#sometimes i meta

[yb-cringe]

something insanely meta about jack and tommy chatting about how it all sucked everything sucked and it was a mess and it hurt and no theyd never wanna go back but.. they miss it sometimes. to the way things were and how they felt. sometimes you just wanna go back

[mollysunder]

What I liked best about Jinx and Sevika's first post-Silco talk was how well it implies why their grief is so pronounced. Every complaint the two lodged at Silco was an admission at how dependent Silco had become on them, how much he LET himself be dependent. Silco didn't NEED to let Jinx give him his eye medicine, he was perfectly capable of doing so in season one's first act. The same could be said about Sevika, because while it wasn't nearly as extreme as with Jinx, he didn't need to give her so much responsibility. Frankly it's dangerous for a kingpin to give their righthand so much power (it's supposed to be spread around), and everyone noticed, even idiots like Finn.

That's why their loss is so pronounced, in all the years they dedicated to Silco, he gave up just as much of himself to them. Silco weakened himself and trusted Sevika and Jinx to make up for it. They filled eachother out, they needed eachother, and without him there's just a hole what they all used to give eachother.

[bruciemilf]

“Bruce is emotionally incompetent and can’t step outside his own morality” yeah it’s a character flaw.

“Dick is extremely stubborn and thinks he’s right all the time” yeah it’s a character flaw.

“Jason has hypocritical tendencies” yeah it’s a character flaw.

“ Tim is entitled and doesn’t think about people when seeking results, and often acts uncaring” yeah it’s a character flaw.

“Damian is rude and bratty” yeah, it’s a character flaw.

Also, some people may not even regard everything listed above as flaws.

Having negative traits allows incredible flexibility within your characters, what makes them intriguing, what makes them easy to relate to. If you want to write people, then write people. But they can’t be good and clean all the time.

[katakaluptastrophy]

The thing about having read our way through two previous books full of necromancers and weird eldritch shenanigans is that the absolute horror of what happens to John as a person doesn't quite register.

John's own glib, matter of fact narration tells the story as an apotheosis. He was doing great. He'd have fixed everything if only people had listened.

But reading between the lines in the John chapters, you glimpse something rather different.

John basically spends the first half of the Jod chapters sitting in the dark with his creepy yellow eyes, not eating or sleeping, literally stroking his favourite corpses and coming out with chill and fun statements about how he can feel their skin when he's away from them and he's 'waking up'. Cool, cool.

Passing swiftly over the cow dome, Presidential Puppet Pals, and the suitcase nuke, day to day life in the cow dome must have been fun... You're all on the Interpol watchlist, the Vatican is asking a lot of questions, the police are outside and John - who hasn't slept in a week and doesn't eat anymore and is probably wearing some kind of weird novelty tshirt - comes wandering past while you're eating breakfast, followed by a dozen silent, dead-eyed corpses like some kind of mother hen. He makes a cow joke, and then zones out because he got distracted by listening to the bacteria in your gut.

And then some guys die accidentally and it turns out he can eat death energy. So now he's got creepy Twilight eyes, an entourage of corpses, a cape, some very dodgy eyeliner, and he's barely breaking a sweat as he instantly kills over 100 people, says it was an accident, and then, dead serious, tells his followers to drag dead UN peacekeepers inside to add to his 'skeleton army'.

By the end, he's not slept or eaten in weeks, is tweaking his own bodily processes on the fly, is puppeting the dead US president and possibly an army of over a hundred corpses, monitoring G- in Melbourne, carrying on at least two conference calls, and helping to build barricades out of chairs.

And I just keep thinking how weird it must have been for his friends. How sometimes he would have seemed like the man they'd known and loved for so long, and sometimes he would seem different. Did they ever find themselves mourning the man he was? Did they ever stand there as he tuned into something they couldn't fathom, staring at them with those yellow eyes, and feel some awful, uncanny valley terror? Did he ever feel like he was losing himself? At what point did the cow jokes stop feeling like oh, classic John and start to be a reminder that his desire for vengeance and the scope of his powers were outstripping his remaining...perspective?...restraint?...humanity?

[aq2003]

twelfth night main plot: haha bisexual love triangle that is gay in both directions! haha mistaken identity and gender fuckery haha

malvolio side plot:

[poorly-drawn-mdzs]

I'm a doctor, not a miracle worker.

[First] Prev <–-> Next

[avelera]

Man, there’s all these little beats in OFMD S2 1-3 where people keep EXPECTING Stede to be upset or horrified about Ed’s actions and then he’s just. Not. In a way that reminded me of how a lot of fanon kept softening Stede into someone who doesn’t swear and is horrified at Ed for setting those ships on fire when imo to my eyes he was horrified for Ed because Ed was still so clearly distressed about it.

- Zheng Yi Sao asks Stede how he’s doing now that he knows Ed did horrible things to his crew and there’s this beat and Stede just pivots to, oh yeah, sometimes Ed is troubled. Like it didn’t occur to him to be upset on the crew’s behalf he’s worried about Ed.

- Izzy keeps trying to spare Stede’s feelings and cover up Ed’s spiral, but Stede clocked what was going on with Ed immediately and wasn’t the least bit intimidated or bothered. The knives brought the room together. Of course Ed’s trying to burn the world down or die trying. Duh. And I genuinely don’t think the STUFF in the Revenge mattered even a fraction to Stede as much as the signs of Ed’s breakdown broke his heart. It’s just STUFF, who cares.

- Lucius had to SPECIFICALLY call out Stede for not being surprised or bothered by what happened to him. What Ed did. Stede has to almost consciously remind himself to express polite concern. He just doesn’t actually care, instinctively or automatically, about what happened to Lucius. Part of it is he blames himself more than Ed. Part of it is he just doesn’t care, Ed is the priority.

They’re little blink and you’ll miss it pauses in some cases. Micro-expressions. The absence of a reaction. But honestly, I will scream it to the end of time, Stede is not some nonviolent creampuff scared or upset by Ed’s evil ways. He wants to join Ed in the atrocities. The man ran away to become a pirate. He asked if Lucius was taking notes during a murderous raid.

Stede’s at least a little on some kind of whackadoodle pirate comedy neurodivergence spectrum to the point where he actually really actually struggles to empathize with people, even people he cares about!, if their feelings conflict with his hyperfixation (piracy) and the love of his life (Ed Teach). He’s always, ALWAYS going to pick Ed over Lucius or Izzy or his crew or even his own feelings, if the option is there. He will literally throw himself overboard to get to Ed’s side. No pause. No consideration of anyone else or even his own safety.

Stede sometimes seems to have to consciously remind himself things like, oh yeah, the crew, I need to see to them. Not because he’s heartless or doesn’t care, but because it takes a bit of conscious effort for him to see beyond the laser-focused spotlight of what and who he does care most about, he has to remind himself of social niceties and other people’s feelings (just see him running away in the first place!) when he gets an idea in his head. It’s as if he had to train himself to consciously care about some things other people care about and as a neurodivergent person myself, that felt very familiar in a comedically writ large sort of way. I’d even argue that’s where all his aristocratic social niceties come from. They were his guidebook for how to do things “right” in a world that otherwise made no sense to him outside his hyperfixations. He practiced being a person through the aristocratic training because it was all so foreign to him from the start, including caring, actually caring, about the needs of others. Not because he’s consciously evil or consciously a jerk. The instinct just isn’t there unless he practices at it until it becomes reflex to ask how others are doing, because on his own his brain just doesn’t really notice or care.

I just… hope the fandom notes and has as much FUN as I do noticing all the little moments where even people inside the story of OFMD expect Stede to act in a normal way and instead he remains unhinged, laser-focused on Ed.

Stede’s not just an Ed apologist, he truly doesn’t blame Ed for any of it. He blames only himself. He doesn’t always voice this but he really really only cares about anyone else including the crew as a DISTANT second and he has to consciously REMIND himself to do so. He is able to rally to take action, to care about their physical needs like safety during the rescue, but he still struggles, deeply struggles, to remember to show empathy in a non-performative way for anyone except his special person, Ed.

Stede’s not a creampuff, not a nice guy, not some emotionally or morally perfect angel. He has to consciously practice caring about literally anything else but what he wants to do and his special person. And to me that’s a thousand times more interesting than shoving him in a box labeled “the blond, pacifist do-gooder good guy” in their relationship.

[geezmarty]

we all know that wyllstarion goes crazy as hell but you really have to think about it from Wyll’s perspective. You’re the most fairy tale brained man on earth whose life is a continued sequence of romantic and heroic ideals set up to fail. You want to be a heroic duke and save your city but wind up making a pact with a devil. You want to use that pact for good and are almost (or straight up) tricked into killing an innocent. You go on the most princely quest of all to ask a dragon for his help and we all know how that ends. And then in comes Astarion jangling like the most weaselly evil court advisor, a vampire no less and you’re like actually fuck it this slippery eel is where it’s AT. and this time you actually do get a happy ending with it. it goes crrrrazyyyy

[forestofsprites]

as iffff i could go longer than 3 months without painting a meg

[lurukifennecfox]

Gotham was welcoming of Amity Parkers.

not as loving as with her own but she was way more patient with the people of her friend that any other outsiders.

so the people of Amity those Liminal and aware of her tried to pay her kindness back, to a reasonable degree of course but they could help and she let them stay so they did.

Paulina took it upon herself to make a nice place in the fashion district, she sold some charms to help with the curses as much as she could.

Sam being Sam opened a surprisingly Ivy Approved community garden and was very hard to convince not to join the Eco-terrorist but they managed to, thankfully.

the Fentons designed filters to help the 'Parkers but it was good for the city too if too little to do much.

Val hadn't moved here (yet) but she visited often enough and each visit volunteered somewhere.

Gotham grown to adore them almost as their own, she even hid them from the bats for a while to let them settle (and maybe help her more before her Knight inevitably got paranoid)

Gotham laughed when her King stumbled into her Red Knight, you could hear it in subtle ways the sounds of the night flowed just a little too much like a giggle.

Hood did deserve more good things she's proud of herself!

[namisweatheria]

I feel like we don't discuss Nami's relationship with gender enough. Her entire character is so deeply informed by being a girl in a male-dominated pirate world and it's so interesting and so worth talking about.

The background creepiness of Bad pirate crews, which are most of them, how they tend to not have any female crew members at all, how they beckon any pretty young woman around to come play with them and join them. It's real bad. It's also like, a totally 2 dimensional portrayal of evil that is reserved for the most background of background characters.

However I think their ubiquity says a lot about how piracy is meant to be perceived by the public in One Piece, and is one of the strongest indicators of how prevalent misogyny is in-world.

It's very normal in One Piece for regular island inhabitants to have never met a Different class of pirate in their life. There's no reason for them to withhold judgement that maybe these pirates won't be like every crew that attacked before, and to wait and judge them by their actions. I mean frankly that would be irrationally weak self-preservation.

There are people who live peacefully under the flags of Yonkos who protect them, and feel loyalty and gratitude to them for it, but that seems to only be thing with very big name pirates. The East Blue, being the weakest and least populated, has no such plethora of powerful people and resulting turf wars.

So. Nami. Is very clearly implied to have never met any Different pirates before. I'm thinking about what that means. About how every group of pirates she stole from were creepy, dangerous men. How she started going out stealing when she was still a young child. How she didn't have a mother anymore to guide her or comfort her. How Arlong would grab her chin inappropriately, talk about her as a "human female", as property, and god knows what else.

How all the men in Arlong's crew treated her patronizingly, pretending they're all friends, teasing her and playing at respect when really not a single one of them ever stuck up for her or hesitated to accuse her of betrayal. Who were always ready to kill her if she refused to cooperate. Who grabbed her and intimidated her when they felt like it.

That's what she had to come back to after a close call with stealing from other predatory men, instead of the relief of home there was a dark, cramped room filled with endless hours of misery and isolation and blood. Where any one of her captors could barge in and demand new maps, work faster, where did you go, you took too long again this time. Endless threats and incursions.

I'm thinking about that her fight scene in Alabasta, where she tumbles and rips off her cape and uses it to catch her enemy's spikes, before leaping to her feet and running out the back door, all in one moment. How it makes her enemy reconsider her and think, "so the girl's not a total novice at fighting after all." What that implies about her experiences as a young thief. The times she wasn't fast or clever enough and had to fight and claw her way out. Why she always carried a staff and a knife. Why she was the only one before Chopper who had any medical knowledge or experience.

You know she was stitching herself up. And the weapons, how do you think she learned to use those? If any of the Arlong Pirates helped her it wasn't out of kindness and it wasn't gentle.

Then I think about Nojiko, and Bellemere's memory, and the only softness in a hard life. How easily Nami connects to every young woman experiencing hardship that she meets. How completely she dismisses the struggles of men unless they mean something to her and are going through something terrible. The way that Nami only has sympathy for women and children is easily noticeable in-text, but it's also something confirmed in those words by the author. And it's clearly because of the life she lived, the men who had all the power and only abused it, who saw her as nothing but a girl to take advantage of, without anyone aside from her sister clearly knowing and caring about any of it.

Nami clearly isn't bitter, she doesn't think the world owes her recompense, on the contrary she knows she is far from the only person in the world to suffer the things she has suffered. She is endlessly reaching out and kind, but only to those that she isn't sure would get help without her. Certainly, before Luffy, Usopp, and Zoro, no man ever reached out a hand to her without an ulterior motive.

I think when she sees a girl in trouble, a girl biting her lip to hold in a scream of grief, a girl running in the woods away from a monster, a girl captured by pirates, she sees someone who no one is coming for. Who no one will stick up for. A person without allies in a world against her. Whether it's actually true in this case or not, she runs straight for that girl anyways every single time.

[lenaellsi]

“Crowley is still an angel deep down” “Crowley is more of an angel than any of the archangels” “Crowley was only cast out because he needed to play his part in Armageddon, he's not a real demon” “Aziraphale wants to rebuild Heaven to be more like Crowley because he’s what an angel should be” no. Stop it. This is exactly where Aziraphale went wrong.

Crowley is 100% a demon. He's not actually a bit of an angel, and he's not cosmically better than any of the other demons we see in the series. He's much less vicious than most of them, yeah, but he's also much less vicious than most of the angels, because how “nice” a celestial being is has nothing to do with which side they're technically on. Crowley's kindness comes from him doing his best to help people despite the hurt he's suffered himself, not any sort of inherent residual or earned holiness. He was cast out just like the rest of the demons, and that's an important part of his history that shouldn't be minimized, excused, or, critically, 'corrected.'

Being angelic is not a positive or negative trait in the Good Omens universe. It's a species descriptor. Saying that Crowley is still an angel deep down because he helps people is an in-character thing for Aziraphale to think, certainly--Job and the final fifteen showed that in the worst possible way--but it's not something Crowley would ever react well to, and it's the main source of conflict in the entire "appoint you to be an angel" fiasco.

We know that Aziraphale thinks Crowley's fall was an injustice, but why? Well, because Crowley is actually Good, which means his fall was a mistake, or a test, or a regrettable error in judgment, or…something. Ineffable. Etc. The point is, he’s special, much better than those other demons, and if they can fix him and make him an angel again, everything will be fine! (So once Job's trials are over, everything will be restored to him? Praise be!) Aziraphale has to believe that Crowley's better traits come from traces of the angel he used to know and not the demon he's known for 6,000 years, because that’s how he can rationalize his incorrect view of Heaven as The Source Of Truth And Light And Good with his complicated feelings about Crowley's fall.

But Crowley's fall was not an injustice because he's actually a Good Person who didn't deserve it. Crowley's fall was an injustice because the entire system of dividing people into Good (obedient) and Bad (rebellious) is bullshit. Crowley is not an unfortunate exception to God's benevolence, he is a particularly sympathetic example of God's cruelty.

And really, Crowley doesn't behave at all like an angel, especially when he's at his best. All of the things that he's done that we as the audience consider Good are things that Heaven has directly opposed. (See: saving the goats and children in defiance of God in S2E2, convincing Aziraphale to give money to Elspeth despite Heaven's views on the "virtues of poverty" in S2E3, speaking out against the flood and the crucifixion in S1E3, tempting Aziraphale to enjoy earthly pleasures because he thinks they'll make him happy, stopping Armageddon.)

Heaven as an institution has never been about helping humanity. And that's not an issue of leadership, as Aziraphale seems to think--it's by design. Aziraphale's first official act as an angel toward humanity was to literally throw them to the lions. Giving them the sword wasn't him acting like an angel, it was just him being himself. Heaven doesn't care about humans. It's not supposed to. It's supposed to win the war against Hell, with humans as chess pieces at best and collateral damage at worst.

Yes, it's easier to think that there are forces that are supposed to be fundamentally good. It's easier to think that Aziraphale is going to show those mean archangels and the Metatron what’s coming to them and reform Heaven into what it "should" be, and that God is actually super chill and watching all of this while shipping ineffable husbands and cheering for them the whole way. And of course it's easier to take Crowley, who Aziraphale (and the audience) adores, and say that he deserves to be on the Good team much more than all those angels and demons that we don’t like. But that's not how it works. People are more complicated than that, even celestial beings.

Crowley is a demon, and the tragedy of his character is not that he's secretly a good guy who is being forced to be evil; the tragedy is that he's lived his whole life stuck between two institutional forces that are both equally hostile to the love he feels for the universe and the beings in it. There are no good and bad guys. There are no "right people." Every angel, demon, and human is capable of hurting or helping others based on their choices. That is, in fact, the entire fucking point.

[veinsfullofstars]

“Any more stupid questions?”

Bonus live reactions to being saved from a Dark Matter ambush:

Started 07/13/24, finished 07/27/24, updated for color correction 11/02/24. | Kintsugi AU Masterpost

[bruciemilf]

I’m actually really sad I have to communicate this, but yall should REALLY consume fandom media created by actual, human people, not AI.

[starcurtain]

Female Guidance in Aventurine's Life

One thing I haven't seen discussed in much depth yet, but which I think is especially interesting, is the consistency of female guidance in Aventurine's life: Every single person who we have seen on screen offering Aventurine assistance or making a positive difference in his life is female (with one exception, yes, I'll get there).

Under the read more cause it's longggg:

Before even diving into his family, let's just get the obvious out of the way: Aventurine is, at least supposedly, blessed by a goddess. The very origin of his good fortune--be it actual blessing or curse--comes from the literal "mother goddess" who watches over him. This is one of the only instances in Star Rail where a god character is specifically given a gender, and Gaiathra is not ever ambiguous. She is the classic female fertility goddess with all the trappings of other famous triple goddess figures of the real world. Aventurine's personal belief in the goddess may be shaky, but he nevertheless continues to treasure his people's faith. Thus, at the core, we can say Aventurine is a character who is guarded by the most quintessential mother figure possible.

Now, with the most obvious out of the way:

We know that Aventurine's father died before Aventurine was even born, and therefore he would not have any memories of his father, leaving him to be raised by his mother and sister.

Both women clearly made an enormous and lasting impression on Aventurine; they haunt every single one of his memories of Sigonia and are the key elements of the family Aventurine longs to return to. While he flirts with the concept of death as a way to see his family members again, it was also his mother and sister who instilled in him any sense of self-worth and meaning to his existence, the only things keeping him from giving up on living. His mother believed him to be blessed; his sister insisted to his face that not even the only remaining remnant of their mother had any value in comparison to his life.

It is for his sister that Aventurine first begins expressing a self-sacrificial nature, and from his sister that this self-sacrifice is reinforced when she uses herself as a shield to help him escape massacre at the hands of the Katicans.

It is also from his sister that Aventurine learns many of the deeply meaningful actions he holds onto to the present day, despite having been so far removed from his own culture.

Conversely, every one of Aventurine's early negative experiences on screen appear to have been driven (at least primarily) by men.

Although the Katican tribe of course would have both men and women, the tribal societies on Sigonia appear to be on the fairly traditional side, with Aventurine's mother staying at the camp with her child while his father was the one to go out and hunt for offerings for Gaiathra. This is also supported by Aventurine asking Jade to take him to her "chief" later on. Therefore, it is likely (although of course not guaranteed) that a majority of the Katicans' army was male, and that Aventurine's early experiences with outsiders consisted almost entirely of indiscriminate pillaging and massacre at the hands of what the Avgin viewed as savage, invading warriors. In separate instances, Aventurine was traumatized by these warrior figures three times--first with the loss of his father, then his mother, and then finally his sister.

And even their hope, supposed to come in the form of the "men in black" from the IPC, completely abandoned them, leaving Aventurine once again betrayed by masculine figures that were supposed to be there to protect him. Led by Oswaldo Schneider, another cruel male authority figure, the Marketing Department of the IPC permitted the wholesale slaughter of Aventurine's people--something which we know Aventurine is now aware of.

Then, of course, the next piece of Aventurine's backstory we're given is his male slave master. I don't really need to say anything about this, do I? This man violated Aventurine's human dignity and bodily autonomy, and forced Aventurine's hand in a life or death battle for which Aventurine still punishes himself mentally, even years in the future.

In part to escape the difficulty of his situation and rise to a position where he would have enough resources to--he thought--help his people, Aventurine joins up with the IPC. But when he attempts to make contact with a powerful man in the organization, Diamond, he is instead met by a woman, Jade, who against Aventurine's own expectations determines that she will raise Aventurine up (or use him as a tool, depending on how you currently choose to interpret Jade's motivations), granting him wealth and status beyond his imagination.

(And this line in particular is interesting, because you can take it one of two ways: 1) Aventurine comes from a patriarchal planet that traditionally put men into positions of power [thereby making his own slavery an emasculating act, aligning him further with disenfranchised women]; thus, he is making the assumption that to get anywhere in this organization, he will need to work with a man; or 2) He actually was counting on Jade taking his bet and helping him right from the beginning, because Aventurine perceives women as inherently more likely to protect and aid him than men would be.)

In the end, Jade does exactly as she claims she will, launching Aventurine into a position of power while also closing golden handcuffs around his wrists. She positions herself not only as his supervisor, but as his advocate and ally. She entrusts him with her Cornerstone, a sign of significant faith in his abilities. She even seems to be keenly aware of his bias towards the mother figure, referring to him as "child" in their conversations.

Whether this is genuine or a manipulation tactic can certainly be debated (and I'm not inclined to think at this point that Jade is a genuinely good role model or selflessly supportive person in Aventurine's life), but whatever the case, women are the only people Aventurine even remotely considers to be "in his corner."

We see this even earlier, in Aventurine's call to Topaz. Like with the example of his mother and sister, Aventurine trusts in Topaz's ability implicitly, and considers her above anyone else when it comes to completing the mission in Penacony.

Although of course we don't know if Aventurine has any other friends or allies among the Strategic Investment Department, it seems very likely that Topaz, yet another woman, is the one he is closest with. At the very least, she is the only IPC character (so far) that Aventurine has a complimentary voice line for, one that shows his respect for her talent:

Over and over again, the story aligns Aventurine with female figures in positions of authority, and demonstrates that he is comfortable (although maybe not too comfortable, in the case of Jade) with relying on them and trusting their judgment, just as he did with his mother and sister.

And this pretty much goes off the charts in Penacony, where Aventurine has more involvement with the female cast than virtually any other non-female character (even the Trailblazer!). We set the pattern off right away, with Aventurine immediately being placed into a negotiation situation with Himeko, respecting her role as the Express's leader and working to get himself aligned with the Express by acquiescing to her request for support.

Then there's the fact that Aventurine is the one who finds Robin's body, an event which, although he didn't let it show too much, was almost certainly traumatic for him, given the violent death of his own sister.

Next, twice in Penacony's story, we see Aventurine seek out Sparkle for information. He may not personally like her and her comments may be both racist and dehumanizing, but Aventurine does rely on her--being the only character explicitly seeking her aid, which no one else in Penacony seems to want.

In 2.0...

And in 2.1.

Now, say it with me, guys: Aventurine built an entire portion of his grand plan around the idea that if he looked pathetic enough, a female character would absolutely come and help him. And sure enough, the women come through for him, always! Sparkle gives him the exact last clue he needs to confirm his belief that he could use "Death" to reach the true Penacony, sealing the deal for the rest of his plan.

His plan which also hinged significantly on Black Swan's involvement too, another woman that he views as, if not trustworthy, then at least intelligent and hyper-competent.

Contrast all this, of course, with the treatment Aventurine receives at the hands of Sunday, the lone opposing male character he faces in Penacony.

Sparkle implies that Sunday would humiliate Aventurine in an unmistakably sexual and degrading way, and Sunday himself professes this same desire to see Aventurine humiliated.

Then we're "treated" to the moment in which Sunday uses the Harmony's (or perhaps actually the Order's?) power against Aventurine, in a scene which is supposed to reflect an interrogation but is also, very clearly, another nonconsensual violation of Aventurine's bodily autonomy and dignity by a man. While ostensibly seeking confirmation of the Cornerstone ruse, Sunday instead subjects Aventurine to unnecessary questions about his past on Sigonia, which recall and force Aventurine to re-endure memories of his trauma.

Even if this is what Aventurine prepared himself for and planned to have happen, the pain he experiences is very real, and he suffers both the physical and emotional consequences of Sunday's assault all the way up to his "Death" and possibly even beyond.

(Also, Sunday fans please don't get too up in arms with me for this; I also like Sunday! It's okay for characters to be morally grey!)

I think there's one other interesting example I would bring up here too, and that's Aventurine's conscious decision to weaponize his own masculinity against the Trailblazer. Through the 2.0 and 2.1 Trailblaze missions, Aventurine deliberately acts in an off-putting manner to the Astral Express crew, particularly the Trailblazer, in order to build up to the 2.1 climax where the Trailblazer is supposed to view him as an unrepentant villain and attack him without hesitation.

In order to achieve this uncomfortable, villainous effect, what does Aventurine do? Exactly what other men have done to him.

This is especially apparent if you're playing Stelle because of the ingrained societal taboo of a man entering a woman's personal space without consent, but even as Caelus, it is very clear that Aventurine is leveraging behaviors typically used to show dominance: In a complete 180 to all Aventurine's other body language in the game (normally quite withdrawn, frequently in defensive postures with his arms crossed or hand behind his back, almost always standing several feet away from other people), Aventurine violates the Trailblazer's personal bubble, looming over them (Caelus was sitting in this cutscene, lol), forcing eye contact, and commanding the space while informing them that they will have no choice.

For someone who was hunted, enslaved, had his movements restricted with chains, and due to his own slight stature has very likely been towered over by others who were intentionally asserting their power over him all his life, it is clear that Aventurine associates dominant, typically more masculine-coded physically-imposing behaviors with discomfort and even villainy.

Any girl who has ever had a man loom over her like this will realize very quickly: Aventurine wanted to make himself scary so he made himself act more like a bad man.

(Yes of course I know "not all men." I'm not saying every man behaves in this domineering way or that women cannot be domineering too, obviously, just that Aventurine had a very specific image in mind when constructing a "villainous persona," and the physically controlling tactics most typically used by aggressive men toward women was his immediate go-to.)

But where does that leave Dr. Ratio, the one male character actually on Aventurine's side?

Frankly, I don't want to derail my post about how intensely Hoyo chose to hammer on the message of "Women will protect you" in Aventurine's story with a discussion about a mlm ship, but the take-away here is going to lead in that direction anyway--so yes, Dr. Ratio is the exception.

What is interesting is that he does not come across as an exception at first, and in fact initially appears as another male character being rude and dismissive to Aventurine. Like, there are still people out there calling Ratio an unrepentant racist for this one.

Of course, it's later clarified that this is an act--likely even these insults were scripted specifically to give Sunday's spying ears the "insight" he needed to exploit Aventurine during the interrogation.

But even though it is an act, Aventurine still has noticeable trouble putting his faith in Ratio. He does genuinely doubt him a few times, despite knowing that they are working together to fool the Family.

Even his voice line about Ratio confirms that he doesn't think Ratio particularly cares for him; rather, he thinks Ratio simply tolerates him because he's slightly less unintelligent than those around them.

Ultimately, the entire act with Ratio ends up being a mirror of the real scenarios Aventurine has been experiencing with men his whole life (at least as far as we are shown his life). Men abandon him to fend for himself (unwillingly, like his father, or willingly, like Diamond leaving Aventurine to deal with Penacony alone on the inside). Ratio keeps leaving Aventurine completely alone. Men attempt to humiliate him and violate his boundaries (like Sunday and his slave master). Ratio insults Aventurine's appearance and intelligence repeatedly. Men betray him (like Oswaldo Schneider and his men leaving the Avgin to die). Ratio "betrays" him.

I'm not saying when Aventurine devised the plan for their act, he consciously drew up a list of all the ways men had hurt him in the past and had Ratio re-enact them one by one, but like... that's what happened, whether or not Aventurine intended it.

And okay, the shrinking scene in Dewlight Pavilion was just for fun and probably only slightly fetishy, the devs promise; yes, it was supposed to be a joke! ...But it's also not a mistake that this is yet another instance of a male character in a glaringly metaphorical position of power over Aventurine. Aventurine's tiny in this scene! He's completely vulnerable! He's in a dangerous position and the male character could very much hurt him in this moment.

But Ratio doesn't. (In fact, his line here is supposed to be sarcastic, very ha ha--but also, what is Ratio really saying? "I won't do anything to you without your express consent." What a good guy.)

Virtually everything negative that we see in 2.1 is Ratio doing these things as an act at Aventurine's own request. He doesn't actually disdain Aventurine; his own voiceline about Aventurine reinforces that he sees Aventurine as talented and intelligent.

Whatever you think he was apologizing for in their early scene, he's the only person we're ever shown in-game apologizing to Aventurine at all.

He worked hard to "betray" Aventurine but only as he was instructed to do, and immediately checks in on Aventurine's well-being afterward, even urging him to give up the plan if it becomes too much to handle.

And then, of course, there's the note: "Do stay alive. I wish you the best of luck."

After this point, it cannot be denied that Ratio is unequivocally on Aventurine's side, wants to help him, and is not doing so out of any sense of self-gain but largely because he is a good person who simply cares about Aventurine's fate. By the end of 2.1, it can no longer be doubted that Ratio is the exception to the "gender rule" of Aventurine's life, which--the story shows us again and again--was that guidance, protection, and care for Aventurine come from women, while men repeatedly represent dismissal, betrayal, or pain.

Ratio is, at least as far as Aventurine's story shows us, the proof that men can be good, that things are not as black and white in Aventurine's life as they might appear, and that--if you do choose to ship him with or see Aventurine as attracted to men--his attraction could be validated (and potentially reciprocated) by a male figure who would not bring additional harm to Aventurine's life. Aventurine makes the final decision to live after seeing Ratio's note--the exception to the rule ultimately proves to be the last piece needed to keep him alive.

But I promised I wasn't going to derail my own post about w o m e n, so let me get to the final point, and the one I really wanted to talk about: Although Ratio gets virtually all the credit for "saving" Aventurine in the fandom, Aventurine was actually saved by, you guessed it, another woman.

Not going to lie, the reason I started this post was specifically because I wanted to talk about how Acheron and Aventurine's dynamic was completely unexpected but actually fits flawlessly with the theme of feminine guidance in Aventurine's story.

Despite the fact that Aventurine made Acheron's life much harder and actively used her as a chip in his grand gamble, she doesn't blame or chastise him for those actions. Although she expresses some incredulity that Aventurine is actually that lucky, she then turns around and congratulations him for his ingenuity, immediately supporting him despite the fact that they don't even truly know each other.

Then it gets even more interesting. Acheron, who frequently hits her companions with deep and sometimes very emotionally fraught questions, asks Aventurine: "Have you never wavered?"

We as players know for a fact that Aventurine is constantly wavering, constantly doubting himself, his luck, and whether he'll even live--or even wants to live--to see tomorrow. But we also know that Aventurine is not forthcoming about those truths, refusing to express them to anyone, even himself. The only way we hear those dark truths is through his "future" self (who by the way, is once again another male figure cutting Aventurine down--of course it's himself but it's also, from the player's perspective, once again reinforcing the message that he isn't going to find safety or kindness in an adult male presence). Aventurine almost constantly deflects and diverts when his emotions or struggles are brought to the fore (unless he's divulging them for the specific purpose of allowing someone else to weaponize them). "I'm fine," he says, like a lying liar who lies.

But he doesn't lie to Acheron.

He chooses to be completely candid with her, to lance open the deepest wound of his life--that he can win and win and win and still have lost everything. The glitz and the glamour has all been stripped away here, at the end of everything, and Aventurine finally feels safe enough to admit that he fears he has absolutely nothing in his life worth living for.

And then, we get this direct parallel: Aventurine looks to Acheron, the woman now before him, for guidance, for explanation, exactly as he looked to his sister in the past.

He needs help, he needs answers, and he is continually seeking that help from the female figures in his life, whose support and kindness echo the lost care of his mother and sister.

"Go where you should be," Acheron tells Aventurine, guiding him across the river of death just as his sister insisted that he flee through the rain toward life.

Look guys, Acheron's even the one who reminds Aventurine to look at Ratio's note in the first place because apparently being an emanator of Nihility gives you x-ray vision, but my girl just gets no credit at all for being Aventurine's real savior, come on now!! Yes, Ratio's note was the final reminder Aventurine needed that someone would be waiting for him on the other side, but Aventurine would never have even gotten to the point of being willing to read that note if Acheron hadn't stepped in and provided him an answer to his question.

She feeds him back his own answer: "Why does life slumber? To rehearse the death for which we are not currently prepared." It is Acheron who reminds Aventurine that giving into the Nihility is pointless, and that rather than simply embracing a meaningless death, it is up to humanity itself to find and make meaning by living. It's this, not Ratio's note, that Aventurine gives as his reason for choosing to go on when asked by his own younger self. It's Acheron's words that finally give Aventurine an answer--why do we live just to die? Because there are people we can still make proud. Because when we go into death, we should do so with our heads held high, having achieved our own sense of purpose in this life.

Ratio gave Aventurine a promise: Someone is waiting for you to come back.

But Acheron gave Aventurine a reason: If life is inherently meaningless, doesn't that just mean you are free to give it meaning yourself?

She saved him, as women have been saving him all his life.

Anyway, this has already been horrendously long, but really what I wanted to say is that I think it is absolutely fascinating how consistent Aventurine's writing is when it comes to portraying where his support comes from and who he seeks guidance from. (Psst, just in case you still haven't figured it out, it's women!) In virtually every instance we are shown, we see the message reinforced that women are Aventurine's greatest allies and role models, while male figures are continually positioned to intentionally or unintentionally let him down and cause him distress.

"But women playing the supporting role to a male character is nothing new, Star, why are you so excited by this?"

Because the role women are playing in Aventurine's life is not the subservient supporter and emotional crutch role that female characters all too often play to male counterparts. None of the women in Penacony or Aventurine's past were there to do the emotional labor for him, to be a trophy or prize, or to cater to his needs. They don't exist solely to help him fulfill his character motivations; they aren't following him around waiting for his next request as their only role in the plot.

Instead, with Aventurine's story, we almost have an inversion of gender roles, where the male character eschews the stereotypical "men are leaders, fighters, and stoic heroes" archetype. Instead, no matter how hard he tries to hide it and keep a stiff upper lip, it is clear from 2.0-2.1's story that Aventurine is a deeply insecure, lonely, and explicitly traumatized survivor of genocide, slavery, and exploitation. Unlike most male characters, who are very rarely portrayed as genuine victims--because come on, shouldn't men be strong enough to fight back? Shouldn't men be able to shrug it off when they are hurt, emotionally or physically? (Of course I'm rolling my eyes here!)--Aventurine is belittled, humiliated, emasculated, and victimized on-screen, roles almost exclusively reserved for women, for whom surviving victimization in fiction is seen as noble.

Meanwhile, the women in Aventurine's life take on the roles traditionally given to male characters. They're both emotionally and physically his protectors. Aventurine's sister gave her life to guard his safety; Acheron ensured he could safely pass beyond the river of Nihility into the Primordial Dreamscape. They give him the tools necessary to succeed where he could not succeed on his own. His plan could never have gotten off the ground without Topaz and Jade entrusting their Cornerstones to him. The knowledge and capabilities of the women around him--not their "feminine charms"--are what allow them to help keep Aventurine on the right path even though he does waver. Even women who disrespect him, like Sparkle, still play a positive role in his life, able to provide him insight gained with their own intellect and talents.

When he has no one to rely on and doesn't know what to do, Aventurine is able to continually turn to the women around him, asking for and receiving not servitude or fawning, but their genuine wisdom and guidance.

tl;dr: If nobody else has him, Aventurine knows this random woman he met two minutes ago on the street will have him, because the women in his life literally never let him down.

(It's just so, so good, and ultimately, it should be very clear why Aventurine's story is as popular with women as it is! A+, Hoyo!)

[meteortrails]

law and luffy are so fun bc the fundamental basis of their relationship is that they were both there for each other in one of their most isolated, life changing moments of grief, and they’re the only reason the other survived it. they may not necessarily know all that much about each other, but they do know parts of each other that not even the closest members of their crew (their family) know now. like obviously by the end of dressrosa law sees and understands the reason luffy’s crew follows him, but I think a less obvious truth is that when law saves him luffy sees and understands the reason law’s crew follows him. I just think about luffy’s instinctive faith and trust in law on punk hazard; he looks at law and understands that as much as he pretends not to be law is fundamentally the person who saved him before he is anything else. and I think they both kinda struggle to categorize the specific and unique way in which they are important to each other (although admittedly luffy stops caring to much much sooner LOL), bc it IS different than their relationships with their crew or their family. not necessarily any more or less meaningful, just different. and idk i guess i just think it’s all very sweet, in the end, that they managed to find each other like this.