#narrative themes and motifs good

[loregoddess]

no spoilers below the cut, I was just having a lot of thoughts about Engage earlier that I felt like I wanted to write--talking about the narrative themes and motifs in broad strokes, so no specific spoilers or character names (aside from a brief Alear mention bc, protag). Mostly just wanted to get the thoughts down, bc damn this game is so good

was thinking about Engage earlier, and specifically like, how really carefully written the themes and stuff are and just how well written they are, like sure, the plot's nothing special, it's simple and predictable, and that is honestly the beauty of it. Because when you're not trying to write the most interesting plot in the world, when you're not caught up in trying to plan the best plot twist or most deranged events to top previous games' deranged events, when you allow yourself to have a simple, even campy or corny, earnestly campy and simple plot, then you free yourself to have so much room to really dig deep and explore the actual narrative themes and motifs like, like--

there's a recurring theme of loss and grief. The entire narrative is arguably about grieving. It's not as easy to track as like, the symbolism of the Five Stages of Grief in Majora's Mask, but how Engage handles grief is still so deeply, carefully, thoughtfully written. There's the obvious grief of losing a loved one, yes, but it's also about the grief of losing the past, of becoming a new person (however good that may be, there's still the loss, a "death," of the past self), the grief of growing up and being unable to return to simpler times, the grief of the onward march of time and of losing what precious time one has. There's so much grief in Engage, and yet the story is so, bittersweetly, hopeful, for it is also a story of healing, and metamorphosis, and love.

adjacent to the themes of grief are also recurring narrative themes of self and identity. There are several characters who, whether by their own choice or by forces outside there control, have a separation from their past self. And there's a variety of characters in different stages of this life change. Some are very near to their old self, trying to remake themselves into a person they want to be but they're not there yet, they're in the messy area between their past self and who they want to become. There's characters who've become the person they were trying to become, but are still haunted by their pasts. There are characters who seek to know their pasts, because the truth is essential and important, no matter how painful. And there are characters who know they will have to change, to become a new version of themselves, who either resist that or try to waylay that future. And it's so fascinating, because every character is treated as the best possible version of themselves, in the present moment, no matter where they are in their personal journey, because at the end of the day we can only be the person we are in the present, no matter how close or far it is to who we want to be or who we were, and there is beauty in that, there is beauty in that perfectly imperfect present self, and that self is okay for simply being and trying

there's just, so many weird little narrative themes I keep finding the more I reflect on the game, and reading through more character supports and learning more about the characters, and like, this really is a gem of a narrative experience. Because the scale of the narrative is so small, it's not like the characterization or worldbuilding can be easily mixed up or inconsistently written, there are no branching timelines to confound the writers with "what ifs"--there's just a simple, straightforward concept that allowed deeper thematic elements of the narrative to shine through, and the cast of characters is incredibly consistent and surprisingly varied, making the entire experience of the narrative overall just, really incredible

sure there's not the nuance of the horrors of war or whatever, but in my opinion FE has never been a good series for war-critical narratives, since the war is almost always just a game mechanics backdrop and narrative metaphor for whatever issue the characters are actually dealing with. And that's part of what makes Engage so good to me, is that, yes there's a war and a zombie apocalypse going on, yes these are part of the plot, but they're at best metaphoric devices to reflect the actual inner struggles of Alear and several other characters, for moving through grief can feel like a battle, and trying to gain a grasp of one's self and identity is a struggle at times, and what is fantasy for if not reflecting the most confusing inner turmoil in fantastic, over-the-top--and therefore safe--settings?

[obliqueletterkennyreference]

its interesting to me how aang appreciators also tend to be zukaang shippers? or vice versa, zukaang shippers tend to be big Aang Appreciators. which is interesting cause i feel like hes the least appreciated character of the main cast generally speaking

[dykeofmisfortune]

being a pretentious fuck is embarassing sometimes. bc if someone asks me what video games i play im like "yeah i only play story based indie games about depression and guilt" like omfg shut UP

[1o1percentmilk]

something that bothers me is my inability to see people as people and rather more as a collection of themes/motifs/objects/skills

[fumifooms]

Shogun 2024 is really good holy shit

[krytus]

a week ago i was ready to give up on kings blood and today i just finished outlining each new chapter of the restructuring/rewrite im doing 😌.....

[artekai]

Even if it doesn't make sense to anyone but me.... I have to write a Dailah x Kina fic

[cruelsister-moved2]

having yuri withdrawals

[sunnnfish]

COMPLETED DUNGEON MESHI !!!!! SO GOOD !!!!

[welcometoteyvat]

hh xiao and yelan chasm remembrance (based on that millelith memorial) idea speak to me

[etherealspacejelly]

im so jealous of people who have special interests that are facts based. like how am i supposed to communicate to people that my special interest isnt star trek the tv show its star trek the story. the characters. the themes and motifs.

people ask me stuff about the lore or the production and im like nah nah nah. idk any of that stuff. but i could spend 30 minutes analysing the scene in corbomite manouver where spock says "im s-" and what implications that has for his character and his relationship with jim.

i dont know how a mind meld works or what powers a phaser but i could write you an essay on the themes of found family in star trek v, including the significance of row row row your boat in the cyclical narrative.

"how does a transporter work" fuck if i know. can i tell you about 'good luck spock'???

[byoldervine]

Foreshadowing Ideas

• Character themes/motifs. I’ve heard of one writer who tries to give each character their own theme for similes, metaphors, descriptions, etc so there’s like a theme to the way they’re portrayed. You could use that to foreshadow notable secrets about the character that will later be revealed, or if at any point they’re disguised then you can use that to tip off the reader that they have the same motifs and so might be related/the same person

• Tiny details hidden in lists. Say the MC was trying to work out the identity of a bad guy, who we know was wearing a red shirt on the day of a big bad event. A few chapters later, MC is checking around their best friend’s room to find them, with the place its usual mess with discarded takeaway boxes, the bed unmade, a red shirt left on the floor that could use a good sweep. The red shirt might not click with all the readers, but those who register it upon their first read will eat it up

• Inconsistent behavioural patterns. Once we have a good idea of what a character is like, having them act out of character can set off alarm bells and make us question what’s occurred to make them act this way. Let the other characters register it too, if it’s reasonable that they would, but let them ultimately brush it off quite quickly to keep it subtle. Or just call it right out, whichever you prefer

• Unreliable narrators. Let one character say one thing and a second character say another, even if they both ultimately agree on the same thing but get one or two small details wrong. Ideally do this two or three times in order for the reader to know it’s not just a mistake in the plot but an intentional inconsistency, but even if it’s only done once and it’s taken as a mistake it’ll still slot together like puzzle pieces in the end and they’ll be kicking themself for dismissing it

• In-universe red herrings. If you’re going to add red herrings as foreshadowing, it’s helpful if the red herring aligns with the intentions of someone person aware of the upcoming plot twist who’s trying to control the narrative. Say the plot twist was the reveal of a mysterious character’s identity to be the best friend of the MC, the best friend might have deliberately thrown the MC off their scent by planting suspicions in the MC’s mind that a different character was the mysterious character’s identity all along. This is less about foreshadowing the actual reveal, of course, but rereads will be a punch to the gut when everyone realises that all this misinformation and red herring business came from someone trying to cover their own ass rather than coming from misunderstandings or multiple other random sources

[erstwhilesparrow]

I'VE DONE IT I'VE MADE MYSELF COHERE

[physalian]

Pacing your Story (Or, How to Avoid the "Suddenly...!")

Arguably *the* most important lesson all writers need to learn, even for those who don’t give a damn about themes and motifs and a moral soap box: How your story is paced, whether it’s a comic book, a children’s chapter book, a doorstopper, a mini series, a movie, or a full-length season of TV (old school style), pacing is everything.

Pacing determines how long the story *feels* regardless of how long it actually is. It can make a 2 hour movie feel like 90 mins or double the time you’re trapped in your seat.

There’s very little I can say about pacing that hasn’t been said before, but I’m here to condense all that’s out there into a less intimidating mouthful to chew.

So: What is pacing?

Pacing is how a story flows, how quickly or slowly the creator moves through and between scenes, how long they spend on setting, narration, conversation, arguments, internal monologues, fight scenes, journey scenes. It’s also how smoothly tone transitions throughout the story. A fantasy adventure jumping around sporadically between meandering boredom, high-octane combat, humor, grief, and romance is exhausting to read, no matter how much effort you put into your characters.

Anyone who says the following is wrong:

Good pacing is always fast/bad pacing is always slow

Pacing means you are 100% consistent throughout the entire story

It doesn’t matter as much so long as you have a compelling story/characters/lore/etc

Now let me explain why in conveniently numbered points:

1. Pacing is not about consistency, it’s about giving the right amount of time to the right pieces of your story

This is not intuitive and it takes a long time to learn. So let’s look at some examples:

Lord of the Rings: The movies trimmed a *lot* from the books that just weren’t adaptable to screen, namely all the tedious details and quite a bit of the worldbuilding that wasn’t critical to the journey of the Fellowship. That said, with some exceptions, the battles are as long as they need to be, along with every monologue, every battle speech. When Helm’s Deep is raging on, we cut away to Merry and Pippin with the Ents to let ourselves breathe, then dive right back in just before it gets boring.

The Hobbit Trilogy: The exact opposite from LotR, stretching one kids book into 3 massive films, stuffing it full of filler, meandering side quests, pointless exposition, drawing out battles and conflicts to silly extremes, then rushing through the actual desolation of Smaug for… some reason.

Die Hard (cause it’s the Holidays y’all!): The actiony-est of action movies with lots of fisticuffs and guns and explosions still leaves time for our hero to breathe, lick his wounds, and build a relationship with the cop on the ground. We constantly cut between the hero and the villains, all sharing the same radio frequency, constantly antsy about what they know and when they’ll find out the rest, and when they’ll discover the hero’s kryptonite.

2. Make every scene you write do at least two things at once

This is also tricky. Making every scene pull double duty should be left to after you’ve written the first draft, otherwise you’ll never write that first draft. Pulling double duty means that if you’re giving exposition, the scene should also reveal something about the character saying it. If you absolutely must write the boring trip from A to B, give some foreshadowing, some thoughtful insight from one of your characters, a little anecdote along the way.

Develop at least two of the following:

The plot

The backstory

The romance/friendships

The lore

The exposition

The setting

The goals of the cast

Doing this extremely well means your readers won’t have any idea you’re doing it until they go back and read it again. If you have two characters sitting and talking exposition at a table, and then those same two characters doing some important task with filler dialogue to break up the narrative… try combining those two scenes and see what happens.

**This is going to be incredibly difficult if you struggle with making your stories longer. I do not. I constantly need to compress my stories. **

3. Not every scene needs to be crucial to the plot, but every scene must say something

I distinguish plot from story like a square vs a rectangle. Plot is just a piece of the tale you want to tell, and some scenes exist just to be funny, or romantic, or mysterious, plot be damned.

What if you’re writing a character study with very little plot? How do you make sure your story isn’t too slow if 60% of the narrative is introspection?

Avoid repeating information the audience already has, unless a reminder is crucial to understanding the scene

This isn’t 1860 anymore. Every detail must serve a purpose. Keep character and setting descriptions down to absolute need-to-know and spread it out like icing on a cake – enough to coat, but not give you a mouthful of whipped sugar and zero cake.

Avoid describing generic daily routines, unless the existence of said routine is out of ordinary for the character, or will be rudely interrupted by chaos. No one cares about them brushing their teeth and doing their hair.

Make sure your characters move, but not too much. E.g. two characters sitting and talking – do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them gesture, wave, frown, laugh, cross their legs, their arms, shift around to get comfortable, pound the table, roll their eyes, point, shrug, touch their face, their hair, wring their hands, pick at their nails, yawn, stretch, pout, sneer, smirk, click their tongue, clear their throat, sniff/sniffle, tap their fingers/drum, bounce their feet, doodle, fiddle with buttons or jewelry, scratch an itch, touch their weapons/gadgets/phones, check the time, get up and sit back down, move from chair to table top – the list goes on. Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t – what does that say about the both of them? This is where “show don’t tell” really comes into play.

4. Your entire work should not be paced exactly the same

Just like a paragraph should not be filled with sentences of all the same length and syntax. Some beats deserve more or less time than others. Unfortunately, this is unique to every single story and there is no one size fits all.

General guidelines are as follows:

Action scenes should have short paragraphs and lots of movement. Cut all setting details and descriptors, internal monologues, and the like, unless they service the scene.

Journey/travel scenes must pull double or even triple duty. There’s a reason very few movies are marketed as “single take” and those that are don’t waste time on stuff that doesn’t matter. See 1917.

Romantic scenes are entirely up to you. Make it a thousand words, make it ten thousand, but you must advance either the romantic tension, actual movement of the characters, conversation, or intimacy of the relationship.

Don’t let your conversations run wild. If they start to veer off course, stop, boil it down to its essentials, and cut the rest.

When transitioning between slow to faster pacing and back again, it’s also not one size fits all. Maybe it being jarring is the point – it’s as sudden for the characters as it is for the reader. With that said, try to keep the “suddenly”s to a minimum.

5. Pacing and tone go hand in hand

This means that, generally speaking, the tone of your scene changes with the speed of the narrative. As stated above, a jarring tonal shift usually brings with it a jarring pacing shift.

A character might get in a car crash while speeding away from an abusive relationship. A character who thinks they’re safe from a pursuer might be rudely and terrifyingly proven wrong. An exhausting chase might finally relent when sanctuary is found. A quiet dinner might quickly turn romantic with a look, or confession. Someone casually cleaning up might discover evidence of a lie, a theft, an intruder and begin to panic.

--

Whatever the case may be, a narrative that is all action all the time suffers from lack of meaningful character moments. A narrative that meanders through the character drama often forgets there is a plot they’re supposed to be following.

[raayllum]

Rayla as Callum's Deepest Truth - what does that mean? :: Or Truth in S6

Season six of The Dragon Prince talks a lot about truth.

It's a sentiment at least mentioned in almost every episode, and in a show featuring secrets, unreliable narrators, and characters routinely keeping information from or divulging information to one another, it's an accordingly complicated concept for both the characters and the show's broader narrative.

Thereby, we're going to start with the most straight forward associations in the season, beginning with Callum's plot line in 6x06 and the scene itself, and then work backwards through the various other aspects that contribute to both initial and more layered readings of the concept that we can extrapolate from other aspects / relationships the season explores through truth.

Let's begin.

Truth as Light and Love

The first and simplest readings of Rayla as Callum's Truth is that she is Light ("How do I find this light?" / "the one deep truth so bright it can fill the darkness") and Love. This isn't really a stretch, given that seeing and embracing Star Rayla causes a bright light to shine literally in canon, and successfully fill the hole in Callum's spirit with light and purify him of darkness. This also pulls on the most straight forward associations from Rayla and light in prior seasons.

We see this reflected in Janai and Amaya's blessing of the sun at their wedding—a request for "love and light"—and in their discussions with one another in 6x02. Amaya assures her that Janai can still fix what is broken for her people (put a pin that idea of broken + fixing for later) so long as she doesn't try to do it alone. Janai affirms this through her understanding of "The King with 1000 Eyes" story, stating that much like in the tale's pair of lovers, Amaya is also:

While this doesn't necessitate the idea of Truth as being romantic love for an individual, this line is one of the biggest reasons going into 6x06 that I thought maybe Rayla would end up being his Deepest Truth. This is also partially because they refer back to the idea of light and fixing, directly stating that "there is a way to fix it" through the star-light ritual, and we see this idea again with Rayla in 6x09 with Runaan.

Rayla was always set up to be Callum's alternative path in opposition to Aaravos as well (though again, we'll get to that specific path motif more later) through the framing of light. It's unsurprising then that in opposition to both metaphorical and literal darkness

we get Rayla and his love for her being a literal light.

These are the most straight forward, positive sides of Truth that we see, and the ones I think (mostly) that 6x06 plays most overtly, though there are others as well that we'll get to in a second. This is also the most straightforward the series has been about 'darkness = bad' and 'light = good' as well, even if there are always exceptions to every rule (which we'll get to later as well).

Light and love and Rayla can fix what is broken. She can save you. She can restore you. Her, and your love for her, leads you out of the darkness. Mends you. Makes you whole again.

That's some powerful stuff, especially as a basic surface level reading. (For a less than surface level one with this similar theme of broken and fixing, you can read this meta regarding Leola and Rayla.)

With that under our belts, I want to take this basis of "the Truth (Rayla) as love and light" to explore how it leads naturally into the final Rayla and Callum scene of the episode, featuring

Truth as Clarity

We've gone over light, and we'll go over purpose, but for now I want to talk about the idea of truth as clarity. To have clarity is to have a better sense of the reality of things, a founded understanding of a situation or person. The Celestial elves seek clarity through the "true light of the heavens." The clarity Callum receives in realizing and finding that Rayla is his one truth causes him to finally take the next step and begin their relationship fully again by kissing her, and by confessing his love to her.

Clarity is also derived from the basis of knowing, however—"Hold to what you've always known [...] the answer in your heart is clear / I am near, my love is here"—of knowing that is the truth. Of seeing clearly, of seeing someone, truly for who they are and loving them.

RAYLA: Why didn't you tell me? CALLUM: Cause I know you, Rayla. If I'd told you, you would've refused to go, because you never do anything for yourself.

He loves her because he knows her ("That's what makes her a hero. That's what makes her Rayla" / "She's not 'the elf'. She's Rayla") and he knows her because he loves her, because he understands her ("And I understand why you couldn't tell me") through love. His trial and Truth gave him the clarity to express it, and the purpose to do so in many ways. It's also a positive grasp of purpose, since Viren ("I have power, purpose, and I intend to use both of them") and Aaravos ("I chose to live, and my life took on new purpose") become dark, twisted, and self destructive. Loving each other makes Callum and Rayla mutually better, and it's something both are finally able to whole heartedly embrace. To love is simply to know this.

Between this, and Viren's whole assessment that "The path of freedom is the path of truth," what could possibly be bad potentially about Rayla being Callum's one Truth, or the truth in general? Well...

Truth as A Weapon / a Burden

I actually wrote a meta all about this theme in Arc 2 for season 4 and season 5 before S6 called "Knowledge as a Burden" that I recommend reading if you haven't already. However, it's not necessary as this section is about how the Truth or 'Knowledge' can be a burden and a weapon depending on what the truth is, and how the information is presented. And this eventually does make its way back to the more positive outcome of Rayla being Callum's truth, so we'll circle our way back around.

With all that in mind, let's start with the most obvious. In 6x06, "Moment of Truth," both Callum and Viren wrestle with the results of previous actions due to dark magic. In one timeline, Callum learns the truth about the pearl and spirals into self-despair; in the other, ultimately canon timeline, this truth is withheld from him, allowing him to maintain the courage and strength he needs to go through the star-light ritual ceremony. By withholding the truth, he's given clarity, light, and purpose, which we went over in the previous section.

Alternatively, Viren's arc in this episode leans more heavily onto the concept that giving Soren the letter would be shifting a burden to his son.

Are you providing clarity, light, and purpose, or are you shifting a burden to someone who needs all their strength?

Both these plot lines ultimately end in different ways. By sharing the truth, Callum and Rayla reconcile, and by withholding the truth, Viren spares his son more pain, and they don't ultimately reconcile. I'll definitely talk about Viren and Soren's arc together in S6 someday in a proper meta, so I don't want to touch on it too much here, but it is noteworthy because it reaffirms the concept in this season that sometimes, knowing the truth can make things worse, not better, and cause more pain, not less.

We see this in how Callum's dark magic use weighs on him heavily in 6x03, leading to an argument between him and Rayla, and that learning he did dark magic causes Rayla to respond differently to his request to kill him; whereas before she steadfastly refused, here she agrees because she can see the risk and concerns are more prominent. This doesn't of course make their bond better (although it doesn't worsen it, either), but their literal ship does catch on fire and sink when she demands that he sacrifice her, and promises to sacrifice him, so... It's not good, either, even if it's ultimately good that Callum shared it with her for his own sake.

Where we see the Truth most weaponized in the season, however, in moving away from 'the truth as light' is with Aaravos himself.

AARAVOS: Good, good. You've played your part well. Before you perish, would you like a reward, a small mercy perhaps? The mercy of truth. The answer to the mystery that has haunted you for a thousand years. What happened to your beloved mate that disappeared? SOL REGEM: Tell me, betrayer. What became of Aithne Solaire? AARAVOS: I should warn you, sometimes the line between mercy and cruelty can be thin. [...] It was you. You killed her. Go on, breathe deep. I know you can smell the truth from a lie, and this is a deep, dark truth. In your fury, you buried her alive.

This is, of course, a move Aaravos used before ("Arrogant, just like your grandmother. Would you like to know the truth of her fate before you meet yours? I swallowed her") with Khessa back in season three. This is also something he utilizes as a manipulation tactic with others, knowing the importance of withholding the truth until it is beneficial for you to reveal it ("Careful, if you tell the truth you will lose her") and Aaravos' own belief that "[he] never lies" which Claudia reaffirms in 6x01: "Aaravos wasn't lying."

Of course, just because something is true according to him and his worldview or vantage point doesn't mean that it is deeply, objectively true, but that's another matter.

What matters here for the sake of this meta is that the truth isn't always good. The truth can be withheld to protect others (2x03, 6x06), to protect yourself (although sometimes misguided), and to manipulate and control other people (Viren orchestrating the war in S2 and S3, Aaravos routinely, etc). The "mercy of truth" is sometimes not mercy at all, but cruelty, showcased in Aaravos revealing something he knew would devastate and harm an already dying dragon/enemy.

The truth can be cruel. The truth can be deep and dark, too, not just light and lifting burdens. Knowledge can be an terrible burden. The truth can be awful.

So can love.

So can your path.

Truth as a Path (Freedom)

VIREN: Despite all this, I am changed. I woke up feeling free for the first time in a very long time. I know I have led my sweet, brilliant daughter down the wrong path. I have led you by the hand and I have led you by my example. Perhaps now if I walk the path of freedom, you will find your path someday, too. CLAUDIA: What do you mean 'path of freedom'? VIREN: The path of freedom is the path of truth. I must face my truth... in Katolis.

The path motif was something touched on sparingly in the first three seasons, largely in response to actual, literal paths the characters were taking. However, beginning more overtly in season four and bolstered by season five, Arc 2 has steadily turned it into one of the most consistent motifs that runs throughout season six. What is created, then, is a set of binary paths. There is the Path of Freedom—moving away from the Cycle and a narrative of strength, away from trying to replicate or get back to the past and moving towards the future instead, away from Aaravos and dark magic—and the 'wrong, dark' Path of Fate that moves in opposition to it.

This is most directly stated in Viren's final dream with his past self:

PRESENT VIREN: The path of fate is already chosen. Every step I took, I took because I had to. YOUNG VIREN: No. That can't be true. No matter where you are on the path, no matter what you've done before, every step forward is a choice. I am free, and so are you.

reaffirmed in Viren's decision at the end of 5x09:

VIREN: No. I won't do it. I finally see the truth. I find myself here at these horrifying crossroads because I have followed a dark path. And worst of all, I have led my beloved daughter done this path. No more dark magic! Never again! I am done with it — and I am done with you!

and in Callum's conversation with Rayla in 4x07:

CALLUM: What if I'm on a path of darkness? RAYLA: Then take a different path, dummy!

All of this was just some of the set up that has routinely put Rayla and Aaravos in direct opposition of each other for Callum's fate. There are framing things like her and the mirror being two very overt paths stretching out before Callum when she comes back, and Rayla being what pulls his attention away from the mirror, but 4x07 made it in The Text by having her represent and literally remind Callum he always has choices: "No one can control you or make your choices for you" (which is partially pressed on in his assessment in "I didn't have a choice" in 6x03, but again: meta for another day). Rayla always represented freedom (his wings, agency) and light (all previous framing) and she still does so in being his Truth. Rayla is his Light, reminder of his freedom, and brings all those things into being his Truth; it is a beautiful culmination (for now) of Callum's choice to move away from dark magic and Aaravos' control by literally embracing his love for Rayla and all she represents in his life. (And yeah you've probably already noticed the snag here, but I'm gonna get to that in a sec.)

This connection between Truth and Path is affirmed in Terry's talk with Claudia in 6x04, in which they discuss:

CLAUDIA: Maybe I should be walking a different path, too. But Aaravos helped us. He followed through on everything he said he was going to do to save my Dad, and I promised to help free him. So should I quit dark magic? Please, Terry, tell me what to do. TERRY: Claudia, I can't. Only you can see your own deep truth. Only you can decide the path you're going to walk. You won't be alone. [...] But you have to choose the way. What do you need to find your truth?

So on top of being Light and Love, and Rayla being Callum's One Truth equalling the Path of Freedom, Rayla is just Callum's chosen Path. He chooses the Path of light, love, freedom — all good things through the embodiment of her and their relationship, much the way Callum has been her guiding star in pulling her away from her dark and self-destructive paths (going after Viren) and making measured choices (coming back in 4x09, realizing she can't/shouldn't separate Lain and Tiadrin, etc).

Okay great, awesome! Sounds like Callum has done what he needs to do, he's rid himself of the taint of dark magic and Aaravos' control by proxy. His love for Rayla got him through it. She's his path. She's his truth.

What could possibly be wrong with that?

The Truth is Everything

After season four aired, I wrote a meta about how Aaravos (Fate) and Rayla (Freedom) represented Callum's two paths going forward into S5 and beyond. Much of what was in that meta has already been touched on here, given that S6 evolved this dichotomy and this motif in largely the ways I thought it ultimately would.

However, in that past meta, I also posited that these two paths would ultimately not be as separate as they might appear, and would converge. Part of this was because S4 emphasized the importance of not treating dualities as binaries, but in reconciling them ("Now you're back. That's kind of good, and it's kind of bad" / "How can I have that and the life I want with you? [...] Just have two cakes" / "We have to hold pain and love in our hearts at the same time"). Specifically, that Rayla would be what leads Callum into getting closer to Aaravos and playing into his clutches, which 5x08, 6x03—and indeed the upped stakes for dark magic use ("if you ever use it again, the darkness and corruption will overwhelm you") coming off 6x06—feel like natural steps forward.

Because while the light, and Truth, and Rayla, is usually a Good Thing in Callum's life, as Soren points out, it isn't always.

After all, Callum only did dark magic—both times—because of Rayla.

CALLUM: I did one spell. One. I had to, to save my friends. (5x08)

CALLUM: I did it for you! Finnegrin was going to kill you. I didn't have a choice, because... I would do anything for you. (6x03)

His love for Rayla has already been his path to darkness and Aaravos just as much as it's been his path out of darkness to light and freedom away from Aaravos. Aaravos has both dark and light; so does Rayla as a literal Moonshadow elf, and her dual swords, and her juxtaposition of immense mercy and obsessive violence. He is "destined to play into [Aaravos'] hands," with Aaravos' scheme for Callum still clearly ongoing, given that Aaravos is out and the cube is still in play.

They also wouldn't 1) bring up the possession related promise and 2) have Rayla actually agree to it and then 3) have her affirm that Runaan taught her to never break her promises all in the same season if it wasn't going to come back into play, and the only way Aaravos can possess Callum again is if he does dark magic again. (I'll do a separate meta sometime after this regarding how S6 evolves the possession plotline in about every episode Callum and Rayla are mutually in, later, too.)

Just as Rayla was the reason Callum ever did dark magic or successfully got the cube in the first place, she will almost surely, inevitably, be the reason he does dark magic — breaking his promise, and opening up room for her to break her own.

RAYLA: Listen to me. If you ever have to choose between me or the greater good, do the right thing. Make the sacrifice.

Callum will choose Rayla every time, whether that leads to saving or destroying himself.

She is His Path, singular—the path of fate and free will, to light and to darkness, to destruction and salvation. The various dualities in their relationship will all be reconciled and brought to complete fruition.

And that's everything.

[phobos-exe]

Reading Wolverine comics after watching the movies has me absolutely falling in love with the "man or animal" motif that follows Logan literally everywhere.

// Marvel Comics Presents (1991): Issue #75

My favourite read so far is the short 4 issue series, Wolverine (1982), which the 2013 Wolverine movie is based on. Bascially it being about Logan trying not to lose Mariko to an arranged marriage and the cultural powers at play to which he isn't privy to. Furthermore, it absolutely dense with character-centered narrative with Logan's inner conflict surrounding the balancing act he must preform between embracing his animalistic side and his desire to be more than the killer he's always been, whilst he struggles with fitting into japanese society and the japanese underground. I could not reccomend it enough. Issue #3 is such a standout for me, all the excerpts provided are from it also.

One of the scenes i think highlight what im getting at with the motif is how Logan actively interprets an event that took place previously in the story. Earlier, he had fought Shingen (Mariko's father) to defend his own honor and for him to overrule Mariko's marriage so they may be together again, ultimately he not only loses but he humiliates and dishonors himself in the process. In this scene, he has a dream about the battle in a sequence that showcases what that humiliation actually meant for him in relation to his internal fight to let go of the animal he thinks himself of.

Despite how undisputable his physical strength is, the defeat he endures against Shingen crushes him and defines his motivations for the entire series. The words Mariko says in his dream, bascially defining him as a fraud and unworthy of her love, and the panel that follows this one saying he is also unworthy of life, is pretty indicative of his fear that his primal instincts- what he defines himself as -negates his noble aspirations to be a better man, overshadowing his morality.

It's also interestingly delved into with how his relationship with Mariko and his following romance with Yukio is contrasted in how they have an effect on Wolverine's internal conflict: Mariko's influence makes him want to strive for self-improvement, to appease her, while Yukio is able to accept who he is

Mariko's influence makes him want to strive for self-improvement, to appease her, while Yukio is able to accept who he is and his nature. The growth and control vs embracing your supposed truth serves as a new perspective to view Logan from. Basically, it's a reflection of how Logan himself is struggling to not only balance both aspects of himself, but also his struggle to accept them in the first place.

Going back to the films, I think they do a good job of adapting this method of symbolizing his self-reflection. For instance, in the origins movie, one of the conflicts I love from it is how this exact concept is adapted to Kayla and Victor. Kayla, being the stand-in for Mariko, motivates Logan to move past his animalistic side, literally telling him "you're not an animal, logan", whilst Victor is the force that wants him to ditch assimilation and embrace his mutations completely, though in this case it's much more violent and psychotic than Yukio's approach in the comic. The film version is a whole new exploration of his characterin its own right since it's more like these two opposing ideas are telling him what he should be, and the consequent struggle between what he should choose.

Though, and this is just my interpretation, what I appreciate most of this theme is that it managed to be so confusing for Logan that it circles back to being ironic. Because yes, he failed Mariko and he failed Yukio, he failed to assimilate to societal standards and he failed to be true to himself- whatever that really is -but I think one of his biggest failings is concluding for so long that he is an animal and therefore not a man, when in reality he has shown nothing but human desires, ambitions to change, to choose. He is an animal, it's just that that animal is a man.