#reclamation arc

[coquelicoq]

it's about...longevity? stability? it's about natsume believing he'll be somewhere long enough to plant flowers and see them bloom. it's about him taking touko seriously when she asks him to tell her what flowers he wants to plant. it's about making something with his own hands, building a future with the fujiwaras. it's about him repairing a rundown home for someone else, restoring it because it's beloved to them, because it's the home of someone they love. it's about him seeing touko's joy and thinking about the youkai saying we'd like to look upon her happy face forever. it's about the box garden making him think of the fujiwaras' garden and his parents' garden, about the flowers being both the memory of flowers that bloomed there before, and the flowers that he and the youkai planted earlier that day. it's about him waking up in both worlds with sensei. it's about touko finding the petal in his hair. it's about him feeling how he falls short and the youkai saying, but you have such gentle hands...

[fromtheseventhhell]

Remember George's outline notes that had "joy of giving" and "mercy at the gate" for Arya? Mercy is crossed out and we obviously have that as her sample chapter, so what if Arya's next alias is "Joy"? Over-thinking the significance of that phrase and how it could apply to the rest of her Braavos arc🤔

[nerdie-faerie]

'Martha didn't get her own Doctor' Martha is one of the last companions that would want her own Doctor. She's one of the few companions to have left of her own free will and not to have an on off friendship with the Doctor in which they can just wander back into her life at any point. She left the option of the Doctor coming back into her life as something only she could invoke. He would wait on her to call him, not just drop in whenever like they used to do to the Ponds and Clara. She originally leaves that life behind entirely to finish what she started - becoming a doctor. She's not waiting around for the Doctor to fall back out of the sky. The only companions I could see really wanting their own Doctor, is Captain Jack - who's absolutely not allowed one in any circumstances - or Yaz both of whom would probably be better off without one tbh

[anghraine]

I was posting about it on the sideblog, but ... while I've been Charr hateblogging for years, I'm a little torn between resenting the "unrepentant war criminals living on land conquered through repeated massacres they treat as righteous" and my growing affection for my Charr character, who 1) has a floofy tail and 2) I headcanon as a counter-cultural activist.

Pax!

[brochacho]

me: let me guess, this media is gonna focus on “the abandonment of femininity" or “the reclamation of femininity” and have a motif of light/dark 🙄

also me: omg this media focuses on “the abandonment of femininity” or “the reclamation of femininity” and has a motif of light/dark?!?! 🥰

[l00se-can0n]

to continue talking about why i believe the political commentary of arcane is flawed, i want to discuss how the piltover-zaun conflict not getting a satisfying resolution hurts caitvi’s writing as a couple. i want to talk about them specifically bc they’re the only endgame couple in arcane and the worst takes i see about the show’s political commentary usually comes from caitvi shippers. i will start by saying that i LOVED caitvi in s1, which is why i’m so disappointed by how they were written in s2. while i understood why people were uncomfortable with caitvi due to caitlyn’s position as an enforcer and vi being a victim of police brutality, it didn’t bother me when i first watched s1 because caitlyn fit into the “good cop” trope and i believed that the series would end with her reforming the police force in piltover. my expectations ended up being subverted when i watched act 1 of s2 after seeing the dark turn her character had. i actually liked seeing caitlyn’s descent into darkness in act 1 because it demonstrated that even “good” people in corrupt systems can still abuse their power. i thought that she would eventually be redeemed since caitvi is the endgame pairing and that is the only way i could see the couple working. after watching act 2, i became less confident that caitlyn would get a proper redemption arc since we only see the aftermath of her actions and she gets offscreen development. again, it makes sense that she would grow less skeptical of the crackdown from noxus after 3-6 months, but it would be more impactful we see what led her there when in ep 3 she used the grey against civilians, threatened heenot, and nearly shot a child. i need to emphasize that the grey WAS used against civilians since the mv montage shows regular civilians running away from it and vi says it was used to “clear the streets”. even if the grey was only used against criminals, it is still a war crime because the use of chemical weapons is prohibited under the geneva conventions. the last time vi and caitlyn were together, caitlyn hit vi with her rifle on a place that vi was already deeply wounded from. the fact that their reunion is caitlyn hitting vi multiple times is a good example of how vi’s trauma is rarely explored by the writers, especially since she is so nonchalant about it. during her time in stillwater, vi was regularly beaten by enforcers, she should’ve been a lot more hostile towards caitlyn when they meet again. vi was one of the main characters who confronted piltover about their oppression of zaunites in s1, but in s2 when caitlyn becomes everything vi hates about piltover, it doesn't harm vi's perception of caitlyn at all. another thing i hated was vi having sex with caitlyn in a jail cell knowing that jinx is going to commit suicide. not only is it ooc for vi since she is shown to be very loyal to her family and is a victim of police brutality, but sexual assault by cops is very prevalent in prisons so it's tone deaf to viewers who experienced police violence. i know that the scene is supposed to be vi “reclaiming her trauma”, but is it really reclamation when her trauma is rarely explored? caitlyn is NEVER confronted by anyone for gassing civilians, falsely imprisoning zaunites, torturing zaunites, and raiding their homes; the fact that she never comes to terms with harming zaunites makes it feel like vi is settling. i understand that lesbian representation is important, but that doesn’t mean that we have to excuse bad writing, especially when said pairing is wrapped up in bad political commentary. pinkwashing and homonationalism are real problems and the way caitvi shippers become apologists of fascism and police brutality is reminiscent of how oppressive power structures justify xenophobia, racism, and aporophobia in the name of “protecting” queer people.

[the-dye-stained-socialite]

yes yes canon to me as well!!!

they even both have red ribbons as devotion to their partners,,,, they can bond over that too!!!

(oh gosh yeah sustainined in game roleplay is hard, i just like doing little things in there mostly, i tend to work the bigger details out via dms anyway)

You see a cute socialite. they have lots of stains on their clothes

you find out the synthesize these stains themself

you find out they synthesize poison as well

they learned this by performing a water and blood ritual in the super toxic water of the fuckung blood red river

they use these poisons while playing a game where you kill people. slowly.

they're possibly fucking the master that runs these games

(and half of the damn neath too)

this master made them royalty and adored whereever they go

(they're friends with the Poet-Laureate?!?!?!)

(they're paramount presence and every single faction knows them)

royalty made them unhappy, so a fucking Parabolan Power kidnapped them off that poison river

they won a game after being kidnapped and traded their heart to the Dream Controlling Horror

said Horror also gave them New Powers

they can't control these new powers once they start.

they corner you in a room and read off all you hidden wants, desires, and secrets while you feel them tugging on your heart strings

they start crying and get really upset at you?

they've cut you open with the dagger they got from their spouse from that master

they have now literally stolen your heart

[relaxxattack]

I humbly request your dave nonbinary thoughts, we may not be ready but I want to know, I want to be enlightened

okay so here’s the thing.

dave strider is a closeted and repressed queer boy in 2009.

in the culture at the time (especially on the internet where he basically grew up) "gay" is used as a catch-all for basically all things evil, stupid, and wrong. as kids grow up they learn that— because patriarchal privilege is something you can lose the second you’re not performing your masculinity to an insane degree— being gay makes you not a real man. being gay means you’re an effeminate little freak, a subversion, a pervert. something to be scorned and taught a lesson. which is terrifying to these kids.

on top of all this, dave is being abused daily in the name of becoming a real man a hero. his ultimate example of heroism is a hypermasculine freak who physically, mentally, and sexually abuses him. of course dave doesn’t want to do introspection into the idea of liking men. just being a man is a burdenous ideal, and the sexuality of men is something that has been consistently used to harm him.

that’s where we come to the meteor trip. dave seems to be of the opinion that because earth is long gone, a lot of those restrictive social conventions should be gone as well— especially things like toxic masculinity, and gayness as a complete “other” that you have to “turn” to; he claims (correctly) that a lot of these restrictive social boxes are imaginary lines built by prejudice, and less absolute then people assume.

so, dave does not subscribe to the idea of hard labels.

it’s important for him to reclaim the idea of gayness, of course. dave has been agonizing over that for the entirety of the comic. his own sexuality is something that terrifies him, to the point where he cannot even manage to date women he actually likes. even if he really is truthfully interested in women, he cannot really handle that until he’s finally come to terms with himself as “gay”. (which is why i don’t think dave would use the term bisexual. even if he does know what that means, that’s not the word he’s been terrified of embracing for the past 16 years. dave strider is gay. his entire arc revolves around accepting this.)

but i think if dave was contemplating gender as much as he was contemplating sexuality on that trip, he would come to a similar conclusion about labels. and besides, masculinity isn’t exactly something that he’s had a positive relationship with.

this is why i think he’d be some form of nonbinary or agender. dave calls himself gay because of his hard-earned reclamation of that word, not specifically because he is never interested in women. i think if he were to call himself a guy, it would be along those same lines.

(i could also go on a tangent about dave’s existence as a hussie self insert and his arc and dialogue with these concepts as a reflection of someone who eventually came out as agender, but this post is long enough as it is)

basically, gay nonbinary dave strider. he’s real.

[theopolis]

Adaptations/alternate comicverses/certain 616 comics that try to empower Harry Osborn and showcase how he's broken free from Norman's influence by making him appear more in control are, imo, kind of missing the point of his original empowering act of self-reclamation in Spectacular #200. Because the entire arc that had led up to it was about him clawing for total control of who he is, what he can do and how he is perceived. That climactic moment where he rescues Peter from the bomb is not born out of a newfound confidence and bravado - to the contrary. It's prefaced by the same panicky indecision that had continously sabotaged Harry's quest to truly become the Green Goblin; someone worthy, someone deserving of his father's approval, someone who would never be hurt again

Depictions of Harry where he doesn't possess, or rises above, his frailty, while often well intentioned and certainly helpful to some people who get different takeaways from them, do nothing for me. Rather, they feel inspired by that same notion of having to "grow a thick skin" and embody an ideal of someone who's assertive and has it together, even if that ideal is much less extreme and overtly toxic than the Goblin. Is it really about self love, or is it about becoming more "admirable", more "respectable", less of a "burden", less "weak"? Someone who is no longer affected by past abuse in ways they perceive as shameful?

I believe Harry's kindness and intense love for Peter can not be neatly separated from the less noble traits rooted in his sensitive nature. He loves and gives easily, just as he gets scared and nervous and self conscious easily. All of it was punished and scrutinized first by his father and then by himself. Harry's ultimate choice to save Peter's life in #200 is him finally giving up on that struggle for invulnerability and surrendering to the command his soft heart has over him. It's the opposite of control and he says it himself when Peter asks why he came back for him: "What else could I do?"

I think this is an immensely important message. Certainly one I needed to hear when I read that comic. Must we try to attain that mythical self who repels harm? Isn't it much kinder towards ourselves to accept that keeping an open heart means that we have wounds, some of which may never fully heal and will need tending to by more hands than our own?

[luna-rainbow]

Hi! I don't know if you have already read this Bucky's "analysis": https://www.tumblr.com/dreadnought-dear-captain/651270983166132224/cw-this-essay-is-about-about-trauma-including?source=share

I find it absurd that a person who claims to be knowledgeable in the psychological area and also to have lived through traumatic experiences themselves, can say that the depiction of therapy in TFATWS is OK and that it is "right" or "healthy" for Bucky to "take responsibility" for something he had no agency in. This is one of the many aspects that seem to me to be terribly wrong.

I'd be very grateful if you could share your opinion.

Sorry for the late reply, life’s been really hectic lately!

I vaguely remember reading this back in 2021. I don’t know if I ever got through the whole thing. I’m not trained in psychology so I can’t pretend to be any sort of expert.

There are some points I agree with, particularly to the headcanon that Bucky is actually very resilient rather than “fragile” — he has to be, to have lasted that long under Hydra, retained most of his innate willingness for good, and for Hydra to have been forced to use the methods they did to break him. While we’re on this topic, it’s not uncommon that people who leave abusive situations go through a period of “fragility” or being more open with expressing their vulnerability, because they’ve finally exited survival mode. I’m always soft for recovery fics where Bucky clearly has that stubborn resilient streak but also lets himself be vulnerable in front of someone he trusts.

It's not the first time that a self-proclaimed psychologist has tried to justify Bucky's arc in TFATWS with reclamation of agency (I feel like I've read a similar essay from someone else). My problem with these analyses has always been - Bucky is not a real patient, he's a fictional creation, therefore any talk about his psychology and in particular internal consistency can only be as good as the narrative. When you have a narrative that is as clunky as TFATWS, where it clearly made no attempt to consider Bucky's past, character, and motivations in many of the choices he made, it's ridiculous to examine this Bucky as though the writer had intended him to be a study of trauma recovery. It's like trying to debate the safest speed the Titan submersible should have descended at, when the real problem is that it's a creaking tin can from the get-go.

The problem with the reclamation of agency argument is the same problem with his healing arc. Just as Bucky already reclaimed his humanity and social connections by the support he got from the Wakandans, Bucky also already reclaimed his agency in the preceding movies. Are we forgetting his first act of disobedience to his handlers in pulling Steve out from the river instead of finishing his mission? Past that, he spent two years living a crime free and reasonably cosy life. He had a roof over his head, he was dressed clean and groomed, he was going out and conversing politely with shopkeepers, his apartment was sparsely furnished but lived in. All of these took a series of careful choices from someone who not only was forced to live with no agency for 70 years, but also had no identity, no documents, no money, and likely very little familiarity with this new world he's woken up to. He also made major choices that directly impacted the world around him, whether it was to divulge the location of the other Winter Soldiers, or joining Steve against the other Avengers, or choosing to go back to cryo, or accepting T'Challa's recruitment to go back onto the battlefield. He was not forced in any of these choices, and he had a lot to lose in each of them, but he still made the choice -- and the people around him, Steve and T'Challa, allowed him to make that call.

So yes, theoretically, if Bucky was a real patient, of course agency is a major theme in his recovery and a way to redirect away from overwhelming helplessness (although...Bucky's never acted as though he falls comfortably onto learned helplessness; again, the first thing we see him do as soon as he recalls any inkling of his past is to take agency into his own hands). But narratively? This is just regressing Bucky back to...oh, I don't know, early post-CATWS and retreading the recovery path he had already demonstrated.

And sure, trauma recovery is something that happens over a long period of time and people can vacillate between well-adjusted and emotional wreck, and we can argue given the events of Endgame, there's good reason for Bucky to have rollercoasted to an emotional slump by TFATWS. But - once again - this is a fictional construct, and if you took a step back and looked at the narrative as a whole instead of "Bucky should be allowed to make bad choices because he's mentally ill", there is no character justification for why Bucky would break Zemo out of jail or fight with Wakanda, very borderline justification for why Bucky would confuse the shield for his friendship with Steve, and minimal justification for why Bucky would crash Sam's mission in the first place. Not to mention the 20 things that doesn't make sense about the Flagsmashers and post-Blip world, and what authority Sam and Bucky were even working under. If the overarching narrative doesn't make sense, what even is the use of trying to rationalise his actions in a psychological sense?

As to your specific point about "the depiction of therapy in TFATWS is OK and that it is "right" or "healthy" for Bucky to "take responsibility" for something he had no agency in" - I'm not sure how it's argued in the original essay because I don't want to read the whole thing, but this feels like a really weird therapeutic strategy. If we equate Bucky's situation to rape - which we probably can after they inserted the stomach turning scene of Zemo selling Bucky to Selby - I'd like to know which therapist would sit with their rape victim and say it's "right and healthy" for them to take responsibility for the rape, ie the situation during which Bucky had no control over his identity or wishes. From what I've seen and read of victims in recovery, whether that's as survivors of abuse or rape or homocide, they find solace in taking control of the emotions they are left with in recovery -- i.e. the grief or rage or indignation, and repurposing that into a sense of mission, such as starting victim help groups or campaigning for policy change or fighting to get the criminals arrested. But again, that's not reclaiming the situation as something they had "responsibility" for, but rather to make the best with their experience and being a safety net for others. But that hadn't been what Bucky's therapy was about, Raynor was basically implying Bucky was dangerous and out of control and needs to make amends to prove himself stable. It wasn't about unravelling what Bucky feels about the long helpless 70 years of imprisonment and redirecting it to a sense of purpose, it was to make Bucky "pay back" the other victims...as a parole condition to make him suitable for society.

So no, it was not an appropriate therapeutic intervention, because at no point did it have Bucky's best interest at heart, nor - based on Sebastian's portrayal - did it have Bucky's buy-in. And as I've always said, it was also incredibly unfair to the other victims on the receiving end of Bucky's unexpected appearance and "amends" without any sort of neutral mediator.

[merwgue]

The Illusion of Feminism in ACOTAR: How the Series Fails Its Female Characters

Sarah J. Maas's A Court of Thorns and Roses (ACOTAR) has often been hailed as a feminist fantasy, a tale filled with powerful female characters who fight, love, and rule their own destinies. But upon closer inspection, what the series delivers is an illusion of feminism—a narrative that dresses its women in superficial strength while confining them to traditional gender roles and patriarchal tropes. Maas may present her female leads as independent and powerful, but their development is constantly undercut by their relationships with men, their trauma, or their need for validation from others.

The series starts with Feyre, a young woman fighting to survive, taking on the role of provider for her destitute family. On the surface, she seems like a strong, independent character. However, her growth as a person is largely overshadowed by her relationships with male characters. Feyre’s development isn’t just about her becoming a stronger, more capable version of herself—it’s about finding a man to ‘save’ her. First, she is emotionally and physically exhausted under Tamlin's control, and then Rhysand comes along as her liberator, offering her the "true" freedom she never had. Feyre's journey, for all its twists and turns, is less about her own self-realization and more about trading one male protector for another. Her strength, while praised, only seems to materialize through the lens of her romantic relationships.

The problem with Feyre’s arc is that her identity and power are so deeply tied to the men in her life that it leaves little room for her own autonomy. Instead of choosing power or independence for herself, her development is almost always tied to how her male counterparts define her. The narrative tries to position Rhysand’s treatment of Feyre as "feminist" because he gives her choices, yet even within these choices, her journey is still deeply interwoven with romantic and sexual validation from him. The story makes it seem like Feyre’s strength is conditional on her connection to Rhys, reinforcing the very idea that a woman’s power must be connected to a man.

Then there's Nesta. Nesta’s arc could have been an opportunity to showcase a woman who refuses to be tamed or reshaped into society's expectations of her. Instead, the series turns Nesta’s rage, her trauma, and her defiance into something that needs to be 'fixed.' Her difficult personality, her inability to fall into line with her family's wishes, is portrayed as a flaw—something that needs to be softened or redeemed. And how does Maas attempt to ‘redeem’ her? Through Cassian, another male figure who becomes the anchor for her so-called transformation.

Nesta's journey is framed as a reclamation of power, but in reality, it's about her fitting into a more acceptable mold of femininity—softer, more open to love, more willing to be vulnerable. Instead of embracing her as she is—angry, hurt, and fierce—the narrative pushes her toward healing only through her relationship with Cassian, effectively turning her into another woman whose growth hinges on a man’s love and approval. Nesta’s complexity is reduced to a romance arc, undermining what could have been a far more nuanced and empowering portrayal of a woman dealing with trauma on her own terms.

Morrigan is another example of a character who could have stood as a beacon of true independence and complexity but instead falls flat. Morrigan, a warrior and a survivor of intense trauma, has been closeted about her sexuality for centuries. The idea that Mor, supposedly one of the most powerful and trusted members of the Inner Circle, can’t come out to her friends after 500 years speaks volumes about the so-called "family" dynamic Maas tries to sell. Mor’s queerness is sidelined to the point where her internal struggles with her identity are barely touched upon, and when they are, it feels like an afterthought.

In a series that prides itself on presenting complex female characters, Morrigan’s queerness is handled poorly, with little to no exploration of her struggles, relationships, or emotional depth. Instead, it seems Maas is more interested in maintaining the heteronormative love triangles and keeping Mor’s queerness in the background, where it won’t disrupt the more "marketable" relationships in the story. Mor's character could have been a ground-breaking exploration of queer identity, especially in a high-fantasy setting, but instead, she remains underdeveloped, reduced to a footnote in the larger romantic plots between her friends.

What’s truly disappointing about ACOTAR is how Maas consistently sets her female characters up as strong, independent figures only to then undermine them by tying their growth, power, and self-worth to men or romantic relationships. Even when Feyre, Nesta, and Mor display moments of agency, those moments are often framed within the context of male approval or romantic entanglements. The series pays lip service to feminism by giving these women positions of power, but Maas continually reverts to tired, patriarchal tropes by ensuring that their stories are defined by the men around them.

Ultimately, Maas reinforces traditional gender roles under the guise of progressive feminism. Women like Feyre and Nesta are lauded for their strength, but their stories hinge on the approval or influence of male characters. Mor’s queerness is sidelined, never given the space it deserves in a series that is already too focused on heteronormative dynamics. And all the while, the series frames this as empowerment, as though these women are truly independent when, in reality, they are just filling the same roles women have always been forced into: defined by the men around them, by their trauma, and by their relationships.

In conclusion, ACOTAR may present itself as a feminist narrative, but it ultimately falls short by reinforcing patriarchal ideas through its characters’ development. Sarah J. Maas creates the illusion of feminism by giving her female leads positions of power, only to reduce their stories to romantic entanglements and male validation. True independence for these women is never achieved, and until that changes, ACOTAR remains a series that fails its female characters under the guise of feminist storytelling.

[etoilesbienne]

re: tubbo and homophobia

It is okay to be uncomfortable with the homophobia jokes. That's fine. You're entitled to feeling uncomfortable however you please. That being said: some issues I have.

A fair amount of people upset with this aren't watching Tubbo's streams for the jokes, which is fine, however, reducing him to his status as a gay man as his only character trait is a little bit aggravating. There's a whole plotline of Tubbo feeling left out by the rest of morning crew and thinking he'll be left alone forever.

Like, sure Tubbo has Fred - as I've seen people mention - but thinking Tubbo's character's issues with loneliness will be resolved by having a romance is a character reduction, and grating to see repeated en masse by people claiming to be opposing homophobia. I understand people being uncomfortable with jokes, that's fine, but being homophobic in your own criticisms and reinforcing stereotypes with narratives of gay people solving all problems by simply falling in love is also not the take here.

I'd also urge people to be more thoughtful in their criticisms and how saying an openly gay man is making a community "unsafe" can be interpreted in a much worse way. It's fine to feel uncomfortable with jokes, again, but do not purposefully disregard any sort of reclamation or complexity of an openly gay creator being the one to make the jokes.

Like should Tubbo maybe tone down the jokes? Depends. I personally do not care. Is q!Tubbo actually homophobic? No. He's making a story about his character being left out and lashing out in a way he feel he can with his status as a queer person. If you want complex story writing: There it is. If you do not like it, it's fine, but let a character have a complex arc without trying to defang it.

And for christ's sake, he can reclaim the slur. There is no reason to be mad at him for that.

Leave the original person who made the criticism alone. This is more than just one person and they were fair in being uncomfortable with the jokes. Don't come for people personally.

[babybells123]

Umm I just realised something. Maybe I’m late to the party and reaching a bit but when Sansa dreams of having children that look like her lost siblings she says she also dreams of a girl who looks like Arya. But the only way Sansa could have a child that looks like her long faced dark haired gray eyed sister is by marrying a certain similar looking long faced dark haired gray eyed brother-cousin…

Hey there anon!

This isn't a reach at all, that is certainly the conclusion I came to upon reading that excerpt.

Not only do Sansa and Jon effectively have similar fantasies regarding domesticity (in the same book), they also specifically dream about having children named after their dead siblings, though I'll point something out about the 'looked like' and 'named after' distinction, and what really sold me on Sansa's fantasy being the missing half of Jon's.

"If I give him sons, he may come to love me. She would name them Eddard and Brandon and Rickon... In Sansa's dreams, her children looked just like the brothers she had lost. Sometimes there was even a girl who looked like Arya." (ASOS Sansa II).

We know that Bran and Rickon take entirely after their Tully mother (auburn-haired and blue eyed), so Sansa yearning for children looking like in effect, herself (and her mother) makes sense on a personal level. I also think it speaks to Sansa honouring her Tully appearance, and wanting her features to be passed down as a reclamation of identity. When we consider her Alayne Stone arc, and having to disguise her very distinct hair, it's certainly relevant that Sansa desires for her future self to be untainted and genuine, if that makes sense? But I digress, onto the second aspect of this dream.

Grammatically, there is a punctuation mark to separate that particular thought from the rest. It is its own, distinct musing and George wants to emphasise the thought away from the rest. And it is so very profound not just in a Jonsa way, but in regards to Sansa's relationship with Arya. Wanting a daughter who looks like the sister she has quarrelled with, and who is plainer-looking (and has been picked on for her appearance) is so..sweet? I love it so much?? I am a pro-stark sisters truther!

Okay now for that connection to Jon...

As we know, Stark features are distinct: Somber, long-faced, brown haired and grey eyed. They are never described as particularly attractive due to this appearance (well Brandon Stark was very good looking though Ned was described as plainer faced) though I'd argue that beauty is in the eye of the beholder. It's why some perspectives consider Lyanna beautiful whilst other perspectives think she was nothing special and too "wild." But yeah, Stark features are certainly distinct, there are other Houses with similar appearances but the Stark look is just ?very uniquely STARK "Winter is Coming" esque.

Sansa wanting a girl who has the Stark look is then very significant, especially when we consider the entire context: Although she is supposedly fantasising about a future with a Tyrell who has southern looks, Sansa almost entirely makes her fantasy about a mystery man where they have children who just so happen to be a blend of Stark and Tully appearances...coincidence? absolutely not!

George could have had Sansa say she wanted to name her daughter Arya, though he specifically said "looked like Arya," and isn't that beautiful!

Luckily our boy Jon just so happens to be long faced, grey eyed, and brown haired whew!

It also conveys Sansa's progressive desire to return North and I also believe it foreshadows Sansa having a Northern husband! Breaking away from the idealised beauty of the South i.e 'the golden prince' is certainly significant for Sansa. And we know that she fell in love with Waymar Royce, who resembles Jon strikingly. Huh, that's two people who appear to resemble Jon that Sansa has associated with love and children. Interesting George...Interesting....

But to summarise, yes - that is the connection I have also made, and considering that Jon's fantasy is the perfect half that includes Robb as well (the missing child from Sansa's fantasy, apart from Jon)

"I would need to steal her if I wanted her love, but she might give me children. I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb." (ASOS Jon XII).

occurring in the same book where that desire for a family that Jon has precedes Sansa's chapter where she builds WF in the snow and the fact that they both equate romance/love with children.... oh my poor heart cannot handle the pure softness of them. Every time I start talking about one piece of evidence, I end up going on a tangent connecting it to other things, but that is the intricate and poetic beauty of Jonsa, what can I say. Sometimes I’m afraid of opening my inbox because I immediately think it’ll be hate, so I was pleasantly surprised because I LOVE discussing this topic; one of my favourite aspects of Jon and Sansa is how compatible their dreams are.

Thanks for the ask <3

[aihoshiino]

chapter 160 thoughts

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 17

Aqua Hoshigan Status: Incomprehensible

144 held out strong for nearly 20 whole chapters but 160 comes in like a beast to take its crown as Oshi no Ko Chapter That Has Baffled And Confounded Me The Most. The way it talks about the characters and arcs it's trying to convey to the reader is just mind boggling - some of this stuff just feels completely disconnected from the character arcs it's supposedly commentating on. It almost feels like an Oshi no Ko chapter from an alternate universe version of the manga.

I kind of suspect this is actually the case, in spirit at least. Akasaka has previously stated that he's had at least an ending for OnK planned at least since midway through Tokyo Blade based on when this interview was given. You would think the amount of time between then and now would have given Aka the time to organically work towards this but I think the opposite is true here - because the story has organically drifted and grown in the telling, as is natural for a serialized work of this length, the story that Akasaka ended up telling does not naturally lead into the ending he wanted to give it. And rather than compromise he's just… going ahead with it without making any adjustments, which leads to this bizarre sense of whiplash that's come from the last handful of chapters.

It's definitely possible that some of the stuff in here will read better when we're not getting this stuff bit by bit across however many break weeks but… man. I ain't getting my hopes too high.

To my relief, we start off on a note of confirming that Nino and Ryosuke were, in fact, both freaks about Ai way before Kamiki ever got involved with them. Even so, the story's framing of how he influenced them is just… weird. Based on the little flashback panels we see of their supposed friendship I'm inclined to think Kamiki is being truthful here just because whenever we see on-panel flashbacks in this way, they tend to be more-or-less factual accounts of events. Aqua tries to say he's lying, that he definitely intended to do harm but this is really hard for me to swallow, given that this 'intent to do harm' ball would've had to have started rolling back when Kamiki was fourteen at the oldest and long before he and Ai broke up.

Not only that but I have to stress, again; Nino and Ryosuke were already freaks about Ai at this point!!! They tracked down one of her loved ones under false pretenses and entered his life presumably for the purposes of crowbarring info about Ai from him!!! Wil from the OnK Brainrot server pointed out that this comes off much more strongly like Ryosuke and Nino taking advantage of Kamiki's naivety to prey on Ai, which I agree with and think lines up way more straightforwardly with the Kamiki we saw leading up to 154 and its conclusion.

It almost feels like there's two Kamikis; the victim of circumstance Kamiki who embraces monstrousness as an act of reclamation, who knows he can never again be good so he will surrender to being bad and the flatly evil Light Yagami ass Kamiki who's bad because uhhh he just is ok? It probably goes without saying which of the two I find more compelling and overall more consistent with what the story has been building up so far, but the way the story keeps abruptly switching between the two makes it almost impossible to get a coherent read on him.

At the end of the day, I simply find it very hard to swallow the manga's attempt to almost sweep Nino and Ryosuke's culpability under the rug or to transfer the weight of their actions to Kamiki and hold him accountable for them because of this supposed manipulation. A healthy, well-adjusted person with no tendencies towards violent or antisocial behaviour does not suddenly get mindbroken into a misogynistic murderer overnight because they saw that the subject of their parasocial obsession keeps a toothbrush at her boyfriend's house. I can believe that Kamiki certainly didn't help but the idea that he is solely responsible for turning Nino and Ryosuke into violent murderers is a stretch.

I feel like I'm kind of talking in circles on this point a lot because I'm struggling to articulate why it bothers me so much so I'll end this section by paraphrasing a section of Higurashi YouTuber Bess's deep dive post-mortem on the GouSotsu anime duology. that I think sums up where I'm at.

In it, Bess quotes the original author in describing the actions of the overarching antagonist as "giving a gun to someone who is being bullied and getting emotional" and says that she agrees but points out that if the victim chooses to fire that gun, they are the ones who hold responsibility for their actions and that being the victim of manipulation does not suddenly rob them of accountability for their violence, whereas the framing of GouSotsu is that the overarching villain is the sole person who bears responsibility.

I feel like this is the dynamic at play here with Kamiki and Ryosuke/Nino too - except Kamiki, in this metaphor, didn't even fucking give anyone a gun because both Ryosuke and Nino were already armed to begin with. BUT I'LL MOVE ON NOW I SWEAR…

Aside from ^ ALL THAT ^ I also feel like this chapter's attempt to define the white/black hoshigan dichotomy is also just kind of a flop. It's so overly specific that it doesn't actually match with how the black OR white hoshigans have been portrayed symbolically before (was Aqua using his super special dark and evil star powers to dominate and manipulate others when he was eating potato chips and pumping up a pool floatie? come on, man) but it's also just so on the nose and overly dramatic that it comes off as kind of goofy and hard to take seriously.

It's also really funny and kind of frustration to see this dichotomy established seemingly for the purposes of just propping Ruby up some more. Aqua insisting that Ruby is ~just different~ from him and Hikaru REALLY flops because like… IS SHE REALLY THO???

Understand that I don't say this to shit on Ruby but like. Ruby literally had a whole arc about going black hoshigan and using her talent to manipulate and use people for her own benefit! She effectively utilized girl power to put the jobs of an entire TV show's worth of people at risk so she could clout chase a little more efficiently!!! Literally everything Kamiki tries to assert about him and Aqua are also perfect descriptions of how Ruby behaved during that leg of the manga until it flipped off like a switch and she faced literally zero consequences and learned nothing from it.

This is another indication to me that this conversation is an artifact of Akasaka's originally planned ending because this whole bit gassing up how Ruby is just ~so different~ from Kamiki and Aqua simply does not cohere with a story where Ruby had an entire arc of her just being Aqua 2.0 that was never really resolved and she never really learned anything from. If the framing here was just a LITTLE different, I think it could work - maybe instead of Aqua acting like Ruby is just intrinsically, arbitrarily Pure of Heart or whatever, a point could be made that Ruby is actively choosing to be a good and loving person even after all the shit she's been through and especially after an accidental taste of the dark side. But as it stands the accidental implication of the story ends up being that Ruby's BH era was Good, Actually and the actions she took during it were also good lol.

I continue to have all the same issues with the B-Komachi concert as I did in my previous chapter review so I won't repeat myself on that. I will, however, point out that the song Ruby namedrops in this chapter is a reference to Spica (where we translated it as 'When You Wish Upon Your Star'), in which this is a song written and performed by Ai as a message of support for her fans. That is to say, we are once again seeing Ruby, from a narrative perspective, not being allowed to stand on her own as her own idol but relying on the imagery and legacy of Ai's idolhood.

Not only that but… again, I must ask: why is Ruby the center and narrative focus of Kana's graduation concert? Like, obviously, given that Aqua and Kamiki are talking about her the framing is going to focus on Ruby but why is this conversation happening during a moment that had been massively built up to be about Kana? Why is Aqua talking about Ruby as an idol like the rest of B-Komachi just doesn't exist? Why is the narrative unironically indulging in all the same favoritism and coddling of Ruby that, in-universe, tore apart the first generation of B-Komachi?

I guess at the end of the day my problem is that I'm just kind of fed up with Ruby as a character and the way the story has been bending over backwards to coddle her so it's hard to me to get invested when the story goes YEAAAAHHH WOOOOOO RUBY!!!! Especially when, like it has been for a while now, this coddling comes not just at the expense of other characters but also at the expense of Ruby herself and the coherency and consistency of her character arc. It sucks for Ruby as a character and it sucks for me, as a reader, who used to rank Ruby as one of their top three faves but now just feels kind of exhausted with her.

LOOK OUT KAMIKI HE'S GOT A KNIFE

God this whole bit with Aqua getting double white hoshigans while he pulls a knife on Kamiki is just kind of too goofy to take seriously lol. I have some thoughts about how this potentially recontextualizes some of Aqua's actions through the Movie Arc and during the previous confrontation with Kamiki but. I just keep coming back to Aqua being like "white hoshigans means love r something which i'm going to prove by killing you in cold blood" and just shaking my head. It really feels like a moment written just to be a cliffhanger so, like I have with the last three damn chapters, I'll hold back any commentary on it until we get a continuation of this thread next week.

honestly the part of this chapter I enjoyed most was that creepypasta ass full page panel of Kamiki's fucked up smile. that genuinely really alarmed me when i first saw it and even now I don't like looking at it for too long or i get the willies lol. Genuinely fire horror imagery from Mengo as usual. Can she PLEEEEEEEEASE do a horror manga next i'm BEGGING to get spooked by mengo-sensei

no wait i lied. the best part was that cute panel of ai and her babies. <3

justice for memcho and kana, tho, for real

And I'm sure as none of you will be shocked to hear……….. break next week.

[nebulouscoffee]

The thing about Kai Winn's storyline ultimately being a tragedy is, it's not only a tragedy because her fate (in the eyes of the non-linear Prophets) was already known and nothing she did or said was ever going to make them acknowledge her- not only because she wanted so badly to have a big role to play in the grand, historic story of the newly independent Bajor and just couldn't handle the fact that she was never meant to- not only because the Prophets spoke to Sisko and Bareil and Kira and literally even Quark but not her- not only because she was deceived and raped and killed in the end- but most of all because, it was partly her love of Bajor that killed her.

Think about it- her whole regression during that final arc with Dukat is so tragic precisely because she was THIS close to redemption! Throughout the show, we see that her brain processes information in very rigid, binary ways: if you are not my ally, then you are my enemy. If you disagree with even one of my opinions, you are my enemy. If you refuse to endorse and support me in this mission, you are my enemy. That's part of why she's so easily swayed by fascist rhetoric, I think- she's just unable to cope with nuance. (This is foreshadowed in 'Shakaar', where she puts the whole of Bajor under martial law just because Shakaar disagreed with her over how she was handling soil reclamators.) Her personal narrative is I am the one who will save Bajor -> anyone who gets in my way is my enemy and therefore an enemy of Bajor -> I must stop them using any force necessary for the good of Bajor because I am after all the one who will save Bajor.

But when Sisko discovers the city of B'hala in 'Rapture', she is for the first time forced to accept the truth that he really hasn't been faking this whole "talks to the Prophets" thing- he's the real deal. We learn later on (when she tells "Anjohl" about how she honestly felt nothing the first time she saw the wormhole open) that a small, small part of her actually always doubted the existence of the Prophets. Now, she is faced with definitive proof that they are not only very real, but they also really do have a bond with Sisko. And for a while, she even comes to terms with this! In fact, at the end of the episode, she and Kira have possibly their first completely honest exchange:

KIRA: Maybe we're the ones who need to trust the Prophets. For all we know, this is part of their plan. Maybe they've told Captain Sisko everything they want him to know.  WINN: Perhaps. I suppose you heard that Bajor will not join the Federation today. The Council of Ministers has voted to delay acceptance of Federation membership.  KIRA: You must be very pleased.  WINN: I wish I were. But things are not that simple. Not anymore. Before Captain Sisko found B'hala, my path was clear. I knew who my enemies were. But now? Now nothing is certain.  KIRA: Makes life interesting, doesn't it?

Like, YASS babygirl- you too can learn to handle nuance!! I believe in you!!💪💪

And later on, at the onset of the Dominion War, she comes to Sisko for advice herself. She doesn't want to see her planet colonised again, and she's even willing to put aside her desire to be the main character to ensure it doesn't happen. Driven by pride and the need for power as she is, she is also driven by the desire save Bajor (and preferably be the one saving Bajor, which is the subsection of this desire that ultimately ends up being her downfall) - and she does briefly decide that cooperating with the Emissary is the best way to do this! I think about this scene from 'In The Cards' so much:

WINN: ... I have asked the Prophets to guide me, but they have not answered my prayers. I even consulted the Orb of Wisdom before coming here and it has told me nothing. So I come to you, Emissary. You have heard the voice of the Prophets. You were sent here to guide us through troubled times. Tell me what to do and I will do it. How can I save Bajor?  SISKO: You want my advice? Then this is it. Stall. Tell Weyoun you have to consult with the Council of Ministers, or that you have to meditate on your response. Anything you want, but you have to stall for time.  WINN: Time for what?  SISKO: I don't know. But I do know the moment of crisis isn't here yet, and until that moment arrives we have to keep Bajor's options open. I'm aware that this is difficult for you, given our past, but this time you have to trust me.  (Winn holds Sisko's left ear.)  WINN: Very well, Emissary. We put ourselves in your hands. May we all walk with the Prophets.

In the earlier seasons, Winn would often casually make claims that the Prophets had "told her" something, or that she was just "doing what the Prophets asked"- and her political position as Kai always allowed her to just lie about being in contact with them all the time. Now, you can see the sheer humility- the embarrassment, even- on her face as she (for the first time) openly admits to Sisko that she has never actually heard them speak before; and that they clearly "prefer" him. Yes, there's some (understandable imo) bitterness here- but not at him, at THEM. And when she tries to read his pagh at the end- something she probably does to dozens of people every day, most of whom would unquestioningly believe anything she declares afterwards- she doesn't even try to pretend she felt anything there. It's one of her most genuine moments in the whole show, you can just SEE the redemption arc in reach and it's so heartbreaking!!

I think 'The Reckoning' is a huge episode for her too, for many reasons- but let's talk about how it sets up this fascinating parallel between her and Kira (who Odo describes in this episode as having "both faith and humility"). The Prophets choose Kira as their "vessel" because she was "willing"- meanwhile, Winn was right there just begging to be a part of this! Here she is, with a Prophet right in front of her face- and she prays and postures and begs and prays some more, all just to get ignored. Kira's brand of faith is very, "I am ultimately insignificant and I surrender my power and my body and pagh to the Prophets"- Winn's is more, "if I do all the right things, then I will be able to prove to the Prophets that I am worthy of their attention, worthier than everyone else, and maybe then they'll appoint me the saviour of Bajor! It's My Destiny, You See!! (Why Isn't This Happening For Me??)" And the events of this episode are kind of a big slap in the face to her honestly, because they sort of prove beyond a shadow of a doubt that the Prophets have no interest in her. Maybe stopping the battle was also an attempt at regaining some kind of agency with them- I DID THIS, I pulled a switch and it had a direct effect on the Prophets, so there!! (Whatever that effect entails). She does care about Bajor. Of course she does. But her ideal configuration of Bajor involves her being a major player in its salvation, which she was just never meant to be. And this is why she's so tragically susceptible to Dukat's manipulation- he was the first person ever to tell her everything she always wanted to hear.

And the intriguing thing about Dukat's deception is, it doesn't all fall apart at one go. It falls apart in layers. And this makes for some excellent, excellent Winn characterisation imo.

First, she thinks the pah wraiths are the Prophets- and they tell her, hey, The Sisko has faltered, Bajor needs you, and only you can fix this. Good lord, imagine finally getting to hear those words after a lifetime of silence! And it's very telling that her first reaction isn't to gloat like she would've in the earlier seasons, but instead to humbly- even anxiously- pray. Bajor needs her, the "Prophets" have asked her to do something, this is her moment! Then, this random lovely Bajoran farmer comes in and tells her even more things she has always wanted to hear- that her activism during the Occupation (ignored by Kira and Sisko alike) saved lives, that he always wondered why the Prophets would choose an alien as their Emissary, that surely Sisko and his followers were mistaken- and finally, "our world will be reborn- with YOU as its leader". Sounds good, right? But THEN she finds out she's been speaking to the pah wraiths and the lovely farmer is a devil worshipper actually. And she tries the "wash away my sins" approach- she wants some kind of quick fix ritual that will "purify" her, so she can continue to be Kai the right way. She even admits to Kira that she's always been power hungry and she wants to change- and I believe her! Unfortunately, Kira then tells her something she doesn't want to hear- that she has to step down as Kai. And surely that can't be, right? She's the saviour of Bajor! She's so complex... it's not simply her love of power that this scene reveals imo, but more significantly, her inability to see herself as not a vital part of Bajor's history; of this whole larger narrative. Like-

WINN: I'm a patient woman. But I have run out of patience. I will no longer serve gods who give me nothing in return. "GIVE ME"!! ADAMI MY BESTIE MY GIRL MY BUDDY THEREIN LIES THE PROBLEM!!!

So, okay, fine, now she's swayed over to the side that maybe the Prophets aren't that great, and maybe the pah wraiths are the true gods of Bajor (because they were willing to talk to her), and maybe she's okay working with the devil worshipper. But then it turns out he's DUKAT- and at this point, she's literally murdered someone, she's ready to stop this, to go back to Sisko and set things right- but then the book of the Kosst Amojan lights up because of the blood she spilled. She did that. It happened as a direct result of her actions. She's just so desperate to be acknowledged... to have a role to play in all this, no matter who offers it to her. So the pah wraiths actually giving her a reaction isn't something she can resist. And here's where things get even more tragic.

WINN: But the prophecies! They warn that the release of the Pah wraiths will mean the end of Bajor.  DUKAT: The old Bajor, perhaps. But from its ashes a new Bajor will arise and the Restoration will begin.  WINN: Who will be left to see it?  DUKAT: Those the gods find worthy. It will be the dawn of paradise. And you, Adami, are destined to rule it.  WINN: You're sure of that?  DUKAT: It is meant to be.

Again with the ease at which she's swayed by fascist rhetoric! Let's be clear, she was (and is) absolutely against the Cardassian Occupation. But her worldview is built on the pursuit of being "worthier" than everyone else, of being "closer to god" than everyone else- her expectation of faith is that it's some sort of determiner of who's doing it The Most Effectively, rather than it being a practice- and she just completely misses that any sort of plan that executes masses and spares whoever is deemed "worthy" is... literally exactly what people like Dukat did to her planet. Something something faith as competition, faith as determiner of inherent superiority, faith as a way to gain power via proximity to god… never faith as submission. And the worst part is she’s self-aware. It’s heartbreaking.

And it's about to get even more heartbreaking, because she truly believes she has arrived at her girlboss moment in the finale (I think the tragedy of her being a rape victim and knowing this and having to hide the body of the one (1) person who was looking out for her while being stuck with her rapist speaks for itself.) After kicking Dukat out on the street (lol), she studies the eeevil texts and realises that to set the pah wraiths free, you need to make a sacrifice. So now she gets to deceive him in return. And she does! The look of shock on his face when he discovers she poisoned him is priceless imo, and her triumph as she taunts his dead body, the sheer joy on her face as she casts off her Kai robes, when she recites those incantations and something actually happens- and that too such a large pyrotechnic spectacle- is so sad knowing what's coming. Because ultimately, the pah wraiths want to destroy Bajor, right? And Winn just doesn't. Of course they don't choose her. Of course they choose Dukat over her! She really thought that by tricking and murdering him, she'd made him the unimportant piece of the puzzle, that she was stealing back his thunder- but tragically, it turns out even the pah wraiths see her as disposable. Of course they resurrect Dukat (a man who's proved time and time again that he wants to see Bajor & Bajorans destroyed) and turn her into the sacrifice. The way she screams "NO!" here breaks my heart- she's betrayed her planet, and it was all for nothing. (Dukat's "are you still here?" is particularly devastating.) I think it's very significant that her final words are "Emissary, the book!"- it shows that in her last moments, she's owning her mistakes- she's stepping away from power and putting Bajor first, and leaving her own fate in the hands of the Prophets. Who, of course, once again ignore her, and choose to save Sisko instead. God.

The utter tragedy that even in the pah wraiths' plan, she was just a pawn. That she died at the hands of the gods she thought chose her, but used her, all while the gods she'd coveted her whole life stood by and did nothing. The Prophets chose Sisko because they believed he would put Bajor's interests over even his own- and now they ensure he will be back one day to see the new Bajor. She never will.

Yes, it was her pride that got her here. Her mean streak. Her inability to cope with nuance. Her inability to see herself as ultimately insignificant. Her inability to surrender to a higher power in any way that didn't involve becoming more powerful herself; more relevant, more "close to god". But it was also her love of Bajor. Because if she'd cared about Bajor less, then maybe the pah wraiths might have chosen her- or at least spared her, or taken her to their realm after she burned, the way they did with Dukat. Now, she ends up being the one thing she never wanted to be: insignificant.

Honestly if I had to summarise the tragedy of her arc in one sentence, it would probably be Kai Winn: Too Evil For The Prophets, Not Evil Enough For The Pah Wraiths. She and Dukat are not the same! She is a perfectly pathetic, sad and wet blorbo and I am holding her gently in my hands while apologising for her crimes <3