#it makes the whole thing so much more meaningful

[basedonconjecture]

I just read a critique on how the fandom treats Caterina, flattening her into a wholly morally objectionable character beyond her treatment of her grandsons rather than engaging with the nuance of a matriarch who is balancing her grip on power with the survival of her family. And I…have to agree that this is largely what I’ve seen myself and, while unsurprised, am somewhat disappointed by.

I want to be as delicate as I can here but there does seem to be a fair amount of players projecting their familial traumas onto Caterina, specifically, as well as the dynamics of the Dellamortes as a whole without accounting for their actual characterizations. There is certainly a form of catharsis in working through painful things within us using characters we relate to (and you can, of course, write whatever you want) so this isn’t me saying there’s anything conceptually wrong with this practice as a general rule. It is only me (calmly, gently) suggesting that a bit of circumspection about Caterina when writing her is, in my opinion, necessary. Not only to give space to a character who, by the very nature of them, IS complex but also in accurately depicting Lucanis’ (and, by extension Illario’s) relationship to her.

This isn’t to absolve Caterina of the choices she made or the harm she caused but there is something to be said about how there is far more sympathy for a man willing to sacrifice thousands of people for a lost cause than a woman trying to make the best decisions she could in the position she was in. I’m not going to say them here but I’m sure my meaning is clear.

I will say, while I think wanting to write Lucanis getting away from the Crows comes from a generally well-meaning place, I do think there are few ways to do so that wouldn’t strip him entirely of his agency unless you are engaging with Caterina (and his relationship with her) in a meaningful way. And this includes grappling with the murkier aspects such as grief and the love that remains for a person who has caused you harm. Most of all, it requires Lucanis making this decision himself. Not Rook or anyone else. Personally, I don’t think it’s a path that is super consistent with his character but that’s just my own interpretation. Again, write what you want. How you want. But I do think the themes of regret and forgiveness can be applied to the Dellamortes in a much more nuanced (and satisfying) way than Rook (or Neve) “saving” Lucanis from his terrible family as much as they may want to. Which can be an interesting angle to take in a post-VG relationship, conflict is important for relationship growth, but it becomes rather shallow if it is solely depicted as Caterina hating Rook/Neve or treating them poorly and/or doesn’t take into account Lucanis’ feelings, only pitting his family against them in a sort of forced choice situation, etc.

tl;dr the fandom’s treatment of Caterina largely kindaaaaa squashes any nuance there and I don’t wike it *whinewhinewhine* :(

[starcurtain]

Some Speculation on Kaveh’s Father

I actually started this post right after the Parade of Providence event last year, but never got around to finishing it. However, in light of Kaveh still not appearing on a banner, I decided to dust this one off and get it finished, so that I’d have at least a little Kaveh content in my life after being so cruelly denied by Hoyo.

So, without further ado, some stuff about Kaveh’s father I did not see discussed elsewhere but which I think is especially interesting.

1) Kaveh’s father likely first became depressed/disillusioned with humanity after witnessing (or possibly being the victim of) a murder attempt.

Without knowing the full situation and reading all the additional text from the Parade of Providence event, I feel like this might have been easily missed, but the entire “Kaveh’s dad became disillusioned and depressed and retreated to the desert to help people” seems--at first--like it came out of nowhere. He had a lovely family, was the pride of his darshan, and was eager and excited to win the crown to bring it home to his son. Yet theoretically, he did not win the crown (and, in fact, the crown was stolen before the last event and may not have been there during the Avidya Forest fight, so when, as the non-winner, would Kaveh’s father have come into contact with it to encounter Sachin through it in the first place?) Why would Kaveh’s father’s personality take such a massive turn all the sudden? What would drive an excited, happy person to suddenly withdraw from everything he loved and everyone who loved him, if he didn’t actually win the diadem to be influenced by it in the first place?

The event implies there was a trigger:

Huvishka’s friend (who is described as “honest and kind but vulnerable and sensitive”--obviously Kaveh’s father) went into the Avidya Forest with the other contestants, where no one was watching, and we’re not told what happened except that the Akademiya responded to whatever occurred by shutting down the entire competition and banning any sort of events in the future that cause contestants to become so desperate they would “fight to the death.” 

This is a pretty obvious implication that Kaveh’s father either witnessed two other contestants attempt to kill each other or was the victim of an attempted murder himself, which prevented him from winning the competition even though he was the favorite to win by a long-shot. This feat of betrayal, demonstrating the depths to which humanity would sink, likely shook the idealistic world views of a sensitive person such as Kaveh’s father. This brush with death and with humanity’s capacity for evil in the forest would have been the exact trigger needed to make Kaveh’s father particularly vulnerable to Sachin’s message of nihility and despair, leading to the downward spiral that sent Kaveh’s father into the desert.

- 

2) Sachin may have way more culpability for Kaveh’s father’s death than Kaveh realizes. 

For a while after the event, I was under the impression that Kaveh’s father must have met Sachin’s consciousness through the diadem and that’s where he got the idea to go into the desert. However, something was always a bit odd about the timeline, because...

Sachin was still alive when he gave the Akademiya his estate. This is why no one actually knew/believed he was fully dead, even to the present--because he willed the Akademiya the estate while he was alive and told them he was going to be personally watching over the contestants to award his estate to them if he deemed them worthy successors to himself. 

So did Kaveh’s father run into a fragment of Sachin’s consciousness... or did he run into Sachin himself? The game doesn’t really clarify:

The fact that Sachin’s recording recognized Kaveh’s appearance as familiar makes me think it is much more likely that the consciousness preserved in the diadem already had knowledge of Kaveh’s father at the time it was preserved. Aka, Sachin actually met Kaveh’s father in person. This also makes sense of why, even though the diadem was stolen away during the last event and Kaveh’s father did not win it, he would still know about Sachin and Sachin’s research. (However, as a counterpoint, I guess we could say that the Diadem!Sachin had enough sentience to maybe have its own memory, separate from the real Sachin? And reached out to Kaveh’s father mentally even though he didn’t win the diadem? Maybe?)

Still, there’s one really notable aspect of the timeline that I think is important: Right after the Interdarshan Competition twenty years ago, the one which Kaveh’s father competed in, we know that Sachin went back out to the desert. 

Who else went out to the desert exactly 20 years ago? Kaveh’s father, obviously.

This overlap in the timelines makes it seem very likely that Kaveh’s father, who failed to win the competition because of a murder attempt (and therefore never got the diadem), was nevertheless reached out to by the real Sachin, who saw in Kaveh’s father the kindred disillusioned idealist he was looking for to pass his research torch onto. From this connection, Kaveh’s father was driven to either directly accompany or at least pursue the still living Sachin into the desert. (This works even if we say it was only Sachin’s consciousness he was contacted by--in either case, he would have been driven go to out to the desert to meet the real, temporarily still living Sachin to join his quest to help the desert people.)

Only for Kaveh’s father to meet his end there while trying to aid a caravan that had fallen into trouble. What a tragic coincidence, a completely unpredictable twist of fate.

Or... was it?

How odd, in the same quest that Kaveh’s father’s connection to Sachin is discussed, that we’re given an account of a caravan that appears to have been deliberately sabotaged, where money was taken (from Sachin) and somehow sparked a betrayal, a “trial of human nature” that caused many people to die, with the takeaway being the exact belief Sachin wants to pass on and reinforce in others, that humans are horrific creatures who can only make the world a worse and worse place. 

We know that Sachin’s “research” specifically consisted of doing this exact thing, manipulating situations to test humans’ moral character, conducting trials/experiments on “human nature” to reinforce his belief that humans were fundamentally selfish beings.

(It’s no accident the merchant ledger we receive uses the exact same words as Sachin does, “trial of human nature” and “experiments on human nature.” We’re supposed to assume what happened to the caravan in the note was deliberate sabotage on Sachin’s part, to create a scenario where he could observe the cruelties of humanity.)

Why would the game go out of its way to give us an account of a caravan being deliberately sabotaged and used as an experiment if there was no connection at all between what happened with this caravan and what happened to Kaveh’s father, who was also killed helping a floundering caravan?

It’s just too much of a coincidence to accidental. I think the implications of the ledger Dori gave us and the similarities in the language on that ledger to Sachin’s ideas was supposed to lead the audience to wonder:

Could Kaveh’s father have died in one of Sachin’s final “human nature experiments”? 

Was the caravan Kaveh’s father tried to help one that Sachin deliberately sabotaged, expecting to observe humanity’s selfish, self-preserving nature?

I think there’s enough evidence in the story to suggest that we players are at least supposed to consider this a possibility. (There’s no reason to give us the ledger about the manipulated caravan otherwise.) And if you consider this a possibility, it would mean that Sachin didn’t just indirectly cause Kaveh’s father’s death--he would be the direct cause of Kaveh’s father’s death, an actual murder brought about by Sachin’s beliefs that humanity’s self-centered nature made everyone beyond saving.

This idea transforms Kaveh’s father’s sacrifice into the ultimate rejection of Sachin’s beliefs. This would mean that, even in a situation manipulated to bring out the worst in human beings on purpose, Kaveh’s father gave everything to protect the lives of others, for no gain at all of his own, doing everything he could just to desperately try to make the situation (the world) better.

SO yeah. I’m not saying we have hard evidence here, but I think the quest was trying to lead players to speculate very, very hard on the possibility that Kaveh’s father’s death was no accident.

-

3) Finally, a cuter piece of speculation to brighten things up after that despair bomb I just dropped: it’s highly likely that Kaveh’s father had more than one Aranara buddy!

During the Parade of Providence, we hear about an Aranara who learned to read from Kaveh’s father:

However, this is a bit confusing, because later in the event, we hear someone else say that Kaveh’s father taught an Aranara to write specifically when he was a child:

While of course it is possible that Kaveh’s father taught the first Aranara, Arakasyapa, to both read and write, I think there’s also another possible answer here about why Kaveh’s father would separately mention teaching an Aranara to write:

Because there is an entirely different Aranara in the story which was taught to write by a “good Nara” who was a child--Arashakun, from the quest “Courage is the Heart.”

In this sweet little world quest, the Traveler discovers a flower talisman that has been snatched by some hilichurls, and seeks to return it to its rightful owner, a timid and shy Aranara named Arashakun. 

We learn that Arashakun once had a kind-hearted “good Nara” companion who taught him to write (sound familiar?), and who, in order to encourage the poor Aranara, gave him a single flower dubbed “courage.” In describing this child companion, Arashakun specifically states that his companion was no strong warrior like the Traveler’s twin, but instead a gentle, comforting presence who never teased the Aranara.

All of these descriptions line up particularly well with Kaveh’s father, who the game repeatedly describes as vulnerable, kind-hearted, and giving to others.

To drive home the possible connections to Kaveh’s family even further, this quest takes place very, very near to the Palace of Alkazarzaray. 

Although we don’t have any guarantee, I think it is strongly implied that the “good Nara” mentioned by Arashakun is indeed Kaveh’s father, and the “courage of the heart” that he extended to Arashakun as a child is the very same courage, kindness, and generosity that drove him to reach out to the people of the desert, hoping to make a difference in their lives--even at the cost of his own.

The takeaway? Kaveh’s father was a truly good person who aided everyone he came across, from timid Aranara to people whose very lives were in danger. He never meant to leave his family, and especially not his son, but repeatedly fell afoul of the worst humanity had to offer and was driven into a situation in which all he could do was offer his very life to uphold the altruism that was central to his idealism--the same idealism and goodness that Kaveh carries as “courage” in his own heart.

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[angorwhosebabyisthis]

i found this lore entry recently and have not stopped thinking about it since. it is HYSTERICALLY funny to me that fandaniel's villain origin story was just being a fuckin boomer

One of few great minds in a land that had seen the slow, yet steady numbing of its people's intelligence, Amon long lamented the sorry state of Allag , concentrating his early scientific efforts on developing medicines to increase mental capacity . He soon realized that it was not knowledge that the Allagans lacked. If anything, they had too much. What his people lacked was a leader. With a renewed sense of focus, Amon shifted his studies to the field of vivimancy, and soon was conducting experiments on his own flesh in order to attain his final goal - the resurrection of Xande the First.

— Encylopaedia Eorzea Volume I, p. 25

[imflyingfish]

Honestly i dont like sculk spreading/corruption storylines theyre really boring with a few exceptions

[stillfruit]

"jjk ending sucks because gojo's ending is sad why didn't people acknowledge him" have you considered what you are observing are themes and an integral point of his story and character

[subarashiihibi]

logging onto tumblr and seeing blatant ableism was not something i was expecting but Alright

[windupaidoneus]

now some people may not like to hear it but even the worst people who exist are still people & there is no human being who has More right than others to decide whether others deserve to live or die (does not mean i personally condemn murder in self defense or anything of the sort or killing fascists or whatever i'm just saying as a baseline This Is How it Is) & this is why the death penalty is not a good thing no matter how good & trustworthy the people in any government might be. people on average also deserve the chance to learn to do better. & no, someone who's been forcefed propaganda their entire life will not let go of that deeply entrenched mindset so easily, it's not particularly unrealistic & it absolutely sucks to deal with but in the context of tangibly working toward world peace it's also not an issue to try & help such people both in material ways & in helping them learn better rather than cut them down or abandon them to a grim fate. all this to say that's why i don't think garlemald is written badly, as unpleasant as the experience might be. walks off the stage

[frenchtwistresistance]

Four fifty year old women with their original, naturally aged faces in mother-of-the-bride get-ups singing their old hits to sold out auditoriums across America in 1978… never not low-key thinking about this. 😍😍😍😍

[themyscirah]

Started thinking about the Amanda Waller + Ben Turner relationship again.... fuck, I'm gonna need a minute

[mintaka-iii]

My mental health can't possibly good if an essay on the found family trope gives me such an indescribable feeling of hollowness and yearning

[01tsubomi]

kamikaze girls. cult classic in the lolita fashion community as a story that explores the subculture alongside the subculture of girl biker gangs. there’s a movie and it’s really really good so i decided to read the original novel too. and mamma mia

the thing abt the wlw experience is that the bond between girls is. unexplainable and deep and special. while researching for a video essay school project about yuri last year i found an article by a japanese yuri scholar lesbian who found it confusing that so much american wlw media is focused on unambiguous in-your-face romances, when yuri as a genre is based on how those bonds between women, even while being labeled platonic, are deeply deeply intimate and important and meaningful. there’s a lot in there abt how yuri media isn’t meant to prove a point about acceptance which is why it’s not considered meaningful to canonize and clarify romances the way it absolutely has been in the scope of western queer media, but it’s also stayed on my mind bc there are so many sapphic YA books i’ve read that kinda just. have the girls blush abt each other being pretty and wanting to kiss and stuff without really getting at all into just how deep and meaningful bonds between girls are even before romance and how in female friendships there’s this sense of knowing who you are with each other and just feeling understood and comfortable and trusted. but anyway this is the last line of the kamikaze girls novel

“the way you would with a lover, i let the breeze wash over me, and gently, nestled my head in ichigo’s back.”

[the-judicial-assistants-notebook]

It's not that I don't love that she was there, but Kay really had no business being in AAI2

[casswrath]

Eldest Sibling Tournament — Quarterfinals

[imaginarypasta]

editing long fics is so difficult 😫

[hugintheraven]

How Bethesda fixed Vampires without realizing it

So there's a LOT of takes on vampires across media, and most of them are radically different from each other. The Elder Scrolls series has an interesting version that I haven't seen anywhere else, that incidentally fixes a bunch of lore issues with vampires, and yet Bethesda hasn't ever really leaned into any of that.

So, the issue with vampires in large RPGs like Elder Scrolls games, D&D, etc, is that a world where various elements of character building are supposed to be balanced, vampires are heavy on the upside and light on meaningful drawbacks. So in Oblivion, Bethesda completely reworked their vampires, coming at it with a blank slate:

Vampirism is a 4-stage affliction, with each stage increasing the numerous benefits of being a vampire as well as the middling drawbacks. Stage 4 brings with it all humanoid NPCs recognizing you as a ravenous monster and attacking you, basically wrecking the game. And, this is the unique part, you reduce stages by drinking blood. Being a vampire is LESSENED by doing the most vampiric thing out there, it actively makes you weaker.

And this is great. From a gameplay perspective, you vanish below ground to kill zombies/robots/whatever, and you grow stronger as the dungeon goes on. But if you don't rush through it, or if it's large, you surface having ignored your hunger for several days and have to do a whole second quest to sneak into town at night and drink blood, where the only reward is to engage with the game again. It's a drawback in the gameplay sense rather than the stats sense. And it lets game designers throw the player against weak vampires in town early on, and face dungeons full of max-bloodlust monsters later once the player knows how things work.

Meanwhile, from a lore perspective this is also great. Suddenly, it's not that vampires have to be evil, it's that they have a choice. A good person who flees their family to hide in a cave is going to starve, turning into a ravenous, uncontrolled, extremely strong monster. Someone who's comfortable sneaking around town drinking blood, meanwhile? They never lose control. They walk in the sun. They're perfectly human. Or as human as anyone can be while the blood of their neighbors flows in their veins.

And Bethesda doesn't DO ANYTHING with this. People you talk to in-game just treat it as "all vampires are evil, why would you expect anything else", when they've created a world where vampire morality is so much more interesting. The few vampires who exist in civilization that you're not supposed to kill don't really discuss their condition at all. And there's plenty of evil vampires choosing to live in caves running societies of vampires, when that makes no sense compared to basically any other way of life they could set up.

Bethesda games are a masterful disaster, in this as in everything else.