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anniflamma · 5 months ago

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My Thoughts on The Thunder Saga

I've been thinking about The Thunder Saga all day, even though I have a headache, and I can say one thing: I liked it!

I was mostly prepared for the emotional damage in Mutiny/Thunder Bringer for multiple reasons, like collaborating with Jay on the ending of Thunder Bringer. However, I was genuinely surprised by Suffering, Different Beast, and the reveal that Odysseus had already tried to kill Eurylochus during Scylla. I really wanted Odysseus to go full-blown monster mode in Act 2, so I felt satisfied.

Maybe this is a hot take, but I have never really felt bad for Odysseus. The only time I did cry and felt for him was when his mother was singing to him in The Underworld Saga. I've never been fond of the crying, shooting soldier type, both in fiction and in real life. I've watched too many documentaries that made me incapable of feeling bad for people or characters committing cruel acts on others and then crying about it like they were the victims.

The song Suffering was a delight! You immediately knew something was wrong just from the happy tone of the music, especially since we were left with Monster. At first, I thought it was a flashback, and yes, the comment "daughter" piqued my interest. Then I quickly thought it was a dream, but at the same time, something felt wrong.

When it switched to Different Beast, my first thought was, "Did he just shoot Penelope?🤣 " And yes, we now know it was the Sirens! But the imagery is very ironic. I even see it as a parallel with the first saga, with the infant. Odysseus has a whole song about his struggle with the decision to kill an infant that reminds him of his own child, ends up killing him, and then in the second act, he kills a female creature that looks like his wife without hesitation. That, folks, is character development! Yes, Odysseus knew it was a Siren, and we can still tell that he is somewhat tries convincing himself in Different Beast.

"My real wife knows I'm not scared of the water And my real wife knows I don't have a daughter"

Essentially, he is reminding himself that this woman in front of him isn't his wife.

All the cruelty against the Sirens was unnecessary. But that is the point! He believes that the only way home is to be as ruthless as possible. However, bringing unnecessary suffering to both foes and friends was obviously the incorrect decision.

Musically, the song Different Beast didn't really click for me. I mostly found it edgy and not really "cool," if you know what I mean. I've heard it a couple of times but still have a hard time remembering the melody, weirdly enough.

If I ever make an animatic of these songs, it will probably be all together in one animatic. Those two songs are meant to be one, but I understand why they are separated due to the major difference in tones.

The song Scylla was the least anticipated song for me. The snippets didn't really catch my attention. But I did like the conclusion of making Scylla and Odysseus have a short duet at the end. Scylla's cruelty was just a mirror of Odysseus, and he was the one actually killing his men. I think this saga really was Eurylochus' peak in terms of characterization. Eurylochus confesses that he was the one who opened the bag and has suffered with this weight and guilt. Odysseus, in his state of mind, turns away and tells Eurylochus to light a torch, knowing that action will doom Eurylochus. Odysseus straight-up tried to kill Eurylochus already, and I thought it would happen in Mutiny! XD

That moment was cold! No words, no goodbyes, just "Light the torch."

Then we have Mutiny. I really liked it! The callbacks to Luck Runs Out were a bit expected but felt so good when they happened! I've seen comments here and there saying that Eurylochus was a hypocrite due to his comment from the Circe Saga to abandon the men who became pigs. Odysseus even brings that up! But Eurylochus is very justified in calling Odysseus out for his actions.

"When we fought the Cyclops, you were quick to hatch a plan And when we fought with Circe, it was you who left behind no man But when we fought this monster, we didn't take a stand"

Odysseus could have made a plan that at least could have increased the chances of survival for the six men who died. But he didn't, he only thought of himself and betrayed them first, using them as bait to guarantee his own survival. Eurylochus, in the Circe Saga, was a man who was scared, confused, and filled with guilt for opening the bag. So his wanting to take the cowardly route is understandable, but it's nowhere near what Odysseus did.

So then they fight, epic moment, we all love it! And for the second time, Odysseus tries to kill Eurylochus but ultimately fails because Perimedes stabs him in the back. Odysseus is like, "My brothers, why?"

WHAT DO YOU MEAN WHY??? But that is still the point of Odysseus' perspective. He is acting like a ruthless monster now, so he is in a state where he is incapable of understanding or more like thinking of his victims' perspectives. Of course his men would defend themselves from him, of course they would betray him, of course they would backstab him. If you treat your own friends as disposable, eventually there will be a reaction: they will either abandon you or retaliate. It takes an immense depth of pride to feel secure with someone you have inflicted suffering on. And pride is the very theme in this saga!

When Luck Runs Out plays but the roles are switched, it felt a bit nostalgic in a way, but it's still a bit distorted. This time, Odysseus is the one singing Eurylochus' lines, but it's not him being confused and doubtful, instead, he is scared yet manipulative. Eurylochus opens up and is vulnerable toward Odysseus. He feels hopeless, clearly experiencing survivor's guilt.

"Eurylochus: How much longer must I push through doubt? Odysseus: I need to get home Eurylochus: How much longer must we go about my life like this when people die like this?"

When it doesn't work, Odysseus switches from "I" to "we." I love that detail. It's not genuine, and I love it!

Thunder Bringer… I loved it. There, I said it! There is nothing more! LOVED IT! ⚡⚡⚡ I am so happy that I got to do an animatic for Jay for this song!

Thunder Bringer is the song where Zeus punishes the whole fleet for killing (presumably) Apollo's cattle. My theory now is that Apollo doesn't like Odysseus for killing his cows in God Game, and Athena is probably like, "Yeah, but his men did it, not him." And Apollo is like, "Touché."

EDIT: I know that the cattle is Helio's but I speculating maybe the musical will change that to Apollos. Who knows!

Essentially, Zeus literally comes down and sets things straight. Instead of being sneaky and witty like Odysseus usually tries to be, Zeus just gets to the point, "Who gets to live?" And Odysseus points at Eurylochus/the crew, saving himself from Zeus' punishment. Well, I do see that Calypso's island is Odysseus' punishment in a way. It's an ironic one. He comes to paradise and gets a home and a wife… just not the home and wife he wanted. I have some fun ideas for my Thunder Bringer animatic!

Rest in peace, Eurylochus. You will be missed.

#epic the musical #epic the thunder saga #long post

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kanmom51 · 5 months ago

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JM Muse Blooming

Concept photos and clip

JM's first concept photos dropped, and what can you say? The man is 🔥🔥

Walking in the Smeraldo flowers garden.

Wearing this belt:

Same belt?

The minute I saw this photo it felt a little familiar.

And then it hit me.

JK's 2D shoot.

Now, I'm no photography expert, but it looks like the same kind of slow exposure technique is used for this photo.

And then we have this:

How far will you go for love

To the moon?

To tell the whole world that you want that one person you love, even if your love may be considered as wrong or ugly to some?

To enlist together, being the first idols EVER to do so?

I guess pretty far.

Yeah yeah, I know not everything is about Jikook. This is JM's album, JM's photo concept, JM's creation. And yes, not everything is about them as a couple. There is definitley plenty that isn't. But with saying that, we have seen, time and time again, referencing, coding and mirroring of one another. Not everything is about them as a couple, but yet, I do believe that some of it is.

And then we have this next photo.

Now really?

If you are sitting there and denying the second you saw the tie you didn't envision this:

then you are lying. Either out right or to yourself.

The tie, the crop top. Even the pose with the shoulder tilt and the lifting of the chin gaze looking down.

Reminds me of someone else that had some mirroring going on and was called a copycat and so much more and worse.

I can assure you that was one among many photos taken in that shoot, and yet, that was the photo chosen by JM.

Third photo.

Besides the fact that JM is beautiful, no need to even state the obvious, we get a few more details from this photo.

First we get the 13 on his cheek.

In the Face shoots he had the studs/thorns and scar under his eye, and now he's proudly wearing the number 13, a number that means so much to him that he has it permanently tattooed on his arm.

His nail art.

In the teaser clip we had the crescent (probably right hand) and now we get two parallel lines. An equal sign perhaps?

We also have a little bit more sharing going on.

I guess Jikook do love to share their outfits and accessories when it comes to these solo shoots specifically.

Another coincidence? I think we are way past the point of believing that it is.

We have shared belts.

Same pants.

Different parts of the same outfit.

Same singlet.

Same necklace.

We also got this message:

ARMY! Who knew a baby chick could be so dangerous? One look at these concept photos and you might have a heart attack 🐥 10 years of this boy and he’s still finding new ways to be beautiful? 🤦‍♀️ 🐣: Is that how you see me?! 💜: Exactly that, yes. Hope you’re all pumped up for another new chapter in our lovely shared story!!

I find a few things curious with this one.

First of all, using the terms "boy" and "beautiful".

JM being an almost 30 yo man choosing the work boy is a little strange here, and knowing that every single thing he does is done with thought, just like the use of the non binary singer emoji for the 30 minute reminder or the tteokbokkibyjk.

And what about the use of the term beautiful, a term usually used as an expression of feminine good looks rather than masculine (not by me, btw, but by many).

Another curious thing I found was the dialogue, and more so, the question asked by JM: "Is that how you see me?!"

Question mark exclamation mark.

Is he asking us if we see him as a boy? Is it about age or gender? If we see him as beautiful? Is this about me overthinking? 🤣🤣

And then we have the clip:

So, JM in the dark, looking away from us.

Then the place lightens up and the camera goes into a close up of JM's face, and he's looking into the camera, or at us.

He's literally looking into my soul.

What to expect?

With JM I think we have gotten used to expecting the unexpected, in the very best way possible.

D-19

#Jimin #PJM2 is coming #PJM2 #JM #JM Muse #PJM Muse #Jikook #Kookmin #Minkook #Jungkook #JK #JM Muse Blooming

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jessicalprice · 2 years ago

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christian universalism strikes again

(Reposted from Twitter)

So a rabbi I know came back from LA pretty jazzed about a Jewish addiction treatment facility there called Beit T'shuvah and so we talked about their approach and that got me curious about non-AA approaches to dealing with addiction which, my friends, was fascinating.

I’ll admit that almost everything I know about AA is more or less from The West Wing. I'm fortunate in that no one in my immediate family has dealt with substance abuse issues, and as far as I know, none of my close friends are alcoholics. My knowledge is pop culture knowledge.

But hearing about Beit T’shuvah was very interesting to me because:

I'd heard that a lot of people who aren't Christian have a hard time with AA because it's so Christian.

The difference in philosophy was subtle at first glance but actually paralleled a lot of the differences between Judaism and Christianity if you dug into it.

Anyway, I got curious about whether success rates were different for Christians vs. non-Christians and started googling. I didn't find much in the way of the data I was looking for, but I did find something a lot more disturbing, which is that the whole 12-step thing is not science-based. At all. For example:

The National Center on Addiction and Substance Abuse compared the current current state of addiction treatment to medicine in the early 1900s, when there weren't a lot of standards for who could practice medicine. In order to be a substance abuse counselor in many states, you don't need much more than a GED or high school diploma.

A 2006 survey found "no experimental studies unequivocally demonstrated the effectiveness of AA or TSF approaches for reducing alcohol dependence or problems."

And I want to make clear here that I'm not saying AA is bad--clearly it's helped people. The problem is that it's touted as a universal approach, which is a problem when it's not based on any sort of actual science.

AA claims that its success rates for people who "really try" are 75%. (And boy does that mirror gaslighting diet language.) But the most precise study out there that's NOT coming from AA (https://amazon.com/dp/B00FIMWI1O) put actual success rates at 5-8%. One of the major textbooks on treating addiction ranks it at 38th out of 48 on its list of effective treatments.

So just like most fad diets, it fails for almost everyone who tries it, and then blames the individual for its failure.

A glaring issue is that the 12 steps don't really acknowledge--or provide any guidance or structure for dealing with--other mental/emotional health issues. That’s a giant problem when people with substance abuse issues have higher than average rates of those issues. (Take a moment to consider how the victim-blaming approach of “if you didn’t succeed, it’s because you didn’t try hard enough” is going to intersect with someone’s major depression.)

Now, if 12-step programs were just one available treatment approach out of many, this wouldn’t be that big of an issue.

But 12% of AA members are there because of court orders. Our legal system is requiring people to undergo treatment that is:

Christian-based

Not scientifically supported

A failure for the vast majority of people

I mean, here's a pretty comprehensive breakdown that talks about the lack of scientific support for it, alternative treatments (like those in Finland, and naltrexone), and the fundamentalist origins of AA.

The founder was a member of the Oxford Group, an evangelical organization that taught that all human problems stemmed from fear and selfishness, and could be solved by turning your life over to divine providence, basically. Sound familiar? He based AA on those principles, and given that the only alternative was "drying out" in a sanatorium, and that AA members would show up at bedsides there and invite inpatients to meetings, it must have looked really enlightened to people. In 2022, it bears a queasy resemblance to evangelizing to people in prison, literally a captive audience.

To be fair--to their credit--they were some of the first people out there saying alcoholism was a disease, and not a moral failing. But they didn’t treat it like a disease when it came to testing treatment options:

Mann also collaborated with a physiologist named E. M. Jellinek. Mann was eager to bolster the scientific claims behind AA, and Jellinek wanted to make a name for himself in the growing field of alcohol research. In 1946, Jellinek published the results of a survey mailed to 1,600 AA members. Only 158 were returned. Jellinek and Mann jettisoned 45 that had been improperly completed and another 15 filled out by women, whose responses were so unlike the men’s that they risked complicating the results. From this small sample—98 men—Jellinek drew sweeping conclusions about the “phases of alcoholism,” which included an unavoidable succession of binges that led to blackouts, “indefinable fears,” and hitting bottom. Though the paper was filled with caveats about its lack of scientific rigor, it became AA gospel.

And then Senator Harold Hughes, who was an AA member, got Congress to establish the National Institute on Alcohol Abuse and Alcoholism, which promoted AA's beliefs, and sometimes suppressed research that conflicted with them:

In 1976, for instance, the Rand Corporation released a study of more than 2,000 men who had been patients at 44 different NIAAA-funded treatment centers. The report noted that 18 months after treatment, 22 percent of the men were drinking moderately. The authors concluded that it was possible for some alcohol-dependent men to return to controlled drinking. Researchers at the National Council on Alcoholism charged that the news would lead alcoholics to falsely believe they could drink safely. The NIAAA, which had funded the research, repudiated it. Rand repeated the study, this time looking over a four-year period. The results were similar.

The standard 28-day rehab stay, prescribed and insured:

Marvin D. Seppala, the chief medical officer at the Hazelden Betty Ford Foundation in Minnesota, one of the oldest inpatient rehab facilities in the country, described for me how 28 days became the norm: “In 1949, the founders found that it took about a week to get detoxed, another week to come around so [the patients] knew what they were up to, and after a couple of weeks they were doing well, and stable. That’s how it turned out to be 28 days. There’s no magic in it.”

The last sentence here (bolded for emphasis) is especially chilling.

That may be heartening, but it’s not science. As the rehab industry began expanding in the 1970s, its profit motives dovetailed nicely with AA’s view that counseling could be delivered by people who had themselves struggled with addiction, rather than by highly trained (and highly paid) doctors and mental-health professionals. No other area of medicine or counseling makes such allowances.

There is no mandatory national certification exam for addiction counselors. The 2012 Columbia University report on addiction medicine found that only six states required alcohol- and substance-abuse counselors to have at least a bachelor’s degree and that only one state, Vermont, required a master’s degree. Fourteen states had no license requirements whatsoever—not even a GED or an introductory training course was necessary—and yet counselors are often called on by the judicial system and medical boards to give expert opinions on their clients’ prospects for recovery.

And, again, the idea that this is the One True And Only Way to deal with alcohol abuse leads to medical professionals ignoring research and treatment options that could be helping people. They are, in essence, taking all this completely on faith.

There has been some progress: the Hazelden center began prescribing naltrexone and acamprosate to patients in 2003. But this makes Hazelden a pioneer among rehab centers. “Everyone has a bias,” Marvin Seppala, the chief medical officer, told me. “I honestly thought AA was the only way anyone could ever get sober, but I learned that I was wrong.”

Stephanie O’Malley, a clinical researcher in psychiatry at Yale who has studied the use of naltrexone and other drugs for alcohol-use disorder for more than two decades, says naltrexone’s limited use is “baffling.”

“There was never any campaign for this medication that said, ‘Ask your doctor,’ ” she says. “There was never any attempt to reach consumers.” Few doctors accepted that it was possible to treat alcohol-use disorder with a pill. And now that naltrexone is available in an inexpensive generic form, pharmaceutical companies have little incentive to promote it.

I'm not saying that AA is bad. I'm saying its hegemony is bad. It clearly is effective for some people--a minority of people. But it's not for the majority of people, and that's a problem when it's being prescribed by courts (and doctors) as if it's a one-size-fits-all approach.

It’s not an accident that a Christian approach to treating addiction presents itself as the One True Way For All Humankind, insists that courts and doctors privilege it, demands that people take its effectiveness on faith, and blames anyone for whom it doesn’t work for not believing/trying hard enough.

Hegemony is a problem.

(Photo credit: Pixabay)

#christian hegemony #addiction #christian supremacy #aa #maybe courts should be recommending treatment with a better than 8% success rate and actual science behind them just saying

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my-rose-tinted-glasses · 1 month ago

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Peaceful property is a bl even if it's not. It's also about so many other things although not really delivering on a consistent message.

I thought about adding my thoughts to this thread but it was getting long and I started to get sidetracked so I decided to just make my own post about it and share my thoughts on it. @lurkingshan @bengiyo and @twig-tea all made good point about why this show is faltering with its own themes, and @respectthepetty made a compelling argument that the show knows what its doing.

I think no one is wrong and I land somewhere in the middle with it. As in, depending on what I choose to care about. Much like @respectthepetty, I am bias about this show. For different reasons tho. I like Tay and New a lot so I lead with that instead of my critical thinking. just as a personal aside, I tend to do this when my brain and heart don't align. I ignore when my brain tells me that the show is doing something wrong so that I can enjoy the rest. This works particularly well with QL for some reason. I am after all a person who liked Dangerous Romance even when my brain kept trying to damper my enjoyment with logic. And also sometimes I'm a hypocrite and there's no reason for why I like a show and not another. Ok, there's usually a reason but it's most often not a good one, or a rational one at least. That's just how it is.

Anyway. Because of all the excellent points made by that post I decided to fully engage my brain and I've been thinking about what this show is trying to say and I agree that unfinished business is the main thing in the ghost stories but I would have to shut off my brain completely to not see how class factors into all of it as well.

The ghosts up until now, except the chef, were all lower class and one can argue that it played a part in how they died or what happened after. I'm not including episode 7 for reasons that I will explain in a bit. Even if Ride's unfinished business was about love, the fact that he was the only rider doing deliveries in the rain, at least to me, read as he was driven by the need to make money in the first place. Even in the chef's case, the customer that Peach basically poisoned was rich and it was a part of the headlines about it and the reason for the restaurant getting shut down. Also most of the individual stories didn't get deep into these issues, case of the week usual issues, but it was always an underlying theme. Also as @twig-tea said all the parallels work even better because this disparity also exists between Home and Peach.

All this gets me to how I started this post. This is a bl even if it isn't. The choice to include the tragic bl storyline in the middle of this, in my own brain, can only be explained if I believe this is a bl. (The tragic bit was thematically consistent with this show.) Specifically a gmmtv bl. Cause ultimately they have a tendency to forsake narrative consistency if it stops serving the main romance. It's also the only way I can explain having a bl pair mirroring the other bl pair on screen. So in that way it's consistent with gmmtv. Just brush aside anything that can get in the way of the couple not having a happy ending. This is also how I explain my biggest issue with it. Pangpang. She's the shipper. She's been the shipper from basically the start.

Home basically killed her brother, why would she be the driving force in getting him forgiven? Because of my previously admitted bias, I forgave Home almost immediately. It's New and he didn't mean it, it was an accident and he wanted to call for help and do the right thing but his family interfered and.... I could come up with a lot of reasons because I want to forgive him. So everything else can be ignored. But all this obviously doesn't apply to Pang. So it can only be the bl in the not a bl show.

Now, on full brainy mode, this last episode makes no sense with everything else this show has been saying until now. They used a branded pair to ignore any class disparity between our mains, since the last ghost story didn't really parallel that, and over the forgiveness part, and jump straight into Peach has forgiven Home and will probably now become his saviour. Don't even get me started on the fact that Peach is still broke but saving the rich dude that turned his life to crap will be the most important thing right now. I wonder if gmmtv has ever ignored class disparity between a main couple and instead focused on the richer dude's drama while ignoring the struggle of the other one, all in favour of the main romance and lovey dovey moments 🤔. But I guess I'll reserve full judgement on that until the next episode.

yeah, so basically this is where I am at with this show. My two sides are fighting but come next wednesday my brain will take the back seat for 45 minutes so I can enjoy Tay and New and after that maybe I'll think about it some more.

#peaceful property #i hope this all made some sense to anyone that made it to the end #this is of course my own personal opinion and how I choose to engage with certain shows #it doesn't really make sense a lot of the time but it works for me #mostly #there are of course exceptions but that's a whole other thing #no need to get into it with this show #and and now I need to watch something that doesn't require brain power #perfect timing for fourever you #I am tired #thai bl #rose rambles

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artsymeeshee · 2 months ago

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Hello! I just found your laundry list of art last week, and I have to say…I LOVE IT! Love the instinct comics, Ford being cool never ceases to make me giggle, and I loved the autumn drawing. I’ll admit, that one had me in tears…made be believe in the what-if’s of my own family. What they…could be like someday. Or what I wish they were. Thanks for the tears, they were much needed.

Anyway! This is what I came to message you about! Although,…I am extremely sorry for the late message. I tend to check back into tumblr at…weird hours of the night. Heck, it’s almost the next day as I type this. I seriously need to sleep more. So! I had a few thoughts on Stan and Ford relationship, and I wanted to hear your thoughts on it. Just a disclaimer, I’m kinda basing this off my actual life as I find these characters mirror personal events very closely! I am also a writer and soon to be author! Might post some archive of our own content about these two soon. Also, and this is the most important, I have NOT read book of Bill yet. So plz…no spoilers. Anyway, long introduction aside, let’s begin!

In my personal head cannon of these two, which I don’t imagine is “too” different than how anyone else could see them, Stan and Ford have an extremely awkward and emotional conversation after Weirdmagedon. Why? B/c they’re both, to some degree, emotionally numb. In my opinion, why wouldn’t they? They haven’t spoken to each other in 40 years, properly, and they have repressed a ton of their emotions since then. It’s hard to bring that back up. (Speaking off of experience) I’d say even harder for Ford. Stan, thanks to the twins, has learned to loosen the locks on his heart while Ford kept running away from those emotions to defeat Bill. Just like his ambitions, that was the main priority, and everything else later. To me, this would explain why Ford never bothered to talk to Stan properly since coming back during the show. He wouldn’t know how to. If they were to talk, and this is where the writer in me comes out, I’d write Ford as the one that needs it most. He’s been traveling dimension for decades, running from the past that held him back…but he has no anchor now. Stan becomes that anchor, paralleling what he wasn’t when Ford was lost. And Ford…he just breaks. Like, completely breaks. And Stan is there with him, breaking like he is, but still there for him brother. Finally back after all those years apart. And as someone who has been on the side of neglect from one’s own brother…nothing would be me happier if we went to connect. Just like Stanley and Ford. And eventually, soon to be sailing on the seas to connect even more.

Phew…that was a lot. Sorry for the rambling. Told you I had some ideas! So, what do you think? Do you see Ford acting like this? If not…why? Genuinely, I’d like to know. Anyway, thanks for taking your time to read this. Again, sorry for the ramblings. Oh! One more thing, I know you aren’t taking art request right now, but would you be open to take them in the future? Say in 2 months time? Anyway, bye!

Well first off, thank you! I appreciate it! :D

And to answer your headcanon, I agree on it. Stan is definitely more open to talking, especially thanks to the kids. I mean there's still moments where it's hard and awkward for sure. And Ford would for sure have a harder time opening up, especially with the constant guilt and mistakes that replay over and over. And there's always that lingering feeling of "well, Stan has to hate me for what I've done" and it's always so surprising when Stan tells him differently and he never once hated Ford. Sure, was angry but never hated him. He had too much self-hatred to feel that way with Ford. And as many times as it needs to be said or repeated, it really makes all the difference when they tell each other how much they love and care for each other. As Alex said, "they're both so damaged, they desperately need each other."

As for the requests thing, most likely not. Only because I'm entering the busiest time of year for my work so it's gonna be a miracle if I even have enough energy or motivation for drawing if I'm not completely burnt out.

#ask #water-god19 #long post

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casscainmainly · 4 months ago

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Jason being turbo evil during the Dickbats era is so interesting when thinking about Black Mirror. I don't think it's intentional, but SO many things could be read differently in the context of Dick and Jason's relationship.

Like the core theme in Black Mirror is letting go vs. not letting go, which manifests in the circus motif of holding onto someone who's falling:

Importantly, Dick is on the side of letting go. Of releasing, of letting things fall. It's probably just meant to distinguish him from Bruce, but it's interesting that this is happening post-Battle for the Cowl, which ended with this scene (in Battle for the Cowl #3):

This fall represents Dick's inability to save Jason, and Jason's unwillingness to save himself. So the falling/letting go motif in Black Mirror could be read in direct response to this - he had to let go of Jason (physically and emotionally) to become Batman.

Jason's name never appears in Black Mirror, and he is only alluded to once. In an auction selling off items of horrific value, the auctioneer puts up the crowbar that Joker beat Jason with for sale:

This crowbar is what Dick is using in the above image where he says "the feeling is like slipping, like your hands sliding out of the hands holding you". This again connects Jason to Dick's philosophy of letting go, but Dick never actually thinks about Jason. His internal monologue here is entirely general, despite him holding the item that killed his brother; his mentality has completely let go of Jason, to the point where he doesn't think about him anymore.

Dick's response to Alfred finding the crowbar is also interesting:

There's something dismissive about the way he says "just toss it in the river," yet it's clear (through his shadowed facial expression) that the crowbar deeply troubles him. It's the war between letting go (tossing it in the river) and not letting go (keeping the crowbar). He then talks about the growing evil of Gotham, which is another of Black Mirror's motifs - being unable to recognise something that was once familiar. I wonder how much of that is also linked to Jason, whose turn in Battle for the Cowl is described by Dick as "a flipped switch".

Jason's words also echo throughout Black Mirror. In Batman and Robin #6, as well as Battle for the Cowl #3, Jason is the most vocal about Dick being a bad successor for Bruce:

Dick's insecurities about being a good Batman in Black Mirror can be traced back to these conversations, and Jason gets Dick so bad in Batman and Robin that Dick actually tries to resurrect Bruce in the next issues. Despite Jason never appearing in Dick's internal monologues, it's clear he heavily affects Dick's actions and beliefs, or at the very least compounds his insecurities as Batman.

Of course, the most obvious parallel to Jason is James Gordon, Barbara's (clinically) psychopathic brother. I think Babs and Dick mirror each other a lot here - they both have the attitude of 'letting go' of their respective brothers, whereas Jim represents holding on. The narrative itself, though, implies Jim is right:

Holding on isn't about forgiving James for his actions, but about never giving up on him. About believing that he (and, by extension, Gotham) deserves someone who will stay and fight (to protect them, and to protect others from them). Dick comes to understand this:

Dick uses the word "redeemed" here on himself, implying he feels he needs to be redeemed for something - in the context of this post, we could read it as his failure to save Jason, a failure baked into his adoption of the Batman mantle from the start. More importantly, this monologue shows a shift in Dick's philosophy. The idea of letting go is the idea of mobility, something Black Mirror hammers home with the circus imagery. Here, Dick is rejecting that in favour of stability - of staying still, or fighting instead of dodging.

If the New 52 hadn't interrupted the Dickbats era, it would've been interesting to see Dick deal with Jason in this new light. He's tried to help Jason before, but kind of accepted that Jason would never use it:

Post-Black Mirror, though, I think Dick would have a different approach to 'saving' Jason. Idk I just think there's some untapped potential in their dynamic that this era represents, as it indicates a potential repairing of their relationship rooted not necessarily in Dick's love for Jason, but in Dick's newfound approach to Gotham and redemption.

#dick grayson #jason todd #dc black mirror #batman #this isn't cass related but i've been thinking about jason and black mirror for soooo long #i am not a jason expert tho take this all with a grain of salt #dickbats

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jesncin · 3 months ago

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Chimera Constantine breakdown, refs & nods mega-post

Welcome to the master post of behind the scenes for the Chimera Constantine comics. In the style of the Sons of Mars ones I made, this post archives our research and process. So here we go! This will be a mix of showing references and personal anecdotes for how we cobbled this project together.

I'll be repeating some things I've mentioned across blog posts because I like having all this info in one place.

So! There's a lot of ways to go about re-interpretation and re-imagining a story, and one of my techniques is to not get overly attached to research. While it's good to be informed about a character, sometimes knowing every little thing about them can make one hesitant to innovate and try something different with them. So I'm purposely mindful about how much material I research.

But how does something like that work when the character in question has only 2-3 total appearances, one arc, and a quick revisit several years later? We play twin telephone.

For this project, Cin read the Hellblazer Golden Boy arc and vaguely retold it to Jes, who would then write a story based on assumptions and half-remembered memories of the story. Letting personal experience, influences and bias fill the blanks. We're inspired by how Naoki Urusawa wrote Pluto based on his mis-remembered memories of reading Astro Boy. Also when I was a kid I used to look at book covers and summaries and make up a story based on the limited information I was given. It's fun for me. Part of why I love obscure characters so much is that the lack of content about them lets the reader fill in the blanks about their lives and try telling new stories about them that aren't constrained by a saturated canon.

The original Golden Boy arc written by Jamie Delano (#39-40) is about John Constantine coming to the realization that he strangled his twin in the womb. After taking some 'shrooms, John...manifests into another reality, it's very surreal. There, John meets his twin from a universe where John had died, and his brother gets to live. The twin (taking on the name John Constantine, we'll call him Golden Mage to keep it simple) is John's opposite in every better way. They decide to merge their souls to restore...the universe. You kind of had to be there.

John's twin returns many issues later (#249) to wrap up a different arc, there he and the story are written by Andy Diggle.

The first panel of our full comic references the tarot cards John gets from his reading with Zed.

This panel is a direct reference to this scene where John sees his own shadow on a curtain after his reading with Zed. I like the imagery of this arc, even when the dialogue describing twins is really cringe. We changed it to a mirror to reinforce the mirror imagery throughout the comic. Speaking of which...!

Through Jes' reworking of the story, mirrors were streamlined to be the main way alternate universes were portrayed in the story. They'd be the main motif that paralleled the twins too. In issue #249 of Hellblazer, John uses the mirror to confront his twin who resides within himself after their soul-merge years ago.

The line "He's so beautiful, he frightens me." is spoken by a doctor witnessing the Golden Boy's birth in his universe. We repurposed it to be John's dialogue for when he's describing the man he sees in the mirror.

John's twin uses a sacrifice involving these candles to summon his sickly twin. Jes repurposed the use of candles to a magic salt circle that contains spirits like the Golden Boy (he's nicknamed "Goldie" in our take).

The Golden Boy! Even though he died in the womb, he's portrayed as a boy. Probably because a floating fetus wasn't what they were going for. We wanted to give him a distinct look that foreshadows how much he would grow his hair out. I like that his mouth isn't visible! We use the shape of his eyes and posing to get across how he's feeling. It gives him a vacant-toddler-stare I find really endearing.

We made some minor adjustments to the Golden Mage's design. Initially, we followed his canonical pulled back long hair. But since he was a challenging character to emote when we had one less arm to work with, we decided to part his hair so that it could carry how he's feeling. I like when I can get it to cover a part of his face for intense moments! If it was animated, it would 100% be expressive Ghibli hair.

Our main goal for Golden Mage's characterization is to make him feel like his own person. In the original arc, he's less of a sibling and more of an au of John Constantine himself. He doesn't get his own name. Despite gloating about having a better and more fulfilling love life than John, he also shared the exact same love interests John does. Being a twin is less about a family story and more a vehicle to talk about self hatred and potential here. Which isn't fair to the individuality of the characters!

(note, this is not how the panels look in the og comic, I've rearranged them so that they display on this post better)

So we characterized the Golden Mage to still have his canon charisma (albeit with the dialogue toned way down from his original appearance), but to have a thinly veiled temper under all that bravado to foil his con-man trickster brother. The Golden Mage was vaguely described as not being particularly attached to the love he receives. Golden Mage is also dismissive of his womb twin's death, saying it's something he shouldn't grieve since he never really knew him. We reinterpreted these lines as him being in denial over his brother's death, thinking himself as above his own feelings of grief.

Also as a tiny note, we kept the Golden Mage's name ambiguous to keep with the vibe of the original comic, but in my mind I headcanon his full name to be Marigold "Goldie" Constantine. The yellow flower is culturally associated with prosperity, but also grief and jealousy. It's perfect for him! So we made references to the flower in the cover and first panels of the comic. I also headcanon that as a kid he called John Constantine's ghost "Johnny".

My influences for how this whole beginning meeting scene is staged and played out is E.M Carroll's When I Arrived At The Castle. The "animated" panels of Golden Mage looking back at John and breaking through the mirror is a direct call back to the keyhole sequence in that comic! The premise of daydreaming about how your life could have been and not realizing that you're staring at an alternate universe is loosely inspired by Junji Ito's Hellstar Remina. I really like the concept of staring into the unknown and then something sentient staring back from that. "What if our day dreams are just other realities we're dreaming of" kind of deal. I don't see that sort of thing in the saturation of multiverse stories these days.

Next reference is the Dead Boy's Heart! While I like that this story's its own thing, I was surprised it wasn't linked to John's dead brother in any way. It felt thematically relevant, so we brought it over as a device to trap Goldie while the brothers merge souls.

Twins can be positioned in a bunch of ways in the womb. I think canonically, John and Golden Mage were positioned like they are in the cover for Hellblazer #39, ideal for strangling I guess! We changed it to echo the motion of yin and yang. I do think the inclusion of yin and yang is a little cringey in the original comic even though I get what it's going for (balance and all that, it's just kind of simplistic to the philosophy). But I do like it as a way to echo card imagery we established in this comic. We combined the imagery of the tarot cards featured in the Golden Boy arc and King/Queen/Joker playing cards. So it felt right to bring back that whole upside down twins in the womb thing. Special fact, this is how my twin and I were vibing in the womb.

The scene where the twins hit Ctrl + E to merge layers! It's a pretty iconic pose! I like how their heads peaked out of the panels so I brought it back for our comic too. In our version, the twins fail to merge their souls entirely. In the revisit to the Golden Boy character in the comics in issue #249, it's revealed that the merging "failed" in some way, trapping the Golden Mage within John's soul.

For John's ghost counterpart from Golden Mage's universe we took Dave McKean's portrayal of him very literally haha. I know he doesn't literally have one eye, but we thought it gave him a really distinct look for us to stylize. We decided to keep the ghost kids consistent with no mouth and vacant pupil-less stares. We gave ghost kid!John a sort of bedsheet ghost form to contrast against Goldie.

Speaking of one eye! That's another motif we decided to emphasize throughout the comic. It's not in the source material at all, but we liked it as a way to both hint at chimerism and visualize how the two brothers serve as incomplete halves of each other. Special fact! Heterochromia can show up in chimera twins. Of course in the case of identical twins like the Constantines, their chimerism isn't as detectable since they have identical sets of DNA. But! It's still fun to stylize in a supernatural way. For our take we show the glowing golden eye as the soul of the Golden Boy manifesting in his brother. I like to think that John takes advantage of how undetectable his chimerism is to have an upper hand in any soul-related deals he makes.

This stylized heterochromia is inspired by @ratblazer 's Constantine design! I made a subtle nod to it with young punk John's make up echoing the scar in her design too.

For John's dynamic with Goldie the Golden Boy, we built the conflict of the story around making him doubt his attachment to his dead brother. There's a line of dialogue in the revisited Golden Boy arc about John needing to "let go", so we repurposed it into the Golden Mage assuring him that his attachments make him weak.

Even though the Golden Boy doesn't show up nearly as much as I think he should in canon, John has been shown to be really sentimental about him. John wants to be the Golden Boy's friend because he's so beautiful John mistook him for Jesus as a kid. Canonically, the Golden Boy ghost rejects John's friendship, likely still not over the whole strangulation in the womb thing. It still breaks John's heart though, he's a sobbing mess about being owned by a dead kid.

We changed this whole dynamic! The twin murder in the womb felt very X-men Xavier vs Cassandra Nova, and it's hard to get behind babies having that much motivation before they're even born. In our version, Goldie is a vanishing twin absorbed by John, the sickly twin. Infants being accidentally strangled by umbilical cords does occur in reality. However, we changed their origin to being that of Vanishing Twin syndrome because it was more specific for the ideas we were going for.

I feel this crucial change is more in tune with the overall themes of Hellblazer. John always cheats death at a cost. People are constantly sacrificed for John's continued survival. But the Golden Boy's case would be special, because he sacrificed himself out of love before he even knew what it means to love. Unlike the other ghosts that haunt John Constantine, Goldie isn't resentful of John. I think it makes more sense for the Golden Boy to be attached to John because he's all the Golden Boy's ever known. As a chimera twin, John is like a horcrux holding his brother's soul in his body. This reaffirms survivor's guilt to be something John experiences since his birth.

Canonically, although the Golden Mage initially feels sorry for the ghost of John that haunts him, he rejects John as well. John's ghost in canon is like a nuisance that keeps bothering Golden Mage. There's an instance mentioned of Golden Mage trying to recreate his murder in the womb? It's cryptically written. But Golden Mage does keep using the phrase "banished" to describe his brother.

We took this and made it so that he performed an exorcism on himself to remove his supernatural chimera-bond to John's ghost. The Golden Boy arc is pretty unique when compared with how saturated multiverse stories are nowadays since it doesn't share the science fiction sensibilities. Grief comes up a lot in multiverse stuff, in these stories characters use parallel universes to save a loved one as they're bargaining with their loss. For our take, we wanted a character to use the alternate universes to hurt and lash out at the loved one they're grieving. I pulled influence from Everything Everywhere All At Once's concept of a self destructive character on a search for the one familial connection who could understand what they're feeling.

References! The first panel is a nod to issue #36 where John is sleeping with Marj. We changed her to Kit. The second panel is a direct callback to issue #67, an iconic visual for his break up angst era.

Trivia; this page was added at the last minute! I needed something to bridge the birthday cupcake page and the final panel of Golden Mage's breakdown, so I linked them through candles! In this weird case, I reference my own work! This is a callback to Birthdays, a short comic we made for John Constantine's canonical birthday. It sets the premise for his relationship with Goldie based on the habits and experiences of survivor twins. The pages referencing this comic are meant to re-establish that John shares meals with his twin.

I wanted this page to feel like John's lighting an incense for his dead brother, and to contrast it with the snuffed out candles from Golden Mage's flashback. The candle has a yellow and blue intertwined spiral pattern that calls back to the color of John and Golden mage's dialogue boxes and speech bubbles, along with how twisted they look when they merged. Implying that in this universe, they're together in some way. I really wish I did this intentionally but it was by complete coincidence of making the cupcake pink and balancing it out with pastel primaries. But I sure can acknowledge how cool it looks symbolically okay???

The dialogue here is a nod to John's monologue in issue #19 where John is comforting Simon Hughes. It's re-contextualized a bit to be about sharing grief together in our comic.

This is a really goofy one but- since Golden Mage is supposed to be the fully realized potential of John, we thought that he would have a successful career as a musician and singer where John didn't. I don't think Golden Mage would be a punk singer though, he probably does something he'd consider more elevated.

BUT-! In the 30th Anniversary edition of Hellblazer, Sting (the guy John's appearance is based on) wrote an introduction for the edition while roleplaying as the Golden Boy. Which is nuts. The Anniversary edition basically canonized Sting as being a Constantine variant in our universe with the soul of Golden Boy. Sting, as Golden Boy, describes himself as a musician and singer too. Absolutely bonkers for Sting to throw me a bone this late in the game since no one's touched this character in ages.

Another E.M Carroll influenced panel sequence. This is from the digital comic Out of Skin.

So that brings us to the end of the comic! We've had the ideas for this comic cooking for some time, and it's people's continued interest in our takes on these characters that gave us the chance to finally bring the story together.

I'm very fascinated by the Golden Boy story, not because it's particularly strong compared to other stories in Hellblazer's run, but because its intriguing premise is bogged down by its surreal take on typical Evil Twin tropes. og Hellblazer's strength was always in its raw humanity. John Constantine's character countered the sensational spectacle of his superhero contemporaries. He may be able to outwit a vampire but he's can't fight back against being brutalized by the police. In one of his most iconic arcs, he finds out he has cancer- not because of any supernatural shenanigans, but because he literally smokes too much. In another arc, John's long time girlfriend breaks up with him, and he lashes out by saying the cruelest things to her. When he hears that his abusive dad is murdered, John still cries about it.

I think the Golden Boy arc and the retcon that followed his brief return actively undermines what makes Hellblazer special. Suddenly John's having X-Men-level evil twin escapades in the womb. Suddenly, merging with his twin will help save the universe. Suddenly, it's not smoking that caused John to have cancer! It was actually because he merged with his twin and his twin became the cancer from inside him! Suddenly it wasn't a moment of lashing out that caused John to say all those cruel things to his ex upon their break up, that was actually the Golden Boy controlling him from within, so you see it's not really his fault! Also what followed the break up was extra devastating because of the Golden Boy, somehow.

Often I hear in fandom that when you change a character too much from their canon counterpart it's basically "just an oc" at that point, but in the case of characters who get to be re-imagined and passed through many creative teams, I think that kind of mindset is deeply limiting for transformative work. The line I draw between "just an oc" and an interpretation is if the changes involved engage with their source material in any way or if they're just superficial. Big changes and 180 flips can work because they still respond to the history of said character. It's why we see that kind of thing in canon a lot. These characters are inherently built to be passed through many hands in meaningful ways to varying degrees of success. So I hope that by showing all this process that goes behind big changes to a canon character, people better understand what can go into transformative creativity.

Our thesis for this re-imagining is to take what makes Hellblazer special and re-examine the arc that we felt undermined that. Despite the grief John has for many characters in his cast, mourning isn't brought up at all in the Golden Boy arc. It's dismissed by the characters in narration, and the Golden Mage himself isn't even recognized as a sibling by the narrative, no matter how many times John calls him "bro".

Survivor twin grief over dead womb twins especially is a real thing that's often dismissed because in the words of canon Golden Mage himself "I couldn't mourn for those I'd never known". This is not true to the experience of twins. They play with and remember each other from spending 9 months growing in a tight space together. So when one of them doesn't make it out with the other, that survivor feels a grief they can't comprehend. It can manifest in unresolved trauma, commitment issues, and survivor's guilt. All things that feel so relevant to the themes of John Constantine's character. I think that by integrating the real lived experiences of survivor twins, the Golden Boy arc could've been one the most human and personal parts of the original Hellblazer run. It's could've been a story that helped a community of people so rarely validated in their grief feel seen.

#john constantine #hellblazer #dc comics #vertigo comics #jl remix #ramblings #jesncin dc meta #goldie constantine #golden boy #very self indulgent showing my homework stuff #also includes some meta about fanon

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shallowrambles · 9 months ago

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I love the view that Dean figured out his deeper feelings for Cas in 6 & 7, and the majority of 8 was Dean arcing out of his hero-worship and people-should-never-let-me-down neuroses.

And then.

Post-perceived rejection… (Remember: Cas threw OFF Dean’s hand in Purgatory, and cut OFF cupid’s hand when it was aimed at him.)

So. Late Seasons 8 to mid-12 are Dean actively trying to get over Cas. In s9, he’s off-key paralleled with Josie Sands and Abaddon. (When it’s actually Hannah who’s “the Josie.”) Then he transitions into a reversal-power arc, towards being force-fit into the cartoonish, dare I say ham-fisted Cain role and its parallels. (They spell out the parallel in a distinctly odd way, esp for SPN. Too on the nose. Prescriptive. That’s because it’s actually mirroring Dean’s power fantasy according to Dean’s deepest, least charitable, nihilistic wishes.)

In s10, Dean still appears hung up on Cas, trusting him with the blade and begging him to help kill him if he becomes disinhibited/loses his free will again. Also, “I’m glad you’re here, man,” and Cas’s awkward reply, “Another time. There’s a female waiting in the car.” In a way, Dean’s feelings and fantasies serve to taunt him. The Cain parallel itself feels like a taunt.

Dean may realize Cas “admires” him but it’s definitely not the way Dean wants, that is: not like a secret admirer. Dean is mad for the unbalanced power dynamics re:Cas in the past. Now in Dean’s power reversal: Cas gets the wife treatment and Dean gets paralleled with the powerful Cain figure. He gets to beat Cas just as Cas beat him.

And it’s no accident the Dean’s power reversal arc culminates in a reverse-crypt. Because that’s what Dean’s bitter about. (“That’s not gonna be a problem = You can’t hurt me anymore, not like you did.”) It’s rooted in the bitterness of perceived rejection. That’s why Cas bears the brunt of Dean’s anger here.

Afterwards, Dean feels soooo guilty for being angry.

Later…

At various points, he tries to reassure Cas he’s okay with and appreciates how things are: a best friend, a comrade, a brother. Acceptance!

Dean spent season 10 dealing with his baggage and hoping hopelessly, then in season 11, I think he resolved to accept things. He may have toed the water with sexual tension and short shorts at times, but overall he was trying to live with Cas and let Cas off the hook.

He also encouraged Amara to deal with her own baggage the way he’d worked through his. Season 10 was his reversal arc: him in power for once, with Cas getting the wife treatment and Sam’s corruption being highlighted for once. And in season 11 he was spirited away, dealing with being powerless once more.

After that was done, he tried to swallow his feelings and let go of Cas, the way he encouraged Amara to let go of him.

He may perceive season 11 as his letting go of irrationally wanting Cas. The car scene may represent him giving Cas an out. Even releasing him from any perceived obligations.

So when Cas shows interest in season 12, I do think that threw him! Made him so nervous that he started hoping again, getting all tentative with his little mixtape.

Then Cas returns the damn mixtape. (Burned again!) But instead of getting bitter, Dean says to keep it, it’s a gift. Then he mumbles another “we’re all stronger together,” lil spill to cover his embarrassment.

Because now, he’s fully accepted that he loves Cas. Dean’s feelings haven’t faded so he has resolved to live with them as they are. No matter how many times he gets his hopes up and disappointed.

But now, Dean’s more scared. In season 8 he was ready to tell Cas “I love you.” He spent four years trying to navigate those unrequited feelings and convert them into familial camaraderie.

It’s much scarier in s12 with cosmic consequences on their heads, and Dean with everything he’s ever wanted just at his fingertips.

My fave thing about it all is that Dean and Cas are ready for each other at wildly different points and hardly ever sync up in between all the disasters.

#josie abaddon dean amara and the false parallels by the #abaddon demon dean amara #false parallels #josie sands hannah #josie sands #amara #i am def dehydrated delirious plz ignore meee #josie sands dean parallels #dean and the reversal power arc

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hoseokslefteyebrow · 4 months ago

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The Anomaly || JJK

Chapter 5: It's Like That

summary : In which you're isekai'd from your (own) parallel Jujutsu Kaisen universe to the canon universe.

wordcount : 2.8k

Pairing: Jujutsu Kaisen X Reader, eventually Character x Reader (idk who yet tho)

Masterlist | Next

The mission you guys were called for was in fact, not top secret. That mission was about a week ago now. Your current mission? Also not top secret.

In fact, the four of you have just wrapped it up. It was in the city, and now, you're all left with what to do for the rest of the day.

" I think I'll go see a movie. "

Yuuji shares, scrolling through his phone to see the many titles which are currently playing.

" What about you, Kugisaki? "

" It's still early. I think I'll go see a movie. "

" What about you, Y/N? "

Over the past week, you found yourself growing closer with Megumi. It was quite silly. The Megumi of your universe didn't exactly get along with you all that well. Your Yuuji could stuck to him like glue, but your Megumi and you could not sit in the same room for longer than an hour before the two of you start bickering. (Yes, it went down between the two of you that often.) On the rare days, the two of you would get into a physical fight.

That usually ended with you annoying him to no end, considering your fighting style revolves around other people their movements. It would eventually also escalate with him using his Ten Shadows technique on you (yes, you manage to piss him off that bad, that often.) Which in turn, would send you running. Usually to Sukuna. Not necessarily because he could beat the Ten Shadow technique, but simply because no one but you ever dared to bother Sukuna. It was a simple, unspoken rule. One Gojo loved to disrespect often.

" Ah, I think I'll join Nobara. "

He nods while you grin, linking arms with Nobara who mirrors your expression.

" Alright. I'm heading home. "

Moments later, Megumi is on his way home.

" I'm going to the movies, what about you guys? "

Yuuji asks, waving his phone as you and Nobara are stood on the staircase leading towards the metro station. You let go of her, in turn of facing him.

" What are you watching? "

" Human earthworm 4."

He looks so proud as he says that.

" Who even watches that?! I haven't even seen 1,2 or 3."

" I think you'd be fine jumping in in 4-"

Yuuji begins, explaining the plot to her. You cringe. It's not your type of film.

" -So the theme is actually love! "

Yuuji exclaims, all excited. You blink.

Ew, worm man.

" I don't want to see some wormo man. Regardless of the theme. "

" It's human earthworm though. "

" I'm not going. "

" Awe, Y/N, what about you? "

" Uhm, no thanks. That movie franchise is... Not my thing. "

" We're gonna go shopping. Wanna join? "

" I just said I'm going to the movies! "

" Okay, see you later then. "

" Later Yuuji, have fun! "

The two of you walk along for a moment, agreeing about how stupid the whole concept of human earthworm is, when-

" Excuse me, do you know Itadori Yuuji? "

Moments later you, Nobara, and a girl whose name is Yuko, find yourselves at a simple cafe, as she explains the situation to you.

" This is me at our middle school graduation ceremony. "

She hands her phone to Nobara, and you peek over her shoulder. Woah, now that's a glow up.

" Woah, wait, that was only six months ago! What happened to you? "

" You did have quite the glow up. You're gorgeous!"

" Ah, thank you. I did grow 15 centimeters. And with moving to Tokyo and the stress of changing environments... "

" Woah... You're a real Sato Kuruko. "

" That's Itadori. -"

She's showing the two of you a different picture now. You recognize Yuuji in a different school uniform, only noticing now that he's really growing better into his features.

You hadn't gone to the same middle school as Yuuji in your own universe, instead, you were home schooled with the other kids of your clan. It's where you and Noritoshi learned to get along so well. He was a bastard child, yet next in line as the chief because of his technique. You're rejected because of your technique.

" On graduation day, I worked up the courage to ask him for a picture. I actually wanted to get his number too, but it was already decided that I would be moving to Tokyo. "

She continues to explain, her eyes downcast, a little sad about the memory.

" So when I saw Itadori earlier- I thought maybe with how I look now, I might.... "

You and Nobara catch on, giving each other incredulous looks.

" Wait, Yuko, you mean-"

You begin, looking at her like some sort of silly cartoon, Nobara finishing your sentence for you.

" - it's like that? "

Yuko replies with the same energy.

" Yes, it's like that. "

Barely a moment later, Nobara is calling someone. Ijichi, who was on his way to drop off Megumi. It doesn't take any effort for the driver to turn around. You doubt Megumi is aware of it.

" Someone who knows Itadori well is on his way here now. Let's hear what he has to say. "

" Uhm, if either of you are also interested in Itadori... "

Yuko starts, though Nobara's deadpan expression pulls a giggle from you.

" No. "

Her eyes look dead serious as she says so.

" Even if hell and earth were to dance the lambada, not happening. "

You snort at her words.

" Yeah, you don't need to worry. I'm not interested either. "

You smile reassuringly at Yuko. A few moments later, Megumi has arrived at your table, looking agitated. You smile at him.

" All right, what's the big deal? "

" Hey Megumi, does Itadori have a girlfriend? "

Nobara doesn't waste time today. She's getting straight into business.

He raises a brow at her.

" Hue? "

" This is Ozawa Yuko. She's actually something, something and something like... "

Her explanation is shady, both her and your expression serious.

He breaks out a sweat, understanding the situation.

" So it's like that? "

Both you and Nobara nod, sweating the seriousness of the situation as well.

" Yes, it's like that. "

He ends up sitting down beside you. (Figure out the seating plan yourself, I'm not gonna make it complicated.) With a black coffee.

You will never understand his preferred taste.

" I doubt it. He didn't seem particularly upset about moving to Tokyo all of a sudden. And he's got one of those posters hanging up in his room. Anyone with a girlfriend wouldn't put up something like that, right? She wouldn't like that. "

Meanwhile, Nobara seems to be more concerned about his choice of drink.

" Are you the type who drinks coffee black around girls to show off? Please stop. "

You blink as well, suddenly curious. Was he?

He's annoyed by her words.

" Don't forget, you're the one who called me. And I always drink it black. "

Yuko finally speaks up now, an adorable blush on her face.

" Um, by the way, do you happen to know what his type is? "

" A tall girl with a big ass. "

Both Megumi and Nobara turn to blink at you. You blink back at them.

" What? I grew up around him and his- around him. "

You blush in embarrassment, realizing you could be wrong. There's been enough proof of differences between your universe and this one after all.

" Well, you're correct either way. He mentioned something about liking tall girls. "

Yuko, Nobara and you seem to communicate telepathically, like some kind of electric signal spreads between the three of you. You clink your glasses together, and Nobara slams her phone on the table.

" You've got a shot! I'm gonna summon Itadori! You're okay with that right, Yuko?! "

She nods.

" Yes! "

The messages between them are silly, and fast. And now, all that's left to do is wait.

Not that you have to wait long. Soon enough Yuuji joins the scene, a paper bag of stuff in his hands.

" Oh!, Fushiguro's here too? "

Both you and Nobara blink. That was fast.

Suddenly, you hurriedly glance at Nobara. She hadn't told him why he needed to come. Hadn't told him about Yuko. There was no way he could recognize her when she changed so much- Nobara seems to realize too, sweating the situation, holding out her hand to quickly introduce the two of them to one another.

" Itadori! This girl is-"

" Oh!, it's Ozawa. How did you end up here? "

All three of you are impressed. Holding up imaginary 10s for his recognizing skill.

Yuko and Yuuji end up spending the rest of the afternoon together, with Megumi, Nobara and you tagging along behind them. Megumi even felt soft enough to hold Yuuji's stuff for him.

" Was that really okay, they could've at least exchanged numbers. "

Megumi points out, as Yuko leaves by train later that afternoon. You agree. Kind of. They had seemed to hit it off after all.

" She exchanged hers with me, so it'll be fine. More important, Fushiguro, Y/N, I've finally recognized my own feelings. "

Both of you give her a curious glance.

" Hue? "

Was she about to admit to having feelings for him? You shouldn't be surprised. The two got along really well, after all-

" The idea of Itadori getting a girlfriend before I get a boyfriend really pisses me off. "

Maybe not. You grin at her words, an imaginary embarrassed sweat drop running down your brow.

Of course she'd say something like that. That sounds more like her.

Megumi doesn't seem surprised.

" Is that so? "

" Sorry for the wait! "

Yuuji jumps back in between you and Nobara.

" Walk behind me. "

You blink at Nobara's words.

" Huh, what's this? What're you talking about? "

Yuuji seems confused. A feeling you relate to. Megumi doesn't seem to care.

" Here. "

He's handing Yuuji back his bag of stuff.

" Here, while you're at it. "

" Huh? What's this? "

" Wouldn't you feel bad for making a lady carry them? "

She's handing him her own bags now.

" Sure. "

Yuuji doesn't seem to mind.

" Want me to carry your stuff too, Y/N? "

You smile at him, shaking your head. You're only holding one plastic bag loosely between your fingers, the bag full of snacks.

" Oh, shoot! The movie's about to start, let's go! "

Yuuji's jogging before any of you actually can check the time.

" Hey! Wait up! Don't take my stuff with you! There's no way I'm watching some wormo man! "

Yuuji ignores her words, turning to Megumi.

" Fushiguro, Y/N, wanna grab some popcorn? Fushiguro, you like caramel flavoured right? "

" Don't just assume we're all going to watch wormo man. "

" I told you all, it's human earthworm. 4! "

You regret watching human earthworm 4.

There had been a little too many horror like sound effects and jumps in it, and now you didn't feel like sleeping. Your fear of horror films was a bit childish, but it rarely bothered you.

And so you find yourself leaving your dorm. You want to make dumplings. But you don't have all the ingredients, so you need to go to a 24h convenient store.

" What're you doing? "

Your skin shivers before you jump, turning around to face the intruder who's sneaked up on you.

" What the- Don't sneak up on me like that! "

Megumi blinks plainly at you.

" Where are you going at this hour? "

" 24h convenient store. I can't- I'm gonna make dumplings. "

" Why? Do you really need to at this hour? Don't we have some in the freezer from the last package Yuuji got? "

" Yeah, but I want to make them fresh. "

Megumi blinks at you again, before sighing.

" Okay, well, give me a second to change. I'm coming with you. "

You hadn't even realized that he was in his pijamas. You're in your pijamas too, an oversized sweater and a comfortable pair of leggings. You don't feel bothered enough to change though.

A few moments later, he returns.

" Okay, let's go. "

Thankfully, the walk towards the convenience store is short. Only 10 minutes. The silence between the two of you is comfortable, as you walk side by side down the stairs of Jujutsu Tech.

You eye the forest surrounding the school grounds warily, like something might jump out to attack you any second. Like you don't have powers that literally render every living creature. Megumi glances down at you, realization finally making it's way into his brain.

" Are you afraid of the dark? "

The wrong realization. But don't worry, he'll get there.

You blink.

" Oh, uhm, err- something like that. "

He's admittedly puzzled. So you weren't afraid of the dark. Maybe you've had a bad dream? He doesn't decide to push it. Instead, he softly takes your hand, holding it in his own, distracting you from your fears.

You glance at him, a blush on your face. You smile gratefully at him, squeezing his hand as your peaceful silence returns.

It doesn't take you long to get the remaining ingredients, and soon enough, the two of you are back at the dorms, now stood in the kitchen.

" Thanks. You didn't need to come with me you know? "

You smile at him as you unpack the bag. He blushes, looking away.

" I wasn't going to let you go alone at this hour. "

He mumbles it, but it's just loud enough for you to hear.

He eyes you preparing, before moving to stand at your side, nudging you away.

" I'll cut up the vegetables. "

" Ah, thank you. "

There's a certain peace that resides between the two of you as you work in the kitchen together. It was nice, getting to know him this way. Your Megumi and you would've been bickering already.

Once you've set the dough, you help in cutting up the remaining ingredients. Noticing he's deciding on the amount of ginger to cut up, you smile at him.

" You can add extra if you'd like. "

He raises a brow at you.

" You like extra ginger? "

" Not necessarily, but you do, right? "

He blinks, his eyes open in amazement. How did you know that?

" Does your universe's Megumi like extra ginger too? "

You shrug.

" Not sure. We don't actually get along that well in my universe.- I noticed you ordered that chicken dish that's ginger based, and how you were measuring just now. I just put one and one together and guessed. "

The quick smile you send leaves him blushing once more. He smiles at you. He hadn't realized you were so perceptive.

His eyes return to his chopping work.

" Tsumiki used to make dumplings with me when we were younger. "

You smile as he softens around you, before your features sharpen.

" Oh, right, I completely forgot about it, but I wondered if I could visit Tsumiki sometime? I healed her in my universe, you see. "

Megumi's eyes widen, the grip on the knife he's holding loosening. Were you that powerful? You mentioned being able to use reverse cursed energy, but were you really able to apply that to illness as well?

" I- you healed her? With your reverse cursed technique? Why? I thought we didn't get along in your universe? "

You nod.

" That's true. Our relationship in my universe is hard to explain. I wouldn't borrow the you from my universe my charger, but if he'd need a kidney I'd offer it. We originally did get along. Until something silly happened. Gojo introduced us at a young age. "

Megumi's eyes remain wide. In all honesty, he was mostly still surprised that you might be able to heal her. He also didn't exactly understand how your universe's version of himself didn't like him. You were amazing. And if he were to be selfish, he wished you'd stay.

" Hey, you guys are still up- what are you making? "

Both of you turn to see Yuuji standing in the kitchen's entryway, holding an empty bowl he must be returning. The moment is gone, the conversation something you'll return to later.

" Yeah, we're making dumplings, wanna join? "

The Anomaly Taglist:

@luxylucylou @kalulakunundrum @strxbxrrylover @aethersslave @jenniferrvsesi

#idkeitherman #jjk x reader #jujutsu kaisen #jujutsu kaisen x reader #jujutsu kaisen fluff #megumi fushiguro #nobara kugisaki #platonic jujutsu kaisen #yuji itadori #sukuna #megumi x reader #jujutsu kaisen x you

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hollowed-theory-hall · 4 months ago

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Hi! I love your theories, and I spent too long reading everything I could find on your blog on Harry and V specifically, and bc I fell into a ship hole and can't seem to get out, here's a random question for you! Do you ship Tomarry or Harrymort in any way? Is it believable for you that it could happen? I mean, most of the time people tend to ship hermione with Tom Riddle, with the excuse that she's super smart, but I think Tom Riddle would despise her actually. Harry's not book smart, but he's very intuitive, he's clever and he's cunning, they could fit I think 🤔. Also they have shit lives, and they've been through similar things (not everything), and that'd enable them to understand each other and all. And Harry is annoyingly stubborn, so Tom/V would have a hard time manipulating him or forcing him by other means (like spells or potions), and he's observant and suspicious enough to notice random little clues and trusts his instincts so he wouldn't be blindly in love either? Sorry I'm rambling, I'd like to hear your thoughts about this if you have some? (If you don't ship it, no problem, I don't want to come across as if I'm trying to rant or complain or anything)

Have a good day!!

Thank you so much 🥰

As with all ship asks, ship whatever you ship and have fun, these are just my subjective opinions. Also, no, you don't come across as complaining.

So, real talk, I do enjoy tomarry/harrymort. This ship has some of the most well-written fics I came across in all my various fandoms and it has a special place in my heart. But my thoughts on this pairing are complicated.

To summarise I think this pair can be narrativly delicious. We got distorted parallel mirrors, both of them outright say how much they understand each other, how they know each other better than anyone else. They are narrative foils in many ways, having similar enough backgrounds but making different choices leading down different paths. It also helps these two are in my top 5 favorite characters in the series, so pairing them up is somewhat natural since it gets interesting results.

But, I don't think canon Harry and Tom/Voldemort would actually work as a couple realistically (or at least in a healthy way). Like, even without their history and specific circumstances in the story, ignoring everything and just thinking about how I see their personalities, I think they'd get on each other's nerves if they tried to date. They'd try to kill each other, completely independent of any prophecy.

Now to make a short story long:

(I'll be using the name "Tom" but it refers to Tom at any stage in his life)

First, yes, they do understand each other and have the potential for really seeing each other in a way that others rarely see them. I mean, Harry has Ron and Hermione, but they don't get it the way Tom would. They don't understand loneliness and abuse the way someone who lived through it would. I mean, these two clearly don't know what to do when Harry jokes about ducking his uncle's fists besides looking at him with concern. With Tom, Harry wouldn't have to worry about this. Tom would also not be concerned about Harry's darker more ruthless tendencies, allowing Harry to actually be Harry.

Tom, for his part, is a very lonely character who is looking for companionship and compassion, two things Harry can give. But Tom is unyielding in basically everything, he is incredibly prideful and independent. While he wants a connection, he doesn't really know how to trust and open up, to give a bit of himself that is necessary for relationships which is going to be a struggle for them.

Harry is one of the only characters (if not the only one) Tom sees as an equal or a potential equal. Tom really doesn't respect many people (regardless of blood or magical skill) but he does grow to respect and even fear Harry by book 7. This respect is important for any relationship, but especially when it comes to Tom Riddle, who just wouldn't really take anyone lesser than him seriously. And he thinks 99% of beings are lesser than him, so, that's a point in their favor.

Additionally when we think of the narrative, like, god, this can be juicy. We have two powerful and capable individuals who are basically bound together on every possible level. They are bound by magic, having brother wands that actively don't want to fight each other. They are bound by fate with a prophecy interwinding their lives together. After Tom's resurrection, they are bound by blood and they are bound by soul due to Harry being Tom's Horcrux. They literally share a soul, like, that's insane. They share dreams and memories and get each other in a way few could.

And they are very fixated on each other and can't really escape the other's influence. Tom is obsessed with killing Harry and no one but him is allowed to do it. He even goes as far as stipulating he wants to kill Harry while dueling him properly when Harry has his wand. This is something that shows, again, his respect for Harry. And Harry sees dealing with Voldemort as his responsibility. Tom Riddle is his to deal with and no one else's.

Like, it lends itself to a very dramatic very entertaining story naturally. A messy one for sure, but fun.

All that being said, when I actually think about how I see their respective personalities and what they would want/need from a relationship, I don't think they are very compatible below the surface.

Yes, Tom needs someone who he'll respect, but that partner needs to have some (a lot of) give. They need to be able to work around Tom's 10 million personality complexes without him feeling like he is being fixed. Tom needs to feel like he is getting his way, so his potential partner needs to either be very subtle or put a lot of effort into making Tom dateable (which I talked about more here). The thing is, Harry is just as stubborn and unrelenting as Tom more often than not. These two both have the same complex from a lack of control over their lives in childhood that results in very stubborn people who will fight tooth and nail to get their way and a general distrust of people. This is a recipe for them butting heads often, especially with their different worldviews and how they see people.

Like, both of them would never bow down to anyone. They don't know how to take a backseat. Sure, Harry says he doesn't want all the danger and attention, and he doesn't, but he would be able to sit and do nothing against what he feels is wrong, he is used to carrying an impossible burden on his shoulders. And he takes a leadership rule easily and naturally. Tom is used to getting his way, he is used to being able to either intimidate or charm what he wants out of everyone, something his partner should be immune to, but I think Harry would rile him up worse, instead of putting a stop to the behavior. Like, Tom would just try harder to break Harry before trying something else would cross his mind because Harry would make a sassy comment that would get Tom emotionally invested. He's going to get his pride and self-worth hinging on breaking Harry's resolve, and he is going to fail. Neither of them would ever be happy in the shadow of the other and it's going to be a constant push and pull with these too. Now, this sort of dynamic can be very compelling in fic, it's a fun story about a relationship that is truly insufferable to be around.

Neither of them is particularly emotionally intelligent or capable of emotional vulnerability. Like, Harry, who didn't know why Cho was crying after Cedric died, would need to be the person carrying the emotional tool in this relationship, and, like, I love Harry, but navigating emotionally volatile situations (specifically romantic ones) is not one of his many skills. Tom is even more useless in this department, he sure can recognize emotions in others, but he repeatedly underestimates emotional attachment, both in himself and others because his conceptions about friendship and love are all skewered. And with romance, he would be so much worse.

Add to all of that the fact both of them have one hell of a temper and it's more likely that they'd blow up at each other rather than talk shit out.

And then there is how I think they'll behave when they actually are in a relationship. As I talked about here, Tom is a sentimental and possessive person. When it comes to romance, I think Tom would want a person to be his, he'd be obsessed and controlling while simultaneously wanting to remain independent and do his own thing. He'd be a nightmare. And Harry, well, Harry would handle the independent, doing his own thing quite well, since I think Harry is the same. Even in a relationship, he'd need to keep his own independence and freedom, and that's where Tom's controlling nature is going to butt heads with Harry's distaste for any controlling figure.

I think Tom would struggle with Harry's lack of ambition too. Because Harry is clever, powerful, has the makings of greatness, and is an equal to Tom, but he isn't planning on doing anything with it. This would infuriate Tom, honestly. I think Tom would find many of Harry's passions (like Quidditch) frivolous and useless and would probably tell him that, which Harry would fight him on.

Harry's sassy nature, would also, get under Tom's skin if it's directed at him, Tom takes himself too seriously to make fun of himself and take a joke. However, he would appreciate these same comments when directed at others. Tom has a sense of humor, but he wouldn't make fun of himself, especially not a younger Tom Riddle when he's still in school.

There are aspects that would work, though, I think Harry would be willing to listen to Tom going on about whatever quite intently, and Tom would love that. Harry can pay a lot of attention to people he cares about, but he can also get distracted and just not hear anything being said to him (he tunes out some of Ron and Hermione's conversations regardless of his love for them. It can happen when you get used to being around someone) which Tom would hate. Although Harry would find Tom's monologing kinda annoying at a certain point, I think.

I think Tom would do good for Harry's self-esteem issues since Tom wouldn't accept Harry thinking of himself as average when he is equal to Tom. Harry would be pretty good for Tom's weird prideful self-hatred and could probably help push for an arc there. Both by showing Tom actual affection and by keeping his ridiculous ego in check.

I also think Harry would appreciate someone being protective over him and wanting him so much as someone who grew up feeling unwanted and like he never had anyone in his corner. And Tom, I believe, would be protective and possessive in a relationship (a little too much, but still).

Basically, both of them (but mostly Tom) need work before they can make a relationship between them work, and that's before looking at their history in the books which will always require some canon-divergence or AU to make this pairing work. Very possible, but it takes effort. Most of said effort goes into forcing them to talk properly, honestly, because Tom really wants Harry, his one failure, dead. Like, Harry would shockingly be the easier one to convince of this, I think. Like, he was willing to forgive Tom, he already sees him as a person and not a bogeyman. Plus, he thinks Tom is hot (the younger one at least). Tom (as Voldemort, during the series), as I said, sees Harry not as Harry but as a representation of his own failings, and until he gets that out of his head, I can't really see this relationship working.

When it comes to the "Harry time travels to the 1940s and goes to Hogwarts with Tom" fics it's easier to get them together because Tom has fewer complexes, but it's still not easy (Sure, he doesn't have 10 million complexes, just 7 million instead). So even then Harry has his work cut out for him and this relationship would be a trainwreck that might take collateral damage in the form of everyone around them being miserable with their bullshit.

The key point in all scenarios I mentioned is that Harry needs to actively pursue Tom because otherwise, it won't happen. Because Tom isn't going to pursue it on his own unless some AU reason pushes him to do so. I can see him getting obsessed with Harry easily in various circumstances, but while he'd pursue his obsession, I don't think it would cross his mind to date Harry. Not on his own, I just don't see Tom coming up with it without something to help him get there. Maybe (again in a time travel scenario) a younger Tom could pursue a fake relationship in pursuit of his obsession, but Harry would fight against it because he'd see through him. I also find it hard to imagine Harry pursuing this relationship with Tom through all of Tom's bullshit. I don't think Harry has the patience for that (unless he has a specific reason to do so).

I don't think Harry would pursue this relationship to begin with either. As I mentioned, emotional intelligence and romance in particular are not Harry's strong suits. He could be in love and not notice it because he shrugged it up to something else and he has more pressing things to worry about. If he does notice, he might try to pursue it, but it again depends on the AU or specific situation. I think he could flirt if he set his mind to it, but whether that's effective with Tom depends on which point in Tom's life we're talking about...

I wrote here about the trope of Tom finding out Harry is his Horcrux and, honestly, what I wrote there applies to any potential romantic relationship between them too. Especially if this trope is relevant in the getting-together stage.

All of this is without talking about the elephant in the room of their specific age difference that I'm kinda ignoring. In the books it's a difference of 54 years, which is a lot, but hey wizards and in fic scenarios, Harry can be an adult or they can be the same age, or, well, in fic you can do whatever even when said whatever situation would be messed up irl. I mean, irl I would never advocate for anyone to sleep with their parents' murderer, but this is fanfiction we're talking about so it doesn't really matter. It does mean that this isn't the kind of pairing that I think could be canon or even canon-adjacent. And though I like it better than Drarry in many ways, it's way less likely to happen than Drarry in the canon books as they are.

So, yeah, I like Tomarrry/Harrymort. It's fun, it's juicy, it's dramatic, it has great fics for it out there, but can it realistically happen without some AU? Not really.

(Also, you mentioned Tom and Hermione so I'll add in a little aside that I think that pair will get along worse than Tom and Harry. I think they would misunderstand each other a lot. And Tom, contrary to popular belief isn't going to appreciate someone who's trying to prove he isn't the smartest person in the room. I also think Tom wouldn't like Hermione's attitude over basically anything. I think Hermione would disapprove of Tom's general disregard for others' lives and well-being as well, and she would take more offense at it than Harry. I think Hermione is more likely to get intimidated by Tom than Harry too. Like Hermione would startle at something Tom says whereas Harry would call out his bluff)

#harry potter #hp #voldemort #tom riddle #lord voldemrot #harry james potter #tomarry #harrymort #hp meta #harry potter meta #i guess #hollowedtheory #anonymous #asks #ship talk

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general-cyno · 1 year ago

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apparently it's the 15th anniversary of zoro's sacrifice in thriller bark (not sure if manga or anime though) so yknow. time for more zolu of course

one of the many things about zoro and luffy is that despite how their approach to certain situations might differ at times, they're still pretty similar at their core, sometimes to a comical degree (see: their definition of what a hero is back in fish man island arc). and this understanding of how the other works is what leads to moments like jaya,

this little one in water 7/enies lobby,

and follows consistently all the way to wano arc.

and I was thinking the other day about how their childhoods too kinda mirror or parallel each other's in a way that emphasizes (to me, at least) how special zoro's particular protectiveness toward luffy is, and why luffy relying on zoro that way is just as special.

the specifics of their childhood stories are different but both luffy and zoro have a turning point of sorts that's marked with the grief and loss of sabo and kuina, respectively, which leads them to say these:

(I cropped the panels, but luffy's also crying here)

it's important to note zoro and luffy had dreams/aspirations before this, to become the greatest swordsman and luffy's secret thing that we've yet to learn about (that ace, sabo and the crew now know). however, losing kuina and sabo is what prompts them to, on top of that, strive to become stronger for other people's sake. for zoro, it's his way to honor his friend and fulfill their shared dream. for luffy, it's to avoid losing the people he loves.

throughout the story, zoro and luffy end up expressing similar frustration and sentiments due to this. there's zoro innerly chiding himself for being too weak as he trains in the aftermath of arcs like little garden, alabasta and thriller bark, where the crew get stuck in situations in which zoro isn't able to help as he wishes he could (the wax cake, the sea prism stone cell, kuma). there's luffy swearing he won't lose a single member of his crew even if it kills him (the davy back fight) and reproaching himself for not being able to save any of the straw hats in sabaody, with the worst of it right after losing ace in marineford.

(and man do I have thoughts about bon turning into zoro, out of all the straw hats, back in impel down.)

anyway. as to why all of this is meaningful - when zoro agrees to join luffy, he mentions that his goal to become the greatest swordsman is all he has. yet as the straw hats go from journey to journey, and with a certain emphasis in luffy, you can see how zoro's view slowly shifts. he's now driving himself to become strong to protect them as well, to the point he's willing to set aside his ambition and offer his own head in exchange for luffy's, if it means he can ensure luffy's life and safety. that's huge. as mihawk inwardly points out, zoro has something, someone he values even more than his ambitions and pride. and it's through his adventures with luffy and the crew that he becomes closer to achieving that initial dream of his.

whenever people wonder why zoro's as loyal as he is to luffy, aside from all the reasons why luffy as a character has earned that loyalty through his actions, I also remember that one line koushiro said to zoro in a flashback: "the pinnacle of swordsmanship is the power to protect what one wishes to protect and cut what one wishes to cut. a blade that injures all that it touches isn't really a sword." while sure, it works in the context of later power ups like haki, imo it perfectly captures zoro's character growth too and what luffy's given him. the current zoro isn't lost or directionless with only one purpose in mind or to live for, bounty hunting as a means to survive. he has a home to return to, people to cherish, to protect and keep getting stronger for, people who nurture him in turn. kuina's death is something zoro couldn't have prevented, and losing people in accidents like those is something that could happen again, but still within the limits of what's preventable - zoro can protect his friends now.

as for luffy... zoro kinda steals the spotlight when it comes to grand gestures of loyalty/devotion and being the MC of the story means luffy fights for different people (both crew and non crew), carrying their wishes and hopes as if they were his own. he gets help and learns from others as well and all members of the crew are important for luffy to achieve his dream one way or the other, but the way he relies on zoro specifically is so subtly meaningful to me. we don't get as much insight on luffy's inner thoughts, still, we do have context.

for someone like luffy, who is at his innermost genuinely terrified of being alone and losing the people he loves, the fact that he trusts zoro to protect and keep everyone safe (even luffy himself) is so good. as shown above, luffy vowed to become strong in the first place to ensure he'd never go through loss like sabo's again and this vow is all the more renewed after ace's death. luffy has to be strong for everyone but... the fact that he can trust zoro to follow his lead even when others might not understand his reasons to do x or y, that he's so unwavering in his faith that zoro will protect the others when luffy can't, entrusting the people he cares about to zoro, whom luffy also cherishes - it's all pretty special. everyone in the crew has their strengths and zoro may not be the only fighter, but all of them, including sanji, fall under his protection whenever it's needed.

it's not only about raw strength though. zoro's also there to set luffy straight and remind him of what's important when the circumstances arise, like in water 7 or punk hazard. and even when they don't necessarily agree, like wrt vivi's situation after the reverie in marijoa, luffy knows when zoro's right and acquiesces (albeit grumbling a little) because, once again, he's also aware that zoro wouldn't just risk everyone's safety. luffy listens to him. and their reunion in wano too, luffy's sheer happiness at the sight of him again, is a very clear example of how much luffy adores zoro even beyond all that.

although luffy isn't aware of what happened in thriller bark (that we know of), zoro's actions are proof of why luffy trusts, has faith in, and relies on zoro as much as he does and why it's so important for luffy to have him by his side, considering how afraid he is of being unable to keep his loved ones safe. this is more on a speculative note, but I can imagine how comforting that must be for luffy - to not shoulder that on his own.

happy anniversary!

#zolu #tp #long post #yeah it's me. again #happy anniversary to zoro reinventing love and devotion for luffy y'all #I meant to add but I would've gone on a longer tangent if I had AJSJ #that yeah you could count whiskey peak as the one time luffy didn't trust zoro but eh it's like #1) I'm not sure how much of it was meant to be serious 2) their chemistry is so ridiculous they can't even fight properly #without falling into sync with one another and 3) luffy doesn't doubt zoro's intentions after that again #aaand you could argue this whole unwavering faith in zoro may have its drawbacks (sabaody) but #within the story it's not really something he holds against luffy but it is something that at least motivates him #to tell luffy to get his shit together. which is tasty imo #jay reads op

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agatharkn3ss · 1 month ago

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The meaning of the Macbeth witches

As I continue raking the episodes for all the cool hidden messages, let's address the painting that Agatha has in her living room and, in her Agnes O'Connor delusion, she thought it was a one-way-mirror.

By now lots of people have identified the painting to be "Macbeth and the three witches" by Francesco Zuccarelli, based on William Shakespeare’s play “Macbeth”. I think it provides a fantastic insight into the characters and the direction of the show. Long post, but worth it!

(I am using lots of sources but not referencing them, because it would make this post a lot longer. Hope that's ok!)

The Three Witches (aka Weird Sisters, Weyward Sisters or Wayward Sisters) serve their mistress Hecate (nod to our Triple Goddess). They reveal to Macbeth his prophecy, which will eventually lead to his demise, and they hold a striking resemblance to the three Fates of classical mythology. The witches generally symbolize the supernatural in Macbeth and they call into question the nature of free will.

Why include this painting at all? There can be multiple meanings but I think the most obvious reason would be to continue the feminist theme of how witches/women are portrayed and therefore mistreated – highlighting the tendency to marginalize and discriminate women who uphold their individuality.

In the painting the three witches are shown as repulsive and ugly, with one of them holding a stick with a snake wrapped around it. And in the play they represent pure evil, as they drive a “noble and heroic man” into a power-craving ruthlessness which induces him to betray his friends and nation. However, people start to catch on that the treatment of the witches reflects the oppression and misogynistic values women experienced in the past.

We could probably draw some parallels with our witches. Lilia is driven out of every village she passes through for accurately predicting tragedy. Jen is called an inconvenient woman and bound – likely because of being a successful midwife. Agatha is being thought of as the evil, “most infamous” witch-killer. Lilia even goes as far as saying that Agatha is the very reason why those stereotypes even exist. But as the layers peel off, we get to see that she is a much more complex persona than just your “black” or “white” character. It is becoming clear that both Agatha and Lilia have shared a huge amount of prejudice and backlash just because of their unique abilities – not only because they can’t control them, but also because they are different. Lilia hates this discrimination and eventually hides from it like a “coward” (as Agatha noted), even though she might enjoy the things that make her a witch (like flying on brooms), while Agatha embraces the negative perception and uses it to her advantage, to create this defence wall around her and make people fear her. In their different ways, they both end up being slaves to those stereotypes.

I think there is also a bit of foreshadowing here, because it is interesting to set up this narrative and then introduce the character of Teen aka Billy Maximoff – the boy who (as we saw in Wandavision) was named by papa Vision specifically in honour of none other than William Shakespear!

Shakespear is not only the author of Macbeth, but has also been widely criticised for his treatment of women characters in his plays – they are shown to be emotionally weak and inferior to men. Even women in power are portrayed by him as manipulative, not to be trusted and with questionable morals (sounds familiar?). There are so many papers that explore this, but I think this one illustrates is best:

“In Ancient Greece, Hecate was a Goddess, who used to bless people with good luck, health, wisdom and victory. People often used to put a statue of her at crossroads or entrance-ways to scare the evil spirits. In other words, she was a goddess of ‘positive energy’. (...) In Macbeth, Shakespeare too presents Hecate as leader of the negative force who hatches a plan with the three weird sisters to misguide Macbeth towards a deadly end by keeping him in illusion. (...) Doing so, he denounces her godliness and demeans her stature by using the male centric religious perspective that causes much harm to women’s body and mind across time and space.”

While I don’t at all want to suggest that Teen is in any way set up as a misogynist, there is still that moral superiority complex - we see a glimpse of it in episode 5 when he essentially says he is better than them: “So that’s what it means to be a witch? Killing people to serve your own agenda? No, not for me.” Then of course he completely contradicts that in the next moment, when he literally buries the witches in the ground.

He seems to completely ignore the fact that it was him who wanted the Witches Road in the first place. The initial reaction of every single witch in the coven was always the same: “The Road will kill you.”, “The Road is a death wish”, “It’s a dead end. Literally”. Billy CHOSE to ignore this and actively pressured each of the witches to join. He needed them to serve HIS own agenda, knowing fully well that some of them could die. I hope he will soon realise that he is no different than the rest.

We can immediately see how he really is “so much like his mother” who chose to trap the Westview citizens, then when they got their identities back and told her about their torment, she literally tried to gaslight them by telling them they were fine and “at peace”. Then had the cheek to excuse her actions and show her superiority to Agatha by showing her the bodies of her original coven saying “You see the difference between you and me is that you did this on purpose” – the irony being of course that Agatha clearly couldn’t control her powers in that moment, so I doubt this was on purpose - same in Alice’s case

(sidenote: I think the reason Wanda thought that, was because she entered her mind and saw that Agatha probably blamed herself for it, maybe even believed that if she tried a bit harder, she would’ve been able to control it).

So…. Why use that painting in the interrogation scene? I’m sure there are many possible hidden meanings, but my interpretation is that in that moment Agatha/Agnes are playing exactly to take advantage of the stereotypes. Billy claims to know who she is. But really, he just knows those stories that she allows people to believe. He calls her out for not having “respect of her peers” or a “fulfilling home life” – as if that is what every “respectable” woman should want. Instead of feeling embarrassed, she immediately latches onto that and reminds him that this is exactly what makes her dangerous. “Hey, you know those three ugly witches? They brought Macbeth down just with their words!”. I am sure there could be further meanings if you really look deep into it. Could Teen be interpreted as Macbeth himself, surrounded by witches and relying on their help?

Another element here is of course Rio, standing on the other side of the “mirror”. The painting itself has allusions to death: the witch in white is often compared to a ghost and “the dark sky above the mountains is a metaphorical representation of death lurking around the king, around Macbeth, around every man confronted with his own destiny.” Yet again, we might be getting another hint as to Rio’s true identity (let’s face it – is there anyone left by now who doesn’t think she’s Lady Death?)

It is not entirely clear where Rio is at this point (she can’t be standing behind a painting?) and Billy doesn’t acknowledge her presence – he likely hasn’t even realised Rio intervened when Agatha kicked him to the floor. At one point he asked why she was looking at that painting (although, he might have said it as a misdirection, to bring her to reality). So maybe in this “Agnes of Westview” show, Rio really is equal to a ghost, hiding in plain sight and lurking through a window of Agatha’s mind. She is the only one who appears to actually SEE what Agatha is seeing (“Is this really how you see yourself?”), even goes as far as provide her with more “evidence” (fake victim/flower photos). She seems to know Agatha’s thoughts on the case even before she voices them – sometimes it looks as though she’s actually putting those thoughts in her head (what was that about the three witches defying the concept of free will?...) . Finally – Rio times it to perfection when she shows up at Agatha’s doorstep, (mis)quoting Pride and Prejudice and clearly aware of the sad scene Agatha had just experienced. So maybe Agatha is the Macbeth of the story? Is she destined for self-destruction?

I have yet to form my theory on Rio' involvement and her intentions. But I can’t help but think that her appearance is not quite as it seems – that we are “looking at it the wrong way” - is it a painting or a mirror?

To finish this off (phew!), I particularly like this one analysis of the Macbeth painting that points out the different sublime elements – the repulsive witches, the grandeur of nature and the loneliness of the hero. I think it fits Agatha's position as it concludes:

This theory of the sublime opposes the sublime with beauty as two exclusive concepts (like light with darkness) while recognising that both can provide pleasure. Sublimity may evoke horror, but the knowledge that the perception is a fiction can be pleasureful.

Edit: I have also spotted the clock in that scene states 3.33. There are more nods in the show to number 3 and Shakespeare uses the symbolism of trinity throughout the Macbeth play as an idea that tragedy/death comes in threes (3 witches, 3 apparitions, 3 murders etc.). So I feel there is some foreshadowing here as well (e.g. Agatha's wearing a jersey with no3 in the same episode that Alice dies).

Witch 1: Thrice the brinded cat hath mewed. Witch 2: Thrice and once the hedgepig whined. Witch 3: Harpier cries “’Tis time, ‘tis time.”

#agatha all along #agatha harkness #kathryn hahn #aubrey plaza #rio vidal #agathario #agatha x rio #lilia calderu #teen #billy maximoff #macbeth #hecate #three witches #zuccarellli #agatha all along spoilers #fate

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