against her own principles just to succeed in her revenge.

Caitlyn is now forever haunted by the outcome of her mistakes, but she knows her past cannot be erased. During her confrontation with Jinx in the prison, she admits, “No amount of good deeds can undo our crimes.” While this statement is directed at Jinx, it feels like Caitlyn also holds this against herself for her own wrongdoings. 

Caitlyn’s acts of atonement are done quietly. She’s not good with words; she’s bad at articulating how she feels. Ironically, Vi is much better than Caitlyn when it comes to confronting and vocalizing internal conflict. So instead, Caitlyn’s actions speak for herself. By removing the guards at the prison, she tacitly allows Vi the opportunity to rescue Jinx. She knows Vi will come to save her sister, and yet she lets her. She finally lets go of Jinx and the grudge she held against her, as a silent act of her love for Vi.

And in S2E9, Sevika is shown to be sitting among the Councilors. But thanks to a fan's keen eyes, we find out that she is sat particularly on Cassandra Kiramman's chair (which not many notice). By allowing a Zaunite to occupy her mother's seat, Caitlyn gives them a chance to be rightfully represented, a chance for their voices and suffering to finally be heard. It’s a quiet display of Caitlyn’s evolution and willingness to bridge the divide between Piltover and Zaun.

That said, Arcane’s ending left much to be desired regarding Caitlyn’s arc. The heavy focus on Hextech overshadowed the sociopolitical dynamics of Piltover and Zaun. This is the main reason a lot of hate is thrown toward Caitlyn—there is an act of accountability, but there a lack of consequence. While Caitlyn acknowledges her mistakes, her privileged status keeps her from real repercussions, unlike the tragedy other characters had to face. This is frustrating, even to me, as someone whose favorite character is Caitlyn. Yet, in a way, it realistically portrays the inequalities in our own world—where the elite are often shielded from justice, and repentance is the closest they ever come to redemption.

[bornwholocker]

Guess who made even more of these stupid things

[neo--queen--serenity]

This episode really highlighted how close Marcille, Laios, and Chilchuck actually are.

The viewer is used to seeing our main characters behave like coworkers up to this point—even friends—and they express normal, understandable levels of concern and fear when their other party members are in danger. But when the nightmare attacked Marcille, it brought out sides of Laios and Chilchuck that the viewer hadn’t seen before.

Laios immediately notices when something is wrong with Marcille, and he tells the others as soon as he’s sure of the problem. Chilchuck and Senshi then follow Laios’ lead as it becomes clear that he intends to make her get some rest.

We see Chilchuck’s hands lay out the bedroll and Senshi’s hands set up the pillow, working in almost perfect tandem as Laios physically wrangles Marcille into bed.

Senshi is in a similar perspective as the viewer, and mostly sits and watches the ordeal unfold. He doesn’t have a shared history, like these three do, so he helps in little ways, but mostly waits on standby for direction.

From here on out, it’s mostly Laios and Chilchuck who take over in planning how to help her.

It’s uncommon for Chilchuck to openly show such distress and worry for one of his party members. He’s used to Marcille being able to defend herself; he’s used to her being capable and strong. He immediately defers to Laios for instruction, (rightly) assuming he will know what to do.

This actually produces a reaction close to real fear from Chilchuck, who outright SMACKS her in a panic to wake her up before getting any further information.

Laios has to quickly stop him, explaining that he could truly hurt her if he interrupts the attack this way. He tells them how he’s going to wake her, and he doesn’t hesitate. He jumps straight in, explaining what he’s doing for the others so that they (Chilchuck) won’t be afraid.

Chilchuck doesn’t question him once. He just does what he can to hurry along the process. He tucks Laios in with his blanket as soon as he lays onto Marcille—an unnecessary action that betrays how much he cares for both of them.

And Laios succeeds in helping Marcille out of the nightmare’s grasp. While trapped in her mind, he reassures her, protects her, tells her how much she’s valued and appreciated. He isn’t embarrassed or sheepish about it, either; he openly declares these things like it’s the most normal and obvious thing in the world.

He gets her out, he saves her. He did the exact thing he set out to do, even though he’d never done it before, and only had Falin’s secondhand information to work with.

Once he wakes, Chilchuck immediately checks on him to see if he’s alright. Chilchuck is clearly still rattled, displeased with having to wait while both of his close friends were unconscious, fighting a battle neither he nor Senshi could see or help with.

Marcille wakes up shortly after Laios, but Chilchuck is still on edge, worrying that she’ll fall back asleep. Laios, too, has a moment of alarm when he makes sure she won’t close her eyes again.

Once he takes the subdued nightmares out of Marcille’s pillow, only then do Laios and Chilchuck relax.

Laios, for his part, remained calm and collected almost the entire time. He did not show panic or fear when it became clear that Marcille was being attacked, nor when he told the rest of the party what he’d be doing to help her. And once the nightmares had been collected from her bedroll, he gently explained what happened, to everyone else’s horror.

Seeing this, it’s not a huge surprise that the Touden party is so successful. We’ve seen Laios handle danger with a level head; we know he’s capable.

But it’s an entirely different kind of talent to face a threat that’s targeting one of your closest friends—which can make even the most competent fighter sloppy out of fear of losing them—one that requires a high-risk, specific rescue style that none of you have ever tried before. And then pull it off flawlessly. Like damn, these guys are lucky to have him.

[idiotsonlyevent]

it is completely understandable to be uncomfortable with the sexual assault in dandadan. it's important to discuss how it's framed, whether it's handled poorly, or if it could be been portrayed better. but the number of people - even fans - stating that it is only fanservice, irrelevant, or could be removed is frankly bizarre to for SO many reasons, starting with the fact that this parallel exists.

the anime made it even more obvious by interpolating cuts from the first scene into the second one.

i thought this scene showed that momo gaining her powers by believing in her relationship with her grandmother gives her the strength to fight back against what is basically a horrific, much more aggressive and abstract (maybe even absurd?) representation of her shitty gross ex - who was demanding she 'put out' and pay for the love hotel in very first scene.

while the escalation from one scene to the next is surprising, it's not something that comes out of nowhere. this first scene is meant to be a set-up to what will happen later. it sets the tone, though significantly more lighthearted at this point. it tells you that sex, sexuality, etc. is something dandadan will touch on - though you don't know what the scope and depth will be until later in the chapter.

i cannot recommend this video enough, as it discusses some interesting interpretations of what the serpoians and turbo granny represent in their respective assault scenes, as well as how right now the treatment of both scenes is unfortunately uneven.

more notes about plot and thematic relevance below the cut. spoilers for anime-onlies (up to chapter 8, will probably be covered in episodes 4/5).

momo was assaulted, and almost cut up by the serpoians, much like the other victims turbo granny appeared around. this is an intentional parallel. turbo granny goes to momo because that is what she does. again, SUPER unclear how that factors into turbo granny's assault of ken, but if we keep the video's interpretation of cynicism in mind, it could be related to that; maybe turbo granny has a cynicism toward men - similar to momo in chapter/episode 1 - and this is why she chose to attack ken. unfortunately, it's still too early to really understand and explain a lot of her motivations.

again, completely understandable to not like how the sexual assault was handled or portrayed, and it's important to keep discussing it. but this is what dandadan does for many different types of trauma and difficult life experiences. this is a huge part of dandadan's identity. if you don't like it, that is fine, but calling the sexual assault 'just fan service' is blatantly untrue.

[blueskittlesart]

we’ve officially reached the 1 year mark since the last zelda release so that means it’s time for me to lose it and start analyzing characters' walking speeds

[canine-economy]

Daisuke’s Death and the Invisible Abuse of “Privileged” Children

tw: extensive discussions of child emotional abuse

Another mouthwashing text analysis before I post any polished art? Shocker. But I really really appreciate the reception on my Swansea post, especially as a new account! This Daisuke-centric analysis is gonna be a quick one (< this was a lie. long read ahead!) but he is a character who resonates deeply personally with me as a victim of abuse that looked very much like his own. I do plan on doing a larger analysis of his character, but the abridged version necessary for this piece goes as follows:

Daisuke’s treatment in the narrative—both his implied home life and Jimmy’s taking advantage of him to go into the vent—is another one of this game’s excellent portrayals of normalized (and thus invisibilized) abuse. Children are often cited as one of the most vulnerable classes of people, if not the most vulnerable (I acknowledge that Daisuke is not a child, but Mouthwashing implies that this narrative of his inadequacy has persisted throughout his upbringing and, to this day, he is dictated tasks and lacks independence, treated like a dependent. His youth is also an undisputed feature of his character and, most importantly, the cast treats him like a kid). Children’s dependency on adults and our willingness as a society to accept that the adults in their lives provide the most objective perspective on these young people renders them particularly prone to abuse easily swept under the rug or “justified” by wardens who possess the power to dictate the narrative. Jimmy’s engagement with Daisuke is an extension of the latter’s vulnerability. The co-pilot’s assertion that “he’ll be fine (…) mommy and daddy have him covered” at the birthday party represents a deference to Daisuke’s parents as adequate caretakers who will ensure his longevity and comfort on the basis of their wealth. And we know that Daisuke’s parents think the same—the Q&As reveal that they believe they are doing the best to secure their son a good future. However, the same Q&As indicate that they don’t actually engage with or understand Daisuke’s interests and that their approach to parenting him is entirely understood through their personal beliefs, not those of their son. And Daisuke clearly carries that quite close to his heart. He seems to struggle with identity and acceptance, seeking validation in the form of praise. Daisuke is defined through what he can do for others and not what he independently brings to the table, because that has never mattered where he grew up. The consequences of his parents’ failure to meet his emotional needs ultimately conditioned Daisuke to be perfectly available to be taken advantage of in a corporate setting defined by capitalist attitudes and hierarchies.

While it’s not concrete to say that Daisuke grew up in an emotionally abusive household, it is most important that we cannot dismiss the possibility and that his behavior as the outcome of some obvious degree of neglect is well-aligned with this theory. Moreover, the young man who comes out of that household is easily targeted by Jimmy’s abusive tendencies as a direct result of what he internalizes growing up. Daisuke is apparently financially well-off (contextually we can’t be sure if Daisuke’s family is upper class, middle class, or somewhere in between), and with that comes privilege. Even the way he packs—multiple personalized outfits, entertainment devices, etc—reveal that he’s used to certain comforts and hasn’t yet acclimated to the harsh expectations of companies like the Pony Express. But, especially where young people are concerned, it is all too easy to allow this privilege to act as a curtain between abuse and the outside world. We can acknowledge the privilege and also recognize that it benefits his parents much more than it benefits him as a young person.

Emotional abuse is complex and extremely damaging and Daisuke *does* show symptoms of at least being constantly verbally accosted and emotionally neglected by his parents to the point of permanently warping his sense of self. It also generated his overreliance on authority figures to tell him how to keep himself safe in their world. His mother apparently insulted him to his face (“such a slacker, she said”, and being reprimanded for being too talkative [from the Daisuke teaser]), and a lot of his negative self talk (“total screw-up”, “fuck up”, etc) is reminiscent of how people define themselves by parroting what they are called after internalizing consistent externally-imposed definitions of their identity. While these are not surefire indicators of abuse and I am not willing to diagnose a situation as abusive purely predicated on these factors, the behaviors Daisuke exhibits as a result share many commonalities with those of victims of childhood abuse. In fact, just about every time Daisuke speaks about himself in Mouthwashing, he mentions his failures and his work. It’s not lost on me that the teaser for the whole character is him pondering his mother and how she might not recognize him if he isn’t noisy and obnoxious. He personally puts a lot of stock in their assessment of him as lazy and annoying, but nevertheless tries to accomplish learning through the internship. Furthermore, Daisuke takes on a lot of his mother’s pain, hoping she doesn’t blame herself for the negative things that happen to him (even though in the same scene he reveals that she’s the reason he’s on the stranded Tulpar at all), indicating that he has taken responsibility for the feelings of people in his life even when those people are not his to care for and even bear responsibility for his pain.

Now in young adulthood, Daisuke rarely seems to have any sense of self beyond his parents and his work aside from one-off quips about baseball and babes. It suggests that he has always had to prioritize his parents’ desires growing up to avoid being treated unfairly and even cruelly, stunting his self-discovery. In abusive situations, your understanding of safety and your pursuit thereof are radically impacted and we see this manifest in Daisuke’s continuing willingness to accept those in command as the pinnacle of safety over what one might consider logical, personal acts of self-preservation. He equates safety with obedience, and I contend that that equivalence suggests a lot about how his parents reprimanded deviance from their plans. And not to be that guy, but it is kind of outright cruel to dump your utterly inexperienced teenager-to-early-20-something on a 1 year, no contact, unsafe space voyage in a failing industry knowing that he doesn’t have the necessary skillset yet. That’s what his parents do when they aren’t satisfied with his progress, and it’s intense and disproportionate and alarming! Especially for the dependent! They toss him into the deep end of the corporate machine and insist he learns to swim in such an oppressive, stifling atmosphere. It’s no surprise that he drowns, especially when he himself can’t recognize this as an unrealistic expectation and tackles it with everything he’s got because his parents are theoretically always right about what he needs. I don’t think it’s a stretch to say that normalized emotional abuse from the home and how it maps onto a victim’s adult life is a topic Mouthwashing would endeavor to touch on, because visibilizing invisible abuses of power in heteropatriarchal capitalist schemes is arguably the central undertaking of the game.

I don’t think Daisuke has evil parents or anything, rather that what we accept as “good parenting” and “good mentorship” is often negligent with regard to emotional needs and can easily become a source of heavy trauma for the children and mentees if that emotional aspect is stretched too thin in the pursuit of success. Not all abuse is intentional, and the dev Q&As imply that Daisuke’s parents thought they were sincerely investing in his future. They cared, just not in the best way for his wellbeing. Because capitalism emphasizes the individualistic pursuit of success above all else, it’s no wonder that a parent would think that the best thing they can give their kid is an avenue to prosper financially. But in doing so, Daisuke’s parents deny him the opportunity to define himself, to experience agency, and to build up confidence. Effectively, they create a young man so vulnerable to abuse by higher-ups (a manifestation of abuse that is often intentional at the systemic level) that he decides to climb into that vent at Jimmy’s discretion under the pretense that he will make somebody proud. Because that’s how Daisuke has been raised to understand himself and his place—the presumed screw-up boy as a default, making you proud by doing the right thing, who has learned to pursue that achievement to avoid the condescension and disproportionate backlash (e.g. the internship itself) that comes with failure. Everything circles back to his parents’ expectations that he makes for a good worker. When the cocktail knocks Swansea out, Daisuke makes an offhand comment about getting a bad reference—even in the most dire of circumstances, he can’t stop thinking about their capitalistic expectations for his “good” future.

I find that Daisuke really is such a good subtle portrayal of how parents with resources can get away with emotionally stunting their children because we perceive their ability to put a roof over their heads, food on their plate, etc as adequate parenting and even a privilege for the child when it should be the bare minimum. Jimmy certainly buys into it, and even some of the fandom parrots that, really and truly believing Daisuke is some good-for-nothing kid who doesn’t try hard when all we see is him working, including climbing into the vents to try and help despite not being assigned the work (foam scene, not his death). I find this reception shows how inclined we are to accept those narratives of the privileged child’s inadequacy before we address the parent for not fulfilling a child’s emotional needs, which are just as important if not more than the material.

To wrap this up with a quick discussion of the symbolism of his death in the context of the emotional abuse of children (which is the reason I made this whole post but I can’t talk about this guy without going off): Daisuke getting so badly injured trying to do what’s right is a very physical manifestation of the suffering he was already going through. It is the pain of constantly people-pleasing and of holding it all in when he’s lashed out at. He gets injured at all in the pursuit of appeasing Jimmy and (theoretically) Swansea, both of whom he blindly trusts despite how they treat him because he has always been expected to just adhere to the adults with authority in his life. Being talked down to by them is not new and has never been a reason to question their judgement. Daisuke sees this as a product of his own inadequacy as implied by other people, and not of external cruelty. He was raised not to question the system for fear of repercussions.

Jimmy is perfectly situated to coerce him into a dangerous situation because Daisuke has never been taught to say no. The safest option for a scared child is to trust their mentors, and an adult Daisuke does just that. Even Swansea’s teachings of safety are dismantled by Jimmy’s tactical use of captainhood to break the camel’s back. Authority. Daisuke must always listen to authority. Jimmy knows the vent isn’t safe. Swansea tells him directly and he observes the foam incident (if from a distance). For as much as he acts like he cares about taking responsibility for Daisuke’s safety, his individualistic pursuit of “fixing” things manifests in Jimmy again taking advantage of a vulnerable person on the ship. Jimmy doesn’t reconcile Daisuke’s eagerness to help with lessons on safety like Swansea does, but rather uses it only when it benefits him. Daisuke is taught by his upbringing to accept this kind of treatment—for safety, defer to the leader in the room even if it hurts and you don’t want to do it (just like he didn’t want to be on the Tulpar in the first place).

Then, once the intern is out of the vent and mortally wounded, Jimmy applies the mouthwash (a product to be sold, hauled in the interest of the corporation) to “help” sanitize the wounds. But the sugar content negates medical utility and only worsens the pain. We can interpret this as the application of material privilege, “sweetness”, that wasn’t actually any help at all to solve the deep wounds left by emotional pains. Mouthwash rids you of the bad taste but doesn’t kill all the underlying germs. One could argue further that in this scene, the mouthwash is specifically representative of the Pony Express internship: a rare stepping stone in the corporate hustle gained through privilege and presented as a boon. Like the mouthwash, the internship is imposed on Daisuke to try and “help” him succeed and be better, but it only elevates the pain by irritating the wounds and ends in his agonizing demise. However, this fine-tuned comparison isn’t necessary to my point. I find the broad implications of the mouthwash as an antiseptic immensely representative of parents and caretakers who don’t seem abusive to the outside world but who are actually subversively hurting their children and ultimately conditioning them to be victimized by capitalist attitudes. Our deference to material comforts and corporate opportunities as indicators of wellness renders us blind to where caretakers fail to address the emotional needs of young people. At the end of the day, Daisuke is still killed by the values his parents have instilled in him. It’s always the ���captain’s” (literal or figurative) orders that seal the deal and cut off any of his autonomous doubt or dictation (for example, his desire to listen to Swansea and not go in the vent). His parents’ symbolic and saccharine gestures mean very little in the scheme of creating a person who can survive the pressures of the “real world” when malicious actors (JIMMY.) and the capitalist enterprise as a whole bear down on the cracks of an emotionally taxing youth.

A/N: Maybe I’m thinking about all of this too hard, but the beauty of Mouthwashing is that I’m never quite sure that’s the case as this game feels so deliberate. Anyway, as somebody who has clinically diagnosed PTSD stemming from childhood, this has always been a really important analysis to posit and I finally found the time to put it into words. I feel like Daisuke as a symbol is often overlooked by the fandom. He’s enjoyed, yes, but not really broken down like the others are. That diminishing of his importance and his feelings about the situation also feels like a symptom of his age. But that’s neither here nor there—like I said, I believe I could do a much more in-depth analysis of Daisuke as a victim of subtle abuse but this will have to do for now. A lot of my major points have been made, anyway! Perhaps video format would be best for something longer-form. 🌺

[shreddheir]

One thing I adore about the dungeon meshi kelpie arc is how it delineates the difference between “trained” and “tame” SO WELL. Anne the kelpie was nice around senshi, because he fed her and was always respectful. She was trained to not attack him, effectively. But she’s still a monster/wild animal, so the moment he showed “weakness” by trying to ride her, her instincts kicked in and she attacked. And. You’d think Laois, the resident animal lover, would be upset about having to kill a seemingly tame monster. But he suggests it first. He’s not just an animal lover, he’s a biology nerd, SO HE KNOWS ITS UNSAFE TO BE SO BUDDY BUDDY WITH A CARNIVOROUS WILD ANIMAL!

[shaylogic]

Charles, within a few hours of meeting Edwin: I'd love to move in with you and start a business together

Charles, within a few hours of meeting Crystal: Hi! Would you like to see my parents?

Charles, love, I'm begging you to slow down

You absolute u-hauling lesbian

[rainofthetwilight]

uahghdhghrhghghshf the way cole connects with the team uniquely will never not make me go insane 😭 like, how he's able to talk and engage with them all with things that interest them because he cares about them just feels so genuine and sweet man, he's a sweetheart and such an empathetic character I love him so much 😭😭

[pesky--dust]

You have no idea how big supporter of the theory that the fall from the cliff never happened I am.

Like— The first scene of the series didn't even happen because Will was so immersed in the story he was telling during the lecture. It was only his imagination; at the crime scene Will quickly receives confirmation of all his conclusions, such as the fact that the marriage was tapped and I truly doubt electricians would have been called immediately to the crime scene along with the police, ambulance and FBI. And then he is suddenly “magically” back in the classroom from the house of the victims, when he says, “Everyone has thought about killing someone one way or another. Be it your own hands or the hand of God”.

And since the first scene of the series didn't take place at all, why wouldn't it be the same with the ending? During the battle with Francis Dolarhyde, Will sees him with the wings of a red dragon, something that is unreal. He is also only imagining that.

And the fall is also from Will's perspective, so did it really happen? Or is this only a metaphor for his fall as a human being? He genuinely felt that the brutal pack hunting he shared with Hannibal was beautiful, so he finally accepts his dark nature — he falls as a good and moral man, descending into the depths of crime (ocean).

I love it so much. I'm sorry.

[imsosleepyofyourbull]

I think the parallelism that exists in Twisted Wonderland’s Leona&Ruggie and Kalim&Jamil dynamics is absolutely fascinating.

The former only exists because the inherently mixed class nature of the school allows them to interact in a closer capacity than they typically would at home, while the latter is explicitly the product of a historical power imbalance in their families that followed them to NRC. As such, the kind of work that Ruggie and Jamil offer their respective “masters” and why they offer their services at all naturally conflict with the other.

Ruggie chooses to serve Leona for his and his family’s own benefit where Jamil is forced to stifle himself by his family for the sake of Kalim’s personal happiness.

Ruggie clears the way for Leona to do as he pleases (whatever that may be) where Jamil has to carefully manage Kalim’s life to keep him safe even when Kalim makes it difficult.

When Ruggie and Jamil claim that they couldn’t imagine serving the other’s master, that’s not some off handed joke — it’s a direct comparison to the kinds of people Ruggie, Leona, Jamil, and Kalim are as a result of their backgrounds. Jamil wouldn’t be able to stand being the errand boy in Kalim’s grand plans the way Ruggie has clearly grown comfortable with acting as someone else’s hands and feet, and Kalim is too flighty to keep a proper scheme in motion. Ruggie doesn’t have the time to check for poison in all of Leona’s food and drinks and tutor him and plan parties and play house the way Jamil has always accommodated, and Leona would sooner kick him to the curb then let him try. That’s why Jamil’s attempts to work with Leona in Chapter 7 of the main story result in such dismissive irritation.

Jamil is trained to think of Kalim’s wants above his own needs and to protect him with his life, but in what universe would Leona Kingscholar ever need that kind of utterly selfless protection?

He is well aware that Ruggie originally approached him with the intent of taking advantage of his wealth and power for the sake of his own survival, and that motivation didn’t change even after the hyena grew genuinely attached to him. There is a mutual transaction there that doesn’t exist in Jamil&Kalim because Jamil has been taught to sacrifice for his master where Ruggie wouldn’t have ever bothered to associate with Leona if he knew he would have to give and give and give but never take for himself. Which is not to say that Jamil can’t be selfish or that Ruggie isn’t selfless, as proven time and time again.

Jamil betrayed Kalim despite being trained to stand by him where Ruggie believed in Leona all the way to the end despite originally approaching him for his own gain, which is almost definitely intentional in light of the level of independence Jamil and Ruggie had in their relationship to their masters and their duties. It’s really no coincidence that Jamil’s Unique Magic strips the target of their independent thought where Ruggie’s only forces them to mirror his own movements in action.

[aroaceleovaldez]

I was reading a post about CoTG and I realized: Rick has seemingly started to write every character pairing with the exact same dynamic, and he's not good at writing that dynamic and it doesn't make sense for 90% of the characters he writes it for.

It's that very specific dynamic of one half of the pair who is almost aggressive to the other party - "teasing" them constantly/insulting them, affectionately punching/judo flipping/maiming/etc, seemingly almost always exasperated with the other - and said other party usually just accepts this treatment or blanketly views it fondly, and may generally be framed as more incompetent than their partner and a little bit of a doormat (particularly relating to being insulted/teased/etc by their partner).

We start seeing this dynamic in HoO with Percy and Annabeth, as a sort of semi-inconsistent twist on their rivals-to-friends-to-lovers dynamic from the first series. Then the dynamic pattern develops further with Leo and Calypso. Then Magnus and Alex. Then Nico and Will, particularly in TSATS. And now in CoTG, it's Percy and Annabeth again but even more in this direction.

I know people have talked about Nico and Will's relationship over the series rapidly being shoehorned into Percabeth Two™, and it's extremely apparent in TSATS that Rick's doing it on purpose (including directly quoting Percabeth scenes but minorly tweaking them to be Solangelo). But recognizing it as an overarching trend in Rick's later books honestly reminds me a lot of how Rick started trying to apply the "Percy Formula" so-to-speak to nearly every protagonist in HoO (and then try to replicate similar character archetypes with Magnus and Apollo's narrations - moreso Magnus in being jaded and sarcastic, very much trying to be first series Percy. He only sounds unique because Rick failed at making him Percy 2. Apollo is more akin to later-series Percy characterization of being goofy and incompetent. Apollo [and Zeus] even got retconned to give Apollo a more similar backstory to Percy's). Rick seems to have decided that he thinks the audience wants this specific dynamic but 10 times over, except he's not good at writing it the first time because it's a bastardization of the time he did a different thing okay.

And Rick also seems aware of that too! Because he retconned Calypso and Leo at the end of TOA, probably because he realized how absolutely awful it was reading when they were written with that dynamic of Calypso just functionally hating Leo and constantly being aggressive towards him! The only time Rick's actually made the dynamic even semi-successful was with Magnus and Alex, because it actually fits within their characters, their dynamics with each other, and their environment. Alex beheading Magnus on the regular works out fine because there are no repercussions to that in Valhalla, Magnus will be fine, so it does genuinely come off as humorous. And Alex has been effectively established to be abrasive at times but have her genuine feelings shine through regularly, and that meshes well with Magnus' jaded-and-aloof-but-quietly-very-empathetic character. And Magnus has been established to, yes, not be great at combat, particularly compared to Alex. They are the only time that flavor of dynamic in that form was effective and cohesive.

Percabeth is no longer rivals-to-friends-to-lovers badasses on equal levels with shaky pasts who finally found some form of permanence with one another. Now it's super smart doting and affectionately aggressive girlfriend and her silly goofy 50%-of-the-time incompetent boyfriend who she judo flips/pushes off cliffs/etc - but affectionately~! Solangelo is trying to riff off of the early series "Poseidon & Athena are enemies" dynamic that Percabeth had but with Apollo & Hades being "opposites" but learning to accept each other, except it ends up with Will just coming off as a huge asshole and Nico being retconned to a complete doormat about it - when prior to that those characterizations would be completely contrary to their established characters (even just from TOA!). Calypso in HoO gets retconned from her PJO characterization to being snooty and aggressive, and Leo's false persona gets merged into his just normal personality except he just also becomes a doormat but more goofy than Nico with occasional haha-dark/depression-humor! Which Nico also got. Which was also a bastardized Percy trait that got redistributed.

It's exhausting. Rick write more than one relationship dynamic you can do it I promise

[jayladfanpage]

Saw a post saying that Cassandra Cain would hate Jason Todd and I'm sorry but. Are we talking about the same Cass Cain? Are we?

I understand the sentiment of "Cass would be outraged by Jason's morals" (when we're talking New Earth, at least,) that makes sense. I do think she would hate his ideals. Not Jason himself, though.

Cassandra knows death. Literally the thing that motivates her to be a hero is that, because of her ability to read body language, she experienced death after her first kill. She didn't just watch that man die, she died with him. She knows exactly what Jason felt like when he died, she knows how much it fundamentally changes somebody. I think she wouldn't understand how Jason changed for the worse, but she, out of everyone in the Bats, would actually, genuinely be able to see the boy Jason used to be when looking at Red Hood without separating Hood and Robin in her mind. Your death isn't something you ever forget.

Also, not only does she know the pain Jason went through when he died, she knows the grief Bruce went through, and is still going through when she finds out about Jason's death.

Obviously, everyone loves this scene (Batgirl (2000) #7) because it perfectly encapsulates both Cass' and Bruce's ideas of what makes a vigilante/hero. But there's a second layer to this, which is that Cass, who speaks in body language, feels Bruce's grief. In this scene, Cass isn't just shocked to learn that a Robin died, she's mourning Jason just as much as Bruce is. She can feel all of his regrets, all of his pain, all of his guilt. Cassandra would never be able to look at Red Hood without remembering what Bruce felt, what she felt, when he died.

Lastly, while Cass' morals aren't as much about "second chances" as Bruce's morals are, she is still desperate to save people. And Jason's main thing is that Bruce (and Dick, I'll make a meta post about Brothers in Blood at some point) can't save him. Saving Jason Todd goes directly against Bruce and Cassandra's morals, but another thing that Bruce and Cass have in common is how unwilling they are to give up. Everybody will be saved, or they'll both die trying to make it so. "Everybody" includes Jason, who's always worn his heart on his sleeve, who most likely wouldn't even try to hide his emotions/body language from Cass, because he never bothers to hide his pain, is always begging to be saved, just in a way that Batman can't fix. Jason doesn't just need help, he wants it. So Cass would never hate him, because she sees that Jason wants to be fixed, wants to change the man that he is, but feels like he can't do that until Joker dies, as seen here:

(Urban Legends (2020) #6)

And I think Cass would see that and would do everything she could to save Jason from himself without killing Joker. She could never hate Jason, not when she so fundamentally understands him and his struggle to believe he could ever be a good person. She knows his guilt doesn't absolve him just like her guilt doesn't absolve her, but Bruce gave her a chance to be a hero when he saw that she'd changed, became a better person. And I think she would go her entire life trying to give Jason the chance to change, too.