#it's NOT literal and this is crucial to how the story functions

[thewriteadviceforwriters]

Master Dialogue Writing Techniques for Engaging Fiction (For Writers)

(Beware, long post!)

As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.

But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.

If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.

The Fundamentals of Effective Dialogue

Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:

Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.

Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.

Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.

Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.

Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.

This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.

Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.

The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.

Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.

Strategies for Writing Snappy, Realistic Dialogue

Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:

Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."

While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.

Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.

To layer that sense of unspoken tension into your own dialogue, consider techniques like:

• Having characters contradict themselves or say one thing while their body language says another

• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence

• Injecting subtle sarcasm, skepticism, or implication into a character's word choices

• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying

The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.

Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?

One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.

You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.

Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.

Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.

Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.

Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.

Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?

Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.

Hopefully, this can help you all!

The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[vaguely-concerned]

To the ‘themes I am picking up on in Veilguard’ list, let's go ahead and add what I have a sneaking suspicion will actually turn out to be The theme:

— the world has changed and can never be as it was again.

— I have been changed and can never be who I was again.

— in this simple unavoidable truth there is endless grief and endless hope.

And I… may be getting a bit emotional about it haha. Let me show my work a bit: 

if da:o is a game about people who are already dead or half ghosts in some form (through societal forces, psychologically, functionally, literally, in body, through the joining etc.) coming together anyway to save the world from being swallowed by total nihilism and despair (symbolized by the blight) through the power of love and friendship and also this sword/potential heroic sacrifice that I found, da2 is a game about people who have lost their homes and been set adrift finding and building new homes in each other (while completely failing to save the world. also through the power of love and friendship. as well as years of petty bickering <3 we must imagine kirkwall if not happy then worth having been because the love was there the love was there and that's the only sanctifying force we can ever have in this doomed world and city of ours), and da:i is a game about old stabilizing-but-unjust comfortable lies vs. disruptive but potentially liberating uncomfortable truths, and the power of friendship to help us distinguish the one from the other and navigate through them...

folks… I'm starting to think that veilguard might be a game specifically about moving towards recovery and acceptance after trauma — about how even in this flawed, severed, scarred state, what is here right now is worth loving and worth caring for. even in an imperfect and impermanent world and self, there is worth and joy. and of course the first real tragedy — and threat — of Solas is that he just cannot find it in himself to accept this and move on, to let go of what was, the regret won’t let him go or he won’t let go of it. which means that even though on the surface it’s Elgar’nan and Ghilan’nain (and the will to subjugate and violate they represent) who are the main villains, the real antagonistic force in this story beneath that is the Dread Wolf’s despair. A despair Rook must make an answer to by the end of the game, one way or another, compassionately or with righteous fury, triumphant or pyrrhic.

The world will change again and again and so will you — BUT the crucial element is that so will everyone else who exists along with you, you are fundamentally not alone in this existential truth. all we’ll ever have is each other and my god that is plenty, my god that is enough!!! Which is the second thing Solas just can’t accept, he keeps himself separate and completely alone out of an awful mix of fear and pride and feeling himself unworthy of anything else. Rook and the player want to save the world of Thedas because it’s where everyone we love lives, Solas wants to go back to the past because that’s the only neighbourhood where he can still visit those he loved — and the person he himself was, before. A very sympathetic and human instinct/trap to fall into when touched by trauma, I think, if only it wasn’t backed by godlike power, a fundamentally oppositional personality, and a catastrophic lack of therapy to make it literally everyone else’s problem too lol. It’s varric and solas’ banter about the man on the island and where meaning in a life comes from all over again, writ large and with detail work — and the added idea of ‘what if there are also other islands out there, though. With other people on them that you could find if you reach for each other’. Rook with the best of intentions has to make choices to which there are no perfect outcomes and live with what happens — and not cut themselves off from everyone else around them even when there is regret or shame. You get back up every day and you make a life with other people doing the same and you do your best, and that’s the only victory this world will give you. In the end, that is more than enough, that is essential. And I um. I love that. So much. It’s why some of the writing clumsiness on top can’t hurt me because this thematic spine is so solid and so beautiful to me. It’s DA2 all over again that way for me personally — I forgive this story for what it isn’t and couldn’t be, and I love it with my whole stupid open heart for what it actually is. Thank you for coming to my TED-talk and goodbye etc.      

(For my fellow TLT heads out there — you know what this story is reminding me of most of all, actually? It has some big Nona the Ninth vibes down there in the deep. It’s about… the horror and unspeakable beauty that can only be found in liminality, and the role of love in making that basic fact of existence bearable. And also even more unbearable at the same time. I'm so sorry.)

[fireheartwraith]

There are a lot of different traditions during Carnaval, but the allegoric cars players have been building are known to be part of the Parade of the Samba Schools, so I thought I'd explain how it works!

For starters, the Parade is a competition. Each team is called a samba school and they have their own flag and history. People can be really hard or die for their teams! Some are connected to soccer teams, like Gaviões da Fiel (the school) is connected to Corinthians. The two main parades (of this type of carnaval) happen in São Paulo and Rio de Janeiro.

Each school has one hour to completely walk across the sambódromo, and in that hour they have to tell a story or message. That is one of the things they are judged on! The criteria are the drums, the samba-enredo (enredo literally means plot, but this is a genre of samba), the evolution (how the story develops), the harmony (is everyone singing together? Do the people in the parade know the lyrics?), the plot itself, the allegoric cars and accessories, the costumes, the opening act, and the mestre-sala and porta-bandeira.

The parade is divided into sections called alas, and each one of them functions as a chapter in the story being told and have their own separate choreography. The first one is the Comissão de Frente (the opening act). They set the tone for the rest of the team and the public, so it’s common to see celebrities here to get the audience hyped.

Another crucial part is the drums. They are setting the beat that everyone is dancing to, so they shouldn’t make any mistakes. To both hype them and keep the pacing is the Rainha da Bateria (the Queen of the Drums). She’s a woman dancing samba in very minimal clothing but very heavy accessories. This is a very prestigious spot, the dream of any passista (this is what the samba dancers are called). Since they are the face of the parade, celebrities are sometimes given the position, and not all of them deserve it.

There are other passistas atop the allegoric cars, but they are not the only type of dancers. There’s the Ala das Baianas (ala of the baiana women): older (usually black but not necessarily) women dancing in traditional clothing. Honestly one of my favorite parts of the parades.

But my favorite part is the mestre-sala and porta-bandeira. There are several throughout the parade, but only the first one is graded. They are a couple: the man is the mestre-sala dancing around the porta-bandeira (literally 'flag carrier'), who dances with the school flag, and wears a big skirt, usually in the school colors. I wanted to be one when I was a kid, they dance doing twirls and it just looked like so much fun.

There are other unnamed alas, of course, and the allegoric cars.

The samba schools are very tied to black history and black communities, so their stories are usually very powerful. Like the year they represented a former president as a blood sucking vampire with the presidential sash, or this year, where they showed a statue of a known slaver graffited and on fire. Seriously, some of these cars are insane, and most of them have moving parts while also being light enough to be pushed or motored across the sambódromo, but sturdy enough to support all the dancers on top of it. A true feat of engineering! See the size of the woman near the statue's feet compared to the whole thing?

Most people celebrate carnaval by going to street parties called "bloco de carnaval" (basically a mini parade with live music), but these huge parade still get a big audience, despite streaming so late at night.

Here's this year's presentation from Vai-Vai if you're curious to see everything in motion! Originally, I had put a link to Estácio de Sá's presentation, but some politicians want to apply sanctions to Vai-Vai because it represented cops as demons. A few days later, a white man attempted to kill a black man, and the black man was arrested despite witnesses telling the cops what really happened. When news broke out, they kept him in prison on claims of "resisting arrest." So, why is it wrong to say cops are devils?

Anyways, the Vai-Vai presentation is about celebrating blackness and black creativity and resilience. Happy Carnaval! The winners this year were Mocidade Alegre in São Paulo and Unidos da Viradouro in Rio de Janeiro. You can look up their presentations if you want to.

[allastoredeer]

THAT MOMENT YOU REALIZE ALASTOR IS ACTUALLY WAY SCARIER THAN WE GIVE HIM CREDIT FOR

So, in the throes of doing world-building for my Hazbin fics and analyzing characters and how they fit into Pentagram's political system, I realized not only how powerful Alastor actually is, but how fucking scary.

Now, yes, in the grand scheme of things, Alastor is far from the most powerful person in Hell. Far from it. The Royal Family (Lucifer, Lilith, and Charlie), and the Goetia are way above the Overlords. Our twinky, angsty, galaxy bird, Stolas, could 100% body Alastor. I'm sorry, Al. I love you, babe. But in terms of the hierarchal system, you and the other Overlords aren't influential to the rest of Hell, at all.

But, it's an entirely different story if we stick exclusively to the Pride Ring.

I'm not trying to do a big, essay-length analysis, that's a lot of work and I'm tired, so I'll try to make it as brief as possible.

We know three crucial things: 1) sinners aren't allowed to leave the Pride Ring, 2) they've built a semi-functional society for themselves that is exclusive to their specific ring (with a political system that they've molded just for them), and 3) sinners can't kill other sinners.

So, what we have here is a big piece of land stuffed with people who can't leave it, in a society they've built specifically for themselves, with an amassing population that is constantly growing because they have no way of dying/or killing each other. (Honestly, it's like Heaven was setting them up for an Exterminations - THOUGH I'VE ACTUALLY COME UP WITH A COMPLETELY DIFFERENT, COMPLETELY FANON BASED THEORY/WORLD BUILDING IDEA ABOUT HOW HELL HAD KEPT THE POPULATION DENSISTY CONTROLLED FOR THE MILLENIA OF COLLECTING HUMAN SOULS, HOW THE POPLUATION STILL GOT TOO LARGE AND THUS RESULTED IN THE EXTERMINATIONS, AND HOW IT WAS ROSIE WHO HAD A HUGE HAND IN IT ALL.

Anyway, back on topic, so the Overlords essentially control this Ring. We know Stolas lives in the Pride Ring (judging by the red sky we see when he's at his house), so its possible more Goetia live there too (and imps, and succubi; the Pride Ring is known for being the most diverse of the Rings), but we haven't seen any evidence of the Goetia, or any of the other Hellborn, interact or influencE Pentragram City in a political way--outside of the Goetia being above the Overlords in the hierarchal system). I headcanon that they do have some involvement in Pentagram City, as they do live there, but for the most part, the Pride Ring is left completely to the sinners and how they run things.

Lillith got involved, obviously (but she's been missing for years in the beginning of the show), Lucifer hasn't been involved for who knows how long, and Charlie obviously doesn't have a lot of sway, nor did she have any previous influence given how she's treated by the very people she rules over. Her status is known, but there's no actual respect for her or her title as the literal Princess of Hell.

The royal family may the the strongest beings in all of the 7 Rings, but outside of Lillith, it seems they had very little involvement (in Charlie's case) or interest (in Lucifer's case) in ingratiating themselves into Pentagram City.

The entire Ring is being run by the Overlords. They cannot leave it. The Pride Ring is their domain. This is their new home. This is their world.

And in this world, the Overlords are the top dogs.

So, Alastor is powerful just in the sense that he is one of the Overlords. Like them, he is essentially one of the rulers of their personal, caged-off little world. He has power and political sway. He joined the other Overlords for Carmilla's meeting, where they were going to discuss the aftermath of the Extermination and what they can do about the loss in the population (and thus, their power, given that owning souls is how they get it).

It's implied that this isn't the first time they've had meetings like this, and if they get together to discuss the best ways to recover from the Exterminations and make up for their mutual losses (literally working together when they could've all just been rivals trying to undermine the others to get more souls), who knows what else they've discussed in their efforts to keep Pentagram City running (especially considering that the best way to maintain their power IS by maintaining the city, it's people, and keeping it from falling apart at the seams. Taking care of the city is in their best interests - I use "taking care of" very, very loosely, considering this is still Hell and it's hardly the gold standard of utopia's). They're essentially a Board of Leadership with mutually shared power.

The Overlords have all the power. All the sway. In their established world, THEY are at the top of the food chain.

BUT then, you take into account that sinners can't kill each other (a rule that extends even to the Overlords), and that's when things get interesting.

In episode 4, "Masquerade" Valentino told Angel that he's "killed people for less" during the scene in the dressing room. But, in episode 2, after Valentino had torn apart one of Velvette's models, she wasn't upset in the way an Overlord would be if they lost someone under contract, especially considering that owning souls is what gives them power (and I assume that they own the souls of most, if not all, of the people they employ). She said that she can't sit and wait for "that bitch to pull herself back together," so, yeah, the implication is that sinners can literally be torn apart (even by the Overlords, who are the strongest among them) but won't die is immense. No matter what you do, a sinner will reform, or heal, or whatever, but they will come back.

So, consider, that there is only one person who's been able to kill sinners, permanently, and that person is Alastor.

Not only that, he killed Overlords.

In a realm where death is impossible, Alastor had cheated the system. And as far as we know, he's the only one who's been able to do it.

The only person I can think of who has something similar is Carmilla, but that's because she'd integrated angelic steel into her apparel. (Though, there's something to be said about her selling angelic weapons to the masses, as she is a manufacturer and distributor of them not only in Pentagram city, but all of the 7 Rings, (as Stryker had gotten his hands on a "Carmine blessing tipped rifle" to kill off Stolas, who's a Goetia), thus, sinners killing other sinners can still be possible, but that's only if they get you're hands on a weapon with angelic steel, or they're wealthy enough to buy onr, and I imagine Carmilla doesn't sell those cheap.

But Alastor didn't use angelic steel. He found a way to tear souls apart, where otherwise they were only able to be owned. Considering how terrified Husk (who is one of the most calm and collected people in the Hazbin crew; who had once been an Overlord, himself) was when AIastor threatened to do they same to him, like, that goes to show just how serious it is. He was literally full-body shaking. Ears-pinned back. Flight-fight-or freeze. Pressing himself down into the carpet.

We've never seen him like that at any other time during the show, even during the Extermination when they were all about to die.

Alastor's threat had scared him more than literally getting killed my an army of Exorcist's.

And like, yeah???? I get it????

That shit has to be terrifying. Not only for those that Alastor threatens, but for every single sinner in Pentagram City.

This random guy cheated the system, killed without any outside means, and if he can topple Overlords (the strongest and most powerful of them) almost over night, there's no saying what he can do to regular sinners. (Or what they think he can do, I have more thoughts surrounding whether Alastor would be able to tear apart a soul that is owned by someone else, but this is already getting long).

And, presumably, the only reason he stopped is because he decided to.

Like???? Do you guys understand what I'm saying???? For someone to have that kind of power??? In a system where that power SHOULD NOT be possible??? A power that gives him this massive advantage over everyone else???? That no one else can do???? And the only reason he doesn't use it is because he decides not to????

It's no wonder Alastor was so feared. Why he still is feared (by those who know of him at least LOL he has been gone for 7 years). And, like, yeah we see him be all creepy and scary during the show. We see him use his magic and grow into his demon form, and he is intimidating in that right, but I think the true horror of his character comes from this ability to kill the unkillable in a system where it never should've been possible in the first place.

That's where the true terror of the Radio Demon lies. That's where the visceral fear comes from. And it's why he's someone you wouldn't want to mess with, even for the other Overlords (especially for the other Overlords).

Like, it makes sense why he has such a massive ego. Why he thinks he can take on anyone. It's because he has. He's powerful, even by Overlord standards, and he knows it. And it makes further sense why him now being on a leash is making him unravel at the seams.

Am I making sense??? Is this all just meaningless rambling to you guys??? Idk! Idk. It's just been tumbling through my head, and it made me realize just how scary Alastor is, especially from an outside perspective.

I have SO many headcanons T.T I've done so much world-building, and I am have so much fucking fun. I feel like a kid in a sandbox. My brain hasn't stopped buzzing since this show came out.

Anyway, I'm off to outline more wips and work on the fics I'm writing. Happy Hazbin-ing to the rest of you.

[o-wild-west-wind]

okay, here’s my actual thoughtful post: I get why people are upset about the finale…I really do. but I want to mention that there’s a bigger picture to this story that’s missing if you’re zooming too close onto Izzy as a character, and I’m honestly so grateful that the show stuck to the thematic arc it introduced in season 1 because, as per usual, it’s about the themes 🤌 and this show never skimps on the symbolism!!

so here’s the thing: the primary themes are toxic masculinity (& it’s opposite, queer joy); trauma; love as a healing force for the above; and, title alert—DEATH. because it’s so much more than a cool title!

now, Izzy has always represented something metaphorical about all of these points; most directly, he’s always represented masculinity, and s2 has been an arc of toxicity deconstruction. but crucially, he’s also represented all that for Ed, who is the deuteragonist of this show. because—don’t forget—Stede and Ed are the show.

I’ve always doubted myself for feeling this after seeing how fandom saw Izzy as a third romantic figure (which like by all means have a blast in your fanfics I don’t care it’s about joy at the end of the day and pursue that as you want to), but after hearing something about djenks referring to Izzy as a father figure, it confirms a major point for me—Izzy is also in a lot of ways a parallel to Ed’s dad, and a representation of the trauma and guilt Ed felt from that formative killing. for so long, Izzy was an aggressive shadow in Ed’s life, and a tangible reminder of those daddy issues—someone telling him what to do, keeping him Blackbeard—and the beautiful thing is how that changed this season, how Izzy became a version of masculinity that could love and be beautiful and make good from the hurt, the literal poison into positivity. someone antithetical to his own paternalistic force, healing our daddy issues one drag show at a time. BUT, Izzy is still thematically representative within Ed’s arc—and by also representing the trauma that made Ed “Blackbeard,” it does make smart writing sense as to why Izzy died (NOT saying you can’t be sad about it—stick with me for a moment).

because here’s the thing—as aforementioned, this show is also about DEATH. killing is the root of everyone’s trauma, and reconciling a relationship with death is the ultimate arc Ed and Stede are both on, with the ultimate path of learning to live despite its inevitability. there’s a reason it was such a huge thing that Ed couldn’t personally kill, and then in this episode killed so many people with his bare hands in the name of love—and there’s a reason that was framed as a good thing. and there’s also Ed’s (and arguably Stede’s) active suicidality, which has been a huge force driving this season. these are characters who see death as this all-consuming thing, and they see their own deaths as the only solution. death is the traumatic force driving almost everything about their being for so long—and its reconciliation is everything for them, the greatest sign of growth. so Izzy’s death, and everyone beginning again with love—healing each other with love—is a cap to it all. it’s death as a positive force, for once. it’s death as love, not trauma. it’s death as something that will always happen, but this time not forced by your own hand. it’s a death to everything toxic, to what “Blackbeard” represented, and all the while a sort of rebirth. it’s kind of a death to…death? it’s functionally like the real physical moon replacing the giant romantic imaginary orb: it’s taking the thing that’s been artificially morphed in Stede and Ed’s heads and making it real this time, with all the bittersweet emotions that come with tangible reality.

and honestly, I’m glad that it was tragic and emotional. I didn’t think I’d be so devastated to see Izzy die, but it really did get to me, especially because of everything he said to Ricky and then to Ed. but think of it this way: Izzy and Ed might be romantically compelling because they were toxic and charged (and I hope people still enjoy everything they get from that dynamic in fan work), but imagine if the show had actually gone in that direction—where would it take us thematically? it would kill the thesis; it would be love as chaos and entertainment, but not healing. instead, this show gave us something so much more powerful: a legitimate, fully-fleshed trauma arc.

trauma hurts. Izzy’s death hurts. but that’s okay. that’s great, actually! it means the storytelling was effective—that Izzy’s arc made you feel something. and i know this won’t be every viewer’s experience, but honestly? I’m glad I can have this grieving process in such a beautifully framed light in the safe space ship of this show, because let’s be real—death, real life death, fucks you up. and let me tell you, I could’ve used this show during so many episodes of grief in my life. but here it is now, reminding us that our grief and trauma doesn’t define us—and WHAT a powerful thing for queer love, especially, to be presented as the thing that heals us all. ESPECIALLY when so much grief and death in this community is woven so deeply with the trauma of our identity.

so grieve as you need to, but don’t forget to turn the poison into positivity 💛 because that’s what the show is telling us—choose live, despite!

[tofixtheshadows]

okay, if you're open to discussion, here's my view on why i think your mithrun take is somewhat reductive - prefacing this with yes, i understand you're talking about thematic positioning and not individual character motivations or goodness/badness, and no im not a particular stan of him or a kbms shipper or anything, if that helps you take this as discussion in good faith. (anon because i'll admit all the "ugh everyone who disagrees with me DOESNT KNOW HOW TO READ" does discourage from directly engaging!) yes, the elves are imperialist and yes the canaries are the primary arm we see of that in the story. yes, To A Point the violent manner that they, including mithrun, approach the problem of the dungeon is a reflection of this - it's not a coincidence that kui put this character ON this team. but when the discussion of it comes down to mithrun as the "representative" of this is where you lose me. in certain moments you could say he Acts as that, but it's not really the whole story of what his character is about or how he fits into the overall picture. multiple key moments are when mithrun notably acts AGAINST what the rest of the canaries would do, choosing to put (some amount of) trust in a tallman - we can have different reads on how much trust it is, but the effect definitely is that their approach is given a chance when normally the canaries do not allow that. the moment of asking kabru what he wants to do and following after laios, and Especially the moment of giving laios the go-ahead to try and defeat the demon, very much coming into conflict with flamela over it - in both of these scenes the other canaries represent the normal elven imperialist approach, and mithrun deviates from it. sure he thinks he regrets it a few minutes after the second one (because it did look like it failed, and because he's not exactly completely anti-imperialist either) - but in terms of what his character represents in the story, those moments are crucial to the ultimate "happy ending", and they're important TO the anti-imperialist theme that mithrun, the one with more personal reasons for being in the dungeon rather than simply being a canary & carrying out the empire's will because it's their job like the others, ISN'T acting on its side the whole time.

See this mentality is a little puzzling to me, because it treats my + others' speculation on the threat of imperialism in the story and Mithrun's role in it as if we created some sort of strict binary? As if he represents only this one singular thing, and doesn't share that role with anyone else, or that he needs to be condemned for it, etc. I don't think they're all passing around a "who represents imperialism and who subverts it" stick.

I mean, the story isn't very interested in that, is it? I believe in meeting a piece of media where it's at, which is why I'm not trying to hashtag cancel anyone over liking the elves or whatever. Dungeon Meshi is a story about ecosystems and food and hunger. It is very aware of the forces that create the situations around hunger, but ultimately it is mostly interested in food as the great leveler. We all need to eat and we all deserve to do so, even the people we might have considered enemies an hour ago.

The Canaries all get a seat at the literal and metaphorical table, even though, textually, they represent a world power whose monarch says, on page, that they are going to continue to monitor Melini and the people involved (this is a threat). Another story might not be forgiving of this. But Dungeon Meshi is not trying to be a political thriller, though as I've said, it is very aware of these things.

I, personally, am interested in the way Mithrun's story arc functions. If I talk about Mithrun, it's because he is a main character. Fleki, for example, is not a main character. Neither is Flamela. The Canaries are an antagonistic force (and not in a traditional "evil that needs to be defeated way", but antagonistic nonetheless!), but Mithrun is literally the representative of this force as the only one among them given a focus. And also because he is the captain of their squad. Even Flamela is only vice captain. Mithrun's motivations drive the Canaries as an entity in the story the same way his orders as their superior officer drive them as people.

So I am mostly interested in talking about violence, and to do that, I would be remiss to not touch on the circumstances that empower that violence. I cannot pretend like Mithrun does not arrive in the dungeon as the military officer of a first world power whose squad has the ability to arrest (and potentially execute) anyone they want, or that their success won't spell a de facto takeover of the region.

Does Mithrun care about that? No. I mean, I don't even think the other elves really care about that. It's kind of a moot point. They have a genuinely good reason for being in the dungeon and doing what they do, but they are still dangerous.

So when I touch on imperialism, which, again, is textually a part of the background of Dungeon Meshi, what I mean is: Mithrun's actions serve imperial interests regardless of his personal feelings, and they align with the threat of imperialism because oppression is inherently violent. That is where the comparison comes in.

If I were writing some sort of thesis on colonialism in Dunmeshi, I would say that the way Mithrun literally objectifies people- grabbing Kabru, ignoring his consent, using him as a projectile, brutalizing Thistle and Marcille- are physical manifestations of that inherent violence. The complacency of the other elves- their very punch clock villain natures- also serve the interests of imperialism. They're all in it together, they just disagree sometimes on the method. If Mithrun had gotten his way, the elves would have taken over the dungeon.

You are right that Mithrun comes into conflict with the other Canaries, and this is because Mithrun barely cares about sealing the dungeon. His one desire is his quest against the demon. This superficially aligns with the Canary's overall mission, but he will jeopardize that mission, the way he jeopardizes lives, for his personal goal. I don't really consider this an anti-imperialist metaphor even if it does eventually lead him to go against the Canaries' interests in trusting Laios. It's good he does that. It fits with the overall theme of disparate peoples uniting for the great leveler of hunger. Because, crucially, Mithrun agrees to it when Laios insists that he can defeat the demon. He isn't swayed by anything else. I do also think it's important that the one time he doesn't escalate to violence represents a moment of cooperation among these groups of people. We can say that Mithrun's self interest is better served by community than by state-sanctioned violence (and I do) but it doesn't cancel the rest of it out.

I'm also going to have to disagree with how much he trusts or respects Kabru. I would love if Mithrun did either, but the more I re-read the manga the less I'm sure of that. I think he sees Kabru as a useful tool. Again, I do not say this as a condemnation. I think Mithrun is nearly incapable of caring about anything else before the end of the story: I think his desire for the demon, his helpless hatred and self-immolating revenge, is so big that it blots out everything else for him. It's a tragedy. Mithrun is not entirely a rational actor, the way that someone in the grips of a debilitating addiction isn't.

You are free to disagree with me on this. I think I have an accurate reading on it, but I realize there is a lot of wiggle room.

My personal conclusion is that this

is a very long joke.

It sets you up to think that Kabru got through to him, that they are united against Laios, that they might have even achieved some level of camaraderie after their bottle episode.

Then Kabru and the Canaries show back up, and Kabru is ... handcuffed.

I didn't notice this the first time I read the manga! Kui does not draw any attention to the tiny magical cuffs, and the deliberately awkward way he holds his wrists for the next ten chapters didn't really hit for me until I had gone back over it. At this point I think it's supposed to tease how much Kabru is cooperating with the Canaries and how much of a threat he'll still poses to Laios.

It did not hit me until a second read that the punchline to this little arc is that Mithrun agreed to Kabru's idea because he had decided to use Kabru as bait. This is the equivalent of staking Kabru out to lure Laios and the others so that they'd let their guards down. Kabru looks very put out by it, he's still handcuffed, and he's got the surveillance state bird keeping him in line. This is not the situation of a guy who is trusted and respected by the person who put him in this situation. In hindsight, it almost makes Mithrun's agreement a joke in itself. "Oh, you wanna talk to Laios? Sure. Let's go do that. Hold still."

It recontextualized their time together for me. Made me notice how interested Mithrun was specifically in what Kabru had to say about this Laios guy.

You can kind of see the gears turning in his head. He correctly deduces that Laios is closest to the dungeon's heart. Therefore, reaching Laios will take him right to the demon. I don't think he actually cares about what Kabru wants. After all, Kabru says he wants to talk to Laios, and Mithrun doesn't let Kabru do that. He doesn't want to try Kabru's methods. He barely seems to think about Kabru at all.

We are treated to a three-chapter sequence of Mithrun and the other Canaries cornering a group of people they intend to arrest, interrogating them, intimidating them, and then Mithrun, especially, escalating the situation to near-lethal violence. Marcille releases the Winged Lion because she is menaced, talked down to, terrified, and injured. Even the other elves are appalled by how brutal and erratic Mithrun acts.

And that's what Mithrun's story is to me, actually. It's the very dark spiral that pain can send you down. It's about how his obsession is killing him. How it's keeping him from forming meaningful relationships. How it hurts the people around him and causes him to act cruelly. He cannot be reasoned with before he crashes and burns. If he had grown or changed as a person at all before the climax, his character arc would be less impactful. He has to tear through everything to get to the demon, look the demon in the face and be told point blank that he doesn't matter to it. He has to put all his energy into this path of violence to show how utterly impotent and self-destructive it is.

Dungeon Meshi understands the violence we all must do as living creatures. The inherent selfishness of killing and eating in order to survive, or fighting to protect yourself. It doesn't condemn that. It doesn't condemn the violence you do when you feel backed up against a wall either. But it does not reward this. Mithrun's all-consuming desire for revenge- and it is revenge, this is functionally a flailing quest for revenge even if he also wants to be finished off as a result- is as poisonous to him as the demon's bottomless appetite was to it.

Mithrun does not once stop to help anyone else during the climax. All the other characters converge to work together, even to put aside their enmity (like the elves and the orcs) to try and stop the threat. He doesn't turn away from his single-minded pursuit to help anyone, protect anyone, or heal anyone, though it's obvious that he could have done more good fighting by the others' sides rather than throwing himself at the demon over and over. Even the idea that he might help someone- the moment where he slaps Kabru out of a panic attack, but only because he genuinely wants to punish him- is treated as a joke.

It's only after all of this has occurred, and left him utterly empty, that Mithrun can stand up again as a new person. After he's looked into that yawning void straight on and realized what it meant to pursue it, where it was leading him. He gets up again because he agrees to share a meal. And because he agrees to help feed others.

Rage doesn't serve you. Community does. That's where his happy ending comes from. And maybe this is not the most thorough exploration of even this single topic, but I don't think I'm being reductive.

If I seem frustrated, it's because people have turned me into a ridiculous strawman because of these ideas, and then spent months shadowboxing that strawman while calling me a dumb pretentious cunt over it. This is often very funny, but even I have a tipping point. Good night.

[vivitalks]

Last night I saw the Great Gatsby musical. Before I went, I reread the Great Gatsby book (for the first time since 11th grade!) to get a refresher on the source material and the original story. Having the book so fresh in my mind made seeing the musical really interesting, and now I am going to do something I never thought I'd do, which is post some lengthy meta about The Great Gatsby. If you haven't seen the musical, this post may still be interesting to read, but it does contain some mild spoilers, so I leave that up to you. If you also haven't read the book, godspeed lol.

There's a lot I could talk about here when it comes to the way the book was adapted for the stage. But there's one particular thing I want to zero in on in this post, and that's the "unreliable narrator" of it all.

In the book, Nick Carraway is our narrator. He's an unreliable narrator practically by default - the idea is that he's retelling events that occurred two years prior, from memory. But even knowing that Nick is probably not reporting all events and characters with complete accuracy, it's hard to know which parts exactly are wrong, or what might have happened in reality, because even though he's an unreliable narrator, he's still the only narrator and this is the only version of events we know. We're forced to take Nick as our surrogate and take him at his word. Until the musical.

(I wondered how the show was going to deal with the fact that the story of Great Gatsby is not only told by an unreliable narrator but also by an outside perspective - generally speaking the events of the Great Gatsby aren't happening to Nick, they're just kind of happening around him. Yet he's the voice of the story, so in that way he's central to it, and I was curious how they were going to balance that fact with the fact that Gatsby is functionally the main character.

I think they struck a really good balance in the end. Nick's beginning and ending lines, lifted verbatim from his book narration, frame him clearly as the anchor of the story - I think that's the best word for it; the audience jumps from scene to scene, many but not all of which contain Nick, but we know that Nick is always going to be where the action is, or that he will at least know about it. He may not be the main character, but he's an essential character. But I digress a little bit.)

The difference between the way the story is imparted to the audience in the book versus in the musical boils down to this: in the book, Nick "plays" every character, so all their dialogue and actions, their mannerisms and the way they're described and reported, it's all informed by the beliefs Nick holds about them. Whether he means to or not, his biases paint certain characters in certain lights, and because he is our eyes and ears to the story, we have no choice but to absorb those biases.

But in the musical, every character is literally played by a different actor. Nick can only speak for himself. Nick can only tell his own parts as they happened. He may be "telling" the story, but we're watching the story. We have the benefit of an unblemished perspective on things - we can watch the events the way they actually unfold, regardless of how Nick believes or remembers they went down.

This difference - between Nick as the narrator and Nick as merely his own voice - is crucial in how the musical develops each character, some of them fairly different from how Nick described them in the book. And there's one book-to-stage change - a fairly small one, all things considered - that, to me, illustrated this difference perfectly.

There's a line towards the end of the Gatsby book. Something Nick says in narration, after his final conversation with Tom Buchanan, talking about how Tom gave away Gatsby's name and location to George Wilson (which ultimately led to Gatsby's death). Nick writes:

"I couldn’t forgive him or like him, but I saw that what he had done was, to him, entirely justified. It was all very careless and confused. They were careless people, Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made…"

When I read this line in the book, I couldn't help vehemently agreeing. Screw those rich assholes! Money does corrupt! Tom and Daisy ARE careless wealthy people! It was easy to side with Nick, not only because he was the only perspective on the situation that I had, but also because he said this in internal response to a conversation with Tom, who, I think we can all agree, is a major jackass and a deeply unsympathetic character.

But in the musical, this line is spoken aloud by Nick. And he says it to Daisy, in her house, as she's packing up to skip town after Gatsby's death. In fact, he doesn't just say it; he shouts it, visibly and audibly outraged at her audacity to lead Gatsby on, ghost him, skip his funeral, and then move away to avoid the fallout. Nick is angry and highly critical of Daisy. But because we're no longer confined to his shoes, we also get to see Daisy's reaction - not as Nick remembers it, but as Daisy actually reacts. And because of that, we're able to really see, and confirm, that "Daisy is rich and careless" is not the full story.

I have to credit Eva Noblezada for a phenomenal performance (duh). Daisy in this scene is emotional, grieving, and it's clear she has been trying to contain these feelings for the sake of her husband and her own sanity. She's remorseful, not that Gatsby is gone necessarily, but that she allowed herself to entertain the fantasy of running away with him, only for it to be torn from her. She is trying to make the best of her unavoidable reality. And then Nick tears her a new one, calling her careless, accusing her of destroying things and being too rich to care.

And as I watched that scene, I was no longer wholly on Nick's side. I understood that this situation was so much more complex than Nick's chastisement acknowledged. Sure, Daisy wasn't innocent, but she also wasn't the callous rich girl Nick made her out to be. She did love Gatsby. And she also had a whole life with Tom. She had a daughter. She was a woman in the 1920s! That's a kind of life sentence even wealth can't erase.

The way Daisy responded may not quite have landed with Nick (if we consider the kind of fun possibility that the musical is the events as they happened and the book is Nick retelling those events as he remembers them two years later, then clearly Nick's disdain for Daisy's actions overtook whatever sympathy he felt for her), but the musical gave Daisy the opportunity to appeal to us. The audience. Having this omniscient perspective of things allowed us to draw our own conclusions, and I found myself a lot more sympathetic towards Daisy when I could both see and hear how she responded to Nick's verbal castigation.

In the book, Nick is the narrator. In the musical, Nick is a narrator. But he's no longer the sole arbiter of the story. The audience got to make our own judgements on the events as we witnessed them. Every one of us was a Nick - beholden to our own biases, maybe, but at least not beholden to his.

[f0ntainefuturistics]

I may not have posted any drawings today but let me tell you what I am cooking up:

Currently working on a big google doc (the allied masterdoc, AM, if u will) about my AM and how he functions, despite appearing human my AM isn’t, think of him more like an android that is an extension of the complex + the monolith. A gross perversion of man and machine that taunts not only the remaining five people but AM himself.

If you’ve seen my post where i was workshopping what AM’s body looks like, you’d already know he isn’t technically human (still working on his refs and I hope to get them out soon ;O). Been chewing on my ideas the past couple days to really think what I want to do with him and how I still want to incorporate AM’s character into my design.

So here are some itty bitty design notes I have that I feel are crucial to him:

- AM’s “flesh” only covers three places on the android body, his head and hands, this skin is 100% synthetic (not sure of exact materials, but close enough to human flesh that if one of the remaining five were to touch him they’d be unsettled) and AM can’t necessarily feel with it, adding to his own torment of being unable to feel anything as he has a body, he has hands, he should be able to feel but he cannot.

- AM has this more human-like appearance in order to torment the humans more than he has been, it’s one thing to be tortured by an inhuman creature but it’s another thing entirely to be tortured by some inhuman creature that masquerades as a human.

- AM having a screen instead of a mouth was done to tie back into the story’s title, he has no mouth, he literally cannot scream the same way we can, all he has is a disembodied voice and a screen to project words or a fake mouth onto. Again, making his android body almost uncanny because he looks human enough but something is off

- What’s behind AM’s lens? AM’s android only has one eye for appearance reasons, he can see basically everything in his complex thanks to everything else.. his “human” body only has one just for the illusion of it all. The “eye” that isn’t showing is a diagnostic screen for the android’s temperature and such

- AM’s “human” body is stored within the monolith. It can also run out of charge (which is also displayed on his extra screen) so he has to be careful with how he uses it and where within his complex the damn thing is because have it stray so far away and you’re not charging it ever again

Hope u all enjoyed my ramblings :D the actual doc itself will be farrrr more refined I promise, just wanted to yap on here about how I think my AM functions :]

[carlyraejepsans]

for real WHERE does the idea that [utdr humans] are nongendered so that "you can project on them" come from. their literal character arcs are about NOT being a blank slate to be filled in by the audience

i think i understand the assumption on some level for undertale, because there is a very intentional effort to make you identify with the "player character" in order to make your choices feel like your own (the beating heart of undertale's metanarrative lies in giving you an alternative path to violence against its enemies after all, and whether you're still willing to persue it for your own selfish reasons. YOUR agency is crucial).

of course, the cardinal plot twist of the main ending sweeps the rug from under your feet on that in every way, and frisk's individuality becomes, in turn, a tool to further UT's OTHER main theme: completionism as a form of diegetic violence within the story. replaying the game would steal frisk's life and happy ending from them for our own perverse sentimentality, emotionally forcing our hand away from the reset button.

i think their neutrality absolutely aids in that immersion. but also, there's this weird attitude by (mostly) cis fans where it being functional within the story makes it... somehow "editable" and "up to the player" as well? which is gross and shows their ass on how they approach gender neutrality in general lol.

but also like. there's plenty of neutral, non PCharacters in undertale and deltarune. even when undertale was just an earthbound fangame and the player immersion metanarrative was completely absent, toby still described frisk as a "young, androgynous person". sometimes characters are just neutral by design. it's not that hard to understand lol.

anyone who makes this argument for kris deltarune is braindead. nothing else to say about it.

[whencyclopedia]

Dolia: The Containers That Made Rome an Empire of Wine

The ancient Roman love for wine is well-known, but how was all that wine stored? In “Dolia,” Caroline Cheung puts dolia, the largest ceramic storage vessel made in the ancient world and capable of holding a thousand liters of wine, at the center of the ancient Roman wine trade for the first time. Best suited for scholars and students, this book explores the lifespan of dolia and the people who made, used, and paid for these massive vessels through a range of archaeological and literary evidence.

Caroline Cheung, an assistant professor of Classics at Princeton University, seeks to fill a rather large gap in the scholarship of the ancient Roman wine trade by centering the storage vessels themselves, the dolia (sing. dolium). Historically, these supermassive ceramic vessels, capable of holding well over a thousand liters each, have been understudied and overlooked. Combining various archaeological and literary evidence, Cheung argues that dolia formed the backbone for the Roman wine trade and that their development was the key factor in satisfying the Roman thirst for wine from the 2nd century BCE to the 2nd century CE. She pays particular attention to the many people involved in every step of the dolia industry and how dolia can function as a lens into the intersections of wealth, social mobility, and labor. The book focuses on three case-study sites in west-central Italy: Cosa, Pompeii, and Rome with its port Ostia.

Cheung organizes her book thematically to draw out each step in the life of a dolium. After the introduction, Chapter Two traces the development of the dolia industry from the 2nd century BCE to the height of the Roman Empire. Chapters Three to Six detail the various uses of dolia on farms and villas, as part of a complex trade system in the Mediterranean, and cities. Chapters Seven and Eight then turn to how dolia were maintained, repaired, and eventually reused and abandoned. Cheung concludes in Chapter Nine with reflections on studying dolia and their legacy today.

Cheung does a masterful job of marshaling a truly staggering amount of archaeological and literary evidence to make this book possible. From the largest dolium-tanker shipwrecks to the smallest epigraphic stamps and tax records, Cheung excels at drawing out the particular importance of each piece of evidence. Some of the most interesting moments in the book are when she slows down to focus on a specific site or detail amidst the wealth of information she provides, such as in Chapter Four, when she draws out the story of the Sestius and Piranus families as examples of how wealthy families could take advantage of different stages in a dolia-based wine trade to accrue wealth and influence. A slate of images and figures also complements her prose well, including full-color plates of many images in the book.

At times, however, Cheung seems to struggle with her two competing priorities of exploring the life of a dolium from production to abandonment and examining the ramifications of dolia on the Roman wine trade and Roman imperialism more broadly. Her prose sometimes switches quite abruptly between the two, leaving the reader to try to pull together disparate threads of the narrative. In focusing mainly on west-central Italy, with only a brief foray into southern France and Spain, Cheung’s narrative can feel quite restricted, leaving out as it does the rest of the Mediterranean world, let alone the rest of the Roman Empire. Some discussion of what we do know about dolia outside of the book's case study areas would have been worthwhile to help provide a fuller picture of the role of dolia across the Mediterranean. As the first step in synthesizing much of this material, this book is a very needed addition in illuminating the crucial role dolia played in the Roman wine trade.

Cheung is one of the few scholars working on dolia currently, and perhaps the only one synthesizing the material on such a broad level, and her mastery of the material shows in this book. In centering dolia in the narrative of the Roman wine trade, Cheung takes a completely different tact to previous studies of this topic with great results. She argues persuasively why dolia deserve to be seen front and center in future scholarship. This book demonstrates the value of studying the logistics of the Roman wine trade just as much as the Romans’ love of wine itself.

Continue reading...

[blueskittlesart]

You've talked about how great the ocarina of time story is (hard agree!) I was wondering if you have any thoughts about Sheik and how his story fits into the game's themes?

YES. sheik is such a good character genuinely. i think he’s best analyzed in tandem with link bc so much of their characters play off of each other. i ❤️ narrative foils

link, the eternal child, grows up in a sheltered space in which bad things don’t happen. bar the recent tragedy of the deku tree, he is unfamiliar with death and tragedy and unfairness and therefore carries an air of naïveté and a childish sense of justice—bad things shouldn’t have to happen, and if they DO happen, people should try to fix them.

zelda, even at nine years old, is his foil, the little adult. she has seen tragedy. she has spent her life ignored and neglected by adults. she understands that when bad things happen people would rather ignore than work to fix. but she is ALSO still a child, and she still carries some of that sense of justice with her and that’s why she tries so hard to fix things herself. but children are fundamentally unequipped to tackle adult problems. she was doomed the second she started trying, doomed essentially by the very adults that claimed to care for her but refused to listen.

as we jump to adulthood, link remains the eternal child, having lost no time in the seven years he slept, still mentally nine years old. sheik, on the other hand, is no longer the little adult. he is grown and he has seen every tragedy the world has to offer him. he has been forcibly adultified by the world without being given the time and space to process and grieve, and so, as a trauma response, he has struck down the child which still remains in him in order to protect her from the horrors he knows the world has to offer. this is why so much of what we see of sheik is strangely contradictory and why he keeps himself removed from the story as much as possible. sheik is governed by fear. he fears that allowing himself back into the story sets little zelda up to be burned again. he fears that little link will blame him for the actions of a desperate girl nine years ago. and yet the little girl he once was is still there, and she cannot allow him to stand and watch as tragedy unfolds like so many adults did to her.

functionally, where link is the child who doesn’t get to grow up, sheik is the child who is forced to. where link’s tragedy stems from the actions of adults who failed to protect him, sheik’s stems from the inaction of adults who COULD have protected him and chose not to. this crucial difference leads to sheik and link’s differences in worldview—where link still carries that childish sense of justice and motivation to change the world, sheik, having been forced into adulthood, struggles with the ramifications of action vs inaction as well as the choice to either protect link or save his kingdom.

that choice of link vs hyrule as sheik’s internal struggle is doubly important when examining the end of oot and the choice zelda makes to send link back. this, irt zelda’s arc, is a solution which returns that childlike justice to her—she gets to undo her past actions and save the world. she gets to fix the action and inaction which led her to this point. it’s hope where there once was none. it’s zelda saying “we CAN change things and we SHOULD change things,” a thorough rejection of the inaction mentality which characterizes the adults in her life and a literal return to her childhood at the same time. oot is a fucking masterpiece of a game

[heliza24]

Wilhelm, The Look (™), and Endings

The recent poll on the confessions blog about the ideal end of the series (King Wilhelm vs leaving the line of succession vs the end of the monarchy) got me thinking about endings. In trying to think of what my own answer to this question was, I ended up reflecting on the way that Season 1 and 2 end, and that got me thinking about the infamous straight-to-camera Wilhelm looks that bookend each season. I’ve always loved those moments and found them crucial to the visual language of the show, but I don’t think I’ve ever really stopped to analyze why. But if I’m trying to decide how I feel about the possible endings of season 3, I should probably stop and figure out why I feel the way I do about the ending (and beginning) shots of season 1 and 2, right? So let’s take a minute and talk through these shots, and what I think they do for story structure and Wilhelm’s character.

I think the main thing those glances to camera do are establish Wilhelm as a protagonist with agency. Just for a second, he’s aware that he’s being watched, and that awareness means that he’s going to make active choices about what happens during his story. I think this makes sense when we realize that the first look to camera happens when Wilhelm is giving his first press interview. Wilhelm has always been in the public eye as a member of the royal family, But this is the first time that the attention of the press has been directed directly at him. It’s the first time that he has been asked to answer for his actions, and the first time he’s had to take responsibility for something like an adult. The camera catches him right as he makes his first decision: to follow his parents’ wishes, do the press conference, and go to Hillerska. It’s not a look of rebellion so much as it is a look of acceptance. All the growth that comes after as part of season 1 comes as a result of the awareness that starts in that moment. I think it’s significant that the gaze at the end of season 1 comes right after Wilhelm has made a very similar decision to the one he made in episode 1. Once again he has obeyed his parents, given the statement to the press that he was supposed to give, and toed the party line. It’s only in the fourth wall break that we know that something is different. We see all the rage and disappointment and heartbreak he has in that look, and we know that moving forward something is going to be different. But the season ends simply on this promise, and doesn’t let us see the payoff. Before we knew whether or not we were getting a season 2, I remember thinking that season 1 felt like a complete story (if not a happy one) but I would be mad if we never got to see all that Wilhelm was promising us come to fruition. 

I think the gazes in season 2 function in much the same way– they emphasize Wilhelm’s agency and show us how much he changes over the course of the season. At the beginning of the season Wilhelm is literally ready to burn it all down, as he stares at us in the mirror as he burns August’s photo. But the look we get at the end of episode 6 is much more calm and confident. He’s taken the rage that fueled his initial revenge quest against August and turned it into the bravery he needs to tell the truth on his own terms. This last look once again acts as a promise; Wilhelm is swearing that he will live authentically, no matter the consequences. But once again the season ends before we have a chance to see him follow through. We know that there will be a whole host of difficulties that arise from his confession, and that last look gives us the confidence that Wilhelm will rise to meet them. But we don’t see any of that, or at least we won’t until season 3. The fact that the season ends here really emphasizes that what was most important about the season was Wilhelm’s growth. The fact that he grew to a point where he could give the speech and stare down the barrel of the camera with confidence meant that the story the season was trying to tell was complete, even though we might expect a longer denouement. I know it’s common fandom knowledge that there was at least one additional shot filmed, of Simon and Wilhelm walking away together. So I think it’s significant that in the edit Lisa and Co decided to end on The Look (™) instead. I don’t want to suggest that the Wilmon relationship isn’t hugely significant to the show, its ending, or to Wilhelm. It is, and I think that’s represented when they lock eyes right before Wilhelm’s final look to camera. But there’s something about Wilhelm growing just enough to tell the truth in front of everyone that means that this chapter of the story is now closed, with no additional Wilmon scene needed.

The other thing that first glance does of course is establish us, the audience, as part of the public that is watching and judging Wilhelm. We’re in the audience for the press conference he gives at the beginning of season 1, and we’re in the stands watching him give the speech at the end of season 2. The relationship this creates between Wilhelm and the audience is really charged. Those looks create an intimacy which makes us care about Wilhelm as a character. But they also implicate us as part of the reason why Wilhelm is always being observed. We’re part of the oppressive force Wilhelm has to deny in order to live truthfully and claim his agency.  When Wilhelm looks into the camera he’s defying *us*. He’s daring us to stop him from getting revenge on August, or disobeying his mom, or telling the truth about the video. We’re brought in as co-conspirators in the same moment that we’re sized up as an enemy. 

Circling back to thinking about season 3, I think it’s a fair guess to assume that the season will begin and end with The Looks (™). I also expect that the last moments of season 3 won’t tie up every single loose end, much like the end of season 2 didn’t address the fallout from Wilhelm’s speech. I expect that last look to feel like a promise, like Wilhelm saying “I’ve got it from here.” 

In general I’m not huge on making super specific predictions. But if I were to guess how season 3 will end, I would predict that any questions about the larger fate of the monarchy will not be answered fully by the show, and will instead be covered by The Look (™). I think this holds true whether or not Wilhelm decides to remain in the line of succession, but that his character arc will feel most complete if he makes the decision to leave.  

If Wilhelm does make the decision to leave the line of succession and this does have national implications, I don’t imagine that we’ll see them fully play out. Wilhelm growing enough to leave will mean that the story that Young Royals is telling is complete. After a lot of consideration, I think this is my desired outcome for the show and my best shot at predicting the general shape of the season 3 finale. I want Wilhelm to grow enough to leave (with Simon) and I want the show to end with us confident that he’ll be able to handle the consequences of that decision, even if we don’t see them all play out.

[ticklinglady]

How the fuck does the DOA gang from BSD function at all?

No, seriously, how??? The DOA group can officially be called the most dysfunctional organization in all of BSD so far and that's saying something... Like, just look at these walking disasters, who happened to be working together! They don't even have similar goals!

Fyodor is the shadiest bastard alive on this planet with superpowers that are beyond even Dazai's comprehension who will backstab you in a blink of an eye and play cello while at it.

Nikolai is an unpredictable op clown obsessed with death who screwed over the entire plan for no better reason than to murder his bestie out of affection.

Sigma is just an imaginary guy with terrible luck who doesn't give a fuck about DOA at all and simply wants to chill in his casino undisturbed from all this shit.

Bram is just a vampire overlord with terrible luck who doesn't give a fuck about DOA at all and simply wants to sleep in his coffin undisturbed from all this shit. (Also why did DOA even bother to make him an official member of the organisation, if he is only seen as the extension of Fukuchi's powers and nobody gives a damn about him as a person??? Even Sigma got things better than him)

Fukuchi is an op cheater and leader of the two of the most feared organisations in Japan, yet he's also a guy whose subordinates keep betraying him (even the one man he put absolutely the most trust into going along with his plans), as well as a dude who managed to let the overlord of vampires absolutely crucial to his plans be kidnapped by a FUCKING TEN YEAR OLD.

...honestly, I feel like the only reason these dumbasses were able to achieve anything in the story at all is cheatcodes/the Book. If it hasn't been for it, even Fyodor's genius wouldn't have been able to help their situation and that's hilarious.

(And on a side note of me being unable to comprehend the logic behind the DOA. Has anyone ever wondered why Fukuchi needs that super duper powerful weapon to mindcontrol the armies, when he can literally pull off the same thing via Bram?)

[stereax]

☕️ things you think the nhl genuinely does well for their players? And/or things you wish could/would change in the org?

I think, to start, you need to overhaul how player safety works. The lack of consequences for players is nuts. Repeat offenders need to be penalized appropriately. You can't let dangerous players like Matt Rempe continue to be the poster children for CTE.

Player assistance - I'm not sure how effective this is. We've had players like Valeri Nichushkin fail it; we've had former players like Scott Darling deride it. We've also had players like Spencer Knight and Connor Ingram who've cited the help they get from it as crucial to their mental health.

THE MEDICAL STAFF. Oh my god the medical teams are AWFUL in the NHL. I know it's the standard to play through injuries but holy fuck. On the Devils alone we had three cases of medical staff failing to spot a concussion or other major injury after a head hit and letting players continue to play for several more shifts before pulling them. You hear actual horror stories annually of players saying "oh, I messed up my shoulder in game 4 and played with it the entire season" (Tim Stutzle) or "oh, my knee's been fucked since January, sorry for not putting up more points" (Elias Pettersson) or "oh, I played a playoff game with a broken sternum and I couldn't even dress myself, so if I got hit there, there's a chance I could have died" (Matthew Tkachuk). We're seeing that players who prioritize their health, who sit out to recover instead of pushing their bodies (think Sidney Crosby here) are able to continue playing at a high level past 35, when previously this was considered too old to be a top talent NHL player.

Tying into that, LTIR. Teams need to be incentivized to use LTIR so that their stars can heal, goddamn it. You tell me "close the cap circumvention loopholes", I reply "I'd prefer if players are playing healthy and not forced to play while hurt, and LTIR is a major step in allowing players to heal without penalizing a team for their injuries". I don't know why it's a buzz topic now that teams like Vegas are "abusing LTIR" - good??? Every team in the league should "abuse LTIR" if it means helping to preserve the quality of life for its players down the line??? Why is this controversial???

But also - players who are definitely not coming back to play in the NHL (think Shea Weber, Carey Price, Nicklas Backstrom) should have the ability to retire without losing out on the final years of their contract while not penalizing the teams with them on their roster. Currently, these players undergo "LTIRetirement", a process where they're stashed on the LTIR until their contract is up, at which point they officially retire. This not only disadvantages the teams carrying these contracts but also puts unnecessary burdens on these players. Think how the 2018 WJC perpetrators were considered "NHL non-roster", effectively having no cap hit, and do something similar for LTIRetirement.

Just... eugh, I really wish some fundamentals about hockey culture and the culture of injury were changed. Every time I hear about how a player is trying to regain day-to-day functioning after an injury (go read up on Tanner Pearson's hand injuries and how the Canucks bungled the surgeries), part of me dies inside. Jack Eichel literally had to force his own trade out of his team because the Sabres weren't willing to give him medical autonomy. Which is another thing - the player should ALWAYS have final say in their injury treatment, not the teams. Whoever decided that... I'm shaking my fist.

[hollowwhisperings]

Kairi the Character: The Future of a Grounded Star

The creators of the KH series have emphasized that, going forward, the series will focus on Sora and Riku. They also repeated that KH3 was the story of "childhood friends who drift apart as they grow up" & that change can be sad but is necessary, that people can always re-conect in new ways.

Essentially, the KH team marks KH3 as the "end" of Kairi's Story with Sora & Riku: the end of an age of Childhood Promises, of resisting "Change"... and of growing up "together".

Going forth, the "Destiny Trio" hyped up in marketing & the fandom consciousness is firmly "retired": KH3 ends with Riku's connection to Sora is stronger than ever, Sora on the cusp of a Realization pertaining to Riku being Sora's "Light"... and, as of Melody of Memory, Kairi knows that "following" her two childhood friends is not conducive to helping them nor to herself.

This post will examine the many ways Kairi has "functioned" within the greater narrative of Kingdom Hearts & its themes. It dips into Kairi's Resistance to Change being her greatest inhibitor in taking an active role within the series, how and why her first attempts were met with failure (spoiler: copying your friend's homework can only ever get you so far), why Kairi's "Staying Behind" (Home) is where her own story begins & the importance of Kairi's Distancing herself from the main story of Kingdom Hearts. Kairi's Story has never been the one shared by Sora & Riku: Kairi's Story is found in the wide cast of characters, "crossed-over" and original, and interwoven with the setting's many Mysteries. Kairi, independently of either of KH's protagonists, but together with Others "Left Behind" is a crucial lynchpin to unravelling so many spools of thread: threads held separately by many hands... each confused, in their isolation. Kairi can play a Key Part in "sorting" these threads, in enabling Different Characters to Meet (& so see their Common Threads), and in doing so "consolidate" them all within a "Wider Picture". Mostly, however, I'll be contextualizing Kairi in Themes of "Home" and as "Light".

Kairi the "Starcrossed"

Kairi has spent the KH series thus far in a pattern of "staying behind" and "chasing after her friends". While the former is not actually a bad thing (indeed, it was a Key Element in games past & likely in future too), the latter has lead to immense "disappointment".

Disappointment in fans of Kairi, who believe Kairi is suffering from "Chickification" (demoting a female character to love interest & subsequently removing every aspect of her character to better enable "romance" that better resembles a female acting as an Emotional Support Human). Disappointment from fans of the mysteries in KH's worldbuilding & lore, who find Kairi an inherently Mysterious Character connected to most every Subplot on either side of "Reality".

Disappointment from Kairi herself, who initially mimicked her friend in footstels both literal & figurative only to find that what "strengthens" Sora (or Riku) does not strengthen her. Kairi's desperate efforts to cling to childhood has greatly hindered her personal growth, as most harshly evidenced by her almost-death in KH3 & Sora's disappeatance thereafter. In Melody of Memory, Kairi takes her self-growth more seriously: she wants to reunite with Sora, to renew the closeness they had so recently (for her) yet so seemingly long ago (for us, for Sora himself). By the end of Melody, Kairi "fails" again: this failure was not for naught. Kairi's Failure "demoted" her from the Assumed Role she has long held (in & out-of-universe) of "Designated Love Interest [to Sora]" & Sora's Hypothetical "Prince[ss] Charming".

At the end of Melody, Kairi makes her first true act of personal agency in the series: she requests to train under Master Aqua, a woman who rescued her once in childhood (though Kairi may not remember) & who acted as the "Lynchpin" to the safe returns of the "Wayfinder Trio".

With Master Aqua as Kairi's new mentor, let us return to the subject of "Home" & how "staying behind" (as Kairi consistently chooses to do) is not actually a bad thing.

Kairi's "Homes"

"Home" can be different things to different people. To Sora, homes can be made whenever he connects with new places & friends. Sora also considers the Destiny Islands, especially the "play island" where he spent so many years growing up with Riku & Kairi, to be a "home". To Riku, "home" is wherever Sora is. To Kairi? Home is a much more complicated creature to an amnesiac girl who became a Literal Shooting Star.

The first "home" (that we know of) Kairi had is one she claims to no longer remember: Radiant Garden. This is where Kairi lived prior to the Destiny Islands, the place where the errant Master Aqua met a 4th Princess of Heart and bestowed upon her a [protective blessing/charm] (likely enabling Kairi's safely ending up at the Destiny Islands rather than Traverse Town or even Quadratum). Radiant Garden is also where we met Kairi's Mysteriously Well-Informed "Grandmother", someone whose Stories Kairi remembers even when she (claims) to be otherwise amnesiac of her life prior to "The Meteor Shower".

Other characters from Radiant Garden include Cid, Squall Leonhart, Aerith, Yuffie & Merlin (whom Kairi first met in KH1, in Traverse Town, and who seem Mutually Oblivious as to their Shared Heritage). It was also the home of characters Foreshadowed to be Involved with the "Bloodlines" plotlines of Phase 2 of KH: Ansem, Ienzo (a character whose origins are possibly More Mysterious than Kairi's), Apprentice Xehanort ("Terra-Nort"), "Braig" (the latest Host of Master Luxu), Isa & Axel (friends of the Mysterious "Subject X".

In studying with Master Aqua, Kairi will take her first step in acknowledging her Past & seeking to recover it: that step was made easier, perhaps, by Kairi's befriending fellow keyblade wielder Axel. Axel, like Kairi, is originally from Radiant Garden but has found a "new" Home. Axel's Home is with Isa, Roxas & Xion in Twilight Town: Kairi's Home has long embraced the Destiny Islands as her Home.

Kairi's continued, sometimes stubborn attachment to the Destiny Islands makes Sense: whether she Remembered it or not, the memories immediately prior to her "debut" as a Literal Shooting Star would have been of her being the latest Test Subject of Xehanort. If her memories of Xehanort were not stolen safely away by her young age, Repression or the traumas of Crashlanding into an ocean (possibly featuring a bit of Drowning? between Aqua's Magic & Kairi's Own, hopefully this was one trauma young Kairi was Spared from)... Kairi has Good Reason to disassociate with Radiant Garden & its labs. That Kairi willingly submitted herself to be studied in sleep by Ansem & his reformed Apprentices for a year? That in itself was an act of Remarkable Bravery and True Desperation. "Survivor's Guilt" is one of many potential "Darknesses" that Kairi, a Princess of Light, may need to Accept into herself to "grow" beyond that role & into young adulthood (as all other Original Princesses of Heart did). It is a subject Familiar to Kairi's Peers, the Princesses & those "left behind".

Yet Kairi is not someone "left behind" by the narrative: Kairi is someone who Chooses to Stay Home. This "passive" choice of Kairi's, to be a person to Return To and a Representation of "Home" has been the most plot-relevant aspect of her character since KH1 & continued to be her Key Narrative Function... right until "the power of childhood promises" was brutally, thoroughly Proven Insufficent. Childhood Promises were Kairi's "theme": with each timeskip, each near-death experience, Kairi's friends had Grown Up & Apart from her. "Promises" could not be as carelessly, made as meaningfully fulfilled in the Stakes of young adulthood & War: KH3 forces Sora, Kairi & players to recognise that "promises are for children"¹.

That is not to say that Kairi's Choices to "Stay Home" are bad: Kairi is not weaker for seeking the security of a fixed "home". Kairi has lost every Home she has ever had. That she clung to the "idea" of the Destiny Islands, once the world was restored, is consistent with how Kairi has been shaped by her own Traumas (well before & then in opposition to Sora and Riku, who found "Home" in each other more than once).

Kairi & "Safe Return"

Recall now the Wayfinding Charm Kairi made for herself & her friends as her "contribution" to their Raft Project: thalassa shells set in a starfruit's shape, a Sailor's Promise of "finding their way home". Unlike Riku "the Reverse-Little Mermaid" or Sora "the Adventurer", Kairi only worked on the Raft so her friends wouldn't leave her behind. Kairi was genuinely worried of being lost at sea, something she was miraculously spared from when she crashed into the waters of Destiny Islands.

In KH2, Kairi sends a "message in a bottle": while how sizable its role really was in providing a "Door to Light" for the stranded Sora & Riku is ~vague~ due to its "Timing" (right after a Heart-to-Heart between two uniquely "bright" Keyblade wielders), Kairi's "wish" in bottle-form certainly helped in said Door's directly opening to the Destiny Islands specifically.

Kairi & "Geography"

Then there is KH3's "Tunnel of Light" sequence. While players may Expect that the Abrupt Deus Ex Machina as "GPS Princess Kairi Saves The Day Offscreen, Again"... the sequence is Deliberately Misleading.

Sora's initial recognition of his "Light" as Riku's Light is correct: Riku, now and always, is the "Light" Sora knows best. Riku is also Found At The Tunnel's End: Kairi, however, was with Sora the whole time. Kairi was Geographically Incapable of being Sora's "Light" because she was right next to him, following Sora as he was lead by Riku's Light.

The entire "Light Tunnel" scene in KH3 is referential to the Infamous Meteor Shower event recalled by Sora & Riku in CoM.

Sora and Riku both recall watching a Meteor Shower with Someone Very Important to Their Heart(s). During this Meteor Shower, the person Naminé replaces feared that a Meteor (a Shooting Star) would strike the Destiny Islands: Sora or Riku then promised to [always protect] the Person Naminé Replaces in this Shared Memory. It is Naminé's placing herself within This Memory that prompts the Drastic Increase in [Devotion] from both Sora AND Riku['s Replica]. Due to Naminé's previously inserting herself into either boy's memories in Kairi's place, players "expected" that the True Memory & the Promises of Protection must have "also" been With Kairi.

...except that Kairi could not have exchanged anything with anyone during That Meteor Shower: Kairi was the Meteor Shower, one of its meteors & its most Significant Shooting Star. The promises that both boys recall making were made to each other: they exchanged tokens by the light of a Shooting Star.

Ascertaining Kairi's "Relative Geography" is the Vital Clue to many of her Weirder Moments throughout the series: in Sora & Riku's Shared Memory of a Meteor Shower, Kairi was a Meteor; in the Tunnel of Light sequence, Kairi was inside the Tunnel & not at its End; when Sora & Riku find themselves stranded in Another Side of Reality, as they once were in the depths of the Realm of Darkness, Kairi will be their Connection Home.

Kairi the "Lighthouse Keeper"

Kairi, through imagery & Choices, has made herself into a "Guiding Star". She is no longer a "starcrossed meteor" of Sora's: Kairi is the Fixed Point of "Home", her Home.

Kairi has become not a Lighthouse but its Keeper: she "tends the hearth" that is her own Heart, one that shines its light from the Destiny Islands where she "stays behind". As a Princess of Light, Kairi can act as the "Keeper" of her own Light: she can determine where it shines brightest ("home" in the Destiny Islands), who it guides (those Lost in Darkness, friends)... amongst other things.

This role of "Hearthkeeper" or "Lighthouse" will not give Kairi any dramatic rise in martial prowess, magical or otherwise. Kairi is Not Sora & she's Not Riku either: their strengths are theirs and Kairi has yet to even consider that her own strengths could be entirely different (& helpful for entirely separate situations). Narratively, making Kairi a "magical powerhouse" is unproductive: other characters are Experienced Battle Mages, their skills & prowess Well Established as Terrifying Extremely Competent.

Rather tham becoming Yet Another War Mage, I would speculate that Kairi's role is something more "unique" to her person & something sorely needed on This Side of Reality: an "Illuminator" not only of pressing dangers and safer shores but of the setting's Mysteries, old and "new". Kairi is already capable of acting in this role: she just hasn't had the opportunity to realise it yet.

Kairi the "Illuminator"

As a Princess of Light, Kairi connects any & all Disney princess past or future: the Princesses are "Torchbearers", their Hearts host to the still-burning remnants of the Ancient X-Blade's Light. These seven individuals are essential to the stability of the Realm of Light, in the absence of Kingdom Hearts. Their endangerment in KH1 was apocalyptic for all Known Worlds: finding the successors of Kairi's Peers in KH3 was a subplot "dropped" upon the miraculous recovering of Master Aqua & her lost friends thereafter. By "staying behind", Kairi's story as a Princess is possible to explore without the risk of her being assumed to be Sora's Princess (or, heavens forbid, Riku's).

As her Grandmother's [lorekeeper] & as a keyblade wielder herself, Kairi is connected to the mythology of the Keyblade Wars of the Ancient Past: the Master of Masters, the Foretellers & how history has seemed Doomed to Repeat. Kairi's placement as "student of Aqua" puts her (& her grandmother's stories) in proximity to Ventus, an amnesiac whose history lies hidden within such stories. That Ven too is "pure of heart" (albeit artificially) is another means of consolidating story threads: how similar is Ven, post-Xehanort, to Kairi the Princess of Heart? How are their Hearts different from each other's & why was Riku's ability to meld his Darkness to his Light so seemingly unprecedented? Is "lack of darkness" holding Kairi back, as a keyblade wielder? Or will Kairi (& Ven) be used by the likes of the Foretellers as "precedent" for all to follow?

As a Wayward Daughter of Radiant Garden, any explorations into Kairi's Life prior to her stint as a Shooting Star opens the world's history to Other Interested Parties: Kairi's hypothetical birth family, for one, and the Concerned Friends of "Subject X". It also requires an Addressing of Xehanort's Time apprenticed to Ansem the Wise... and Questions on how, exactly, he & Ansem "acquired" their Test Subjects in the first place. The technology used to send Kairi from Radiant Garden bears Remarkable Resemblance (in function, if not "form") to that used by the Dandelions. Was there, perhaps, some "reverse-engineering" in play? From Whomst couldst Xehanort Possibly Findeth Such An Arc, one of So Very Few?

Oh, Hi There, Ventus the Secret Dandelion: have you seen the Other, Long-term Human Test Subject? No, not Kairi. One escaped from [our setting]'s Other Resident [Evil] Scientist? Ansem the Wise?

...I May or May Not Harbour Deep Mistrust & Plentiful Suspicions regarding the man formerly known as "DiZ" (for example: did Master Yen Sid ever hear about Ansem's misappropriating his name, just as Xehanort did with Ansem's own?).

That aside, let us continue exploring how Kairi's "staying behind" is much more interesting than putting her back into Sora's Coming Of Age Story for No Actual Narrative Purpose (except to continue in her past role of "Being Conveniently Female"?).

Kairi the "Supporting Character"

Kairi's "Potential" has been Unexplored for nearly the entire series: her resistance to Change, to "leaving Home" & her Seeking Security in Familiar Things has kept Kairi from involving herself in anything "unrelated" to Sora & Riku. Being the series' protagonists, Sora & Riku have been Out Of The Loop on the wider mysteries of their setting: mysteries that Kairi (willingly or otherwise) is intrinsically connected to.

By again Choosing to "Stay", Kairi is able to act as the Fixed Point of Reality's "worldbuilding": Kairi is the connecting character for keyblade wielders to Disney Princesses, the point of reference to clarify "past" from "present" (this is more speculative, contingent to Kairi or Any of the Seven Lights existing as "fixed points" in Reality), and the Meeting Ground of characters (& plot points) old & "new".

Kairi's adjacency to Every Worldbuilding Subplot on This Side of "Reality" makes her an extremely useful Supporting Character. By departing from the "main" story of KH (that of Sora & Riku's "Comimg Of Age"), Kairi is free to support characters in their "shared" stories. Many of these "shared stories" all end up featuring Kairi, as a reference point or otherwise "Key" figure.

As a Supporting Character to Literally Anyone Other than Sora or Riku, Kairi is in great demand (see Speculations Above).

To her Childhood Friends, as they enter Their Arc on Sora's Darkness & the Continued Explorations of the many ways Hearts "Combine"?

The best way that Kairi can help her friends is by doing what she always has (now with other characters supporting her): being a "Fixed Point" in their Reality.

Kairi is no longer Sora's "Starcrossed" Meteor: her role, in his story & Riku's, is to now be that Beacon that Guides Travelers in Dark Seas, the "Lighthouse Keeper" keeping ships mindful of the shoreline & directing sailors to Safe Harbour. When Sora & Riku, weary from whatever Quadratum demands of them, would seek passage through death & dream to Another Side of Reality? Kairi will be There for them, a friend whose life has continued in their absence, ready to welcome them "home".

Conclusion

Kairi was a Reluctant Protagonist and an Absent Love Interest: that was Intentional, as evidenced by the Thematic (& Literal) "Geography" of Key Points in Sora & Riku's Coming of Age story being impossible for Kairi to have actually been "there" to fulfil such roles. Kairi's biggest strength, thus far, was her Faith & Innocent Love enabling her Friends to Find Their Way Home.

Kairi is strong: Sora tells her as much, in the Actual Text of the Tunnel Sequence. Kairi has, however, been "stagnant" in her strength. She can only truly become "stronger" when she needs not constantly compare herself to Riku or Sora (whose strengths are their own, not Kairi's: she has ever been mimicking their footsteps, never able to fill their shoes nor willing to consider getting different shoes for herself to wear instead).

As Kairi grows up & apart from "Childhood", Kairi can make new friends & find new "purpose". Rather than finding herself a "poor subsitute" for Riku or Sora, Kairi can seek the training they never had an opportunity to have & do so in ways neither boy may have "preferred" but Kairi would. Limiting herself to "one-of-three" (a Destiny "Trio") has never made Kairi Stronger, not in the way it has for Other Trios in the series: the "Destiny Trio" was never of the same nature as subsequent trios, the recurring & contrastingly "equilateral" dynamics being KH's means of indicating that, often in life, the friend groups you start out with aren't meant to last. People change and so does the ways they can or would want to relate to each other: is KH to is the story's method of showing the different friendships we can or "used to" have, some friendships remaining unchanged for life & others changing along with its members. to truly grow up, Kairi had to let go the "forever friends" of her childhood. They have been growing up: now Kairi will too.

Footnotes

¹An existing exploration of KH3's distinctions between "childhood promises" & "Oaths" can be found here, on Youtube. It includes a line-by-line analysis of KH's "thesis" on this Theme, Utada Hikaru's "Chikai". My only addition to said video essay is on how its structure acts as a Callback to KH3's immediately preceding title, Dream Drop Distance.

"Chikai" exists distinctly & complementary to the song that shares its melody, "Don't Think Twice". The songs, like the entire premise of Dream Drop, are two perspectives of a shared experience: this is Foreshadowing, specifically pertaining to the concepts of Mirrored Realities & the different ways Hearts can be Combined.

That last theme is especially pertinent given the Various Ways that artificially "combining hearts" has already been used to form or summon the eponymous Kingdom Hearts. This will be the Bloodlines Arc, afterall: "blood" will be Explored, in ways both Literal (ancestry, familial inheritance, generational keyblade violence) & Figurative (keyblades as a concept, Darkness as the "bleeding" of a Heart, the "oldblood" versus the "new"). That any & all depictions of blood will be censored into Water or as "Darkness" is par for the course.

²Kairi, Sora & Riku were never "a family" [trauma-bonded] to each other in the ways of the "Wayfinder" or "Seasalt" Trios. Kairi & Sora are only one (1) year younger than Riku: that means a lot, as a kid, but matters less & less the older you become. Axel's success in his role as "life coach" & "cool older brother" to the [newborn] teens Roxas & Xion highlights the difference that Age & aging has in one's friendship dynamics: Axel was the age of his friends when he "joined" Organization XIII and can thusly prepare them for what they will experience. Upon Isa's "resurrection", Axel keeps his childhood best friend with him: the changes this would prompt in the "Seasalt Trio" have inspired many an "Axel the No Longer Single Dad" joke, if not with that specific wording.

My Elaboration on Relative Age in the Dynamics of KH's Iconic Trios got, uh, Longer Than intended: its elaborated form has been Squirrel'd Away for "Later, Maybe".

[paragonrobits]

an SU thought but one almost constant recurring thing I've heard from literally everyone who watched Steven Universe is that not only do we see Rose Quartz's story in reverse (the seemingly perfect heroine who secretly grappled with a lot of personal self-hatred who was created as a fundamentally destructive being who chose to defy her function), just about every single person initially thought of her as an afterthought, mostly regarding her as a presence towards the cast without much thoughts on her as a person, and we only gradually realize anything about her, and the most stand out example is how its initially not clear just how big she is.

Early episodes make it clear how important Rose was to the cast, and how much they miss her and the grief that has scarred them, but we get very little information on Rose herself. We see that Greg is (at first glance, before we see how emotionally intelligent and kind he is) a wreck destroyed by her death, and we get hints of everyone else, and Steven's own fears about being unable to live up to her legacy, but her legacy is the entirety of her early character.

She's functionally a ghost. We hear things ATTRIBUTED to her; her kindness, her power, that the gems mourn her, but we don't hear much about her, and we specifically never see Rose clearly. We see her painting, and photos of her, but she always has her eyes closed with a gentle, distant smile. She's never looking straight at us, and we never really see her around other characters in a way that would tell us her general look, just hints about it. We hear things she did, and what people think about her, but Rose herself is a complete mystery.

The relevant bit is this; at the time, Garnet is the biggest and strongest Gem, and at the time it wasn't clear that she was a fusion, just a particularly big and strong Gem. She was an absolute powerhouse who singlehandedly was the most overwhelmingly powerful of the Gems, especially at a point when Steven's power was unpredictable and his true nature as a defensive protector had yet to be displayed. Garnet was so big that she visibly struggles to fit into doors, and much like the shadow Rose later casts, her size reflects her significance as the team leader.

Then we see Lion 3, which is the FIRST time the show ever clearly shows Rose at all, has her actually speak and directly address anyone at all. Before this point, we hear opinions and hearsay from others, but never see her speak for herself, and crucially, in comparison to others.

And Rose Quartz is goddamn humongous. In her first true on-screen appearance in a video she made for a son she knew she'd never meet, she is the single largest non-fusion Gem in the show; she's even larger than Garnet, towering over Greg. As big and powerful as Garnet is (And at the time, while it was speculated she was a fusion, it wasn't confirmed until later), Rose is even larger and, we hear very strongly implied, even more powerful than Garnet.

And its interesting that before this point, we never see Rose clearly. In photos and paintings, she is either posed by herself or in a way that her actual stature relative to others is obfuscated, and this is the first time we see her in person, both in personality and size, and this seems relevant.

It's a few episodes later we see Jasper, whom is broadly the same type of gem as Rose (a quartz), and not only is her sheer power a stark reveal that puts Garnet's seemingly limitless power into perspective, and by proxy implies how strong Rose must have been, this also gives us a hint on how powerful Rose was, because a ferocious warrior like Jasper comes to Earth SPECIFICALLY for the chance to fight her; in sudden short order we're given a lot of retrospectively REALLY big hints about Rose's character, after having spent the entirety of the first season as virtually a non-entity that most people barely thought about, and we get a LOT of context for her, REAL FAST.