#something something romeo and juliet parallels

[rhellireda]

crying over ‘the lady of the lake’ episode in the 2 thousandth and 23rd year of lord you know, like a normal person

[dlzdrz]

Fionna and Cake 1.07 "The Star"

Romeo + Juliet (1996) dir. Baz Luhrmann

[holyfreaks]

genuinely confused on how people shipping wincest is "forcing something that's not there" or bringing it into the show/fandom when it's not "real".... did we watch the same show perhaps.

the "mom is a babe" "I'm samuel and this is my wife deanna" "we're open to anyone of any.... sexual orientation" "why do they think we're together x5" "siren tells dean i should be your little brother" "demon kisses mary while wearing her father" "bela killed her parents for this reason" "love, family, whatever we have between us" "red meat romeo and juliet parallel" "erotically codependent" show? that show? yeah.

[literaryvein-reblogs]

Writing Notes: Subplots

Subplot - a side story that runs parallel to the main plot.

It has a secondary strand of characters and events that can infuse important information into the main storyline.

Also known as a minor story, a subplot creates a richer, more complex narrative arc in novel writing and other storytelling mediums.

When crafting a narrative, a writer’s job is to create a compelling story.

One way to do that is through subplots—secondary storylines found in novels, plays, television shows, and movies.

In creative writing, a subplot can reveal more about secondary characters, create plot twists, and add another dimension to a story.

Most importantly, a good subplot raises the stakes for a main character.

An Example: Romeo and Juliet

William Shakespeare weaves several subplots throughout this tragic love story.

The backstory of the long-running feud between rival families, the Capulets and Montagues, creates the central conflict in the play—two young lovers from warring families desperate to find a way to be together.

The subplots involving the warring families create dramatic plot points that escalate the tension, like when Romeo’s best friend Mercutio is killed by Juliet’s cousin Tybalt.

4 Types of Subplots

When coming up with writing ideas to enhance your main plot, think of using one or more subplots. These could include any of the following:

Mirror subplot: A smaller-scale conflict mirrors the main character’s in order to teach them a valuable lesson or illuminate how to resolve the conflict.

Contrasting subplot: A secondary character faces similar circumstances and dilemmas as the main character but makes different decisions with the opposite outcome.

Complicating subplot: A secondary character makes matters worse for the main character.

Romantic subplot: The main character has a love interest, and this relationship complicates the main plot.

6 Tips for Writing Better Subplots

When you’re writing a book, always brainstorm the best subplot ideas that can deepen the tension and make your main character’s scenario more complex.

Try these tips when you craft your next narrative:

Ensure that your subplots play second fiddle.

A subplot exists to support your main storyline but should never overpower it.

Subplots should end before the main plot.

The exception to this rule is a romantic subplot, which often concludes in the final scene.

Give your subplots a narrative arc.

Subplots are stories, too.

Create a narrative framework for each, though on a smaller scale than your main plot.

Use this technique to tell a supporting character’s story that affects the protagonist’s actions.

You might even incorporate flashbacks as a subplot, mirroring a character’s journey with something that happened in their earlier days, like high school.

Write character-driven subplots.

Just like your main story, characters should drive the action in a subplot.

Create foils that can highlight qualities in your main character.

These characters will either help or hinder the protagonist in the story.

Try a new POV.

Your subplot might provide information that your main character is unaware of.

If your main plot is told in first person, try changing the point of view in the subplot to third person.

Figure out how to connect the subplot and the main plot.

There are numerous ways to use subplots.

A parallel subplot runs throughout the entirety of the story, showing different sides of the same plot.

This builds suspense as the reader waits for the two plots to collide (think The Fugitive).

You can also write small, isolated subplots.

Briefly introduce a character who drops in early on, then revisit their journey near the end of the story to shed light on the deeper meaning of your main plot.

Ramp up the tension with a subplot.

Propel your main story with information revealed in your side stories.

Subplots are a strong medium for foreshadowing events, so use them to drop hints and clues.

Source ⚜ Writing Notes & References

[iicarusflew]

dude.

that scene where oliver confronts james after he broke his nose ... it's a love confession. god. it is. you’re like a bird. this fragile, elusive thing. if i could catch you, I could crush you.

(why is this romantic as hell and back? nothing anyone would ever say to me would be as romantic and crushing and full of terrible desperate yearning as this)

and then james says that line from romeo & juliet balcony scene. something something about it translating into i hate myself because i’ve done something hateful to you.

it's like when oliver told colbourn that as actors they felt two things at the same time, what their characters felt and what they were feeling. so james is trussed up and confused with his actions and in love with oliver and quoting ROMEO MONTAGUE. this isn't duality, it's parallel. it's one thing on top of other.

...and of course the scene ends with oliver holding james's hand over his heart and james staring at it like he's just realised... the enormity of this. this unspeakable thing.

[avelera]

Hi I just wanted to say that you have the best Arcane takes/meta and literally never miss!! I swear I’ve reblogged at least five of your posts so I can save them for fic references. Out of curiosity, what’s a take/analysis you’ve wanted to talk about but haven’t been asked before?

Thank you so much! And hmm, that's an interesting question. A lot of the meta I have in my head about Arcane is less ship-y stuff, so I assume it won't be as popular, but I think a lot about the metaphysics of the show (like how Hextech works, where the Anomaly came from, how the decline of normal looking people in the background indicates the hyper polarization of their society in S1, or how Jayce isn't the one who cared all that much ideologically about Hextech weapons, it was Viktor's belief that he was supporting, etc etc.).

I think in general, S1 is easier to write meta about because there's a lot more setup and a lot more exposition. S2 is more about wrapping up all the Big Events set into motion by S1. Also, admittedly, the writing is a bit tighter too in S1.

I will say one theme I haven't seen mentioned elsewhere that's a bit stronger in S1 is how Piltover + Zaun together become more powerful.

This manifests itself in several ways:

Shimmer + Hextech = Most of S1 is marked by the arms races between Shimmer and Hextech between Zaun and Piltover. It's an arms race that in both place, is leaving normal people behind. Though Hextech seems more benign, the prosperity it brought to Piltover allowed the Council to ignore the problems facing the undercity in favor of foreign markets. (Ironically, Hextech did more damage to the undercity than it ever did good, which is a tragedy in particular for Viktor.)

But, when Shimmer and Hextech are combined is when you see the greatest amount of power generated. It's part of a larger theme of how these two cities at odds would be stronger if they worked together, for better and for worse.

Vi + Caitlyn = Vi and Caitlyn are an individual example of how the strengths and weaknesses of Piltover and Zaun balance each other out, if both societies would just allow it. In something of a Romeo + Juliet story, albeit with a happier ending, we see how both Vi and Caitlyn work surprisingly well together and strengthen each other, in a partnership that puts lie to the idea that these two sides are irreconcilable.

Jayce + Viktor = In a parallel to Vi and Caitlyn, we see another Piltover/Zaun partnership that is one of the strongest and most productive of the series. It further shows how Piltover and Zaun are not natural enemies, but instead have the potential to compliment each other to achieve great things, if they only allowed it. Of course, their partnership also has moments of received prejudice to overcome, and it's not always smooth sailing, but time and again we see that it is a tragedy when Jayce and Viktor are kept apart. They are better off together, just like the city would be, so long as it can overcome the allure of foreign power and its own prejudices.

That's kind of a high level one, but thank you for the chance to talk about it and I'm so glad you're enjoying the meta I've written so far!

[thetrialsandtribulationsofeb]

“i was using him as a distraction, so i don’t have to feel alone”

“maybe it’s time you learn the lesson again. how to be alone”

“i hate that lesson”

the very obvious eddie and abby parallels in season 8 will never fail

because the first time buck had to learn the lesson of being alone was when he let go of abby by moving out of her house in 2x07 and then drunkenly hooked up with taylor after bumping into her at the bar in 2x08

the same thing he did in 8x11, where he drunkenly hooked up with tommy after bumping into him at the bar and let go of eddie by finally moving into his house

the housing situation is reversed, but in both cases, it meant buck letting go of someone he’s in love with

it’s also the same episode where buck refused taylor’s invitation to hang out by saying, “i have a shift tomorrow,” just like tommy did the morning after buck said those words, showing that they shouldn’t be together

and where buck accused maddie and chimney of dating because, “you’re always talking or texting each other. you sing karaoke together. you do buffridays. you finish each other’s sentences,” and they very poorly and defensively denied being in love and said they were “just friends” (but ended up admitting their feelings at the end of the episode)

just like buck did when he was accused of being in love with eddie… except for the admitting part. because eddie is a renter. and he’s straight

and the whole “i’m the ghost in abby’s house” speech also happened in 2x07, paralleling the “eddie’s place doesn’t feel like my new place” speech

i just want to know if tim rewatched “haunted” and “buck, actually” before writing this episode, ’cause why is it so copy-paste??

also, if he did, then using these two episodes - in which buck lets go of his first love and then learns what true love is - to hint at his feelings for eddie and to soft-launch buddie is actually insane work. they’ll never beat the soulmates and endgame allegations

it’s like tim is actually aware that he literally replaced abby with eddie, and i think he might mention something about buck meeting his last love right after losing his first love in the script when buddie becomes canon

or maybe not, but it would be cool

and don’t get me started on shannon also being introduced in “haunted” for the first time… i have too many incoherent thoughts about it, but maybe i’ll elaborate later

romeo and juliet. antony and cleopatra. lancelot and guinevere. great love stories that started with a bang and ended in tragedy. in the real world, no one's life is that linear. we fall in and out of love. we take it for granted. or find it where we least expect it. some relationships can seem easy from the start and others can be faced with tremendous obstacles. we root for love to conquer all, but we also root for a comeback. people who have been knocked down by life and get back up on their feet. who learn from the mistakes they've made and grow into better, more complete human beings. so maybe the greatest love stories aren't the ones that end in tragedies. maybe they're the ones that start with a second chance.

[writing-for-life]

The Mortifying Ordeal of Being Known

Or: Does Morpheus really have commitment issues?

[Bear with me, I’ll get to this panel 🤣]

I’ve read many times that Morpheus supposedly has commitment issues, and it always has me scratching my head a bit…

I personally rather think he is desperate to commit. He so badly craves a serious relationship that he is prone to rush into it and build it on wonky foundations, but he has certainly no commitment issues as we would commonly understand them.

Is it in his nature though to be truly seen and understood when he is [a] Dream? And can dreams ever last? These are the much more interesting questions in my view. Let’s have a look at the romantic relationships we know of…

Killalla: Walked out on him. That wasn’t his lack of commitment. If anything, he came on a bit strong while she was still assessing her feelings for him.

Alianora: He fully committed to her despite basically being bullied into it by Desire. And they were happy for “a goodly while”. For those in doubt: “Goodly” doesn’t mean “a bit”. It means “great, large, long.” And the fact that Alianora couldn’t go back to her own plane because she had stayed in the Dreaming too long corroborates that they were together for a long time. Probably longer than any human relationship ever lasts, because I doubt “a long time” means “a couple of years” for someone who is 12 billion years old.

And now I’ll sandwich the relationship we hardly know anything about between some random (?) panels to also make a point why I think it might sit here in the timeline…

Titania: Who knows. Sounded like an affair, and as if they both had no intention of committing. He was clearly very fond of her though, and I can never shake the feeling that we should look a bit deeper into AMND and find the parallels between Auberon, Titania (not hard, and they are pretty much pictured as estranged) and Bottom. There are many ways to get confused with a jackass, you know? 🤣 Plus, Bottom is the one who gets to play Pyramus in “Pyramus and Thisbe”. That’s the ultimate blueprint for “Romeo and Juliet”: Ill-fated love of catastrophic proportions, people are dead by the end of it. That’s why I often wondered if the affair with Titania was actually pre-Nada, and the inspiration for Shakespeare wasn’t random (it wasn’t random for The Tempest either). I mean, it wasn’t random anyway because it was a parting gift, but I also don’t think it was entirely random with regard to their relationship. Wild head-canon of course, but maybe not that wild (he also says that Wendel’s Mound was already a theatre before humans walked the earth, so there’s that)? And even if he wasn’t committed (we quite frankly don’t know if he intended to but she didn’t or couldn’t), she and the Fae meant enough to him to give them a play as a parting gift.

Nada: Killed herself after one night, but that wasn’t down to lack of commitment on his part. Again: If anything, he came on far too strong, wanted to be with her and was far too pushy about it.

Calliope: We don’t know how long they were together before they had Orpheus. Could have been a while, could have been only a shortish time. But even if we assumed they had him fairly quickly—they were still together when Orpheus, who was mortal, got married to Eurydice, so even if he got married young, we’re still talking something in the realm of +/- 20 years, and that’s the absolute low-ball-estimate. And while they had started to drift apart (considering what we know from Calliope), they were still on good terms and had no intention of splitting up until the whole Orpheus drama caused a rift they couldn’t mend. Again: That’s not someone who has commitment issues. It’s a relationship breaking down over hurt, stubbornness and grief.

Thessaly: Again, she was the one who left him and caused his dramatic interlude in the rain. Were they ill suited? Yes. Did she feel neglected and went into a strop over it? Yes. Did he not get that she felt neglected? Also yes, but that’s not lack of commitment. That’s his not getting that people aren’t mind readers (must be hard if you’re probably one yourself 🤣) and, by and large, need assurances of love. He doesn’t get that these women don’t understand they have his love; he can’t grasp that line of thinking because it is all so clear to him when he loves someone: They have him, what’s the issue? Is that a not so great way of (not) communicating when you’re having a relationship to someone? Absolutely. Is it a commitment issue though? Absolutely not.

I think Morpheus doesn’t really have commitment issues in romantic relationships—wouldn’t that almost be antithetical to his nature? Rules and responsibilities. Yeah, about that one…

What I do think is that he struggles with the mortifying ordeal of being (not) known by his lovers. Because how could he? He is Dream. That is his problem. Dreams cannot be fully known or understood. He is very eloquent but at the same time a very… confusing communicator. I don’t want to say “bad”, because I feel that’s not getting to the bottom of it. Again, it is the nature of dreams to be confusing and strange, open to (mis)interpretation, hard to grasp and understand. And they also stop being dreams once they become real. All of that is true and hence makes relationships both hard for him and those involved. Is he truly not willing to commit though?

I still find that hard to believe…

[queen-morgana91]

Do you think that Lyanna and Rhaegar were seriously in love?

Yes. It’s literally so plain to see, you have to dig your nails deep in denial to think otherwise. You can read between the lines that GRRM wrote them as lovers.

GRRM has described himself as a romantic and ultimately R+L will be framed romantically (yes yes it has problematic implications when you think about it, but so do many other relationships that the series frames romantically, not least because these books were written with thirty-year-old sexual mores).

He dies with her name on his lips, she with his roses in her hand.

The subversion of “dragon kidnaps girl and valiant lover knight fights a war to save his beloved from her tower” when in truth the “knight” turns out to be a bit of a manwhoring douch who slept with every woman he came across, and the girl loved the dragon he slayed.

The gender subversion of the beautiful Princess with the beautiful voice and the valiant knight who stands up for the weak.

The tale of Bael the Bard, in which a Stark maid associated with winter roses disappears with a singer and comes back with their son. A male relative takes part in his killing and presents it to her as some kind of victory, but it actually breaks her heart, and she dies “by tower”.

Lyanna being heavily asscoicated to Winter Roses which were given to her by non other than Rhaegar Targaryen when he named her his Queen of Love and Beauty. Roses in general are a symbol of love while the blue rose adds a hint of mystique and in attanining the impossible.

Rhaegar, the emo Prince, who was said to have been never truly happy, named the place he stayed at with Lyanna the “Tower of Joy.”

Dany seeing a blue flower growing out of a wall of ice, which filled the air with sweetness in the HotU during the love section of her visions. It's a clear hint of Jon Snow being the love child of Rhaegar and Lyanna who will likely also be Dany’s third and final husband.

Ned confronts Robert about not truly loving Lyanna, because he only ever saw her beauty and not the Iron underneath- it’s implied that the big moment between Rhaegar and Lyanna was meeting her as a Knight who valiantly defended the honor of the weak, not some lovely little maiden spotted at a feast as she would have been to Robert.

The author refers to Rhaegar as a “love struck prince.”

And of course, we have this official new artwork by Justin Sweet, one that GRRM personaly commissioned, which frankly gives me some misguided hope that TWOW is nearly upon us. lol

I love the interplay of light and dark given what we know of these characters: Rhaegar with his sense of grief/doom is fully in the shade of the enormous heart tree while Lyanna is in the half-light half-dark, perhaps representing her own more optimistic and less convoluted worldview. She's exploring, finding balance; he's watching and seeing something he admires that somehow exists in all the twists and inescapable turns of the forest engulfing them.

The third 'person' in the art is the heart tree itself, old/wise/frowning, but also cradling both Lyanna and Rhaegar. They're both connected to it, representing in a sense that their fates are sealed and known. This is a stolen moment they're having (it's a false spring) but despite the simplicity it's still connected to the much larger world around them.

Another point I like is the lack of sigil etc. on their clothing—we know who they are but the interaction is not one of Targaryen to Stark on it's face. [there's also this other art by the same artist which parallels Lyanna and Jon's poses + Rhaegar and Jon's clothes

LAST AND MOST IMPORTANT THOUGH: the blue roses at the bottom that are firmly in the light.

Conclusion: Rhaegar and Lyanna were intended to be your classical tragic love story; think Romeo and Juliet or Tristan and Isolde and whatnot, not Rhaegar kidnapping some random girl to have a Visenya. Although Rhaegar’s desire to have a third child probably pushed him into pursuing his passion in running off with ‘his Lady Lyanna’ too use some of Ser Barristan words here.

[wellofdean]

I still remember what Jensen said years ago, I think he would disagree with Rob and Rich https://pbs.twimg.com/media/GjTN6m5WUAAxsWG?format=jpg&name=small

Here's the content of that link. Many apologies for reposting, but:

So, my first answer to this is, as I've said before, I am infinitely more interested in the text itself than I am in what any of them say about it, and the text is what it is (GAY). What's nice about these episodes of Rich & Rob's podcast is that they are actually responding to the thing we all saw in our TV box, and saying "Dial it down to 11 guys, geez," which: Yes. Good to know y'all can see a church by daylight.

But also, in the Q&A format at a con, there are loads of different reasons Jensen might say this or that. What's the context here? Who is he onstage with? What's the crowd like? What exactly was the question? Also, this answer rightly acknowledges that the "whole Dean and Cas thing" was poppin' off in season 8. Well spotted. Perhaps he is thinking that the show needed to separate them for awhile so they wouldn't have to just fucking make out already? In fact, perhaps that was exactly the thinking, because honestly, season 9 goes off on the star-crossed Destiel, complete with parallel cross-species romances to interrogate proof of concept and some serious Romeo and Juliet-ass shit:

Dean praying to Cas and saying "I need you here" while he agonises about what to do about Sam; the whole painful kicking Cas out of the bunker storyline with the yearning date prep and the fanfic gap (plus LOADS of other shit in that episode); Cas gets killed by April and Dean tenderly cradles his face and then is jealous about the sex; they have a big vulnerable heart-to-heart about the Sam situation and why Dean kept Cas away and Cas forgives him immediately and helps Dean; Dean takes the mark of Cain and the Crowley/Dean/Cas love triangle start revving up; Collette is invented for the sole purpose of paralleling Cas; the Garth is a werewolf episode is here about finding love in unexpected places! love Is love, yo!; the fitness centre episode with its many implications that Dean is into dudes; Metatron's speech about what gives a story meaning; Gabriel calls Cas Dean's boytoy; Metatron tells Cas "I left you human because I hoped you would live happily ever after" because HE KNOWS; the whole Romeo and Juliet thing in episode 20 with the werewolf/shapeshifter romance that pointedly mirrors Dean and Cas; Dean drops everything to go help Cas, leading to Cas giving up his army for one man; Hannah is invented to throw another triangle into the works; Metatron says Cas is in love..............with humanity; Dean dies (Juliet much?) and comes back a demon.

Like, I am leaving LOADS out.

Firstly? They were 💯 writing it like that. They leaned the fuck in every chance they got. And secondly, y'all get that Jensen pointedly does not talk about subtext, or things that the story is doing on the DL, or about things that haven't happened yet, and he doesn't talk about any of Dean's feelings that Dean would not openly talk about himself? Jensen is actually admirably disciplined and principled about it? And, you know that he could also just be disingenuous on purpose to avoid doing so, and to allow unspoken things to remain unspoken? If he just tells us, where's our joy in figuring it out going to come from? Y'all should THANK HIM for not stealing our joy.

I personally think? Jensen is clever. He is very intentional and I think he knows what he's doing. If you consider that Jensen talks AS DEAN in cons and never goes beyond something Dean would say, well...then it makes sense he would say that in light of the fact that anyone who understands narrative can see that the text itself is WALL TO WALL star-crossed Destiel, because that's what happens when you separate them and then write them as you have been all along. I'm glad he enjoyed it! Me too!

Like, either you think Jensen is a full idiot, or you have to admit that there might be layers to the things he says.

[darkcrowprincess]

Even more stuff I want for Arc 3 of the dragon prince(odds are one of these things might happen):

The first part of season 8 starting with a public Sorvus wedding, and season 8 ending with Rayllum eloping or getting married in secret all romeo and juliet style.

Opeli finding a letter left by Ezran that tells everyone that Rayllum eloped(think Anastasia style) and that Ezran and Zym went with them to be witnesses.

Sorens mom coming to his wedding and at first Soren does not want her to be there, but eventually coming around to her being there after she apologies and tells him what happened.

Claudia having snuck into the wedding(not to see Soren but to kidnap Ezran) and sits in the back.

Claudia kidnapping Ezran.

Everyone of course freaking out that the king of Katolis is missing.

Rayllum going on a war path to save Ezran and beat up Claudia.

Claudia keeping Ezran in a creepy cabin in a snow filled woods. The episode giving the puppet master vibes from avatar the last airbender vibes.

Ellis and Ava comeback. Ellis all grown up, and Ava old.

The guys using Ava to find Ezran. Or maybe a spell.

Zym being busy learning to be a king of dragons.

Explaining why some dragons can talk but some don't.

More Aaravos possessing Callum shenanigans.

Callum beating the possession with Rayla's help

Rayllum kiss in the rain.

Rayllum wedding kiss.

Just more Rayllum kisses!

Callum proposing to Rayla.

Ezran Zym and a old bait eating Jelly Tarts.

The baitlings are all grown up.

Stella is fully grown and just as mischievous.

Leola flashbacks from her point of view.

Finding out where the cube leads to finally and if having it leads to danger or to something good.

Corvus and Soren dancing.

Sorvus kissing.

Terry sad and alone and missing Claudia.

Claudia sad and alone and missing everyone.

Terry seeing Claudia at Sorvus wedding and trying to catch and stop her. She distracts him with a kiss. They kiss for a while but she manages to sneak away. She left dark makeup on his mouth. Which everyone sees on him.

Flashbacks to how Clauderry met.

Rayla telling Callum she's pregnant.

His reaction being a parallel to how he reacted to being a mage. He's yelling happily that he's going to be a dad.

Callum as a gift to Rayla has a new sword commissioned for her.

Rayla over all fighting with a new weapon sword. A beautiful sword with moon designs on it. Or maybe two swords?

Demisexual Rayllum conformed maybe?

The dark magic Claudia does is taking its toll on her and she's getting sick.

Claudia seeing Rayllum being happy from the shadows and being jealous. Not of Rayla being with Callum, but more so that the Elf that destroyed her life gets to be happy with people who use to be her family. And now she's all alone.

[hiddenfaith40]

Akutagawa's Unlikely Penelope: The Truth About His Loyalty

As seen through the lens of Epic The Musical

Chapter 1: Gin: More Than Just Family

Okay, let's start with Gin. She's family, blood. That's huge for someone like Akutagawa, who's had so little genuine connection in his life. She's always been there, a constant, a source of pure, unadulterated support. But here’s the thing: Gin's support is silent. It's unspoken.

She's not pushing Akutagawa in any particular direction. She lets him choose his path.

And while that's beautiful in its own way, it's not the driving force behind his actions. Returning to Gin was never framed as Akutagawa’s mission. It's not the thing that keeps him going when he's staring into the abyss.

It's a bond of blood, absolutely, but not a guiding star. Gin’s love is passive. She accepts him as he is, which is amazing, don’t get me wrong, but Akutagawa needs more than acceptance. He needs a reason, a purpose beyond mere survival. Gin lets Akutagawa choose his path without chaining him to promises or expectations.

Chapter 2: Dazai: The Shadow of the Past

Now, Dazai. Early Akutagawa? He would have crawled through broken glass for Dazai's approval. Dazai was everything – mentor, tormentor, the key to his survival. He desperately wanted Dazai’s love. But let's be real, that relationship was toxic AF. It was built on manipulation, control, and a whole lot of trauma.

But post-Decay of Angels, something shifts. Akutagawa outgrows that desperate need.

He's no longer killing or surviving solely to earn Dazai's love. He starts to see Dazai for who he really is – flawed, broken, and ultimately, not the person Akutagawa needs him to be. Dazai gave Akutagawa a place to survive, yes – but not a reason to live.

Dazai provided a means to an end, a way to hone his skills and survive in a brutal world. But he never offered genuine trust. He never saw Akutagawa as anything other than a tool. That's why, ultimately, Dazai can't be his Penelope. The connection just isn't deep enough anymore.

Chapter 3: Atsushi: The Promise That Matters

And that brings us to Atsushi. Atsushi gave Akutagawa something neither Gin nor Dazai could: a promise that mattered. Not a demand for perfection, like Dazai. Not a silent, passive love, like Gin. A promise tied to choice and hope. "We'll take down Fukuchi together."

Think about that for a second. It's the first time Akutagawa wasn't given orders.

It's the first time he was given trust. It's the first time he was seen as an equal – not a tool, not a weapon, but an actual person with agency. And Akutagawa holds onto that promise even after death. That's huge!

He internalizes it, makes it a part of his very being. Atsushi's promise becomes his driving force, his reason for fighting even when he's turned into a freaking vampire. It’s the idea of a shared goal, a shared victory, that truly resonates with Akutagawa.

Chapter 4: The Truck Scene: Undeniable Proof

Okay, let's talk about *that* scene – the truck scene. Vampire Akutagawa finds Aya and Bram. He's a vampire, people! His human mind *should* be gone – corrupted, overridden. He should be a mindless killing machine. And yet… he doesn't kill them.

He doesn't destroy them. He puts them somewhere safe.

Why? Why not just end them instantly? Because deep inside him – even twisted into a monster – Akutagawa is still trying to honor Atsushi's last promise. He's still fighting to give Atsushi a chance to win.

He's still clinging to the memory of who he chose to be – not the monster he was turned into. That's not instinct; that's choice. That's Akutagawa actively fighting against his own monstrous nature because of the promise he made to Atsushi. It is like freaking Romeo and Juliet but make it vampires.

Chapter 5: Odysseus and Akutagawa: A Parallel Journey

This mirrors Odysseus and Penelope perfectly, right? Odysseus fought monsters, gods, and his own despair to find his way back to Penelope – the one person who symbolized home, faith, and hope. Akutagawa fights against his own monstrous nature – against death itself – because the part of him that belonged to Atsushi refuses to die.

Atsushi is Akutagawa's Penelope. The one tether strong enough to pull him home, even from the brink of hell.

The parallels are insane when you think about it. Both characters are battling external and internal forces to return to what truly matters. For Odysseus, it was his wife and kingdom; for Akutagawa, it’s the promise and trust embodied by Atsushi. It's a testament to the enduring power of human connection.

Chapter 6: Emotionally Unpacking the Trio

Let's break down the emotional core of these relationships. Gin is family – a bond of blood. It's unconditional, but it's also passive. Dazai is history – a bond of survival. It's complex, traumatic, and ultimately, unsustainable. Atsushi is hope – a bond of chosen trust.

It's active, it's empowering, and it's the key to Akutagawa's transformation.

Akutagawa chooses hope. He chooses Atsushi's faith in him over the instincts drilled into him for survival. He rejects the darkness that has defined him for so long and embraces the possibility of something better. This trio represents different facets of Akutagawa's life, but it's Atsushi who ultimately illuminates his path.

Chapter 7: Akutagawa's Choice: Hope Over Instinct

Akutagawa had a choice. He could have succumbed to his vampire instincts, given in to the darkness, and become the monster everyone expected him to be. But he didn't. He actively chose to honor his promise to Atsushi. He chose hope over despair. He chose trust over fear.

That's not just character development; that's a freaking revolution.

It's Akutagawa redefining himself, breaking free from the chains of his past, and forging a new identity based on loyalty and trust. He’s rejecting the monster he was turned into. He is choosing to be something more, something better. This choice defines his character arc and solidifies his connection with Atsushi.

Chapter 8: Atsushi: The North Star

Atsushi Nakajima became the star by which Akutagawa Ryunosuke navigated the dark. Not because Atsushi ordered him. Not because Atsushi needed him. But because Atsushi trusted him. And even as a "monster," Akutagawa refuses to betray that trust.

It's not about obligation; it's about a deeply personal connection.

Atsushi's trust is a beacon, guiding Akutagawa through the darkness and reminding him of who he truly wants to be. It's a powerful testament to the transformative power of human connection. Atsushi’s trust is not a demand but a belief, and that makes all the difference.

Chapter 9: The Significance of Trust

The whole thing boils down to trust. Dazai never truly trusted Akutagawa, he manipulated him. Gin loved him, but didn't challenge him. Atsushi, though? He saw Akutagawa's potential and trusted him to rise to the occasion.

That trust is what unlocked Akutagawa's true self.

It allowed him to break free from Dazai's shadow and embrace a new purpose. It's the catalyst for his transformation, the reason he's able to fight against his own monstrous nature. Akutagawa's arc is a testament to the power of trust and its ability to reshape a person's destiny.

Chapter 10: Final Thoughts: The Depth of Akutagawa's Character

So, let's wrap this up. Akutagawa's story is a complex exploration of loyalty, love, and the power of human connection. It's about redefining what it means to be a monster and finding redemption through trust.

His relationship with Atsushi transcends simple friendship or partnership; it's a bond that shapes his very being.

Akutagawa's ultimate sacrifice, his unwavering commitment to his promise, speaks volumes about the depth of his character. He is not just a ruthless killer; he is a deeply complex individual capable of profound loyalty and love. Akutagawa's journey is a reminder that even in the darkest of souls, there is always the potential for hope.

[mostdearladyophelia]

Guys I know the end of Hamlet parallels Romeo and Juliet but could we please take Romeo and Juliet seriously "Hamlet and Horatio is if Romeo and Juliet had done something slightly better!!!" Okay well the point is that they couldn't. The point is that Romeo and Juliet were put in a terrible situation that no AVERAGE (and by extention, kind of dumb and inexperienced) teen should be put in. It's not a mockery of young love. It's a declaration that teens are going to be stupid sometimes, and that's *normal* and they shouldn't have to die because of it.

Not to mention, the "Hamlet and Horatio portray young love better than Romeo and Juliet" take can only be applied IF A) the reader interprets Hamlet and Horatio's relationship as explicitly romantic (which, come on, it's tumblr, we all do) AND B) the reader interprets Hamlet and Horatio and teenagers of perhaps in their young twenties.

Keep in mind that I'm not condemning either of these interpretations, only stating that there's already a bit of legwork to get to "Hamlet and Horatio did Romeo and Juliet but better."

And finally, Juliet was asleep when Romeo guzzled that poison. There was NO way for her to be like "no... I love you.. please live..." because she was unconscious. That's a very important part of the play. If she were awake, she doubtless would've done what Hamet had, and begged her love to stay alive. She didn't do nothing because she didn't care, she did nothing because she physically couldn't.

Romeo and Juliet I will defend you until the day I die.

[you-were-alone-too]

thinking about how argyle tells mike "surf's up, romeo" when he and el are trying to talk at surfer boy pizza and then there's also the stove behind mike during his monologue that has the name "montague" (romeo's last name) on it.

at first glance most people probably assume this detail is pro-milkvan because mike and el are being compared to romeo and juliet, a pair of star-crossed lovers who fell in love with each other at first sight. this is what romeo and juliet's relationship appears to be on the surface, but the whole play is actually making fun of teenagers who claim they're in love when they don't really know each other. (almost like how milkvans and general audiences tend to perceive the show versus fans that actually try to read into the deeper meanings).

something something "i've loved you since that moment i saw you in the woods" paralleling romeo when he first sees juliet and thinks he's in love with her. (this combined with mike actually not falling in love with el at first sight as he claimed during his monologue because in s1 he wants to send her back to a mental hospital so they can go back to finding will. and if we compare this to romeo thinking he's in love with a different girl and crying over her moments before he sees juliet and then decides he's actually in love with her instead, well, it doesn't take much to put two and two together)

anyway i just find it really interesting that mike is referred to as romeo both textually and visually moments before and during his i love you monologue to el. definitely coincidental of the writers and set designers and this surely doesn't mean anything

[formulaheart]

there is something to be said about the parallels between benvolio of romeo and juliet and horatio of hamlet. something about them both spending the whole play attempting to break up/prevent unnecessary fights and keep the peace. something about both of them supporting their best friend(s) even when they're acting crazy and trying to protect them. something about both of their best friends being reckless, as if they have nothing to lose. something about how the last scene they have with their best friends, its horatio begging hamlet not to fight laertes because something is off and he's in danger, and benvolio begging mercutio to get off the street because he's bound to get into a brawl and get hurt. something about how their best friends both died in their arms in the end despite all their best efforts to save them, and left them alone to tell the tale.

[meowdy-all]

Idk bro, it's been a minute since i was actively in the spn fandom, but have any of yall watched Epic, and have you thought about Dean waiting 20 years for Cas to come back? Well, you should

A lot of ships can draw parallels from the 'big 3 romances'. Someone said something like; Are they romeo and Juliet where they are doomed by themselves, Orpheus and Eurydice where they are simply doomed, or are they like Odysseus and Penelope where everyone else is doomed for the sake of getting back to eachother. Cas and dean give more 'simply doomed' than anything else, but epic the musical has invaded my brain, and i will never stop thinking about everything Odysseus did to get home to Penelope.