#skins meta

[akanemnon]

Wow, not even 5 seconds in and they're already starting a fight.

FIRST - PREVIOUS - NEXT

MASTERPOST (for the full series / FAQ / reference sheets)

[t3chborb]

Cuddling the big scary robot would save me actually.

[deancrowleycas]

Favorite Shots Per Episode ✩ 1.06 Skin (3/3)

cinematography analysis and queer reading under the cut

It's of course very obvious that the shapeshifter is functioning as a mirror to Dean, but I still find it fascinating how this is depicted in the cinematography. Because the director isn't using physical mirrors, despite them being such a popular trope in horror for showing the true self or the mental state or metamorphosis of a character. The only time where you sort of see one is in a foreshadowing shortly after the establishing shot with the side-view mirror (which I absolutely love):

But for the rest? Not really. I always wonder if interpret waaaay too much into certain frames, but I am kind of obsessed with how Dean and Becky are divided by the crime scene tape in this shot. Becky is the victim. Dean, well Dean? He's the monster. Kind of. I think a lot of the reflection in this episode happens through what Dean is not also, and he's are not living the lives of 'normal' people. I love how the directing of the episode shows early on that Dean does not belong to that part of society, just like the shapeshifter.

I mean I obviously am doing a queer reading of that (being queer myself), with the monstrous and othered bodies in media being those that are not conforming to various aspects of white cishet society. But I am going to say - the implication that there is a sort of inherent tragedy to Dean's life, not just a sense of not belonging because of his 'lifestyle' but also the fear of being monstrous enough to destroy other people's bodies and livelihoods? Ugh. It hurts, and it's sadly coming back in anti-queer narratives to this day. But yeah, as I said, Dean is portrayed in a way that is disconnecting him from the rest - also from Sam who is the link to this 'normal' life by knowing Becky and who has kept Dean from 'being himself' by pursuing his own dreams and conforming to the exact society that Dean is not belonging to, letting Dean behind in a position where he's neither free to be himself nor enough to be someone else -, and that is giving him a sameness to the shapeshifter.

Dean has to hide the queer part of himself, in a desperate attempt to be accepted, mirrored by the monster of the week: "So maybe this thing was born human but was different, hideous and hated...until he learned to become someone else."

I think that's why I am also obsessed with these shots. Because both the shapeshifter and the shapeshifter as Dean are getting one, revealing their true self underneath the mask that is this body, a body that is subjected to other people's ideas and is projected on and isn't their own. But also the eyes are mirrors? The body part described as the 'mirror to the soul'. It's a little cliché and on the nose, but I find it way cooler than just working with physical mirrors, you know?

And yeah, when it comes to reflections, of course, we cannot forget this scene:

Which is Dean seeing himself, but more so is actually Dean seeing how he is perceived by others. It's not a depiction of his actual self, it's a depiction of the concept of him. We know this, we know Dean is not the 'bad guy' that is televised nor is it an accurate portrayal of him. But I think that it serves to show the audience how media is a place that can shape ideas and construct norms, and it also serves as a way to remind Dean that this is how he will be reacted to if he dares to 'become' monstrous. If he dared to be like the shapeshifter, the outcast, and put his own being over his responsibility to conform. Despite his brother Sam being allowed the same egoism - but Sam's egoism is striving to conform, he's lawboy@stanford.edu you know, and Dean's egoism is striving to be free, to regain control over his body.

And then we have this shot.

Followed by this shot.

Dean 'killing' this reflection of himself, this part of himself in favor of serving and saving. He's a freak, but he's not just a freak like Sam in that he's currently living the hunter lifestyle and didn't really fit into Stanford. Because - well, he's different than Sam. Queer. He's isolated, alone, born hated like the shapeshifter if he ever lived his true self, yearning to be loved. The shapeshifter literally says it: "All he wants is for someone to love him. He’s like me. You know, everybody needs a little human touch now and then. It’s so hard to be different." I think this episode hits so hard for me because you can see Dean's self-hatred, especially in that last shot, Dean's internal struggles that he hides so well under his hero-esque facade. But also how he is ultimately a loving and caring person, putting everyone's happiness above himself.

I think despite this episode reading like being queer is an inherent tragedy at first glance, it walks a fine line in actually trying to convey quite the opposite. Dean is other, but the other isn't bad. Yes, he does good by suppressing himself, so does that mean he has to act according to others to be happy? I don't think that is what the episode is saying. I think it is more an example of Dean's 'monstrosity' being not the same as the shapeshifter's monstrosity in the end, that despite all the sameness they aren't one. That despite what society depicts him to be, evil and harmful to others, he isn't this mirror image projected onto him. He isn't what was shown on those televisions, or in a wider sense, the media. He isn't what is hunted down by the SWAT team, or in a wider sense, institutions in power. Dean's self IS good. Dean's self IS caring and loving, despite his fear to pursue his own dreams and be free, and it's not coming through his actions of suppressing those desires, but because he ultimately is neither those 'normal' people nor the shapeshifter, but his own truth. So yeah, while I think this episode definitely walks a dangerous path by having Dean continue to live this old life in the end, the cinematography in this episode also functions to reveal how - while horror is a love letter to the monstrous, represents counter-narratives and helps to deconstruct normativity (like in this episode!) - the monstrous is often instrumentalized to suppress and oppress and depict victims as an inherent danger to the established systems of oppression. Dean's true self isn't bad. People are just made to believe that it is.

[grahamfolgersdeliciousnotebooks]

Thinking about Jon’s time with the Circus again. Thinking about what a month spent in a refrigerated warehouse would do (because it would have to be refrigerated, wouldn’t it? it’s meant to store waxworks), just how cold his skin would be. Do you think it even still felt like his skin? Do you think his fingers brushed the skin of his arm and felt only the inhuman chill of wax, and his arm received the touch of his hand and felt only the dead press of plastic?

Thinking about how thoroughly his time with the Stranger would have made him a stranger to himself.

[grim-work]

thinking about that post that said the real horror of spn was the ways abuse will resurface and thinking about how season 1 is so explicitly intensely overwhelming about domestic violence and abuse in the home…………….there’s something in the pipes, there’s something in the walls, there’s something in the closet the children see at night. we know, but we can never say it

[twig-tea]

Apple My Love Quick Pitch

Apple My Love is the first GL from Kongthup, and I am already obsessed.

As of ep 1, it looks like this show is going to be dealing with:

Figuring yourself out after life doesn't go how you expect

Recovering eyesight after surgery and dealing with that change in ability [so far minimal, I hope it comes up more]

The difference between idolizing someone and loving someone

Great friend group dynamics

Great sibling dynamics

The deep embarrassment of being too gay to function

Starting on a misunderstanding and building back to understanding one another in a workplace context

Identity porn

There are also a lot of familiar faces in this show, almost everyone here has been in a couple of Kongthup shows. Orm (playing Kris) was in La Pluie, Folk (playing Karn) was in the now-maybe-not-going-to-happen Be Mine that we got a long trailer for last year, and the boys in this series are all from Monster Next Door, Knock Knock Boys, Two Worlds, and/or Unforgotten Night.

If you need any more incentive, this show is so pretty. To prove it, here's the trailer.

6 episodes total, airing every Saturday at 11:45 AM EDT (10:45 PM GMT +8) on GagaOOLala and WeTV (check your region) and a cut version is also airing on YouTube (I assumed it was cut but h/t to @yet-another-wlw-shipper in the reblogs for confirming it is NOT).

[otheredsam]

1x06 skin provides us with so much insight into dean’s perspective he has always been a big weirdo!! and a freak u guys.

SHAPESHIFTER: It’s funny. I kind of understand him. He’s all alone—close to no one. All he wants is for someone to love him. He’s like me. (REBECCA looks very uncomfortable.) You know, everybody needs a little human touch now and then. It’s so hard to be different.

it is fascinating to me that the shapeshifter is used as a foil for dean. because usually we only get parallels between sam and the ‘monsters’ to other him. if sam is both the subject and the other, what is dean? he felt hopeless from the start and his fear of being alone AND his fear of sam being ‘impure’ - these were the biggest catalysts for the main plot. fear not action. and i think that’s why kripke’s s5 ending makes so much sense because dean has to give up this fear of being alone and sam being corrupted.

SHAPESHIFTER: I am your brother. See, deep down, I'm just jealous. You got friends. You could have a life. Me? I know I'm a freak. And sooner or later, everybody's gonna leave me. [backs away]

the biggest difference between him & sam in season 1 is complacency. his submissiveness towards their dad (the OG architect of their life) & ‘roll over & die’ attitude is striking from the beginning and only gets worse.

another thing i missed is how much refuge he seeks in killing and violence right from the start! he finds genuine comfort in it unlike sam. see below

DEAN: I hate to say it, but that's exactly what I'm talking about. You lied to your friends because if they knew the real you, they'd be freaked. It's just... it'll be easier if...

SAM: If I was like you.

DEAN: Hey, man, like it or not, we are not like other people. But I'll tell you one thing. This whole gig, [takes out gun] it ain't without perks.

DEAN: Well, that’s ‘cause you’re a freak.

it’s a lil sick but sexy how dean keeps reiterating we’re freaks, we’re so different, it’s us, you only have me and i only have you. there is a bit of possessiveness & an urge to keep sam away from the rest of the world. maybe out of fear of him leaving dean again. it feels like: no one will understand you like i do. which is true in a way. this is that delish subtext they sprinkled.

SAM: Yeah, thanks.

DEAN: Well, I’m a freak, too. I’m right there with ya, all the way. (SAM laughs.)

SAM: Yeah, I know you are.

pretty much sums up the entire freak show <3

dean placing his claim on sam and establishing that they are cursed and separate from society/the norm/civilisation

[thepersonperson]

The Reproductive Horror of JJK Part 1 (The Loss of Bodily Autonomy)

Part 2

Notes before we start.

1) This analysis deals heavily with topics of nonconsent, grooming, abuse, reproductive manipulation, and pregnancy. Please proceed with caution.

2) This post was inspired by @hermitw

3) I will be mainly using the TCB scans for the manga because of their accessibility. 

4) Written as of JJK 265.

(Click images for captions/citations.)

Preface 

This was written with the assumption you've also read these other analyses:

Thoughts on Sukuna and Kenjaku’s relationship as of JJK 258.

Please give it a quick glance at least.

Quiet Horror

Jujutsu Kaisen is a unique piece of horror writing to me because the most upsetting aspects rely almost entirely on implication. Immensely triggering topics such as sexual abuse and rape are never shown, only implied. I personally have difficulty consuming/cannot consume media that depicts these kinds of things graphically, which is why JJK’s framing of it intrigues me. Rather than being sent into a panic, I find myself deeply unnerved. I’ve decided to call this “quiet horror” since I don’t know how else to describe it.

The quiet horror of JJK has been there since the start—the dehumanization, the loss of autonomy, the idea someone’s body does not belong to them and therefore ok to use… It’s right there in your face starting with Yuji becoming Sukuna’s vessel. But the horror is not just that those things occur, it’s that hardly anyone recognizes this as a problem.

These insidious ideas are persistent across the narrative and accepted. And its primary victims are the female characters.

Misogyny

The fascinating thing about misogyny in JJK is how it is rarely outright depicted. Characters will talk about generational abuse spawned by it, but we never actually see it in action until Naoya. And even that is mostly implied. 

That’s how it is in real life too. When people experience overt misogyny, it’s often when they’re isolated. For example a family gathering where the men leer at girls and say horrendous things is witnessed by only those attending. If one was never around this, the only way they’re made aware of it is by a victim discussing it.

And this is exactly what happens with the Zenins.

What’s troubling about this exchange is Momo laying out everything wrong with systemic misogyny and that’s it. She offers no solution to it because she has none. Nobara is told, this is reality and you need to accept it.

Mai falls into the same defeatist trappings, angry at Maki for trying to do something about it.

You can’t really hold this against her. She’s been abused to an extent Maki wasn’t aware of and Maki is the only person Mai can lash out at without consequence.

To be clear, it is heavily implied that Naoya molested her. Some of the first words out of his mouth are him sexualizing his underage cousins. And later as a curse, he taunts Maki for being an adult with Mai. 

It’s easy to dismiss this as Naoya mocking Mai for not reaching adulthood. However, Mai has incestuous thoughts about Megumi and Maki (seeing them as her first crushes per the fanbook), which can be a very unfortunate side effect experienced by incest victims (huge content warning for the linked source). Combine that with the knowledge of Naoya’s earlier sexualization and the implication is heavy.

Mai’s abuse is not the only one framed this way. Naoya’s mother is without a face or name. The only hint of her abuse is the word いっぱい (ippai) which means many. Naoya has many older siblings who aren’t named. He is the next head before Gojo’s sealing due to his Cursed Technique (CT) being the same as his father’s. From this it can be inferred his mother was treated like livestock and used by Naobito until she produced a worthy heir. 

Rika’s character profile is included here because her story is much like Mai’s—her abuse at the hands of her father is heavily implied. Her intense dislike of older men, being aware of predatory gazes as a child, and even using that for manipulation—these are all traits child victims of sexual assault may display (huge content warning for the linked source).

It’s hard to pick up on these things unless you’re in the know. But it is there and it is consistent. …And most of the cast doesn’t do much about it. Maki and Rika are different in that regard. They react to these transgressions violently, killing their abusers (and in Maki’s case the enablers too). Neither of them are in the wrong for doing so. It’s just really sad that they had to take matters into their own hands because no one else would stop it.

Hidden in Plain Sight

The misogyny female characters experience is very subdued and never graphic. Creepy behavior towards them is never shown outright, it’s all implied. We don’t see Naoya leer at Mai, we hear him discuss her figure in her absence. (I think that’s what helps make this less triggering. We don’t have to see them be victimized.) The same cannot be said of the male characters.

Ui Ui is a character that makes most people extremely uncomfortable because the grooming he experiences is in your face, pedophilic, and incestuous. I don’t think it’s a coincidence that as a ruthless capitalist, Mei Mei exploits her brother this way for the sake of money.

Through warped affection she has convinced a child that his body belongs to her and that he is only to use it for her. 

What makes this situation go from bad to worse is that everyone around them just tolerates it. The most opposition we see to this relationship is Yuji side eyeing them. Otherwise people are more than happy to look the other way and even enable it by paying for their services.

This contradiction is especially glaring when it comes to Gojo, who very much is against the enjoyment of youth to be stolen away from his students. Why does Gojo pay for and tolerate this woman who is very clearly preying on her brother? Is it because Ui Ui seems happy with situation?

Well, I think it’s because he’s used to it too.

To acknowledge that what Mei Mei is doing as wrong and intervening would be admitting to himself that he was taken advantage of as a child. It’s not like it killed him, you know? He’s strong and he’s beautiful. Everyone wants him for his body. That’s just how things work.

In the fanbook Gege says that Gojo can never be fully honest with a woman. And that is a response to the question: “He (Gojo) seems to be aware of his own handsomeness, does he want to have a partner?”

It’s a bit concerning that Gojo is avoidant with women while having a history of them attempting to prey on him as a child. It doesn't help that in the Gojo Booklet interview, Gege reveals that Gojo would apparently be a sugar baby to someone much older than him if he didn't have to be a sorcerer.

The framing of these scenes as comedic is very uncomfortable. It’s a bit too similar to how male victims are portrayed in real life too. I’m not sure if this is intentional on Gege’s part, but regardless the result for me is horror. These terrible things are happening and nothing is being done about it.

Ui Ui and Gojo are taken advantage of by these adults because of what their bodies can do for them. This is a recurring theme in JJK not much different from how the women and girls are treated by the men of the Zenins. All of this stems from dehumanization that results in objectification. 

I’ve said before that Gojo and Sukuna are twin flames. And in this aspect they’re very similar I think. Something awful happened to Sukuna right in our faces and most of the readerbase didn’t take it seriously because he’s The Strongest and a man.

This is sexual assault point blank. A naked person forcibly put her body against Sukuna and he didn’t want that to happen. And just like everyone else, Yorozu did this because she wants Sukuna’s body for herself.

It’s framed like a joke, but the horror persists. Sukuna is going catatonic here in part because losing means entering a marriage he has no interest in. The implication here is distressing—Sukuna sees this as losing his bodily autonomy and being raped for the rest of his life. Likening that to death is understandable.

Hopefully you can see the pattern now. Sexual assault and exploitation is commonplace in JJK. It’s just subtle enough to make people vaguely uncomfortable without making them realize it’s ongoing theme. That’s the quiet horror of JJK.

The Dehumanization of Vessels

Vessels represent everything that makes my skin crawl in JJK. Someone’s body no longer belongs to themself—it’s a thing, a container that is for someone else to use. They aren’t even afforded the dignity of their name most of the time, being referred to as Someone’s Vessel by others.

Itadori Yuji

It goes without saying, Yuji’s dehumanization is the most blatant. He’s called Sukuna’s Vessel by most of the people around him and slated to be executed for the crime of existing as it. The other teenagers around his age are taught this dehumanization by those much older than him.

It’s absurd. Despite Yuji being born with and living in this body of his for 15 years, it’s suddenly not his. All because Sukuna “tainted” it.

And look at this declaration from Uraume: “Whose body do you think that is?!”

They phrase this as if it was never Yuji’s to begin with. 

On some level that is true, Kenjaku created Yuji to be the perfect cage for Sukuna. Uraume didn’t know that the time Yuji was literally bred into existence by Kenjaku to be a tool, but it’s interesting nonetheless. It’s even more interesting that Kenjaku is not the only one guilty of claiming a child’s body from birth for use by an adult. Tegen has a whole bloodline that gives them vessels for consumption.

Star Plasma Vessels

Amanai Riko is introduced as The Star Plasma Vessel while naked in a tub. Symbolically this is striking—she is a blank slate that can only be projected onto. Clothing reflects a person’s lifestyle, personality, and tastes. Riko being denied this in her introduction demonstrates her lack of autonomy. 

And just like how the Kyoto kids were groomed into dehumanizing Yuji, she is groomed into dehumanizing herself by the adults around her. It’s ok that she’s a vessel and someone else will use her body to live because it’s for the greater good.

Those aren’t her true feelings though. Deep down she wants to have her body and her life. And an adult still winds up taking that away from her. 

Isn’t it interesting how Gojo does this same song and dance to himself as The Strongest? Knowing this history and his adamancy towards Yuji’s autonomy (especially in the light novels) is all the more heart wrenching.

But this didn’t start with Yuji, it started with Riko. …on Tengen’s orders.

It’s strange that the individual taking away the lives of hand-picked young girls would be this considerate, right?

JJK never tries to frame characters as completely evil at all times. I appreciate that because it makes depictions of abuse far more realistic. We don’t see Naobito abuse his wife or enable Naoya, we see him half-drunk fighting like a pro without openly antagonizing Maki. If you didn’t know about the Zenin Clan, he’d just be a funny old man. This dichotomy is often why abuse victims aren’t believed. The people they tell only know the good side. And someone who is capable of that goodness can’t possibly be that bad. 

It’s the same way for Tengen. They’re not a creep that salivates over young girls, they’re a calm and reasonable individual who has convinced themself and many others that these actions are necessary. Yuki is the only person that calls them out for how screwed up this all is.

Before Gojo, she was The Strongest. And before Riko, she was the Star Plasma Vessel. Her body and her life was going to be given away in service to someone much older than her under the guise of a necessary evil perpetuated by religion. She rejected that and escaped her fate by becoming uncontrollably strong.

Yuki has every right to be this angry. What Tengen is doing is very messed up. All kinds of excuses and softenings are made for them, but in the end they are using the bodies of young girls to sustain themself. That’s why it’s all the more horrifying that these girls’ souls are still present and coherent enough to speak.

I really like that Yuki won’t let Tengen know what they’re saying. She’s right to assume that Tengen will just excuse whatever comes from it. However, the fact she’s this angry implies those voices aren’t anything pleasant.

Incarnation

The horror of being trapped in a body that no longer belongs to you doesn’t just exist for Tengen’s Plasma Star Vessels, it’s the very foundation of Kenjaku’s vessel incarnation. Which of them came up with this idea is first unknown. They ultimately do the same things to vessels but for very different reasons.

Incarnation works on two layers of screwed up:

1) The host’s soul is suppressed to the point where the invader cannot detect them.

2) It’s next to impossible to return them to who they were once before.

Following the quiet themes around sexual assault, this bears an uncanny resemblance to victims dealing with the aftermath of such an event. Your body no longer feels like it belongs to you, becoming invisible to those who favor the perpetrator, forever tainted after being used by another.

And following the quiet themes around misogyny, this becomes reproductive horror. A body stripped of autonomy and permanently changed after being forced to give someone else new life—Incarnation is a visceral depiction of forced pregnancies.

Pregnancy Horror (Kenjaku)

I think it’s deliberate that mothers in JJK are hardly given faces or names. That’s all a misogynistic society wants them for anyways. Their bodies are to produce someone worthwhile. A tool for those in power to use for their own ends. 

Our first introduction to this is Kamo’s mother, who despite playing a central role in his life, remains unnamed. She gives birth to a worthy heir of the Kamo Clan and is immediately discarded. 

Thankfully Kamo eventually abandons his clan in favor of supporting his mother. Learning a hard lesson from Maki, he seems to conclude that clans existing through misogynistic practices cannot be reformed into a place for women. 

And this misogyny of the Kamo Clan’s is historical. Enough for Kenjaku to take the place of Meiji-era Kamo Notoroshi to commit the most heinous sexual abuses known so far. And despite this history, the modern Kamo Notoroshi is named after him. Another awful secret known by those in power that is never fully condemned since they ultimately benefit from treating women like broodmares.

Death Painting Wombs

The Kamo Clan’s greatest sin is the coverup of Kenjaku’s actions as Kamo Notoroshi. I’ll be going much more into depth with its severity, be warned.

We’ll start with the facts. The faceless and nameless mother of Choso and his 9 brothers was raped by Kenjaku and a cursed spirit 9 times and had those fetuses aborted 9 times. 

I’ve been on about the loss of bodily autonomy so I’ll be focusing on the abortion process itself. Historical abortions were incredibly dangerous things. Though they varied by region, a lot of the methodology converges.

I will quote the favored methods in historical Japan directly from this article:

“Natural methods included drinking poisonous substances or herbal concoctions, all of which lacked a scientific basis. Many had adverse effects. Other means included acupuncture, cold water immersion, and vaginally inserting sharp objects such as burdock roots to break the amniotic sack.”

Kenjaku is someone that does not care about others’ suffering since everyone is just a thing to be played with. I doubt the victims of these experiments were offered any pain relief. Choso’s mother was made to endure one of these methods 9 times.

When Mahito feeds one of the fetuses to a man, we can see that it is slightly smaller than their palm. Here’s a helpful guide for the size of a fetus by week based on the size of a fruit.

I think a lime or lemon best represents the size and shape. A palm sized fetus is somewhere around 12–16 weeks old. Methods that involve inducing a miscarriage via ingesting medicine or poison decrease drastically after 8–12 weeks. (I’m basing this off the abortion pill that actually works.)

Kenjaku wanted to make sure the fetuses remained intact, so inducing a miscarriage by puncturing the amniotic sac to trigger labor-like contractions was most likely the chosen method. I’m not sure if Kenjaku can use Reversed Cursed Technique (RCT) on others to heal them, but that would allow for C-sections to be possible too.

It takes several weeks or months to become pregnant again after a miscarriage. Let’s standardize this as a range of 2–24 weeks. (Based on the earliest known conception at 2 weeks and the recommended conception time of 6 months.) Choso’s mother endured this without pain management 9 times.

12–16 weeks of pregnancy.

2–24 weeks for conception.

9 Times.

She endured these rapes and abortions ranging anywhere from 126–360 weeks or 2.4–6.9 years. 

I’m harping on this point because unless you know the details, this bit gets glossed over. The struggles of those who are pregnant both willingly and not are often downplayed or kept out of sight. Whatever symptoms she had for the first trimester of pregnancy (0-12 weeks) were repeated without support and knowing it was to be terminated 9 times over.

Here is a list of possible symptoms for the first trimester from the Cleveland Clinic.

Sore Breasts

Nausea: "Morning sickness is one of the telltale signs of early pregnancy. Despite its name, it can last all day and all night."

Mood Swings: "The sudden rush of hormones may put you on a rollercoaster of emotions. You may alternate between feeling anxious or scared to excited or weepy within a span of 30 minutes. It may be helpful to talk through your feelings with a friend or your partner.

Fatigue

Frequent Urination: "Your uterus begins to grow to support the pregnancy. It may begin pressing on your bladder, causing you to need to pee more often."

Acne or Other Skin Changes

Mild Shortness of Breath

I do not blame Choso for only referring to this as Kenjaku toying with his mother. The full breadth of her suffering is not something her child should have to bear.

Kenjaku repeats a similar kind of trauma for every incarnation born of a human made to swallow an object. Their bodies don’t belong to them anymore—they’re just hosts to the life of someone they never wanted to have.

To what extent the incarnated know they will be inflicting this harm on others is unknown. It’s just very uncomfortable knowing that Kenjaku created this method in a way that makes the violation of bodies mandatory. 

Tengen

This obsession with forcing pregnancies onto others does not end with incarnation or the death painting wombs. Kenjaku’s absorption of Tengen is a culmination of these experiments. 

Tengen is turned into a pregnancy. Who we’ve established to be hosting a mass of young girl’s bodies. The yonic imagery is incredibly overt for this process.

Tengen is put into a womb that resembles a vagina before becoming a fetus. Kenjaku’s Domain Expansion (DE) contains the literal decapitated heads of the pregnant. (More faceless women being used for their bodies.)

The DE name itself refers to Garbhadhatu which is the Womb Realm in Buddhism. You could translate this as all-enveloping womb.

What this symbolically means, I have no idea. There is, however, a consistent, misogynistic disregard for consent and the bodies of those who can bear children when it comes to Kenjaku. And that’s horrifying.

Sukuna 

Initially Kenjaku bears the Merger pregnancy using the stolen dead body of Geto Suguru. So even though Kenjaku consents to this pregnancy, the person whose body is being used for this doesn’t get to have a say in it.

But we already know how upsetting that is. We’ve seen how much this has pissed off Gojo Satoru who blames himself for his loved one’s defilement. What’s not being discussed in depth is Sukuna’s being inadvertently made a victim from this.

Sukuna’s fingers, a cursed object explicitly made by Kenjaku, are able to create cursed wombs. Since these fingers were created long before the death painting wombs, it appears that Kenjaku’s first attempts to birth evolved humans started with him.

Note how the finger bearers have 4 eyes, just like Sukuna.

I’ve been over why Kenjaku would target Sukuna and how Sukuna does not desire relationships or progeny and how his strength has prevented Kenjaku from forcing that on him directly. What I’m trying to draw attention to is how this appears to be the start of Kenjaku trying to workaround his boundaries without getting killed.

Knowing the extent to which Kenjaku is willing to turn others’ bodies into breeding stock makes the fact Sukuna’s fingers are essentially capable of birthing powerful curses very alarming.

Kenjaku didn’t stop there. The binding vow between them was still made to produce these cursed objects and the context of its formation is still missing. The other culling game players make it very clear Kenjaku either manipulated or tricked them into becoming cursed objects. There is not a single named character Kenjaku didn’t betray in some fashion after misleading them with false promises.

For Sukuna, Yuji being a cage instead of a vessel already indicated Kenjaku was not being honest with him. I think there’s more to it than that though. The details of the Merger and what activates it are something Sukuna and Uraume do not fully understand. Kenjaku tries to explain a little bit to them, but they both shut it down.

And without knowing the full breadth or implication of their binding vow, I don’t think Sukuna expected to be forced into a pregnancy that requires birthing.

I appreciate that Sukuna falls victim to this manipulation despite being the strongest. It goes to show that anyone can experience the loss of bodily autonomy.

Itadori Jin & Kaori 

His identical twin is not spared of this reproductive manipulation either. Jin is manipulated into having a child with the corpse of his wife who is piloted by Kenjaku. But I want to take the time to give Kaori the dignity Kenjaku has denied her.

Even if Kaori wanted a child, there is no meaningful way for her to consent to this pregnancy. I’m not even sure if Jin fully understood there was someone else wearing Kaori’s body. There is a real possibility she didn’t want a child to begin with. We just don’t know since everyone except her gets to discuss it.

She’s exactly like Choso’s mother here. Her body no longer belongs to her and she has no spoken dialogue. Her personhood is denied on introduction. What she was like or what things she aspired to is treated as irrelevant—she’s just another woman Kenjaku used and discarded like a tool.

Visceral Femininity 

Bloodborne is a game about. Well it’s a game that happens at you. There is little plot or reason to the Lovecraftian horrors that drive you and the characters mad. But when you examine the fragments of lore hidden both in plain sight and on item descriptions…you go insane.

There are patterns though. Seemingly unrelated pieces of this ethereal puzzle can be stitched together with a keen eye. Someone made a video on it and concluded it was about motherhood.

After watching this perspective, this reading seems obvious. With all the disjointed umbilical cords, births, abortions, and blood. It’s a proper reproductive horror.

To me, JJK resembles Bloodborne in that way. And after I was granted the eyes to see, I’ve noticed that this body horror has been here as early as JJK 0.

In fact JJK 0 and first chapter feature female characters being groped by curses. (Sometimes the word Geto uses for violated can be translated as rape.)

Motherhood, and everything that causes it, is something JJK uses as a vehicle to discuss the undiscussable—bodily autonomy and its loss for exploitation. Rather than presenting it as something we’re familiar with, it’s a symbolic, pervasive theme in how the bodies of others are seen as tools for those in power.

The organs and bodies of those who can become pregnant are twisted into things that inflict pain. In the case of Naoya, he quite literally becomes a cunt that torments the surviving twin of the girl he molested.

And his hand sign references a deity who manipulates bodies in the womb, changing females to males.

It’s never quite stated outright or even properly addressed by the characters, but you still feel that sickening pit. There’s something fundamentally wrong with the way things are. Why is so little being done about it?

[sable-pigeon]

Tingsheng, Mei Changsu, and Xiao Jingyan in the early episodes of Nirvana in Fire

Looking at how early episodes of the show use Tingsheng as a way of bringing Mei Changsu and Jingyan closer together (with an end note about how, having fulfilled that purpose, he remains a connection that they both draw upon to communicate with each other).

Tingsheng is there from the very beginning of Mei Changsu and Jingyan's (re)acquaintance, starting from when Jingyan first notices Mei Changsu; Mei Changsu is talking to Tingsheng (and starting to realize who Tingsheng might be), and this leads into their first conversation:

The subject of this conversation is primarily Tingsheng and, most importantly, what Mei Changsu is offering: to teach Tingsheng, and also to get him out of his present situation, and, to his credit, Jingyan is listening (so much so that he will echo the same sentiment back to Mei Changsu in episode 33):

Checking in on Tingsheng is also what brings Jingyan, who by now has asked around about this mysterious individual, to Jingsu's next meeting, where Mei Changsu is very direct about why he's here, and reflects back what Jingyan has heard about him by recasting the previous scene as something solely towards that purpose:

When Jingyan next speaks privately with Mei Changsu, it's in the aftermath of Nihuang's matter in Episode 5, and a displeased Jingyan lays down an ultimatum about his limits, but is still willing to listen to what Mei Changsu has to say, and what Mei Changsu has to say explicitly links Tingsheng with asking Jingyan to trust him:

Jingyan is shocked to learn Mei Changsu knows Tingsheng's true identity, but he also has to acknowledge what Mei Changsu's silence means. In addition, Jingyan's frustration with having to keep that secret, alongside his recognition of the necessity of doing so provides another opportunity for Jingyan to hear what Mei Changsu is telling him:

The conversation ends with Jingyan continuing to process and getting up rather abruptly after Mei Changsu's salute, but even though he doesn't turn around, he does stop on his way out; he needs to thank Mei Changsu for saving Tingsheng, and we get the reaction shot from Mei Changsu to close the scene:

The next time Jingyan and Mei Changsu are onscreen together, in Episode 9 when Mei Changsu visits Jingyan at the manor he remembers so well, the atmosphere is markedly different from the last time we saw them, and Tingsheng, a settled Tingsheng who Mei Changsu did succeed in getting out, is there:

As in their first meeting, Mei Changsu helps Tingsheng up while Jingyan looks on, but the positions have changed: Mei Changsu has done what he promised and succeeded in bringing Tingsheng out and to Jingyan's side. Tingsheng's bow too, is different, he is no longer cowering, but saluting:

The warmth of the sequence is supported by the accompanying music, and Jingyan's acquiescence to Tingsheng keeping 'Feiliu's' present flows directly into his introduction of Mei Changsu to his subordinates, where, in far cry from their previous scenes, he specifically names Mei Changsu as his friend.

From the initial meeting through this gift sequence (which leads into their first truly collaborative scene), Tingsheng features in each of Mei Changsu and Jingyan's early interactions, and their discussion of him functions as a way for Mei Changsu to show his intentions and for Jingyan to believe in them.

Finally, even when Tingsheng is no longer central to their interactions, as he is in these early episodes, he remains a way for Jingsu to communicate sincerity to one other, whether by Jingyan reaffirming his trust in Mei Changsu after the infamous occurrences of Episode 33, or by Mei Changsu acknowledging his connections in the aftermath of the reveal.

[lunarriviera]

#UndertheSkin2, starring Tan Jianci & Jin Shijia [x]

[mollysunder]

The easter eggs in here are so cute and foreboding.

You've got dog(?) Ekko.

Best Boy Ekko with a crossed out left eye and dork Ekko with a bullet coming toward his head.

Who is booing at who here tho?

"Lost the Firelights"!!! Maybe that's referring to events in season 1, but who knows with season 2.

On one hand the hearts are cute. On the other hand I'm getting vibes that Jinx is going to shoot Ekko in the face, specifically his right eye.

If she did that would explain all the weird eye horror in the Firelights' mv.

And that scene where Jinx shoots a firelight and it immediately cuts to the back of Ekko's head.

[fumifooms]

Namalin

Namari x Falin

Easy short rarepair spotlight post for prosperity~ This one I didn’t think of on my own for once, I don’t know if it’s just I forgot the decided-on ship name or what but I remember seeing really nice art and a couple posts about it that I can’t find again 💔 Namalin warrior you are out there and not forgotten ty for making me see the light

I like that Namari’s critical of Falin! I have a whole character analysis on Falin if you’re interested, but it’s generally well noticed that people around Falin idealize her a lot. Laios, Marcille and Toshiro all put her on a pedestral of ultimate goodness in the world, a saintess if nothing short of perfection. Sounds like Chilchuck felt sort of creeped out by her vibes, uncomfortable because he couldn’t read her, so unlike Namari it seems he preferred steering clear of her rather than debate opposed ideologies like he usually does. Makes sense if unlike Namari his issue is with her cryptic aura rather than the stances she does show. "… The dungeon is no place for soft hearts" my ultimate namalin scene <333 It’s fun because while this scene is there to show us a lot of things, mostly to establish Falin’s characters better as it’s the first flashback of her we get, the conflict in it is more than anything else Falin vs Namari in how they contrast and clash and approach situations differently. Namari wants security in swift effective violence and thinks Falin too soft for her own good when she prefers a pacifist approach and promotes compassion even for the "undeserving" in Namari’s eyes. Falin steps between the battle ready Namari and the ghost, fearless. Falin effortlessly gently exorcises the ghost without one step back, quickly. Falin proves someone wrong. Falin proves someone wrong.

I love thinking of Namari being surprised when she learns new aspects of Falin. I like Falin having the power to shape people’s views on her. With Falin ships the most fun part for me is usually that point where Falin/the relationship becomes a clean slate: the person realizes they haven’t been seeing all of her, realizes there’s more of her they hadn’t noticed or that she hadn’t shown, that there’s change, a shift in the views on each other and the dynamic a bit.

Namari often feels like an external view looking in to me… I need to make a proper analysis on her but like. I made a lamari post once (analytic more than personally invested rip sorry) and I go with the same Namari take here, I think she’s someone who tends to have an outsider view on people and relationships if that makes sense, she’s a coworker before anything else and she’s content staying at a distance, she’s not objective per se but she tries to keep feelings out of her choices and how she sees people (her lil arc on not staying to save Falin despite the existing camaderie but in the end asking to work for the Flokes more because she wants to stay with them). She’s serious no nonsense on the job but friendly off the job and likes having casual friends, but she’s not… She doesn’t really feel connected to the group. She’s so focused on doing her job, even if she does get impulsive and passionate and too assertive for her bosses’ tastes, so focused on working her reputation and life from the ground up that that professionalism and attitude limits her social life. It doesn’t help that her reputation makes her widely judged, so she probably enters social spaces on the derensive. The closest person she was to pre-canon as far as we knew was Chilchuck and even they have a very "coworker I get along with" dynamic more than friends, with a similar sense of boundaries, humor and world view. Also like canon says a few time, the party didn’t really try to get to know each other well pre-canon, didn’t hang out after work often no one knew where Marcille was from and no one thought that was weird (also how no one had the instinct to ask about Senshi’s past) etc, the notable exception is we’re shown Namari and Chilchuck hitting taverns together and having a grand time. Everyone’s fine with things as they are, they get along decent even if not everyone considers each other friends exactly. Where I’m getting at is that to me, it feels like she tries keeping emotional distance. Emotional distance from people in general being something which in my interpretation of Falin is also present, which would make it a theme and common thread interesting to explore imo. But yes like, Namari looking at Falin, and how everyone treats her, and being more skeptical, seeing her for what she is a little more, maybe even uncharitable. "Why is everyone treating her like she’s all that? She’s gentle sure but seems like a doormat to me" and then one day she comes running up with her mace ready to cave in someone’s face to protect Laios. So yeah… Keeping her distance but one day Falin offering her some gentleness that feels very too personal for someone who’s not used to being genuine and simply showing that they care… Them talking a bit which leaves her stumped and mindblown in a quiet way when Falin defies her expectations. Namari growing on Falin when she stays and decides to open herself up more, or when Falin ends up reading her really well like she’s shown to do with her parents and Marcille’s worries. She’s very attuned to worrying and why and when different people do it especially when it comes to when they worry for others, perhaps because she does a lot of that too, so I think she’d nail down how Namari does care for the rest of the party and it’d make Namari feel seen both in a warm validating way and in a scared naked way.

We see in the tentacles chapter that she’s someone’s who’s very protective and looks out for her peers in a tough love way. She’s overbearing but it’s because she wants everyone to have the best chances. I like that she’s very confrontational and somewhat pushy and rude, but it’s tough love, it’s protective care: asserting herself to better protect and defend. The opposite of Falin’s type of care, quiet and self-sacrificial devotion. They’re barbarian x healer but they’re also bodyguard x bodyguard in their attitude and role. … What I want for them is slow burn slice of life of being coworkers and slowly getting to know each other better, pretty fluffy, but god, put this way they’d have the potential to be such a hot layered mess of insanely mutually devoted codependence… Falin taking a hit for Namari and Namari being scarred by it forever, lots of arguments about it, my god.

I like that she’s the fighter to Falin’s healer. I looove thinking of scenes of Falin healing Namari, necessitating touch and like, a moment of slowing down and sitting together in silence, too intimate, the perfect opportunity to connect that neither truly want to take until one day they do. I love how onesided I imagine the relationship would be at first. Again, as per my interpretation of Falin, I think Namari would have all these little observations and opinions on Falin meanwhile Falin really doesn’t think of Namari much at first. So Namari thinks a lot about Falin and thinks she’s got her pinned down but hasn’t (not that she’s fully wrong, she’d have credit and confront Falin on some of her flaws like the doormat thing), while Falin is very passive about Namari and doesn’t think deeply about her or anything but she read Namari’s insecurities and logic well. Not unlike how Laios was the one who seemed to understand Namari’s way of care the best in the party in the tentacles episode, and how he was very understanding of her choice and reasons. In Falin’s case it’s more like, the objectivity of passivity… She cares about Namari less than Laios who generally seeks to form bonds, so her lack of investment allows her a neutral perspective. In that way another parallel with Namari that I’m drawing, except Namari lets feelings from her opinions seeps in more… Onesided beef my beloved. I’m going insane save me this post was a mistake. I think Falin takes the crumbs of friendship and love where she can without expecting or asking for anything more than what’s offered, and I think her relationship with Namari (or anyone really) would start out the way it did with Marcille: the other takes the initiative and they end up spending time together, Falin is friendly but unattached until the bond gets gradually and wordlessly strenghtened through regularly spending moments together. So! I think Namari would need to take a lot of the first steps, which since again she’s confrontational & argumentative and doesn’t hold herself back on that front that could spark a lot of conversations I think. Ooor since Falin cares about Namari less than Laios and Marcille she allows herself to be bolder herself lol. Or also circumstances force them to spend time together like dungeon party getting separated shenanigans.

I think their personalities match cutely, I think falin would try to protect namari like she does others but also Namari simply doesn’t need protection, just support. And I think they’re complementary in that way that Namari’s friendly but also won’t sugarcoat things, and I think if she takes an interest in Falin it could go from there and she could develop some understanding of her and idk like an intrigued crush….

Namari wants stability & security & to, like, not be judged and rejected and exiled lol, to find her nest her pack the place where she feels good and wanted in. I think having a fitting partner would help in that (similarly to how the found family with the Flokes seemed to. Oh another parallel, Falin’s top priority is protecting Laios her brother and what Namari are a family figure) and I think Falin would fulfill that cozy protection and that warm ‘being seen and not judged’ feeling. But also Namari would run up to her and yell about her trying to sacrifice herself ever.

Another fun thread to explore: post-canon guilt for not having gone to save her. Sure, they weren’t close, but they had some nice memories, didn’t they? Namari cares, and it stings despite herself when it feels like people think she doesn’t. Oh it wasn’t a lost cause after all, oh it’d have worked out, oh I could have stayed loyal and it wouldn’t have compromised myself in the end. Wanting to apologize to Falin, or just ahnging out with her and sharing a moment after she wakes up. And tangent but that’s interesting to think about… Narratively, I think the purpose of Namari and Toshiro in the story, beyond strenghtening the theme of "seek to understand what is different from you and promote unity despite them" and fleshing the cast and worldbuilding, is Toshiro’s purpose was being a foil & tool in Laios’ arc (trouble connecting with people) while Namari’s was being and a foil & tool in Marcille’s arc (standing up for ideals without being out of touch with harsh realities and needs). They are the conflict that push our protagonists to grow— and they explore different ways of dealing with a situation or topic, different ways of growing into themselves on that end: Laios needing to listen to others more and Toshiro needing to focus on voicing himself more to be able to connect, Marcille needing to learn ideals sometimes cost too much and Namari needing to internalize that ideals are sometimes worth risks (not only to be able to find a reasonable but fulfilling life balance, but also to get in touch with their compassion: Namari restricts her own too much and Marcille is too harsh on people she deems to be breaking values, like Namari not risking her life and career for a friend with no promise of success, or even like how Namari is harsh on Falin’s way of doing things : too gentle, too soft, too idealistic) (similarly to Chilchuck’s arc with Marcille too, and he also plays a hand in advancing that arc in the Namari chapters). We are getting far from namalin sorry ummm preview for future analyses like Toshiro’s contrasting approach to grief and accepting loss.

More post-canon namalin! Thinking about a timeline where… Namari is fond of Falin finding herself and going off to do her thing. "Finally!" she thinks. If she’s still for hire, maybe Falin would want her to come along, either as guide or bodyguard <3, she knows Namari has a lot of good avice on a lot of things to give, plus they’ve worked together before. She hires Namari and they travel for a bit. Travel would do Namari good too I think, even if her end goal is to settle and I think Falin’s would be too eventually. Seeing sights that light her wonder for the world and going places where people don’t know her story, don’t recognize her face or her name. Them, feeling free. Finding a companionship that feels uplifting instead of stifling or charged. Namari having been too in her head about reputation and social games and money that they hit the roads and spend time in nature and it’s like, woah. I’ve been living in a small world with made up rules.

Ahh yes romance, Namari and Falin kissing after 3 years of not really knowing each other despite seeing each other every day then 2 months of wanting to spend more and more time together until they’re an inseparable duo! Workwives. I want them to stand next to each other during campire time and Namari cracks little jokes and Namari laughs. I want Namari to gift Falin a bug caught in amber and for it to be their wedding/promised to each other thing.

TLDR

Rowdy but levelheaded barbarian x gentle healer that will also cave your face in with a mace I like it…… They’re an interesting duo of mixed stuff. Protection being your purpose and what you’re worth for, literally being a meat shield (Laios, Tansu), finding your individuality recognized and validated through a growing bond with the other. Sticking around as a love language. Also bug immortalized in amber and it being beautiful.

Nevermind this wasn’t short. Um! Anyways.

[lovegrowsart]

the argument i keep seeing that the choice qimir gives to osha to leave the island in episode six isn't a "real choice" because in the real world it'd maybe be realistically logistically/physically difficult to cross that body of water is driving me up the wall because it's such literal thinking when star wars has never been and will never be concerned with what's realistic or logistically plausible. there's fire in space in the first episode of the show, because fire needed to be there to give osha that moment of flashback to the trauma of her childhood and help further establish her character - it's entirely in service to the story, doesn't matter that that's not how it works irl.

the reason the ship is there is because it needed to be in the distance to facilitate the visual storytelling - osha looking back at the ship, her chance to flee/escape the underworld, then looking back at qimir walking away off screen and making the choice to follow him. that's literally (heh) it. he even suggests waiting for low tide if she wants an easier time of it if we're gonna be that concerned about how oh so terribly hard it'd be for osha - who is an adult ex jedi and a mechanic that does such dangerous jobs on space ships that the republic legit made it illegal for anyone but droids to do them - to manage a bit of a difficult swim :(

ymmv on the qimir being manipulative angle, but i think it'd benefit a lot of people's understanding of the dynamic between osha and qimir in episode six to remember that star wars is fairytale - it is metaphorical and psychological mythology. it is not realistic or grounded in reality, nor is it meant to be read with realism in mind, because then you're simply analysing/critiquing from a position that the story isn't operating from.

you don't have to take a creator's words into consideration when developing your own interpretation, but such things can be helpful and valuable. leslye headland's made her intentions re: osha and qimir's dynamic pretty clear - that it's not meant to be manipulative, that one of the purposes of episode six was to explore qimir's "lighter" side and osha's "darker" side (hence the wholly unsubtle costuming choices, him in natural-looking off-white and osha entirely in solid grey). while qimir isn't being wholly honest with her right off the bat (cause why would he be?), he also isn't deceiving or tricking her about anything re: who he is and what he's about - how could he? she knows his face. she knows entirely what he's capable of and what he did in episode five. he can't play the master and the fool the way he did with mae, he can only be as honest as a man like him can be if he wants her to listen to him. i don't think she's naive about him at all, and i think people struggle with understanding that - that she doesn't have any illusions about his morality or lack thereof - and understanding that she still has the agency and desire to listen to what he has to say. you can believe it isn't "good" for her to listen to him, sure, but that doesn't mean she's being maliciously manipulated maliciously.

[firethekitty]

Ranking Every Wolfwood!!

happy wolfwood wednesday! i've ranked every wolfwood and it very quickly got out of hand and turned into more of a character analysis/meta. it was really fun and helped me better understand why i love this guy so much!

yes, really!

i hope you guys enjoy and that my autistic rambling makes sense!

1. trimax wolfwood. yeah he’s perfect. nothing else to say. god bless

while i can’t fit everything i love about him into one post, just know that i’ve written almost 30,000 words in wolfwood (and vash) character studies. so when i say “i like trimax wolfwood” that really means “i am fucking obsessed with trimax wolfwood”.

he’s the perfect mix of silly and heartbreaking, funny and serious, annoying like an older brother, deeply kind, so so painfully human; and a PERFECT foil to vash. simply phenomenal writing.

my only complaint would be that his tits are not on display like they are in the 1998 anime. but i can appreciate the subtly, so this doesn’t detract from his otherwise flawless score.

2. 98 wolfwood. omg hiiiii hehe twirling my hair ohh he’s so handsome what an absolutely beautiful design for him. his nose, his spider-esque shape, his TITS…… they even kept his little whiskers!

on top of an amazing design, he’s a very good balance of silly, irritable, playfully annoying, and serious! he fits pre-trimax wolfwood to a T!

but, as trimax progressed…

he’s cool. too cool. he has too much pull. wolfwood should NOT have swag. genuinely it is imperative to his character that he is, and i say this as lovingly as possible, a fucking loser with no friends.

wolfwood is a deeply traumatized man. he isn’t nearly as charming as we, the audience, thinks he is. no one laughs at his jokes, his insults are crude and immature, he embarrasses himself in front of literal children…

god, he is so painfully awkward. and who wouldn’t be in his situation? to have your childhood stolen and forced to grow up as a weapon? not allowed to interact casually with anyone else during the most important developmental stage of your life?

he's just not suave like tri98 wolfwood is. so, while 98 wolfwood is an excellent character, he doesn’t entirely read “wolfwood” to me. similar to how 98 vash is good on his own, but he’s just not “vash”. this is, of course, the result of making an anime out of a manga that wasn’t even 30% finished at the time. while i don’t understand the reasoning behind this, i know that nightow desperately needed the funds the anime brought in, as well as the motivation to keep making trimax, so i have to simply make peace with the dated characterizations tri98 has.

but don’t get me started on the milly situation. really a godawful writing decision, idk who approved that mess.

3. tristamp wolfwood. he is so bullyable. he’s like a sopping wet cat. absolute fucking dweeb.

i debated this for a long time—whether i should rank tristamp wolfwood above tri98 wolfwood. and i asked myself, do i love tri98 wolfwood because he’s a good character and is similar to trimax wolfwood? does he even remind me of trimax wolfwood at all? well, not really, he’s very clearly based on pre-trimax, just like tri98 vash is.

ultimately i decided i do genuinely just prefer tri98 wolfwood, but i felt the need to defend tristamp wolfwood because i see a lot of fair criticisms but also really dumb discourse throughout the fandom about him. so here’s my attempt at trying to address these:

so, there are some things i really enjoy about him and some things i really dislike; and, unlike vash, most of these criticisms are not a result of time/pacing issues. they’re easily fixable.

like, for the love of god he NEEDS to get sillier. they got the loser part down, but he’s a bit too overtly sad in tristamp. i think he will be more like his trimax self in season 2, but wolfwood’s humor is in-part a coping mechanism and important to his character. he’s an older brother! he’s fucking annoying! he thinks he's funny when he isn't! we do get a little bit of this with him and meryl, when he's tormenting her at the campfire, and that’s what i want to see more of. even if he’s playing it up, he should be working on getting their guards down, convincing them he isn't going to betray them.

since tristamp takes place in a weird prequel sort of canon, i get that he would look/act younger than he is in trimax. i think he was modeled after the teenage wolfwood we see in the flashback scenes of him training for the eye of michael, where he’s noticeably less outgoing and more reserved.

however, this doesn’t change the fact that he WAS silly as a kid in trimax, before his “teenage angst phase” (hate to call it that when it’s more like a “realizing he’s going to die by the gun and not being able to do anything about it” phase). but he’s still a lot quieter and reserved in tristamp as a kid, so i think we really need to find a good balance here in the trigun adaptations.

another example of an easily fixable issue—i really hate how they did the “vash sees how kind wolfwood is” scene, in which wolfwood gives money/snacks to children. in tristamp, wolfwood already knows the kid is zazie, which tells us absolutely nothing about his character. this scene is almost entirely worthless, only good for reminding vash that he should eat, which gives tristamp its own not-as-good hospital yuri scene.

and, so, about the elephant in the room… i don’t think he was whitewashed. let me try to explain my thought process.

tristamp, as far as i can tell, doesn’t seem to be taking any inspiration from tri98, whose wolfwood is very explicitly a brown man. trimax wolfwood i feel is a bit more ambiguous in his skin tone, which alternates between dark screentones and completely uncolored pretty much at solid 50/50 odds. just fairly inconsistent overall, even on the official manga covers.

but this doesn’t mean wolfwood is white in tristamp, and it doesn’t mean he doesn’t have his aquiline nose. the notorious scenes of him in the suns, looking white as a fucking sheet, shows us how a 3D environment can diminish a character’s silhouette and distinctive features.

compare this to scenes of wolfwood in a dim environment, or to the 2D scenes of child wolfwood and livio that i can't include bc i'm only allowed 10 pics. he looks MUCH better, much darker than vash, and as they both should appear in such lighting. it just doesn't add up—he should be much darker in strong light if they followed the same color values:

SO, even though i feel like all of this is more of a technical issue rather than malicious whitewashing, that doesn’t mean i think it’s acceptable. it looks fucking awful, and the lighting system needs major improvement to work with darker skin tones.

and, like, at the end of the day, wolfwood isn’t canonically latino, and he doesn't really have a consistent skin tone either. it’s a great headcanon, one i partially share, but it’s not canon. the only ethnicity that could technically be considered somewhat canon is japanese, as wolfwood was based off a japanese singer named tortoise matsumoto. you can see this resemblance best in early trigun!

and i really need to defend his nose!!! a lot of people say he lost his nose but he didn’t!! i promise it’s there!!! another victim of his 3D model, you can only see his nose from the side or in the 2D frame after he gets his shit wrecked. see how clearly he has a very well-defined nose when he’s hand-drawn? this is what i mean when i say a 3D environment can drastically alter a character’s important features, as much as i otherwise adore the animation for this show.

also, if you think nightow would let studio orange get away with not including his nose, you got another thing coming.

in conclusion, while i think tristamp wolfwood is a great start, he’s just not quite there yet. but i have immense faith that the next time we see him, he’ll look and act a lot more like he does in trimax!

i know this is true, because there are already some shots in tristamp where i’m just like. oh yeah. there he is. that’s wolfwood. there's the guy i love so much

...

well, that was long! this was really fun to write and i

oh jesus christ what the hell is that thing

4. badlands rumble wolfwood. ah, now here’s a great example of overt whitewashing. no lighting excuses this time, just blatant colorism.

even if he wasn’t ghostly white, there's just something about his design that makes me viscerally uncomfortable and i can’t pinpoint what it is exactly. he’s just so… angular. he has no scruff, no kitty cat mouth, his eyes are very oddly shaped, almost no eyebrows... i just really hate looking at him!

his ONLY saving grace is how mentally ill he acts in this movie. and his tits. otherwise i don’t really have much to say about him!

ok, now we’re done! and here’s a handy wolfwood chart i made to summarize everything.

really hope this was fun to read and if people liked this i'd be glad to write a vash version or other characters!! happy woowoo wednesday :)

[icy-dark-star]

Kirbtober Day 30: Soul

Duality of Soul

[blazingstar24]

The gods basically failed at the ye old Spiderman adage. Great power, great responsibility.

Because truly at the end of it all, they can’t be both humanized and gods. They have too much power. Yes, you can sympathize with them but they aren’t allowed the same allowances as just a regular person. If a superhero chose to save their family over the world, they failed. Because they have a duty, they have power higher than themselves, higher than personal bonds.

And that’s what the gods fail at. The Raven Queen putting on the emotionless mask and saying they were children in their mortal forms is indicative of this. She knows what it means to chose godhood and she is failing at being this objective persona of death and fate. They are all failing at this. Erathis realized this. When what they call a squabble means war and destruction for everyone else, you cannot play the “we’re just a family” card. The power they hold is beyond that and they have a responsibility to use it wisely, to uphold the duty they promised they would.

And the Divine Gate is them choosing. Choosing to be gods or to be humanized. Pelor lamenting the idea of not being able to walk amongst mortals, Melora refusing to leave because she found this world. But ultimately, yes. They cannot walk amongst their creations because they are separate, they are not the same. There is a sheer difference in power that cannot be reconciled unless they give it up. And they can’t. They all choose godhood. They choose to be on a different level than mortals.

They chose power and have to deal with the responsibility.