#not a single one of her actions can be selfish or just bad

[eelclaw]

the protagonists of the broken code. who's rootspring

i am tbc's number 1 hater! negative thoughts below

shadowsight: other characters sometimes acknowledge that he was manipulated by ashfur, but the narrative puts all of the blame for the ashfur situation on him, neglecting that (a) he did exactly what he was supposed to do as a healer (obey and take messages from a starclan cat), and (b) the codebreaker hysteria was far more a product of clan culture than the actions of a single apprentice. he isn't treated like the victim that he is, and it is frustrating and not cathartic.

bristlefrost: what the hell does she even do. what does her spy arc accomplish or contribute (like mother, like daughter). she finds out that bramblestar isn't bramblestar far too early. she's so perfect and she has no flaws and she's so empty. i want her to be worse. how much more interesting would she be if she was sneaky and selfish? if she was loyal to the imposter because she truly believed in what he was saying? not to mention how she reciprocates rootspring's feelings with literally zero warning, and ceases to have what little character she'd had to begin with. i genuinely don't care that she dies, they did nothing to make her an engaging character. miss bristlefrost, i'm sorry they did you so bad.

rootspring: first rootpaw thinks he's weird because of his father. i hate this because i hate tree. later, rootpaw thinks he's weird because he can see ghosts. so they give him this "i just want to be normal" deal, and the clans suddenly pretend that ghosts are silly and not real. sure, rootspring and tree are the first clan cats with this specific power. and i get that the clans have very rigid beliefs, and they are afraid of anything that contradicts those beliefs, and that's interesting! but ghosts have been appearing to clan cats all the way back to tpb. fireheart tries to kill clawface at one point and he senses spottedleaf's spirit beside him, there to avenge her death. so rootspring's issue is stupid and he's nothingburger to me.

bramblestar: the arc really depends on me giving a shit about what happens to him. which i don't.

i think bramblestar is unintentionally a bad person and a great character. he proves himself by rejecting tigerstar, but he's still deeply insecure. he makes mistake after mistake (conspiring with tigerstar; hesitating to save firestar from the fox trap; forsaking his children after finding out they're not biologically his; using his power over squirrelflight as a warrior, deputy, and leader to control her), and for none of these mistakes is he held accountable (no thunderclan cat except leafpool learns that he plotted with tigerstar; he is allowed to remain deputy; his children think he was the best father ever; in every situation, squirrelflight seems to bear the consequences of his actions).

in other words, bramblestar gets chance after chance to redeem himself, and he keeps fucking it up. again, that's interesting! there is a story here about how difficult childhoods affect adults, and how powerful men are not held responsible for hurting people. except that's not how he's written. he's written as a completely good person, a brave and noble leader, and all of the clans respect him and they need to get him back.

there's a crazy amount of bramblestar worship in this arc. even rootspring, a brand new skyclan apprentice, thinks about how important bramblestar, the thunderclan leader, is, and how all the clans wouldn't be the same without him. i can't take it seriously.

graystripe: graystripe also got a crazy amount of worship. i couldn't stand reading every few paragraphs about how great he is.

side note: shadowsight, bristlefrost, and rootspring all want the same thing. they advocate against killing bramblestar's body. wouldn't it be more interesting if the protagonists had different perspectives and opinions? if they wanted different things? for example, it makes sense that shadowsight wouldn't want bramblestar dead. he feels like the only way to make up for his mistake is to recover bramblestar alive. but bristlefrost could be in favor of killing bramblestar, because the only way to make up for her mistake (supporting the imposter) is to get rid of him. putting our protagonists at odds would generate some interesting conflict.

conclusion: i also have problems with ashfur (why does ashfur try to stir up trouble with codebreaking which will certainly get him caught when he could just take over bramblestar's body and live quietly with squirrelflight), tigerheartstar, mothwing, starclan, the dark forest insta-death water, firestar possessing rootspring, the pacing (oh my god! they were debating whether to kill bramblestar for like three books! and for three more books they were running in circles in the dark forest!), etc. but i've already written a lot and i'm out of steam lol.

let me finish by saying these are kids books, and i'm not expecting them to be the cream of the crop, but there are a lot of writing choices which are incredibly misogynistic and/or completely baffling from a narrative standpoint. i still have a soft spot for this series though. dammit. okay bye

[starlooove]

“Jinx wasn’t trying to kill Ekko she was trying to kill herself 😢” why can’t y’all let that girl be evil bro

[justtwotired]

“Back the fuck off.”

Summary: you and Regulus recently broke up over stupid teenage reasons. It was a really bad fight and you two haven't spoken since, though both regret your actions. At a Gryffindor house party, he spots you kissing Mathew smith, the Gryffindor seeker, who Regulus absolutely despises.

Pairing: Regulus Black x Gryffindor!reader

Warnings: swearing, kissing, fighting, a bit of sexual assault.

⬇️unamused⬇️

Regulus stands at the drinks table with Barty as they are being pure Slytherins looking around with judging and cold looks. Neither of them wanted to come to said party, but Evan -who was currently participating in a round of beer pong- insisted they went.

His eyes travel the crowd and he spots them, making him narrow his eyes. He knew she was doing it to spite him, he knew even she hated Smith, but there she was, sticking her tongue down his throat.

"Ohh, she is playing with fire." Barty seemed to start enjoying the party the moment he followed Regulus gaze. "Shut the hell up." Regulus head snapped towards him and then his eyes traveled back to the girl and that stupid idiot she was kissing.

His hands where slowly starting to roam under her clothes and that's when he couldn't take it anymore and pushed himself of the table making his way towards them.

- 15 minutes earlier -

"They are absolute morons." Y/n shook her head as she watched Sirius and James jump of the table they'd just been dancing on. "Tell me about it." Remus rolled his eyes.

She took a sip of her drink as she watched the boys make their way over to them. "Oh, their coming pretend you don't know them." Peter said and they all quickly avoided eye contact with the two boys. "Oh haha, you're so funny." Sirius said sarcastically.

His eyes fell on Y/n and they narrowed. "Boring again, I see." He said as he eyed the glass with clear liquid in her hands. "But thinking about it, I could use some water," he took it out of her hands and a horrified expression formed on her face.

"Sirius no wait-" but she was to late and he took a sip and moments later spit it out, coughing. "Y/n, you absolutely menace to society." He said handing the glass back to her.

"Are you alright, pads?" James asked laughing. "I am, but she isn't, what psychopath just casually sips straight vodka." He grimaces and James' eyebrows race.

"What? It's good, you're all just over dramatic." She said taking another sip, making Peter chuckle a bit, as he himself had made that same mistake before.

They all looked up at the sound of the portrait swinging open and watched an excited Evan and annoyed Barty and Regulus walk into the common room.

Y/n rolled her eyes, and then they landed on someone and a smirk formed onto her face. "Y/n, no." Remus said and she looked at him. "What do you mean no?" She asked.

"Regulus just walked in and your wearing that smirk? Whatever your planning, no." He said and she rolled her eyes and giggled. "It's just a bit of fun." She said, standing up to leave the couch and pushing the glass into Sirius' hands.

"Here, you can have that." She says and he looks at it in disgust. "No thanks." And puts it down.

"Smith, hey." She greats the seeker and he turned to her. "Y/n, looking ravishing as always." He said with a shit eating grin as he looked her up and down and stopped at her chest.

She would slap him in the face if it wasn't for her plan just unfolding:

Make Regulus as jealous as possible.

"I can say the same about you." She said, her words slightly slurring. Smith took a step closer, snaking an arm around her waist. Everyone in Hogwarts who had a brain knew he had liked her since fourth year, which was one of the reasons Regulus despised him, but also the other way around.

Everyone in Hogwarts with a brain also knew Smith was an actual, selfish, prick. He had a reputation of cheating, one girl even claimed he had cornered her once, but no one knew if it was true, as she had a reputation of lying.

"I heard your single now." He grinned as he pulled her closer, his breath smelled like alcohol. "It was such a shame you where with... him." He sounded disgusted at the last words.

She let out a sarcastic laugh, starting to maybe regret her decision a little bit... but only a little.

"Well, that's over now... sooo." She trailed her finger passed his white button up. She looked up at him and he smashed his lips against hers, she pulled him closer, deepening the kiss.

Her eyes fluttered open to look around the room and they landed on Regulus who wasn't looking at her as his eyes traveled around the room, but she could see them slowly make their way over to them and she closed her eyes again as Smith tongue slipped into her mouth.

They broke apart for a moment before they kissed again and slowly his hands started to travel, one slipping into her skirt and the other under her top.

His lips detached from hers and made their way to her neck and then he whispered in her ears. "Seeing such a beautiful girl like you with a Slytherin. Tsk, I'll show you what it's like to be with a real guy." He whispered before going back to kissing her neck and his hand suddenly slipped into her panty's.

She was taken by surprise but before she could do anything about it, someone else did.

Regulus had made his way trough the crowd, pushing people aside and watching as Smith went further into her skirt and kissing her neck, it made his blood boil.

"Back the fuck off." He said and Smith looked up and grinned, taking his hand out of her skirt, and Regulus almost thought she looked relieved.

They made eyes contact and he narrowed his eyes at her. "What do you want." She said, obviously with alcohol in her system. "Indeed, what do you want?" Smith asked as he put and arm around her waste and his finger tips rested under the band of her skirt.

"I want you, to get your filthy hands of her." Regulus said with a threatening tone. "And why would I do that? Such a pretty girl, and she isn't yours anymore? I wouldn't even have cared is she still was, I had plans anyway." He laughed dryly and Y/n looked rather horrified as she questioned if that would have been against her will.

"Leave her alone." Regulus demanded and Smith smirked. "And why would I do that, she seemed to be rather enjoying me."

Suddenly, Y/n started to really regret her decision, and grabbed his wrist to stop him from going any further. "What is it baby, you don't like it?" He asked and she sighed and squeezed her eyes shut.

"Stop, I want you to stop." She told him and he huffed. "You don't tell me when to stop." He said and pulled the hand on his wrist away with his other hand.

She knew she had gotten herself in this situation, it was her own fault, but now she really wanted to get out. Suddenly he let go of her and Y/n hadn't processed the sickening crack.

Regulus had punched him right in the nose and blood was rapidly streaming out. His grey eyes fell on Y/n who stared shocked.

He grabbed her arm and then dragged her out of the common room and eventually stopped in a hallway.

"What is wrong with you?" He asked angrily. "Do you know how much worse that could have been?" He asked, he was furious as he turned his back to her.

"Honestly, Y/n that was such a stupid move! And for what? Making me jealous? Well it worked, happy now?" He turned to her as he yelled, but stopped as he watched her.

Her hands where shaking and tears streamed down her face. His features softened as he walked towards her and took her hands in his, placing a soft kiss on each of them.

"It's alright." He whispered to her and she shook her head. "No, no it's not, I'm so sorry, it was a stupid move. I didn't think it trough." She said as more tears streamed down her face and she sniffed as her nose was now full and starting to run.

He wiped away the tears with his sleeve and kissed her on the forehead. "It's alright, Ma Cherie." He whispered as he hugged her. "Come, you need to get some sleep." He said and then led her over to the Slytherin dorms.

She was sitting on his bed as Regulus took a T-shirt and sweatpants out of his closet. He hands rested on her top and then looked at her. "May I help you here?" He asked and she nodded.

"Use your words, darling." He said softly, he always requested she used words when asking for her permission to do things like this, as he didn't want her to regret later.

"Yes." She croaked out and he slowly lifted it over her head and helped her pull the clean shirt over her head. He did the same with the pants and then tucked her into his bed.

He changed out of his clothes to, and joined her, pulling her into him and kissing her forehead. "I love you, my little dove." He said and she murmured something along the lines of "I love you too." Back before falling asleep.

[mswyrr]

They spent the entire season showing the collapse of everything Alicent had invested meaning in and earning her final choice.

Things that came apart over the season:

-her father's role in all this; his approval (and fear of his disapproval) has driven her for her entire life! (bad move on multiple fronts, Aegon)

-her belief that she could do what this patriarchy promises and "influence" her sons toward a good direction (Aegon dismisses her but Aemond really drove the nail in with flagrantly slaughtering smallfolk and making his intent to force his sister to do it too clear)

-her belief that she had any allies and her skills in leadership and her track record of hard work actually meant anything to *anyone* (this was a cooperative effort by Aemond, Larys, and Criston - good work, fellas!)

-her belief that she could, if nothing else, at least protect her daughter (huge emotional pillar for her)

And if we look at her prior actions putting Aegon on the throne and protecting him with her life - both fit within those structures she had mentally and emotionally which this season ripped down.

I think the final one was the thing that took it over the edge, though -- the prospect of Helaena being used and hurt and destroyed as a person -- kind of like how degrading Aemond and his connection to his long-term sex worker was his final straw that made him want to kill and supplant his brother Aegon.

People keep pushing each other too far this season. Taking out the last thing that stands between them and a radical change. Pushing people until they're willing to lose things just to break the current dynamic.

Dae/mon pushes Rhaenyra too far, then the entire war does and she "breaks bad" in 2x07 (see my meta linked below for more on my pov on that); Aegon pushes Aemond too far; and the entire group of "green men" systematically pushes Alicent too far.

All the while, she had that offer from earlier in the season, when Rhaenyra risked everything to come speak to Alicent in her mind. She was mulling over it and thinking of what she could have said, should have said. At the same time, however, Rhaenyra was moving away from being that person [my meta argument on that here]. So the person she finally comes to make peace with isn't the same as she was in the Sept. And once again they tragically can't get on the same page. It does all fit together, even with issues in the writing.

And writing on Alicent's arc simply isn't as uneven as people are saying - the theme of people pushing each other too far and how they showed the pillars of Alicent's support crumbling were both clearly done.

And, yes - Alicent still has feelings for Rhaenyra and as all of this has been happening she's been having a midlife crisis and wishing she had just run away with her first love when they were girls. But that isn't her sole motivation!! It's just what comes spilling out of her because of the state she's in. It creates an appealing alternative to the hell she's living in at the Red Keep. But it wasn't THE single motivating factor.

On a show where fathers have behaved truly monstrously--up to and including their selfishness setting this civil war in motion to begin with--it's fascinating that people refuse to believe a mother can be pushed too far. That kinslaying and slaughtering whole cities and rejecting and humiliating her and threatening to mentally torture her daughter until she breaks wouldn't change her mind about her priorities.

The "green" side becomes owned by Aemond, a wilful (as far as she knows; I'm speaking of her pov here) kinslayer moral reprobate who is violent to his sister and wants to force her to do things that will break her mind. Alicent cannot expect that Aegon will be able to stop him. That's what the side is now, as far as she knows. And she thinks he's a monster who must be stopped, at any cost. That's why she told Rhaenyra "we both know what he is" about Aemond in the Sept. WHAT not who. Things like kinslaying and slaughtering smallfolk mean something to her. And her daughter is everything to her.

Team Green overall took her for granted and thought she'd always be their doormat, and Helaena too. And Alicent finally had enough. Again, given how monstrously the fathers on this show behave, I think they "showed their work" on her radical change of heart well. It's just some people believe nothing can ever justify a mother betraying her sons and I think that makes total sense, given everything.

Honestly, once Helaena was on the chopping block, it would have been out of character for Alicent *not* to do everything--destroy anything--to protect her daughter. She feels like protecting Helaena is the only good thing she's ever done in her life.

People can dislike the ending. It's always valid to dislike something in a story, it's fine. But disliking it doesn't mean it wasn't built up solidly, narratively speaking. The writers put a lot of work and narrative space into it, actually--this was one of the most developed parts of s2!--and weaving it into the season's larger theme of characters pushing each other to the breaking point.

[achaotichuman]

Acotar Rant

I actually think Elain being selfish and manipulative is a very interesting character flaw for her. It clashes with what she tries to project which is an image of perfection, loveliness and kindness.

Thing is, she isn't inherently kind. She isn't merciful or innocent. She killed a man with zero hesitation. We have no idea how she even got across the fucking battlefield, you don't think she struggled to get there??? She purposefully set out to murder a man and it didn't so much as affect her later from what we can see. She doesn't show mercy.

When people talk about Elain killing Hybern, no one ever brings up how fucking out of character that would be for her in their version of her. Just, so many people are like "Elain should get credit tooo!!!!" and then their version of Elain is the perfect, kind flower girl who can do no wrong. Like, no, if you want her to get credit you have to acknowledge that was pretty cold-blooded, and its perfectly in character for canon.

Consider how Feyre reacted to killing Hybern soldiers in Summer. She vomited her guts up and felt guilt even though they were the enemy. Elain doesn't so much as bat an eyelash.

She is selfish. Compare her actions to Nesta's throughout the entirety of ACOWAR, Nesta is out there trying to help purely out of the kindness of her heart, and Elain fucks off, because she doesn't want to.

She lets everyone baby her, she packs Nesta's things and doesn't utter a single word when the IC locks her up, even though Nesta would have taken a knife to Rhysand's throat if he dared do the same to Elain.

And its not that she feels threatened by the IC, and this evident for when she cries and says 'Nesta isn't trying' and allows herself to their manipulative device to force Nesta into scrying.

Elain is not stupid, that's quite obvious. She's shown herself to be observant and intelligent, so I doubt she was unaware of the NC using her. She knew, and she actively allows it.

I use the wording 'she lets', because I think for Elain. Instead of having the same rhetoric of her being a defenseless child who cannot think for herself, she actively has to work against bad habits and built in tendencies.

She clearly WANTS to express an image of perfection and kindness, even though her natural inclination seems to skew to the negative.

To have a perfect character is to not have a character at all. There's no growth or journey, and for Elain, she'll always side with the person that's most likely to give her the outcome she wants the most.

She wants to be left alone? She lets the IC baby her.

She wants nothing to do with Lucien? She sticks by Feyre (who routinely sees her and Azriel as a better couple.)

Now I don't think she is a mastermind or actively working for an evil cause, I just think she is naturally drawn to selfish desires even at the expense of others.

And this would make her so so interesting. She's not perfect, the projection of her image is by design, it's not the 'real' Elain, she's a bit shitty. It makes her more *human*, it makes her less of a cardboard cut out. Now we have actually have a path of growth laid out. It involves deciding between continuing down a line of chasing fleeting happiness and materialistic desires drawn out but the former future she had promised as a human, or actively working towards being the person she truly aspires to be. That truly kind and gentle soul.

Elain has a very empty character, and I will tell you that it was a choice to make her like that. It makes her so much easier for SJM to write, because she is malleable, SJM can turn her into anything she pleases later on. So, my arguing that Elain is inherently selfish is mute because despite the actual actions of Elain's character, SJM will not reflect on them as foreshadowing, Elain is like this because making her do anything of value would deprive SJM of her writing freedom while writing her. Because she would actually have to stick to whats already been set up, even a little.

What I actually think will happen, is Elain will be Rhysand 2.0

She'll do things that are inherently bad, but get away with them because 'shes perfect and can do no wrong.' Thats how SJM writes, and she'll either make Lucien a shitty person along with it, or make Lucien Elain's bitch who will simply become an empty character to slap beside Elain.

Anyway, regardless of potential, Elain will be like the rest of the lot. She has to be to fit in with SJM's brand.

This is not an incredibly deep dive into my thoughts on Elain. I have a lot more, but this is a pretty good generalization of them all. If SJM is not a coward, she will make Elain selfish and have her recognize that.

She lets everyone baby her

I would also like to reinforce, I use the word 'lets' here because Elain does not fight against the constant infantalisation even though it's clear as day, because she wants the image of being perfect. And I can go on and on about how thats probably the result of her childhood and being the middle sibling often comes with trying to get the attention of your parental figure when usually it will be cast on the eldest and youngest. But y'all ask if you want that deep dive.

Kaaaaaay bye

[flower-boi16]

I'm writing a post about Oops and why the episode is a complete disaster on every single level and while I was doing that I realized something;

Anyone who gets upset at Stolas's actions in the show is demonized by the narrative

Stella being upset that Stolas cheated on her? Nah, she was just mad that he slept with an imp. Also, she was an abusive bitch to begin with.

Octavia being upset over Stolas spending more time arguing with Stella and for paying more attention to an imp than her? She should cut him slack, after all, he's trying his best! (even though he isn't but ok).

Blitz hating Stolas for SAing him and how their relationship is only about Stolas wanting to sleep with him? He just hates Stolas for being a prince, oh and Stolas DID do some nice things for Blitz... off-screen...that doesn't automatically make his treatment of Blitz ok but pfft let's just ignore that right?

Every time someone in the show gets upset at Stolas's actions, they are portrayed as in the wrong for feeling that way or in Stella's case just turned into a one-dimensional Saturday morning cartoon villain. Cuz god forbid we hold this stupid owl accountable for ANYTHING right? We need to make him an UwU soft boy who did nothing wrong and everyone who gets upset at him is bad!

.....No. I'm sorry but, no. That's NOT how you make a sympathetic character, you don't demonize every other character to make the other one look more sympathetic and don't coddle that character and absolve them of all of their flaws. Stolas is not sympathetic, no matter how much Viv tries to demonize other characters around Stolas while coddling him, I won't EVER sympathize with this stupid owl. There's nothing about him you can sympathize with, he's just a horny, selfish asshole, and anyone who calls him out for it in some way is demonized by the narrative.

Fucking incredible, what a great and well-written character.

[divorcedfiddleford]

You made a post saying “it has been zero days since our last alex hirsch hates ford so much bullshit” and i know it was mostly hyperbole, but you have some really good takes that I would love to be elaborated on in terms of how ford is written

it really wasn't hyperbolic. over the years he's just really shown a lot of hatred towards this one character.

content warning: discussion of abuse

i want to start with this clip from the commentary which i think of as a microcosm for how the writers and especially alex think about ford.

transcript:

rob renzetti: i mean he [mcgucket] should've basically knocked ford out, and... and destroyed the... you know, tied him up, and, destroyed... and... alex hirsch, speaking over him: yeah he should've beat ford with a wrench and taken this thing apart piece by piece! he's the one who understood how to built [sic] it, but...

... so that seems like a pretty violent course of action. shall we unpack that?

ford is a character who's pretty explicitly written as a victim of abuse, and who now has c-ptsd as a direct result of the abuse he experienced. alex hirsch believes that ford deserved everything bad that happened to him, that it's ford's own fault, and that he also deserved worse things to happen to him. this is why, given every narrative chance, alex hirsch has piled more suffering onto ford's plate. the biggest example of this i can think of is in the journal, when he wrote that fiddleford was actively erasing ford's memory (despite this being a massive timeline contradiction which i still refuse to accept). because god forbid ford even have one remotely healthy relationship with somebody. that would be too good for him. ford was manipulated and lied to by bill, but alex repeatedly compares him to icarus, a teenager whose demise was the result of his own ignorance. this comparison is still so fucking offensive to me. the sun did not lie to icarus, did not guarantee icarus all of the happiness and success and sense of belonging which he had been denied all his life, did not actively shut out the voices of those around him who would try to help him.

alex in general has a very strange relationship with abuse. he seems to get really upset when people read his characters as victims of abuse. the strongest instance of this is actually not with ford, it's with pacifica - especially in the nwmm episode commentary. the episode says "pacifica's parents have conditioned her to respond to a bell" and alex says people got "the wrong idea" about it. like. dude. what the fuck. you wrote abuse. even if you didn't mean to, that's what you wrote. you can't say people got "the wrong idea" just because you didn't think about the subtext of what you were writing. anyway, back to ford: i believe this extends to him as well. alex wanted to write a character who's a foil to stan and who was a selfish unlikable victim of his own arrogance. however that's not what he wrote. he somehow seemingly accidentally wrote a really compelling and relatable awesome autistic guy who had to fight for every good thing he he ever had in his life only for it to be taken from him every single time. but alex can't let go of seeing ford as just "the opposite of stan". when he talks about "how someone as smart as ford could fall for bill's tricks", he refuses to realize he wrote a situation in which a man was being psychologically manipulated and tortured.

it goes back further, too. people repeatedly theorized that filbrick was... not a very good father, to say the least. on top of the very explicit and canon fact that he threw one of his children out on the street (seriously, there is no defense for this), people pointed out that stan would flinch at filbrick, that ford seemed upset by things filbrick said but dared not talk back, that filbrick was mad at stan not for hurting his brother, but for "costing the family potential millions". but alex can't have people seeing ford as sympathetic. ford can't have it bad like stan did. ford had to have everything and he lost it all because he sucks so much. so he wrote the graphic novel story where ford is filbrick's favorite child and filbrick also is not even a bad parent you guys he's just stoic. ignore the whole thing in dreamscaperers where stan perpetuates the abuse that filbrick did to him. ignore the fact that ford was shouting at stan and then completely shut up as soon as filbrick entered the room and did not say another word for the rest of the night. ignore all that because i just made up this story where he cries at a present from stan. filbrick loved his boys for sure you guys!!!

i'm not even touching on how alex repeatedly villainizes traits commonly associated with mental illness and neurodivergence. ford's hypervigilance becomes arrogance. his passion for knowledge means he's a know-it-all. his difficulty socializing and making friends means he's a misanthrope. his lingering resentment for the way he was raised means he hates his brother and is the worst human being to ever have lived. i could go on, go even further into how the finale reaffirms this, but i feel weird talking about this too much.

[linkspooky]

The Death of Kenjaku

So I was planning to write this meta the week that Kenjaku died, but decided to delay until we got full confirmation of his death. Something I didn't believe in even after Kenjaku passed the merger onto Sukuna. However, watching this video about death in Jujutsu Kaisen inspired me to finish this post. Not because I disagree with anything the YouTuber is saying, but because they can speculate on the meaning of so many deaths in Jujutsu Kaisen but can't find the meaning in Kenjaku's sudden death. This has led me to speculate why Gege made the choice to kill Kenjaku in the way that he did. What meaning is there in Kenjaku's abrupt and unsatisfying death?

Who is Kenjaku?

The first step in understanding Kenjaku's death is of course understanding how he lived. We actually know incredibly little about Kenjaku's character by design. Despite the fact he's literally in Geto's body, he's not meant to have sympathetic or human motivations to his actions (though hold onto that "human motivation" in your head for a moment). No flashback sequence shows the audience why this guy is the way he is, no single event seems to have driven him to do what he did.

This is what we know about Kenjaku in brief. He is a sorcerer who is over a thousand years old who was around in Sukuna's day. He once had a friendship with Tengen, but found her original self boring and unambitious. He also contrasts heavily with Tengen, who lives outside of humanity, because he has lived among humanity for 1,000 years. One of those lifetimes was Noritoshi Kamo who violated a woman and conducted heinous experiments. He produced ten children in his one thousand years, the nine death painting siblings and Yuji Itadori. He considers the first children boring, because human and curse hybrids turned out too normal.

He also partially blames himself for how boring they are, because he can't create anything that will exceed his expectations, the only thing that can exceed his expectations is born in chaos. He spent a thousand years organizing the culling games, and wants to use the games to create a merger, because he thinks creating a merger between Tengen and Humanity will create something entirely new and interesting. He also believes the way towards the future lies in further optimizing cursed energy, not in breaking away from it the way Yuki Tsukumo tried to do and Maki has.

The only people whose word we have on Kenjaku's motivations are Kenjaku himself, and Tengen's word and Tengen themselves who claims to not know what goes on in the human heart.

From all of the above Kenjaku seems to be a shallow character who's motivations can be summed up as "because I can" and "I want to see what happens." This shallowness is intentional however, as Gege who once praised the minimalist storytelling of Nasu and Evangelion likes to pick and choose what crumbs of backstory he gives out for his characters. We've never gotten any exposition on the Gojo clan, but we have an entire chapter about Takaba's failed career as a stand-up comic. This isn't a judgement of good or bad writing, this is just how Gege writes as minimalist as possible. This is in line with how Gege writes the ancient sorcerers as well, they are all much more shallow driven by instinct or Freudian Id (I desire) rather than the higher reasoning of modern-day sorcerers. Takaba uses comedy as a means of communication and bridging the gaps between people, Higuruma's backstory is the critique of the modern day justice system. Ishigori apparently lived a satisfying life where he was succesful and had good women, but that wasn't enough so he wants to get into a fight with Yuta to satisfy his hunger and feel like he's eaten desert.

It sounds shallow when I summarize it in text, but in the context of the fight with Yuta, it's a challenge for Yuta who for the most part only cares about his loved ones and sees the world through his love goggles to be more selfish and fight for his own desires. It's also reflective of a more basic and instinctual kind of thinking, as opposed to the higher reasoning and logic that modern-day sorcerers apply.

I'm keeping most of this first part to text for this reason, like go back and read the fight with Ishigori and Yuta. If I summarize Ishigori's character reasoning out of context it sounds stupid, but read the fight and it works because it's ID (I Desire) vs. Yuta's superego in not only having to collect points to help rescue Tsumiki, find a way to protect all the innocent people in the Culling Games, and also collect enough points to take on Kenjaku himself so Gojo won't have to. Meanwhile Ishigori's just fighting to get some of that sweet desert, the shallow works in contrast to the more layered motivations of our heroes.

Kenjaku is a shallow archetype fighting to satisfy his baser impulses (in his case curiosity) in comparison to the main characters who are fighting for more complicated reasons and often people besides themselves.

The question then becomes what archetype is Kenjaku. In that case answering who Kenjaku is is quite simple.

Kenjaku is a clown.

It might be more accurate to say that Kenjaku embodies what's commonly known as the "trickster archetype" but I'mma go with clown.

The most obvious example of a clown villain is what most consider the joker to be, that is a silly little clown man who challenges the straight faced and grim batman and sews chaos where Batman attempts to establish law and order in Gotham and make the city into a better place.

From the book Batman and Psychology:

More than any other villains, the Joker and Two-face reflect Batman himself as funhouse distortions, converses of who and what he is. The laughing, jesting, brightly colored Joker contrasts with grim, dark Batman. The Joker is the Joker. No alter ego. The film's opening bank robbery shows him wearing a clown mask over clown makeup, Under the surface there's only more Joker. He gives no history except inconsistent lies. When he finally considers the impact of his demand Batman unmask, he retracts the threat and demands that Batman's identity remain undisclosed. He wants a batman who has no other self, a Dark Knight whose only deeper layer is further darkness.

Is there a better descriptor for Kenjaku then these words?

Kenjaku is Kenjaku. No alter ego. A clown mask over clown makeup., Under the surface there's only more Kenjaku.

In other words, what you see is what you get.

Kenjaku even mirrors Joker's opinion of Batman, he thinks people should be more like him, not the other way around. He's not the outlier, he's being true to humanity's basic impulses of curiousity and discovery.

A more apt comparison as a clown though would probably be Loki, one of the most classic examples of clowning in the shared mythology of humanity. The character who challenges the common wisdom of gods like Odin who suspended themselves from the world tree for eleven days in order to gain wisdom. Loki, who through his trickery manages to bring about the events of Ragnarok for no deeper reason than because he can. Everyone swore not to harm Balder and Loki goes to find something that can harm him because BET.

Mythological Loki doesn't need a deeper motivation because what he represents in the mythology is someone who challenges authority and brings about a change, because in Norse Mythology nothing lasts forever and no era is permanent. Jujutsu Kaisen is also a story about how things should not in fact stay the same and tradition is bad sometimes.

When Kenjaku finds Tengen's true body he's curled up in a tree root in the fetal position, and he killed what is basically the all-knowing, all-seeing supposedly immortal sorcerer that maintains the status quo of japan, it's not exactly subtle.

Kenjaku is a clown, and clown's gotta clown. We don't need any more explanation that, it's more about what he does for the story. However, what he represents, the deep intellectual curiosity, and also a drive to disrupt the status quo in an attempt to see something more interesting can also be analyzed more deeply because they are human emotions that motivate us as well. The same way that Mahito is an inhuman monster, but he's created and motivated by the fear of other humans, something all of us have. '

Before moving onto his death though, I wanna hammer in how Kenjaku really is just motivated by these two things, a desire to see something interesting, and intellectual curiosity by comparing him to other characters.

The Clown in Fiction

I've already compared Kenjaku to Loki and the Joker, but when it comes to someone who wants to disrupt the entire order of the world simply because they're bored we've got to go to the original girlboss.

So there are plenty of villains who go "I'm evil because I'm bored" but they usually tend to be pretty shallow, either shallowly written for the lulz evil characters who just exist for shock value or just kinda dull. No one has ever done it as good as Junko Enoshima and no one ever will again.

For those who need context DanganRonpa is a death game series where the main villain basically has caused the apocalypse, wiped out most of humanity, and then induces survivors in a bunker to kill each other in a death game, where if someone commits a succesful murder they can escape the bunker, but if they're caught in a trial they're executed. Also, if they're not convicted in the trial everyone else is killed, motivating the jury to find and execute the guilty murderer.

Junko Enoshima the main villain and orchestrator of this death game ended the world because despair. She wants to inflict despair on everyone because despair. Because hope sucks and despair is where it's at.

It sounds shallow and it is and Kodaka has said in interview he wrote Junko to be a villain character with zero redeeming character traits, and no sympathetic backstory to describe why she is the way she is, but there is still something motivating her.

If you go a bit deeper into the lore and read Dangan Ronpa Zero, there is an entire book which explains the lengths which Junko goes to feel normal human emotions. The thing is much like Kenjaku Junko is too smart for her own good, everything is predictable and therefore everything bores her. Once in an attempt to live normally, she literally lobotomizes herself, makes it so that she can't remember anything and has continual amnesia constantly forgetting what just happened to her, because that's the only way she can live without knowing everything that's going to happen and constantly predicting everyone's actions.

Junko has whatever her universe's version of the six-eyes is, but instead of lording it over other people like Gojo and basking in her superiority she wants to feel normal, and connected to the world. If she can't have that she tries to make the world as unpredictable place as possible so she can experience it the same way that everyone else does.

Hope is harmony. A just heart, moving toward the light. That is all. Despair is hope's polar opposite. It is messy and confusing. It swallows up love, hatred, and everything else. Because not knowing where you will end up is despair. Despair is even what you cannot predict. Only despair's unpredictability can save you from a boring future.

I'm still not describing it properly because I don't want to go into a Danganronpa essay in this post about Jujutsu Kaisen, but one example I always use is two characters from American Dragon Jake Long. They're a pair of twins who see the future, one always sees happy things, and one always sees sad things. The one who has happy visions is a goth who's very depressed and the one who sees disaster is an incredibly peppy girl.

Jake is so confused as to why the twin who always sees good visions is so depressed, and she basically tells him to imagine having every good thing, every small little surprise, every pleasure taken out of life.

Kara: When you only see good things, nothing's special anymore. All the pleasant surprises are taken out of life. Sara: But, when you only see bad stuff, even the smallest bit of good news makes you happy!

All of this to say what Junko feels isn't just boredom, or a desire to commit evil for evil's sake, but also a full on existential crisis where she's simply too smart so she doesn't feel any connection to other people or the world around her. In order to feel that connection, that connection that everyone else has, to feel like she is actually a participant in her life not an observer she's willing to go to extremes to make the world a more interesting place, to therefore make her own life feel satisfying.

Kenjaku vs. The World (Kenjaku Pilgrim's sad little life)

To connect all this back to Kenjaku imagine the profound existential despair of a person who's lived for a thousand years, and felt bored all that time. Sukuna is at least a hedonist, he gets his fun by getting into fights, humans might be bugs to him but they're tasty bugs.

Kenjaku goes to similiar motivations and has similiar extremes, he's uninvested in the world around him, he's lived a thousand years but has no attachment to the world, to life, to the people around him. I said that Junko wants to be a participant in life not an all seeing observer and that was purposeful language because to bring back an old post. I rambled on this post about Gojo that part of Gojo's problem is that he only experiences observer-to-object relationships or I to it.

Ich and Du, translated as I and Thou is a book by philosopher Martin Buber. His two main porositions is that we may address existence in two ways:

The attitude of the “I” towards “it” towards an object that is separate in itself, which we either use or experience.

The attitude of “I” towards “Thou” in a relationship in which the other is not separated by discrete bounds.

In Buber's terms, those who only experience the first type of relationships are only observing the world around them not relating to them. Kenjaku doesn't relate to other human beings because they are objects, he only experiences subject -> object relationships and never subject -> subject.

Buber also goes on to theorize that meaning in our lives comes from subject -> subject relationships we form with other people.

Kenjaku jokingly says that to be his friend you have to never bore him and be his equal, but there's no one considers his equal because he's the subject and everyone else are just objects.

He regrets he can't sit down and talk theories with Tsukumo Yuki because she's one of the few people who think like him.

Kenjaku is a paradox of an incredibly brilliant man who is also shallow as a puddle that you can stand in and not get your socks wet. However, he tragically can't really form a more complex identity because our identities are formed by our relationships to other people and Kenjaku doesn't relate to anybody.

That's basically the theme of the whole Choso and Kenjaku fight, Choso is a weird aborted fetus of a curse who still has a strong identity and is able to feel unconditional love for Yuji because of the connection of family and the ideas of brotherhood that binds the two. Kenjaku is a bad father who abandoned Choso because they were "boring" but also never really gave them a chance to grow up or be interesting, he just dismissed them offhand and moved on to the next weird science project.

However, his reason for dismissing Choso isn't Choso's fault but rather a case of Psychological projection. It's not Choso who is boring, but rather Kenjaku himself, he said so earlier.

"What I can create, does not exceed the bounds of my own potential. The answer is always flickering darkly in chaos."

Kenjaku cannot look within to find anything satisfying abput his life because there's nothing inside of him. He doesn't have a fully formed identiy he's just ID, and because he tramples all over other people to form his desires he also cannot ever form a full ego. Just like Sukuna and most of the ancient sorcerers he's a paradox of being all ego, and yet having an underdeveloped ego with shallow motivators.

Kenjaku cannot look within because he's a boring person, and he cannot look for other people to find worth in his life because they're just objects, so instead he looks into the void, he tries to change the world around him by spreading more chaos hoping that it will make something unpredictable happen in front of his eyes - and that will give him the meaning and investment in his life he's deprived himself of because he refuses to form relationships with other people.

It's the Gojo problem. It's the Kashimo problem. It's not the Sukuna problem, because Sukuna admits he doesn't care about and rejects things like love and meaning.

If Kenjaku makes the world around him a more interesting place, he will be able to live in it. It's the same as Gojo trying to raise people up to his level by creating stronger students.

So after going to great length to demonstrate how powerful and all-consuming Kenjaku's boredom is, and how cut off he is from his own humanity, here's the part where I sort of defend his death.

Wouldn't it be funny if the joke character killed the main villain?

Let's be honest it was Takaba's kill here, Yuta just camped and killstole. I think part of the problem with people not understanding the meaning behind Kenjaku's sudden and unexpected death is attributing the death to Yuta cutting his head off out of nowhere, and not Takaba's thematic victory over Kenjaku.

Takaba represents a blindspot for Kenjaku which is why the main characters use him as a weapon against him, and he also calls out in a fashion Kenjaku's hypocrisy. First and foremost, Kenjaku presents himself as an agent of change, but he actually has no interest in many of the modern sorcerers and holds a bias towards the heian era as the peak of sorcery. He even says that he's going to bring back the Heian Golden Age to Sukuna at the end of Shibuya arc.

Because that's what Chaos is Kenjaku, things being the same as they were 1,000 years ago. Kenjaku is an agent of change and chaos and somehow his definition of change is... resetting things back to the past because the sorcerers of the past were so much better than today.

Kenjaku goes out of his way to awaken hundreds of modern day sorcerers, and then dismisses literally off of them except for Hiromi because they don't have enough potential for him compared to ancient sorcerers. He essentially did the same with the Death Painting Bros, he went through all of the trouble to create them, then dismissed them as not having enough potential BEFORE THEY EVEN GOT THE CHANCE TO GROW UP.

Kenjaku has a habit of just going BORED NOW and leaving before he even gives things the time to impress him. He does the same with the Culling Game, he set up the death game to push sorcerers to fight each other and bring out their powers, but he never actually intended to watch the sorcerers evolve. He just wanted to slaughter everyone inside to start the merger.

He goes through a lot of potential to set up these situations and then abandons them before they have the chance to even evolve, because they do not have enough "potential" in his opinion, but like his opinion is often shown to be wrong. Takaba represents that blindspot because he was one of the modern sorcerers that Kenjaku underestimated and dismissed offhand as boring without giving him a chance to shine.

That is the joke that Takaba introduces himself with "Wouldn't it be funny if a random comic relief side character suddenly defeated the big bad?"

He's immediately pointing out a blindspot, because Kenjaku automatically believes himself to be an important character, he underestimates Takaba because he's a side character, one of the people Kenjaku has dismissed as boring and uninteresting (before they even had a chance to evolve into something else). Like that's the other thing Kenjaku wants things to evolve but he doesn't... let them. He abandoned Choso and the rest before they even grew up, they were literally fetuses and he threw them away. Kenjaku is the protagonist of reality, and Takaba is a side character, and therefore Takaba couldn't possibly harm him because Kenjaku and his boundless curiosity are the center of the world.

It's not just about subverting the audience's expectations to have the main villain die in such an anti-climactic way before the final act even starts, but it's pointing out how narrow Kenjaku's viewpoints really were all along. He wants everything to be surprised but he never lets anything surprise him, because either he gets bored right away, or he looks down on others before giving them the chance to evolve, or the third thing he just straight up has to control everything. He can't let the culling game evolve naturally he's going to slaughter all the players by hand so he can move onto the next part.

It's the contradiction between a schemer who needs to control everything and everyone to bring about his intended result and everything needs to be a part of his big plans, to someone who wants to be surprised by others and have things go off the rails. You can't have both of these things at once, Kenjaku cannot have things surprise him if he rigs everything to go his way with his overly elaborate schemes and his tight-fisted control of everyone in the story.

Like, in comparison to Kenjaku the joker just blows things up and sprays people with laughing gas. They're both playing the same game but the joker is having fun and Kenjaku isn't.

Kenjaku wants an unexpected future, but he doesn't care about any of the modern sorcerers and has a bias towards the heiean era that he considers the height and wants to reset things to bring back the heian era. He wants to be surprised but won't give up control.

Kenjaku's boast is that unlike Tengen he's spent a thousand years living on the ground instead of lording up on them from above like some deity, but is that true? Has Kenjaku lived? Has he engaged with the world? Formed relationships with people? Or does he just sit in the corner rubbing his hands together menacingly and scheming his schemes.

Takaba unironically gives Kenjaku what he wants, something he's never seen before in a thousand years, and it's from a place Kenjaku never expected. Some random guy, who he dismissed as one of the boring modern sorcerers with no potential like Higuruma.

Takaba not only exists in Kenjaku's blindspot, he almost immediately points out Kenjaku's second hypocrisy. If he's willing to resort to mass murder just to feel entertained, then if he found something else to entertain him there'd be no reason to get violent and scheme his schemes.

In other words Kenjaku hasn't really gone looking for other places to try to find what makes life worth living, or at least enertaining, he hasn't really tried any alternatives to finding joy in life because Jujutsu is all he cares about. Takaba says that if he found something else even more entertaining than the merger there'd be no need to go through with the merger, and he turns out to be right. Kenjaku could have found meaning and entertainment with the world someplace else, he was just too narrow minded and never looked anywhere else.

As I said from the beginning Kenjaku's existential crisis comes from his inability to relate to other people and viewing them all as objects, but in Kenjaku's mind of course he can't relate to others they're too boring, so therefore it's the world's fault, and the fault of others and not himself.

However, right away one of those boring people starts relating to Kenjaku.

I joked about how we know nothing about the Gojo clan but Takaba gets an entire backstory chapter about his failed comedy career, but this chapter is plot important because jokes are the way that Takaba relates to and forms relationships with other people. Takaba makes jokes to relate to others but has a fallout with a comedy partner and has never been able to form a lasting relationship with a comedic partner because comedy doesn't mean the same to them as it does to him - because to Takaba comedy is about forming relationships with people. Which is why he thinks he's failed if he's failed to make everyone in the audience laugh because he wants to make comedy that will make other people relate to him and understand him.

However, he almost gives up on comedy because he's afraid that he might fail on that endeavor. He gives up on striving to make everybody in the audience laugh, because of self-affirmation and a desire to protect himself. He didn't want to fail so he started distancing himself from the audience under the excuse "Well, I can't make everyone laugh so it's okay if not everyone understands me."

Takaba at some point gave up on trying to use comedy as a means of understanding and relating to others, because of his fear of failure and at that point he nearly lost - but he rallies himself by saying that he won't give up on making someone like Kenjaku laugh. If his comedy is about connecting to others, about understanding others and having others understand him then he can't just give up on Kenjaku and say it's Kenjaku's fault that Kenjaku can't relate to his sense of humor. He's got to try even harder to make Kenjaku laugh.

This is also pretty much the opposite of Kenjaku's point of view. For Kenjaku it's everyone else's fault for being so boring that's why he can't relate to them. Wheras, Takaba takes personal responsibility, he wasn't funny enough, he has to try harder, he's the one who's going to make Kenjaku laugh by improving himself. Takaba looks inward, and Kenjaku looks outwards because there's nothing inside Kenjaku.

This is a parallel to this.

The difference however, is that Sukuna did not betray his ideology. Sukuna lives for the kicks that battle provides him and wants to face strong opponents so he can eventually devoured them and be momentarily entertained.

Like Sukuna is not bored the way Kenjaku is. The world is his playground. He may refer to living as just killing time until you die, but he also says that there's an infinite variety of humans to entertain yourself with. The world is Sukuna's toybox and he's satisfied with just that. In fact he doesn't even care about the merger, until his frustration with Yuji makes him think a little deeper about himself.

Kenjaku is not the Sukuna in this scene, he's the Gojo. He believed he was above others, only to be reminded suddenly that he was just the same as everyone else and brought back down to humanity. I mean, they even die off panel the same anticlimactic way. Gojo's infinity meant nothing in the face of one surprise attack a world-cleaving slash Gojo didn't see coming. All of Kenjaku's backup plans meant nothing in the face of Yuta camping and kill-stealing.

Kenjaku didn't lose because Yuta's plan of camping and killstealing was simply too brilliant for him to prepare for however, we're given the exact reason kenjaku lost - because he was having too much fun with Takaba.

Which meant what Takaba said earlier was true, if Kenjaku found something funnier, something other than the merger that could make him laugh there'd be no need to go through with the merger to begin with.

Kenjaku loses because all along he could have related to people, formed meaningful relationships with others, looked for meaning in life outside of Jujutsu but just chose not to. Which is also a parallel to this.

Sukuna says that Kashimo and Gojo both lost because they were greedy. They already received love in a way, they had the love of everyone who regarded them as the strongest, they had people who earnestly wanted to challenge them and respected them - which Sukuna sees as a form of love, and yet they still wanted more.

They were the ones who put themselves up on that pedestal and decided to stand above all of humanity, they don't get to whine about being lonely on top of that.

To add my interpretation to Sukuna's speech, what he's outlining is a general conflict in Jujutsu Kaisen, you can choose to be all ego to put personal development above everything else but it comes at the cost of not being able to form relationships. Maki's as powerful as Toji now, but the sister she always wanted to protect is dead and basically committed suicide. Meanwhile Noritoshi Kamo didn't participate in the final battle, but he reconnected with his mother and half-brother.

There are plenty of characters who die and suffer in jujutsu kaisen because they chose to value other people above themselves, because Jujutsu Kaisen rewards selfishness and punishes selflessness / having an underdeveloped sense of self.

I'll pick Mechamaru as my biggest example, he lived to protect Miwa, and not only does he die an unsatisfying death, he also breaks her heart.

However, at least Mechamaru experienced love. His desire to protect Miwa is granted, because Miwa is also out of the final conflict. Mechamaru is one of the most miserable characters in the manga, and yet he experienced love in his life for someone else that made his brief life meaningful. The characters who choose love, and other people over strength tend to get stepped on, but they at least had that love in their life to begin with.

It's a having your cake and eating it too situation. Kashimo chose strength over love, and he got to be so strong he was unbeatable and lived to old age, but not only is he unfulfilled but he whines about being unable to relate to the people around him - you're the one who chose to step on everyone like bugs.

Characters in Jujutsu Kaisen don't just experience death when they try to be selfless however, like yeah there's a disproportionate amont of selfless minor characters who die, but like Yuji is the most selfless character in the manga and he's continually punished for it and yet he's the one referred to as a person with an unbreakable will.

Rather instead of Jujutsu Kiasen preferring the selfish side on the scale of selfishness / selflessness, the kind of messy, deaths that get handed out to people like Mechamaru happen when you betray the ideals you were living for. Whether they were selfish or selfless.

It goes back to Toji's internal monologue. You lose when you lose sight of yourself - like there's some deaths that don't fit the mould but for the most part, Gojo, Kashimo, Toji's and then Kenjaku's deaths all follow this pattern. By coincidence they also all take place offscreen for the most part (I suppose we see Yuta cut off Kenjaku's head but it's quick and unsatisfying compared to all the rest).

Kenjaku died because he betrayed what he was living for and he temporarily lost sight of himself. As I said Kenjaku's airtight principles were that everyone was boring and people weren't worth relating too so the only way to find enertainment in life is to cause chaos - but he found himself relating to some nobody he wrote off as a minor character Takaba and having fun with him. Which meant the belief he was false, he could have tried relating to other people all along he just didn't.

He warped his sense of self to reaffirm his identity. Takaba almost did that too, he tried to blame other people for not finding him funny to protect himself, but he moved past that and redoubled his efforts to make Kenjaku laugh.

There's also the added layer of irony that Kenjaku's sudden death brings about, the person who spent a thousand years trying to make the merger happen doesn't get to see it.

However, here's my assertion on why Kenjaku's death before the merger always had to happen.

Because, even if Kenjaku had seen the merger he still would have been bored.

Literally everything about Kenjaku's character and previous actions shows that even if he made his big scheme come true, he would have gone "meh" and moved onto the next scheme because that's how he always reacts.

He got bored of the death painting siblings, he presumably got bored of Yuji, he got bored of all the ancient sorcerers and new sorcerers he made for the culling game, he worked with the disaster curses and got bored of them and dismissed them as inferior primitive curses, he goes out of the way to engineer these chaotic situations and then never feels any satisfaction from them so why would the Merger be any different?

Not only did Kenjaku die before he saw the merger, he was basically doomed to never see the merger, because it would not have fixed whatever is wrong inside of him.

Because it's not the world that's boring, it's Kenjaku himself.

He gets a brief glimpse of what he could have done in life, that he could have tried to forge connections with the people around him and related to them on a personal level - and then he dies the way he lived, in a kind of boring and unsatisfying way.

It's the narrative punishing him in a way, the same way it punished Gojo, and Kashimo, by not letting him see the big explosion after he went to all the trouble rigging the bombs. It's punishing him for the same reason too - by deviating from his true self and showing what he thought were his reasons were shallow all along. Gojo could have always related to people he just chose to stand on his pedestal alone, and Kenjaku could have always found the world to be more enertaining he was the one dismissing other people as boring without giving them a chance to grow.

Takaba confronted his beliefs and then stayed true to his ideology of making everyone, 100% of the people in the crowd laugh. Kenjaku didn't confront his beliefs, he strayed from them because he didn't have the strength of character to evaluate himself the way Takaba did.

Hence, he's finished off by one of those boring people who used their power in a way he never expected. The main villain is defeated by the comic relief character and it's hilarious.

[dkmbookworm]

The more I think about it, it really isn’t out of the realm of possibility for Odysseus to say he loves calypso. Victims of abuse can still end up loving their abusers to a degree. Even if it doesn’t always make sense. Because there were likely moments where they were able to talk and bond. When he was going through a bad day with his thoughts and she helped him get out of it. It doesn’t mean that he forgives her for holding him hostage and keeping him from his family. But he only had her in that time when he’s at his lowest point.

I think at times that the fandom can underplay how much just being on the island is a torture in of itself. Even without calypso there. It represents a point where he is left only to his own thoughts. To replaying every single mistake, every selfish decision. Thinking through a million and one what ifs that could have kept them alive. Thinking of the 600 families out there that won’t get to see their men come home. Thinking of everything he did to get home only to be here. Like really think about how much that is running through his head, every second of every day. And the only person who you can talk to, who could take your mind off of those thoughts for even a second. Is your captor

“I’m not sorry for loving you” shows that Odysseus doesn’t truly get the satisfaction of being able to hate her. He likely even pities her or cares for her despite what she’s done

He does see her as a friend because of the circumstances they exist in.

He isn’t going to only remember the bad times. He will remember moments on the beach looking at the stars. Learning about her in those conversations. Maybe even finding her funny or charming. Moments of respite from the well of misery that he’s drowning under every single day.

And that’s the worst part of when you see the person hurting you as a person. And he is a monster, so who is he to judge. He has done horrible things in the pursuit of love, and maybe he can recognize that kinship in her.

Don’t forget about how “Monster” shows Odysseus finally going down that path of realization. Rather than it simply stating” I’ll be as brutal as any of my foes”. It starts with him humanizing them.

Is the cyclops struck with guilt when he kills, is he up in the middle of the night

Or does he end my men to defend his friend and then sleep knowing he has done them right

When the witch turns men to pigs to protect her nymphs is she going insane

Or did she learn to be colder when she got older and now she saves them the pain

We can see that Odysseus is able to give a strange level of empathy and understanding to his enemies while he becomes a monster. And there’s nothing to say he wouldn’t do the same with Calypso.

She is a lonely, isolated woman who has been imprisoned on this island longer than he can comprehend. Someone deeply naive and emotionally stunted from her life on the island. Desperate for love and companionship that he is unable and unwilling to give her.

Is it right? Absolutely the hell not. And as detailed in a previous post, still deeply insidious in the long term.

But this is Odysseus after he had sacrificed 6 men to get home, and then the remaining 36 after. Where he is constantly weighed down by those actions and seeing what becomes of someone who chooses to be a monster. To try and play the gods games and fail terribly.

They’re simply two monsters trapped together

[youbutstupid]

What are the flaws of each Criminal Minds character? Because these things I glossed over while watching the show. Unleash the essay, if you have to!

I’m gonna fight someone, I wrote a response to this but my app refreshed! Time to speedrun this response again omg I’m so sorry.

DISCLAIMER: I love every single character but that doesn’t mean I am blind to the fact that they are all flawed and fleshed out human beings.

Gideon: he was unempathetic to those he worked with. He was incredibly kind and compassionate to the victims and even the unsubs at times, but the only time we saw him truly give value as a superior was to Reid and Garcia, and even they got the short end of the stick at times.

Hotch: he unfortunately paid the price for his, but it was a lack of empathy for Haley and the fact that she never signed up for marrying an FBI agent. He let his job cloud the fact that he should have been prioritising his son and wife and he sadly didn’t realise this until the divorce papers were finalised.

Reid: he is very emotional, which is mostly a good thing, but it does mean that he can let it cloud what he is supposed to do in a situation and what is right, leading to irrational actions, as seen in Fisher King pt 2, Elephant’s Memory, Memorium and his journey in Mexico. I’m not saying his arrest was his fault of course, but I am saying that whether he got framed or not, there were other risks to crossing the border without notifying the FBI to collect experimental medicine, and his emotions clouded him from those risks. It puts his team in tricky positions and also puts his life in danger.

Morgan: he was very doubtful towards people’s views and ideas. If I had a shot for every time he doubted a true thing that somebody said or said that they shouldn’t be working a case when they should be, I would be so blackout drunk. Obviously he is allowed to doubt things, but he takes it too far and it prevents him from seeing what is right in front of him.

Elle: I understand that she needed somebody to blame in order to rationalise her trauma and the person who caused it was dead, but she was wrong to blame Hotch and she never went back on it. Hotch sent her home with the idea that Anderson would be watching over her, he could never have predicted that Anderson would leave her alone or that Gideon would anger Garner.

JJ: love her but the Reid confession was icky and gross. She had other 35 years of experience in life, came from a small town background, covered up Prentiss’ death and was a part of classified missions overseas and you’re telling me the only secret she could think to tell was telling the guy who used to have a crush on her that she was in love with him whilst she had a husband and two sons? I like to pretend this never happened for my own sanity.

Garcia: she is also very emotional, which can be a good thing most of the time, but other times it leads to her making decisions without considering their consequences. One example is her visiting the man who tried to murder Reid because she personally felt bad; I adore her but she didn’t consider that her motives were selfish because she just wanted closure, she didn’t consider if this could have been triggering to Reid, the people he had murdered or even if the man wanted to see her at all. There are also times when she wastes time by refusing to look things up because she feels weird doing it, even though there are lives on the line.

Prentiss: the line ‘you mourned the loss of one friend, I mourned the loss of six.’ Surely she realised that carrying what you thought was your best friend’s dead body in a coffin whilst thinking that she was wiped out of existence forever is very different than being in France and missing your friends but knowing that they are very much alive.

Rossi: he often tries to justify his crappy actions in the past when he should just apologise. Even if he has to apologise multiple times, it is no one’s jobs to understand his actions that hurt other people, it is his job to rectify them however that may be. I’m glad he has changed and grown, but that doesn’t undo the hurt that he has caused.

Todd: she had every reason not to fully trust the team because she doesn’t know them, but she needed to at least trust that they could do their jobs and do them well. I understand that she had never been in that line of work before, but she was not open to understanding either and that put her in tricky positions.

Seaver: I think she came to the bau with the hope of finding closure for her past and that meant that she was not 100% sure what it actually was that she was signing up for, leading to her often falling behind as an agent. She tried to learn, but she was just too unprepared for what it entailed.

Blake: I love her but the whole thing in the earlier episodes of her telling Reid that she’s glad he didn’t take her joke about him being autistic too seriously because apparently no one can take a joke these days made me feel icky. Even if Reid did take her joke seriously, it is no one’s responsibility to find your offensive jokes funny, it is your responsibility not to make them.

Callahan: like Morgan, she was often sceptical about things and whilst, again, she has every right to be, it did mean that sometimes she was clouded to some truths because she simply couldn’t see them.

Tara: she immediately assumed that the reason her brother didn’t go to college was simply because he had gone off the rails and was the less successful sibling. Her straight A student brother suddenly dropped out of education and she didn’t stop to see if he was okay or suffering in any way for him to have done this in the first place. She of course had no obligation to help him once he had started asking for financial help and making bad decisions, but she could have at least wondered why all of this started. I think her dad was largely to blame for this though.

Alvez: he was not ready to have and then move in with his girlfriend when he did. He was still quite new to his job and way too committed with it, plus it was clear from the beginning that he had some feelings towards Penelope and he just didn’t seem to have the emotional availability at the time for Lisa. I know she didn’t break up with him for this reason, but I think that they needed to break up anyway as it kind of felt like she was being led on.

Simmons: adore him but what a field of work to be in with five kids. I’m glad his wife was understanding because idk how I would cope raising five kids whilst my husband was constantly away; this isn’t necessarily a flaw but rather a personal ick for me.

Walker: idk he’s just a little fella innit

[agalychnisspranneusroseus]

I know the usual role swap AU has Marcy in Wartwood, Anne in Toad Tower and Sasha in Newtopia but I think it's be hilarious to see Sasha in Wartwood, Marcy in Toad Tower and Anne in Newtopia.

Andrias encourages Anne's worst vices, her selfishness and laziness. He just gives her a room and infinite money and lets her do whatever she wants, facing no consequences for her actions whatsoever because all Andrias cares about is using her as bait for her two more competente friends to come looking for. Only thing in her favor is that she DOES have the Calamity Box, which she gives to Andrias without question as soon as he promises to send her back home. Problem is that it's uncharged, and Anne at this point is too useless to do anything about it, so he, alongside Lady Olivia, have to keep up with this spoiled brat, forcing fake smiles and praying that her friends show up soon. He even sends Yunnan to go find them, because this weird annoying alien kid is causing disasters in the city every two days and all Andrias can think about is "jeez now I remember why I never had children".

Marcy in Toad Tower has a very Entrapta-Hordak kind of relationship with Grime (without the romance) in the sense that she's too enthralled by the wonders of Amphibia to be scared. She might not have the social abilities Sasha has but she DOES have an extensive knowledge of Age of Empires types of games, her strategies are UNMATCHED. While she is terrified during the first two weeks, while she's locked in a cell (this is NOT what her isekai fantasy looked like in her head), she soon proves her usefulness when she yells strategic advice from behind bars, demanding to be let out because she NEEDS to be in that war meeting! That strategy won't work! She saw it in an a dozen different animes, she knows how this ends! Though she's not very aware of the brutal reality of Toad Tower - she really just thinks she ended up with a cool warrior order she's helping defeat their enemies.

But Sasha in Wartwood takes the cake. If she ends up with the Plantars like Anne, she's an absolute menace for Sprig and Polly because she's one hell of a bad influence. Hop Pop takes it as a challenge - he thinks she wants to force him to kick her out, and he won't give her what she wants! Plus he's very aware of the ways in which she tries to manipulate his grandchildren and he won't allow it! Every time she gets them in trouble on purpose she has to do a full day of farm work, or to clean Bessie's stables. It's his way of telling her he can see straight through her bullshit and he won't tolerate it. If she wants to turn his kids into little delinquents she will have to get through him first! She probably becomes closer to Polly than Sprig, Sprig being a bit too much of a goody two shoes to follow half of her plans, while Polly is a natural troublemaker that joins in to whatever mischief Sasha comes up with. Though seeing Polly, a small child, continue to get in trouble and suffer the consequences for Sasha's actions, kind of triggers her more protective insticts. The moment Hop Pop realized she was making progress was when he saw her admit, in front of the whole town, that she was responsible for whatever trouble they had earlier, and she only did that because she felt responsible for Polly.

Btw she gets sooooo irrationally mad when Hop Pop gets a girlfriend and encourages Sprig's frustration, whispering like a devil in his ear that this is how it starts: first he gets a girlfriend, then you stop being his priority and suddenly he has new kids and a new family and you're not part of it. Trust me, buddy, single dads getting girlfriends is bad news. We should push her into the river!

Though I do wonder if it'd be even funnier if she ended up with someone you would never expect, like Mrs. Croaker. This old woman has her clean and cook for her all day long while complaining that she's doing everything wrong but she's the only person in town who lets her crash in her couch so it's her fucking snow white arc or getting eaten by a giant mantis.

As expected, Toad Tower and Newtopia makes the girls worse while Wartwood makes them better. While Marcy is kept in the dark and used for her intelligence to commit war crimes and Anne is allowed to be even more selfish and useless, Sasha becomes incredibly protective of her new family and this little town that suddenly looks to her to keep them safe and provide.

[khattikeri]

i don't think enough people talk about how the backbone of nie huaisang's plan hinged heavily upon jin guangyao's low birth, and the jianghu's willingness to dogpile on such people.

nie huaisang is upper class. he's specifically stated in the novel as behaving more like the idle rich than like a distinguished second young master of one of the five great cultivation sects, but he's still an heir by birth. even if nie huaisang had been more openly caught, who would do anything to him?

wei wuxian notices that bicao's testimony was bought with a few shiny baubles— that nie huaisang was the one who bribed her with a nice bracelet for her testimony. he intentionally kept his own sect half dead, barely afloat for years, just to keep up the guise of an incompetent loser!

but the only actual consequence he's faced for such poor leadership that probably hurt a lot of common folks in his territory over 13 years is that people think nie huaisang is an annoying, useless crybaby. nie huaisang has a level of protection from consequences that jin guangyao had to fight much harder for (and that jin guangyao ultimately never truly got).

nie huaisang knew his own class and social position extremely well, and he knew how most people of that position behave and think. he was more than willing to use this in his revenge.

we know lan wangji is the type to use his wealth and position to do good for others. nie huaisang is the opposite— he's the type to use his wealth and position for himself and his own personal goals.

and this wasn't just something that started after his brother died! avoiding responsibilities, never carrying his sword, ignoring the fact that he wasn't honoring his sect or ancestors the way others wanted… his underground ring of selling porn as a teenager even got him out of the worst part of the wen indoctrination camps, because he bribed the wen cultivators overseeing everyone else.

my point is, nie huaisang is self-aware enough to know he doesn't really ever do the "right" thing! at no point in the story does he delude himself or others with grand ideals of how one ought to behave. he doesn't care.

unlike almost every single other upper class cultivator in the story— jiang cheng, jin zixuan, nie mingjue, lan xichen— who all think of themselves as righteous in a way, who are always able to justify their thoughts and actions, rarely if ever able to conceive of those thoughts and actions as flawed or wrong... nie huaisang KNOWS his own selfishness.

like lan wangji, nie huaisang recognizes that his class can easily be used as a shield to do whatever he wants. while lan wangji at worst uses this nifty privilege to silence people he doesn't like, refuse to explain himself in inconvenient situations, and bring wei wuxian along with him everywhere, nie huaisang uses it to shirk his duties for decades and tear jin guangyao apart in revenge.

jin guangyao being the son of a prostitute automatically amplifies bad rumors around him. bringing to light his incestuous marriage and the gruesome way he murdered his upper class father, however deserved, is obviously going to impact him in a way that someone higher class wouldn't be as hurt by. combining that with a final lie to get his sworn brother to stab him in a flash of doubt, and well...

is that good or righteous or just? no, of course not. nie huaisang doesn't spend any time pretending that his actions were conducted based on morality, or that he "had no choice".

nie huaisang just wanted to destroy jin guangyao, and damn did it feel good to finally do it.

[fookinstevienicks]

I feel like BOBs are just desperate to find something and anything to ‘cancel’ Lou at this point. They are purposely twisting his words.

Was ‘teasing’ the right word? NO. But he makes it clear in the same cameo that he knows Tommy’s actions were bad and that Tommy made amends with Hen and Chimney by the time of Bobby begins.

They are just taking that one sentence and running with it. Ignoring everything else he said.

I genuinely cannot express how much his word choice on that one single word means absolutely nothing to me. like. I live my life every single day by the principle that people are inherently good and that all people can grow and change. it was abundantly obvious to me what he meant and pretending that one word is more important than intent and context is so antithetical to the concept of progress that I'm offended that those selfish, entitled little brats have the gotdamn AUDACITY to think they're any less regressive than the average boomer. they don't actually have a problem with the word he chose they just saw what they thought was an opportunity because they're craven, conniving little assferrets

also Edy, an ACTUAL TRANSPHOBE, is still around and I'll remind them that their favorite ASKED for her to come back SO

contemplate THAT, b*ddie stans

[viridianevergarden]

This again. I just want to break down my thoughts here so bear with me.

(I did the math and calculated ~ 7.9k people voted that 55%) 💀

First of all,

Elain doesn’t just enjoy gardening for the aesthetic, but rather for the fruits of her labor through hard work. Spring Court’s flowers and nature are only in bloom by magic (The High Lord’s). Not work. Not labor. But rather for convenience and aesthetics (to embody the very domain that one, being Tamlin, High Lord of the SC, resides in). That, to me, goes against Elain’s very enjoyment of the craft of her gardening.

Couple that with the fact that she has completely neglected using those gloves that Lucien gave her. She put them down after they were gifted to her, not even bothering to look at them as if she didn’t care for them. She doesn’t seek protection from the labor of her craft. She doesn’t want to make it easier. She enjoys the challenge. I think Feyre’s perspective on that made it clear.

And again, why would Elain in her right mind willingly go to be with her younger sister’s abusive ex? Why would she? I’m pretty sure she is well aware of what transpired between the two. That she is aware of Tamlin’s actions. Especially when he is partially, if not entirely, responsible for her life quite literally being turned upside down. Having her mortality stripped from her and her love and happiness (or simply content) gone along with it. If she is so visibly uncomfortable with Lucien, who was an accomplice, I’d imagine she would also hold animosity or discomfort for Tamlin tenfold.

Secondly,

Regarding mating bonds being rare: This is a story that encompasses a main group of protagonists. 3’s are SJM’s specialty. Just because 3 brothers may get with 3 sisters does not automatically mean that mating bonds aren’t rare. As a fae romance series with mating bonds clearly being a significant staple throughout, we will encounter mating bonds. Especially with our protagonists. That just seems like logic to me. Even then, it’s been stated and shown time and again that not every mating bond works or is positive. That just because two individuals have a bond doesn’t mean they’ll have good chemistry.

Also take into account that our dear Inner Circle is not the entire continent of Prythian. The Inner Circle does not equal the entire population. So therefore, a small group of mated individuals ≠ a common occurrence.

What’s wrong with the storyline matching up to have a 3:3? Is the perfectionism so wrong? I think that the phrase “too perfect” should be replaced with “complete/completion”. One last brother to one last sister is the remaining piece of the puzzle. Yes, you can argue that the cliche of 3:3 is boring or too simple but this is SJM’s world. She is a cliche author. She always has been.

Lastly,

I believe that Tamlin has had his redemption arc. If you want to call it that at least. In my opinion, he doesn’t need one. His prime arc is over. The series is way bigger than just Tamlin now. I simply see no reason as to why SJM should take more time for Tamlin , who arguably has done more than enough, rather than anything else. I feel like it’d be a backward progression.

Not every character has to be redeemed.

Not every character should be able to find peace or become good after selfish or morally questionable acts.

Not every character calls for major development.

To me, it’s just bad writing to redeem and develop every single character.

Even then, Tamlin is a well written character. He doesn’t need more depth. (I think this post alone proves that people don’t understand him already). He doesn’t need Elain to come in and “fix him”. No one can. No one but Tamlin himself. And we see that if anything, he’s wasting away rather than trying to help himself. He’s wallowing in his grief, anger, and hatred. Be it for others -like Rhys- or himself. It’s on him. Hell, even Rhys tried to help him. Yet he remains unmoving. That is Tamlin’s choice. Elain shouldn’t need to be his catalyst for change. He should.

To Conclude,

I see no logical reason again as to why people think this is a possibility. It just seems like a terrible writing choice for the story of ACOTAR. Of course, SJM can indeed surprise us. She wields the mighty pen after all. But then again, why would she turn around and completely dismiss 4 books of chemistry with a certain shadowsinger just to pitch our third sister with someone like Tamlin or Lucien? If she had planned to do so before, why would there be 4 books worth of obvious chemistry? It’d be a waste. If she has planned or plans to have Elain go with Lucien or Tamlin, why hasn’t she written any semblance of true chemistry between them? If Elain should allegedly have a balance with Tamlin or Lucien, why isn’t there any chemistry? All I’ve seen from Elain is obvious discomfort.

“I thought it was obvious…” - SJM

I could write more about Lucien and Elain’s dynamic but I think that is a whole different matter that doesn’t pertain to the current topic so I’ll leave this here. Thanks for coming to my ted talk.

[chaifootsteps]

its really hard to take any comparisons of stolas to other abusive characters seriously because i genuinely dont think viv comprehends shes written an abuser, the same way other authors can comprehend theyve written abusers. she self projects so heavily onto him and acts like his sass is justified to the point pretty much everyone, even fans and critics, knows that s3 will just end up with him living with blitz and working for IMP (which was foreshadowed just oh so subtly in the helluvababies season 2 premiere,) after losing everything (oh no, the consequences of my actions!) because of the full moon deal HE decided to start. he started out doing something bad, acknowledged it once (didnt even apologize to blitz for the deal btw,) and got go back to his life of luxury after his former sex slave said no to his love. he took advantage of the main character in the very first episode and will still be rewarded with him presented as stolas's knight in shining armor, a family who will unconditionally love him because of fucking course they will even though they know their boss had to fuck him or else they wouldnt have their "meal ticket", and eventually, most probably, his daughters forgiveness after she cut him out of his life for.. taking antidepressants. not for neglecting her, not for not teaching her anything about the book she was solely created for, for 17 years, before letting someone else have it without a single worry of what could happen to it, and certainly not because she cheated on his mom with some "weird red dickhead" i can watch other shows with the understanding (most of the time) that that character probably will receive some kind of growth, karma, acknowledgement, or change of their terrible behavior if theyre intentionally written as toxic. or, if their toxicity is supposed to be the point, for them to go full ham with it. helluva boss is neither to me; its abuse tactics and toxic patterns presented as good, like gaslighting, triangulation, and codependency. and an audience like vivs will digest these ideas subconsciously as good if they have no critical thinking skills of their own, which most of them dont. and all while being too afraid to actually hold abusers accountable in a setting like hell of all places. thats why none of the characters even acknowledge the actually shitty things stolas does and arent allowed to not forgive him- because the creator herself is an abuser who doesnt understand, or doesnt want to understand, that being held accountable is about ALWAYS acknowledging the mistakes you made and STILL trying to be better, even if the people you hurt still hate you. not apologizing once, and then getting pissed someone didnt automatically forgive you, as if your remorse means you're entitled to forgiveness. thats how stolas thinks, because thats how she thinks, and thats terrible. i cant even watch these shows in a "im a messy bitch who lives 4 drama" way as much as i want to because watching an abuser get everything he wants after a season of straight up cloaca sucking is NOT drama. its just incredibly depressing and makes me think about the piles of money that couldve been used to make anything other then this, instead of the creators self insert fanfiction of "no one is allowed to judge my character based on my past selfish actions: the overpriced, overstuffed with expensive celebs while i claim i cant fairly pay my animators i force to work exclusively on my shows the musical!"

I think you're spot on, unfortunately. If it weren't for the fanbase slavishly, cultishly lapping up everything Viv gives them and making it a point to incorporate it into their own lives, it would be a fascinating look at how an abusive person sees themselves. Stolas's justifications really are Viv's justifications, and she'll never see him as an abuser for the same reason she'll never see herself as one.

[inthehouseoffinwe]

I feel like the whole "Elwing jumping out with the silmaril due to trauma" explanation doesn't really answer the question about why she and Earendil seemed to just "turn the page" with their kids when they got to Valinor. It's strange to me that when meeting with the Valar and giving them something very important like the silmaril, they didn't try to leverage their position and secure/negotate something for their kids (at least verifying if they're dead or alive, getting an affirmation they'll be safe, or trying to retrieve them) from the gods. It's like they just decided there's nothing more to do here, got immortality, and never looked back since beating Morgoth is the only important issue now. Maybe this is just a narrative hole resulting from Tolkein trying to keep things brief, but it gives me the striking impression that they chose ultimately chose each other over their own kids.

Hey! Thanks for sending this!

I’ll admit, I’m not totally clear with what happened post arrival to Valinor but I do agree. It could explain the initial jump but everything after? Ehhh.

I know they were worried about the twins. But their actions don’t really… show that.

I guess my only thought is they didn’t expect to never come back (a bit of a weak argument imo, it’s pretty clear Valinor is a one way trip) and barely got the Valar to agree to do something in Beleriand. I won’t get into how messed up it is the Valar waited for a stolen silmaril before even considering to help, but maybe because of that they didn’t want to push their luck?

But I also know 99.9% of parents still… would. Or they’d at least ensure their kids were safe. If Elwing’s so traumatised by the SoF, you’d think this is the first thing she does. It took time for the Valar to decide, long enough to get over the initial stress and start demanding, even if it was done through Eärendil.

Even if we say they only thought of Morgoth. I’d think to say ‘hey I got you this thing, now make sure my kids survive your war against our enemy.’

I don’t think it was Tolkien’s intention, and this is partly because he’s brushing over large swathes of plot. But the way things went and nothing really mentioning they thought of their children or regretted what happened to their people doesn’t do any favours. It also follows a very Beren and Luthien trend of ‘choosing each other against the world’ (and dooming everyone else in the process.) Which doesn’t help either.

And this leads to my issues with Eärendil x Elwing in general.

They remind me of every single couple who weren’t ready for marriage, rushing into it with this romanticised idea, and having no idea what to do after. Add kids to the mix and it’s a recipe for disaster. They love them, yes, but they don’t know what to do with them when things go wrong.

Especially in this case where Elwing should be expected to rule when her husband’s away, considering he’s gone so often and for so long. If she was so traumatised and young, why let her get into a marriage which would result in so many responsibilities?

The whole ‘but they were in love!’ thing has always annoyed me across every fandom I’ve been in 😂 It seems so selfish to condemn an entire people to an unfit ruler because you’re in love. It’s selfish to bring in a weak leader when there’s war constantly at your doorstep. This goes for both Eärendil and Elwing.

Ok sure. This case it was the sons of Fëanor. But what would she have done if Morgoth launched an attack? Can anyone honestly tell me she’d know how to direct and lead people to relative safety? It’s a pretty basic demand from a ruler in as bad a situation as they were in.

You don’t bring a traumatised woman, or even ignoring that, you don’t bring a young inexperienced woman, who won’t be able to think clearly or make good decisions when put under pressure.

And if you know you’re traumatised and/or inexperienced you don’t agree to the position.