#somewhat of an analysis

[just-another-frender-blog]

Do you think that Futurama is marketed more toward men, or is it pretty neutral? I never thought about it before. I think people tend to see it as a "guy" show because of Bender's public perception (which is often inaccurate.)

I can't speak much about how Futurama was marketed because I wasn't born when season 1 came out. I was three when it ended its initial run on Fox, and I don't have many personal memories of the earliest years of the 2000s. I'm not the best person to speak on the marketing of this show, though I find a lot of the promotional art to be experimental and very creative. The promotional material for this show is quite fascinating to me because I don't think you see anything marketed the way Futurama was (same for other shows/movies that came out at the time).

I have read about the toll it took on Matt Groening to get this show made. I believe he called getting Futurama greenlit "the worst experience of his adult life." Fox wanted him to make The Simpsons 2.0, and he wanted the creative freedom to make a cool sci-fi cartoon. As a result, Fox treated this show like absolute shit; they let it tank on purpose, getting it canceled due to low ratings as a result. That being said, Futurama paved the way for niche television and riskier projects, just as The Simpsons changed the landscape of American sitcoms forever.

My point is that screenwriters, for television and movies, are heavily restricted by executives. This medium of writing is often one of the most restrictive in terms of creative freedom. This can be a good thing, as limitation breeds creativity, but it can also lead to writing problems. I suspect that Futurama stuck so heavily to certain aspects of the status quo because of executive pressure, even though they were able to develop the characters and maintain continuity within said status quo (which is impressive to me).

American media is heavily constrained by capitalism, which means that shows have to be marketed toward a demographic. There are exceptions to this rule, such as the show Infinity Train. Creator Owen Dennis stated that Infinity Train was never meant to be for any one demographic, but was more of a show all ages could enjoy. But shows that don't fit into hyperspecific boxes are kicked to the curb for daring to be risky, which is exactly what happened to Infinity Train, as well as Futurama.

I have no clue what exactly went into the making of Futurama, but I'm going to take a wild guess and say that it's likely Fox wouldn't greenlight the show unless it was geared toward adult men specifically. And that's likely how Matt Groening had to pitch the show in order to get it made. That being said, I know that Fox also came down on the show for being too adult (?) which is downright unfair. Another factor to consider was that the writing room was almost entirely male, and only one episode in the entire 140-episode run was credited to a woman.

There's also the fanservice aspect being exclusively for the "male gaze." There are sex jokes and episode concepts that are very outdated, but overall, I would consider the show to be progressive for the time it came out. It's definitely progressive for a show that was airing on Fox (like The Simpsons). As I said in another analysis post, I was very impressed by how well-written Leela was for the main female lead. Especially how she's allowed to outshine her male counterparts because she's far more talented and capable than them.

Then again, I'm stunned if a show has one or two female characters that aren't poorly written, so my standards are very low. I do get the impression that the writers had a lot of respect for Leela as a female character, especially how David X Cohen stated he initially didn't want her to be a love interest for Fry at first. This is a good thing; female characters shouldn't be created for the sole purpose of being a love interest. They gave her a very well-written and compelling character arc, which is also very rare for a female character (once again, the bar is on the ground, we need to do better).

I'm going to get personal toward the end of this post. I would say that the capitalistic obsession with marketing toward gendered demographics really hurt me when I was growing up, and I imagine it hurt many others. I started forming very intense hyperfixations before I could retain memories, and I don't have a lot of control over what my brain decides is a new obsession. I would fall in love with "things for boys" and "things for girls" without much discrimination. I really just wanted to connect to a story that resonated with me and I didn't care if I was meant to be a part of that audience or demographic.

People gave me a hard time for liking things like Nintendo games or Ninja Turtles instead of liking fashion, makeup, or whatever else was perceived to be normal for girls to like. And I did love many feminine things, but they were still considered weird I guess? This type of attitude harmed my perception of feminity and masculinity, as well as my relationship with my gender identity and sexuality. I have a healthier relationship with my gender/sexuality now, but I don't think I've completely recovered from the societal pressure to act a certain way based on my gender.

For Futurama, I have a hard time seeing it as a show for straight men, even if I logically know that's the case. I'm used to finding comfort in media that was not made for me, and I've been able to make peace with that (though I still get bitter from time to time). And I realize that most creators would rather not limit their work to a specific demographic. They're trying their best to game the system of capitalism, which is all you can do if you want your art to get seen by the public. It's a huge accomplishment when they're able to make wonderful art in such a stifling environment.

[set-wingedwarrior]

The way this kiss happened in the worst possible moment is driving me insane (in the best way)

Besides the fact that they're basically on a mission to hunt down the sister of one of them, who killed the mother of the other (awkward), what's getting to me is how neither of them is themselves right now.

Their first kiss happens when neither of them is actually herself.

Vi is wearing Enforcers' uniform, the same faction that killed her family, to go and kill her own sister. She says her sister is not there anymore, that she's ready to do what she has to, but she's lying to herself (as we see her later hesitate, obviously).

Caitlyn isn't just doing her job, she's not pursuing justice, all that is driving her now is the vengance that comes from her grief. Her promise is a lie because she's already changing, she's already acting against her own principles (not necessarly because putting Jinx down is wrong on its own right now, but for her reasons behind it).

They're both not really themselves, they're both lying, and neither of them is self-aware. Their first kiss is so emotional, and so wrong, and I knew from that moment that it would blow up to their faces.

And it's heartbreakingly beautiful.

[scruncheduppaper]

drew this bc because i hate sitting thru chapel

[shiraishi-kanade]

An Shiraishi does not have communication issues. An has many issues, but communication ones isn't one of them.

The actual reason she doesn't tell Kohane or the rest of VBS shit is because the moment she realizes any of her issues don't have a quick and reliable fix she switches to "fuck it, we ball" mindset about them and that's infinitely funnier and more interesting than her not being able talk things out.

[mynnthia]

compiling my headcanons for what video games dungeon meshi characters would like, if they were gamers in modern day

some taken from this post and my reblog additions there. added more characters, with some suggestions by friends/mutuals (marked by *asterisk ).

this can also be a games recommendation list based on your fav/most relatable characters too, if you want

characters that are not are included are bc i dont have ideas for them. if i only list the genre name but not any specific titles, its bc im not familiar enough with the character/genre to pick a specific game.

this list is, of course, biased towards games im more familiar with. feel free to ask me to elaborate on my choices or make suggestions in the comments

Laios' party:

Laios: plays lots of Monster Hunter. loves Spore but he doesnt often play past the tribal stage. likes Pokemon but he's more focused on catching the pokemon than following the story. played WolfQuest and DragonFable back in the day. enjoyed the concept of Bugsnax but wasn't interested in dealing with the NPCs

Marcille: mainly Dwarf Fortress, RTS games, some colony sims. but also sometimes The Sims, and dollmaker dress-up games. i could see her also enjoying Rollercoaster Tycoon and making elaborately-themed parks. might also occasionally indulge in some visual novels if she's in the mood for narrative she has Stardew Valley so she can have something to play co-op with falin, but its not a game she plays a lot of otherwise. when playing with falin, marcille micromanages the farm to maximize productivity, and does the decorations

Chilchuck: puzzle games and hidden object/escape room games as a video game-equivalent to finding/dismantling traps and lockpicking. i think he'd also enjoy Bejeweled.

Senshi: mainly Wii games and Cooking Mama. occasionally plays Snake on his 15-year-old nokia phone. i dont think he would enjoy games like Overcooked or restaurant manager games, because he likes to take his time making food, not stressing about customer service

Falin: some *Legend of Zelda games – she likes the exploration aspect in Breath of the Wild and Tears of the Kingdom, maybe also some of the toon zelda games like Minish Cap or Wind Waker she also plays Pokemon (*Pokemon Go when she's traveling), and i think she would enjoy some indie games, like Penko Park or Chicory: A Colorful Tale. plays Stardew Valley co-op with marcille – falin mainly takes care of the animals, mining, and picking the crops. occasionally makes improvement suggestions that marcille didnt think of

Izutsumi: i could see her enjoying games with parkour mechanics, like *Assassin's Creed, or Mirror's Edge. or maybe something simple but requiring cat-like swipes, like Fruit Ninja. despite her impatience, i think she could also enjoy action games with interesting longer narratives, as evidenced by [this omake] (relevant portion pictured below), so maybe *Final Fantasy 7 – my friend who's familiar with the game said "she’d find Cloud and Vincent relatable"

[ID: a dungeon meshi omake, where laios' party watches a nightmare monster manifest marcille's dream. there are snippets of dramatic soap opera-like dialogue. the rest of the party are initially enthusiastic but get bored over time, meanwhile izutsumi remains enthralled]

Kabru's party

Kabru: definitely Crusader Kings. maybe also some rpgs with relationship/faction mechanics, such as *Fire Emblem (one of the older ones or FE:3H) or Fallout: New Vegas (hes maxing out the speech stat asap) i think he would also enjoy mystery games like Pentiment and Return of the Obra Dinn – he would love the process of getting familiar with the many characters and deducing "who did what" in both games.

Rin: she takes pride in being an indie gamer (translating her disdain for upper class magic academy mages -> disdain for AAA games). given her chain-lightning magic in canon, i think she'd enjoy games with AOE-type magic, so maybe games such as Vampire Survivors. my mutual also suggested she might enjoy indie mystery visual novels like *Paranormasight, and that her AAA guilty-pleasure would be *Final Fantasy 14 – that rin is "a hardcore ff14 raider. would join PUGs and shot-call every week. #holm and diya might also play ff14 casually with rin but holm would be fishing mainly"

Mickbell: mainly Bethesda games like Fallout and Skyrim– enjoys the bootstrapper power fantasy in them. the type to go out of his way to pick up all the loot he can, to later sell

Kuro: enjoys the same games as Mickbell, but for the open-world exploration and investigation factors

Toshiro and Tansu's party:

Namari: her interest in fighting and weapons could translate to brawler/fighting games and action games with a focus on weapon stats – so maybe *Street Fighter, *God of War, and/or *Dark Souls. might play *Monster Hunter with laios but for the weapons. i could also see her occasionally enjoying truck simulators

Toshiro (Shuro): has the perseverance for soulslikes and other high-difficulty action and/or metroidvania games, but would take his time overthinking item/weapon synergies sometimes. given [his fondness for bugs], i could also see him enjoying Hollow Knight

Tade: would enjoy the cute aesthetics and lighthearted gameplay of Animal Crossing and Katamari. would also like idol anime rhythm games

Kiki: i think she would enjoy horror games such as Resident Evil, but would play it while super chill. i dont have much reasoning for this aside from vibes

Canaries:

Mithrun: plays Doom. got into Hollow Knight but still hasn't finished it because he keeps getting lost. senshi introduces him to Cooking Mama later on, which he finds surprisingly therapeutic

Cithis: plays Hitman and enjoys staging elaborate accident kills. i think she'd also enjoy The Cosmic Wheel Sisterhood, with her background as a devious fortune-teller

Fleki: surreal indie games like Hylics. also plays Team Fortress 2, and is a scout main. occasionally joins lycion in Animal Jam

Lycion: active WolfQuest and Animal Jam player. occasionally joins fleki in tf2

Pattadol: plays Stardew Valley – shes comparatively a normie, but on the meticulous side. she would enjoy perfecting her in-game farm

Otta: plays Genshin Impact. the serious reasoning is because of her (earth) elemental magic and how genshin has an elemental magic system (from my understanding. ive never played it). the joke reasoning is how some genshin players play to collect "waifus", and how otta goes through a lot of women in her dating life

Other:

Leed: runs her own guild in World of Warcraft

Winged Lion: god-games like WorldBox or Simmiland. and Darkest Dungeon (this ones mostly a joke)

Thistle: plays the original Plants VS. Zombies. also plays Minecraft and is very serious about it, but hasn't updated his game in years (translating the fact hes a 1000-year-old kid frozen in time -> playing "slightly old" games popular in the early 2010s)

[ID: tweet reply by twitter user ranchuppi – "thistle calls it lord delgal's server but he is the only mod. whole royal family is locked in spectator mode. Hell. living hell on earth."]

[hazmatmaid]

I feel like people must’ve forgotten how objectively horrifying Spamton NEO is, like on a psychological level. Once he goes NEO, that’s the point of no return. The only way out of it for him is to basically die.

Not to mention Puppet Scarf’s flavor text:

Yes, Ralsei can no longer cast healing spells as effectively with it equipped, but think of the implication; that’s Spamton. By the time he goes NEO, he gave up on healing and making amends. By this point, he’d rather go out and kill everyone who wronged him (or he thinks they did) than seek forgiveness, or forgive them himself.

And in Snowgrave, he has no problem with letting (or even encouraging) someone commit mass murder if he can take advantage of the situation.

He may call you out on it, but by that point he’s mostly projecting his own self-hatred onto Kris.

But if we adhere more closely to the normal Ch2 route, it’s implied that he still had murderous intentions with NEO.

And even if you end the fight by sparing him and get the Dealmaker instead, it's already too late for him. He went NEO, and there's no other way it can end for him.

In other words, NEO spells his doom.

[spinnenpfote6]

I just re-read some pages of The Fellowship Of The Ring and I don't get why so many people take issue with around-20-y/o Elijah Wood being cast. While Frodo Baggins is indeed canonically about 50 years old, the book specifically mentions how he looks like someone fresh out of his teens because he kept the One Ring for multiple years, which is known to keep their owner young and fresh (at least at the beginning until they rapidly age after getting rid of it) - not to mention that since hobbits age slower than humans, Frodo would only be in maybe his 30s. On one page we are being told that multiple people gossip and wonder about how young he still looks, including Gandalf. So if anything, you could say that Elijah Wood was too skinny or too attractive (though I do think he looks like Frodo is described), but not too young.

And I actually like that he looks young because it not only does it make him look cute and innocent, but we also get the notion of someone who has had a relatively quiet and happy, sheltered life before (aside from the terrible death of his parents) and of someone who is visibly sensitive and innocent and gets taken care of a lot. The BIGGEST reason I like his young looks however, is the parallel to young soldiers who are ripped out of their homes by outer forces, by older men who are the ones who started the wars. Young soldiers whose lives are practically destroyed before they even really begin, just like Frodo's - even if he's already half a century old. He comes back traumatized and sick/disabled having saved the world but having lost so much. Most likely his innocence too.

[lenalovesreading]

Arcane season two has a circular narrative and it's vital to understand Piltover's and Zaun's relationship in the beginning and the end of the season:

Episodes one and two start with death: two daughters burying their parent - one on one side of the river and one on the other.

The analogy is practically impossible to miss: Cassandra gets to rest in an ivory coffin after a beautiful floral funeral while Silco is left to decay in the river, and that while it might have been his last wish due to his history with the river, the contrast is impossible to ignore (this also goes for Vander being left on the street - if Singed hadn't come for him that is).

We go ahead with the rest of the season, we are at war, casualties happen, people die. Those people had families, hopes, dreams, even though we didn't know them, and their families mourn them too. That's how we get to the end of season two which happens where? The bridge.

We get zaunites and piltovans coming together on the bridge the thing that both unites and separates them to mourn their dead - except that this time they mourn as equals. The papers intertwine and burn in the same place at somewhat the same time. This is not to say all is forgiven. This is not to say there isn't work to do. But it is to say that work is being done.

Sevika has a seat on the council and more importantly councillors on her side, councillors that understand what is at stake and what everything that is going on means. Of course there is also corruption, nepotism, bigotry. We know this. But she has support and the country is starting to heal - the thing that started on the bridge will be contagious, there is hope.

[hanafubukki]

Thinking about how Lilia tried his best to raise Malleus and make the best environment for him possible so he could be, in a sense, free.

We know that Lilia tried his best to raise Malleus with what restrictions he had. He brought him souvenirs. He told him to take heed in his powers so he doesn’t hurt others. He fed him shaved ice. Told Malleus about getting along with his human neighbors. Lilia did all this and more.

But he also pushed for peace and harmony with the humans as well. Lilia provided for Malleus an environment where the young fae wouldn’t be entrapped anymore. It took hundreds of years but he did it.

Lilia was one of the advocates who helped for a treaty with the humans. It took him about 300-400 years to do it, but he was able to achieve it. By doing this, he was able to make a pathway for Malleus.

By bringing peace, Lilia gave Malleus freedom. Malleus wouldn’t have to be locked up in the castle anymore. He can leave and enjoy the world. Lilia didn’t have to do this, especially with his history with the humans, but he did.

In a way, this is one of Lilia’s greatest gifts to Malleus. A world of peace, something that Lilia hasn’t had for so long. Something that Malleus’ parents didn’t have yet tried to have but died doing so.

Malleus didn’t have to be under the thumb of the senate anymore, in a sense, because if the fae wanted to survive, they would have to adapt and get long with their human neighbors. Malleus can learn for himself and change with the times. He didn’t have to become the ruler of a race who became a part of a story. They can survive in this world of humans and tranquility.

A lesson Lilia taught Malleus and an example Lilia made of himself as we saw with Silver. He said it himself, didn’t he? All parents want the best for their children, fae or human. He chose to raise a human baby because he wanted to be an example for Malleus and because he wanted to see if he can love a human.

All of this, Lilia did out of love for Malleus. These actions had a cascading effect that continued to affect himself and Malleus.

Lilia was able to raise Silver and love him. Malleus was able to visit and take care of Silver. Malleus was able to broaden his horizon. He got to love that baby as well. Someone who thought Silver was an ugly monkey initially to someone who is cute to him now. (We can see this more in the tsum event)

Their little family of two grew to three and then four. Then you add in the Zigvolts as well. What was once a closed off and isolated dragon, Lilia was able to free and give him love, a family.

It took hundreds of years, from since Malleus was an egg to the current timeline, but Lilia was able to do it. His family might not be perfect and it might be broken, but it is his family. It is Lilia’s beloved family at the end of the day 🥹💚

[originalaccountname]

Mori Ougai’s belief as the boss is [...] “The boss stands on top of the organization, and at the same time, be the slave of all.” For the sake of the organization, the boss must always take the “logical optimal solution.” That is the duty of the boss. [...] “Therefore, no matter how much your heart aches, you have to ignore your personal feelings.”

Kafka Asagiri, for the BSD exhibition

On Mori and regret.

This man acts based on his perceived "optimal solution". It means relying on cold logic, detached from (his own and others') emotions. In that way, he fits right in as one of the smart characters of BSD, contrasting for example Dazai's way of working with/around people's feelings, and Fyodor's way of manipulating and twisting those feelings into monsters.

Mori remains cold, logical, distant, efficient. It meant disregarding Yosano's and the soldiers' deteriorating mental health during the war because the concept of an army that cannot be wiped out was too good. It meant following Natsume's plan and taking the old boss' place himself to fix Yokohama's underground and protect the city and its people. It also meant disposing of Mimic by sacrificing Oda in order to get the special ability business permit, despite (and perhaps because of) Dazai's attachment to the man.

The thing is, humans are not logical creatures, and will inevitably encounter conflicting emotions.

(does this look like the face of a man without regrets to you?)

Mori in Dark Era tried to pass on to Dazai his practice of putting aside his own feelings for the sake of choosing the most efficient solution that will benefit the group. It backfired spectacularly, so much so even, that Mori regrets it to this day.

For the BSD exhibition, Asagiri wrote some individual character commentaries, all very interesting insights into their characters and the writing intentions. For Mori, here's what he wrote:

“He who fell out of the optimal solution” Mori Ougai’s belief as the boss is described in the novel “Dark Era” and “Dazai, Chuuya, Fifteen”. That is “The boss stands on top of the organization, and at the same time, be the slave of all.” For the sake of the organization, the boss must always take the “logical optimal solution.” That is the duty of the boss. There is an unspoken additional point to it. “Therefore, no matter how much your heart aches, you have to ignore your personal feelings.” We can catch a glimpse of that in this scene. [the ADA-PM alliance meeting] Mori’s expressions after “Burnt it.” and “Like what you did to your predecessor”, gave us a glimpse of his true feelings that were made sacrifices for the sake of the “logical optimal solution”. (By the way, it goes without saying that Dazai is inducing Mori’s thoughts by words that will make him regret the past. It is to make him decide to form an “alliance”.) source and translation: Popopretty

(notice the inclusion of Hirotsu in this scene. Remember that later, Hirotsu suggests that Dazai knows why Mori did what he did to overthrow the old boss, which, in my opinion, is both a proof of Dazai's support in Mori's goal, and a reminder to uphold it.)

One of my favourite parts of the Dark Era light novel is a small scene during the epilogue that was not adapted into the anime. This is two weeks after Dazai defected:

To quote Asagiri again, "Therefore, no matter how much your heart aches, you have to ignore your personal feelings." Mori is conflicted about the outcome of the Mimic incident. He holds in his hands the Silver Oracle he himself gave to Oda, and reflects on its purpose: to "help the man mentioned above without hesitation in the face of any and all trials". Didn't he fail to do just that with Oda? Didn't he set him up and sent him to his doom? Didn't he abandon him to his trial?

But he rationalizes the events by saying he got the permit they so badly needed. No matter if he sacrificed one of his men. No matter if he drove Dazai away. He accomplished his priceless goal. It was a total success.

And yet, he poorly folds a paper airplane with the very Silver Oracle he gave Oda, throws it, watches it crash immediately, and mourns the loss of his right-hand man, without ever moving on.

But we have a direct example of Mori expressing regret.

The perception that Mori in BEAST is a completely different character than Mori is in canon, when that perception doesn't extend to any other character from that universe, rubs me the wrong way. The characters in BEAST are very similar to their canon selves, with some core traits getting a new twist. They are all one or two major life changes away from becoming these versions of themselves. As far as we know, Mori's only life-altering event was being forcefully removed from the Port Mafia by Dazai, and secretly put in charge of Atsushi's old orphanage.

Mori unambiguously made that orphanage a better place, as stated by Atsushi himself. BEAST!Mori is a lot softer, vulnerable and honest. That Mori offers to be a father to Atsushi while he heals. He also expresses regret in not being able to help Dazai when he was in his care.

I think it's very interesting, especially when knowing that Asagiri wrote both BEAST and Fifteen at the same time for the Dead Apple movie, because in Fifteen we have this:

The beginning of the first chapter of Fifteen is a gold mine. It is narrated from Mori's point of view, the man of logic and calculations, and yet it is full of doubt. He is alone and struggling to fix everything with so many people against him. But, throughout this scene about grasping at the Port Mafia's power, there is also this secondary thought being woven in, of Mori having started to actually care for Dazai.

The teenager is scary to him, smart enough to be a threat should he decide to be done with all this and turn against him, and yet, he immediately (and with a hint of sadness) finds that Dazai reminds him of himself. This lonely, lonely man found a kindred spirit, bright enough to grasp any situation in seconds and prone to using an uncomfortable obsession to divert and keep you guessing his true intentions. Mori entered Mentor Mode™ then. He taught Dazai his ways, he shared his struggles and thought process, he fought tooth and nail to keep him alive.

So when he asked Dazai why he wanted to die, it was with the concern of someone who has started to care. It was with the mind of someone who is trying to prevent the worst by fixing the problem at its source.

(translation: Reneray)

But it's also that self-projection/ability to relate that made him drive Dazai away, when he pushed too hard and forced Dazai to adhere to his optimal solution philosophy. Because Dazai cannot separate himself from his attachments, could not ignore his emotions like Mori does, and chose Oda over Mori's logic. From Dazai's point of view, that was betrayal. Mori and him were accomplices!

Dazai planted the idea that Mori was afraid of him taking over as boss, and Mori seems to agree with that thought (would it be because he feared for his life, or for Dazai's ability to replace him?) Yet, for a man afraid of his closest subordinate backstabbing him, he seems to be hanging on quite hard to the possibility of Dazai coming back, leaving his seat open to this day, inviting him back twice in the same arc, and...

(yeah I used this picture at the start too. "I hAvE nO rEgReTs" he says)

Mori may try to convince himself he feels no regrets and no guilt over his own actions by weighting gains and losses objectively, but he still hurts and has a very hard time moving on. He's human despite his best efforts, prone to mistakes and doubts. He's lonely and wishes to impart his knowledge onto others. His cold logic has both helped him in fixing the city, and alienated him from some of the people he most cared about.

In a similar vein, should the ADA employee transfer be of topic again, and should Mori clash with Yosano again, I wish we get to see some similar conflicting emotions in Mori between the usefulness of Yosano's ability, and Yosano herself as a person. The war was 14 years ago, that's a long time, and I want to believe that counts for something.

[misstrashchan]

The Little Prince and the Ever After

So it was confirmed a while ago that Oscar's allusion is the Little Prince, which many Oscar fans and Rosegarden shippers in particular where theorising back in V6, with Oscar's crush on Ruby Rose being proof that she was the Rose that the Little Prince loved and cared for. Both @conehatcryptid and @chaikachi have written wonderful posts about Oscar's allusion to the Little Prince here and here.

However, after V9 I'm inclined to think both Ruby and Oscar interchangeably play the roles of the Little Prince and the Rose, in much a similar way that Blake and Yang both interchangeably are the Beauty and the Beast (Blake's surname means beautiful woman, and she likes to read like Belle, but she is also the Beast who wishes to redeem themselves, and is a literal Beast as a faunus "black the beast descends from shadows". Yang is introduced as the "yellow beauty burns gold" and wishes for a life of adventure like Belle, but she is also the Beast, being left by their Beauty and having a fiery temper).

This is in part theorising/speculation, as V9 obvious main allusion is Alice in Wonderland, and the similarities I see maybe coincidental, since both stories deal with similiar themes. Both stories have a child that travels to strange lands to meet characters that represent the misgivings and absurdity of adult society and the pressure to conform to these as you grow up, and the confusion as to who you are and should be that follows.

Alice's journey to adulthood is a path that takes her from a confused child changing size and unaware of her true identity to an assertive girl scolding the immaturity of the Mad Hatter and ends with Alice being brave and confident enough to confront the Queen of Hearts.

The Little Prince's story is about the importance of reconnecting with your inner child as an adult/someone growing up.

"No! I will grow up, but I'll never forget about being a child!"

In V9, Ruby must grow into an adult like Alice does, but also reconnect with her inner child as she does so like in the Little Prince.

RWBY is known for its multilayered literary allusions, and Oscar, the Little Prince, does introduce us to the story The Girl Who Fell Through the World in V8, which is Remnant's version of Alice in Wonderland. Not to mention Ruby and Oscar's arcs are intentionally foiled, so maybe it's not coincidence. It's entirely possible with how V9 also appears to be following the story of the Little Prince too. While Ruby is in the Ever After she travels through the different acres like the planets the Little Prince visits, meeting similar characters.

She is confronted with the question "what are you" on an existential level:

Little: What's wrong?

Ruby: Have you seen other people- humans- like me?

Little: Exactly like you?

Ruby: No, not exactly like me. We're similar, but different.

The Little Prince:

"Good morning" he said courteously.

"Good morning--Good morning--Good morning," answered the echo.

"Who are you?" said the little prince.

"Who are you-- Who are you-- Who are you?" answered the echo.

"Be my friends. I am all alone."

"I am all alone-- all alone--- all alone" answered the echo.

She meets Little (as in "Little Prince" as well as "Little Red Riding Hood" and "Alice Liddell") who is meant to symbolize Ruby's inner child, as the Little Prince reminds us of the inner child we have forgotten as we grow up. Both Ruby and Little "die" in a sense as the Little Prince does, but ascend and come back.

In fact the whole way ascension is described in the Ever After is on par with how the Little Prince and the Snake describe how they will leave their body as an empty shell behind to go back home, being "called back" home to the Tree.

"It'll look as if I'm dead and that won't be true, this body is simply an empty shell, I can't take it with me"

Purple Paper Pleaser: Then, the wisest of our village suggested breaking from our physical forms, so that the winds may carry us back to the Tree.

...Which leads me to how the Curious Cat and Neo are both the Snake who convince Ruby/the Little Prince to "die".

We get Cats and Snakes being linked together early on in the first episode of v9:

Mouse Leader: You have our sincerest apologies! Please understand that our kind is a bit skeptical of cats… and snakes… and cats.

This stuck out to me considering this is foreshadowing of the Curious Cat being the main antagonist of the volume, but we don't ever see any snakes in the Ever After.

The Curious Cat's first appearance is akin to the one of the snake in the Little Prince movie (2015) of two eyes peering out at the Prince

The Snake is a character who speaks in constant riddles and is confident they have all the answers to life's mysteries, similar to how the CC knows so much but is incredibly cryptic in how they speak. The snake is also meant to represent the inevitability of death, and part of the CC purpose is to help the inhabitants of Ever After to ascend, which is a process of death and rebirth.

Curious Cat: Mmmm, when we break or wear out or simply finish what we were made to do, we’re called back. But Herb… his heart was too weak to listen, so I gave him a little bit of mine.

Blake: Is he… dead?

Curious Cat: (chuckles) No, no! Well, maybe a little bit, but not at all.

When it comes to Neo being the Snake, she manifests her illusions of the Jabberwalker to terrorise RWBYJ after killing it, the one being capable of dealing permanent death to Ever Afterans.

She's also the one who offers their "poison" to the Little Prince, (the tea made from the leaves of the Tree) which they accept.

Additionally the way the Curious Cat enters Neo is like that of a snake slithering inside her. Once the snake bites someone, they are described as becoming an "empty shell", and the CC is looking for an empty human vessel to possess, while Neo wants to destroy Ruby and make her feel empty.

Curious Cat: You’ve lost something most important, haven’t you? And now you have nothing left. How delightful! An empty host, perfect for me to fill.

Neo-Torchwick: You don't deserve to die Red! You deserve to be broken down... torn apart... wiped from existence.

And when the Little Prince believes their Rose has perished (Penny) or will perish (Oscar), because of them, they give themselves over to the Snake completely.

But, Neo and the CC also play into the Fox allusion as well. The Curious Cat's ability to give his heart and understand others is similar to the Fox's sentiment in the book, who tells the Little Prince the importance of taming, and of looking with the heart:

"Now here is my secret. It is very simple. It is only with one's heart that one can see rightly. What is essential, is invisible to the eye."

"Men have forgotten this basic truth. But you must not forget it. For what you have tamed, you become responsible forever. You are responsible for your rose..."

Curious Cat: I know, Your Majesty, it truly isn’t fair. You must play your game and win at any cost. It must hurt your heart. Let me help.

Curious Cat: But Herb... his heart was too weak to listen, so I gave him a little bit of mine.

He "tames" the Red Prince in managing to calm him down from executing RWBY to just exiling them.

He helps Herb to "see with the heart" when he becomes blind to how he has stagnated and forgotten his purpose in being overwhelmed by his work.

The Fox is meant to show us the importance of the patience and compassion that is needed to understand and connect with others, to reach out to them. This is part of the CC purpose in the Ever After in fixing those who are broken, but becomes the negative declination of this in becoming manipulative over time. (like him "taming" the Hawker to make him do his bidding)

Neo is like the Fox in that she dislikes hunters (huntsman and huntresses) and she has lost the person who has tamed her, who was "unique to her in all the world" with Torchwick. Part of what escalates Ruby's conflict with her is that she does not take the time to understand and empathize with her:

Ruby: Is that seriously what this is all about? You still blame me for what happened to Torchwick?!

Neo-Roman growls

Ruby: If you’re looking for an apology, you’ve wasted your time!

and much like the Fox points out here:

"One only understands the things that one tames... Men have no more time to understand anything"

And that it is only when Ruby takes the time to understand Neo towards the end that shows how she has started to grow, to understand the importance of looking with the heart, the very first step of "taming".

"You must be very patient. First you will sit down at a distance from me-like that- in the grass. I shall look at you out of the corner of my eye and say nothing. Words are the source of misunderstanding"

(...I believe this will continue on in Remnant with Mercury and later Cinder)

The idea of intertwined allusions of the Fox and Snake with the CC and Neo in V9 interests me. Because it makes me wonder if my theory/prediction on Emerald/Mercury both being the Fox to Oscar's Little Prince may not be entirely right, but that they will both be the Snake also. If they are it will likely be an inversion, with the Prince (Oscar, and maybe Ruby) helping the Fox (Emerald) realise the importance of "taming" (taming Mercury, specifically) while the Snake may play a more positive role in saving instead of killing.

After all, the baobab tree roots in the book are meant to consume and threaten to kill the rose if she is neglected too long, and while Ruby is consumed by the Tree in the Ever After that very much resembles the baobab, and she does "die" in a sense, the tree is a positive force that helps her to be reborn and grow into her true self. So, Emerald/Mercury could have a similar duality in alluding to the Fox and the Snake, capable of killing and saving the Little Prince.

@aspoonofsugar I think has mentioned Emerald's design resembling a snake puts me in mind of this, plus Mercury's main allusion being, well, the god Mercury, whose symbol is this:

A staff with wings and two snakes entwined around it. His emblem also features wings, and like a snake he technically has no legs (in a symbolic sense too, his lack of semblance and agency, the freedom to be his own person) Alchemically I believe the mercurial character is meant to shift between life and death also? So there is something there in how the Snake simultaneously saves and kills the Little Prince. (also this is me really really stretching here with my red string but. The Curious Cat. Like Mer-curius. Mercury. Both the Snake for Ruby and Oscar.)

Depending on your interpretation of the stories ending, the Little Prince ends up dead because of the Snake's bite, or the Snake genuinely helped him return home and be reunited with his Rose. Mercury/Hermes is said to be able to travel anywhere, any plane of existence without limitations, which has lead to theories of Mercury's semblance being flight or teleportation, which, well, in relation to the Snake aiding the Little Prince:

"I can carry you farther than any ship could take you," said the snake. He twined himself around the little prince's ankle, like a golden bracelet. "Whomever I touch, I send back to the earth from whence he came," the snake spoke again. "But you are innocent and true, and you come from a star . . ."

This is of course just me going off on another theory for funsies, but it would be interesting if Mercury was placed in between a choice of killing or saving the Little Prince and helping reunite him with his Rose. How Emerald and Mercury would save Oscar/help him and Ruby is unknowable. They could be save their life, help delay the merge, or just helping assure him of his own personhood and agency (this could be explored through how both Mercury and Oscar lack semblances relating to the "curses" placed on them in relation to their father figures), or something else entirely, but either way I'm pretty confident they'll have a significant role to play in the Vacuo arc.

I am aware most Rosegarden fans are mainly theorizing Tyrian as the Snake, (I've even seen some say Ruby is the Snake as well as the Rose, with a similar sentiment of the Snake being capable of saving/freeing the Little Prince, not killing him) especially since the first scene Oscar is introduced is him waking up from a nightmare following Tyrian being sent to capture Ruby Rose, as well as like, him being a venomous scorpion faunus present in the desert right now. But even that only makes me more certain in a way since Tyrian is meant to be Mercury's dark foil (and the antagonistic mercurius for Emerald/Mercury) accompanying him into the desert. So like, it Could Be Both.

Ruby also meets a King/Narcissist like in the Little Prince (the Red Prince). The Narcissist demands to be complimented and coddled, much like the Red Prince. The King is drawn wearing a crown too big for him (in the 2015 movie adaptation it is constantly crooked and threatening to slip off his head), similar to the Red Prince.

The King claims absolute authority, that what he says will happen if he orders it so. However this is untrue, as he will only order what will already happen. The Red Prince claims he always wins his games, but the board game he plays with RWBY is already in his favour as the pieces on their side throw the battle so he can claim victory. Both cheat and find loopholes in order to maintain their superiority over others. The King symbolizes rulers who make a big deal about the power they have, but who in actuality are pretty ineffective as rulers and will cheat and find loopholes to justify their power. It also mocks their grandiosity and showiness, which is kind of funny because they think they are way more important than they actually are, all of which fit with the Red Prince (...and with two other characters that were significant during the Atlas Arc *points at Ironwood and Cinder* even moreso after episode 3 of RWBY Beyond)

The Lamplighter, whose job on his tiny planet is to continuously light and snuff out the single lamp, but because the night and day cycle is so short he essentially never rests and is caught in this loop, always stuck working and nothing ever changing. Jaune as the Rusted Knight is stuck doing the same jobs everyday in a Sysiphus task of preventing the Paper Pleasers from ascending, and rests very little. He is also the Geographer, who maps out other planets but can never travel himself (because he is too busy drawing maps) and suggests to the Little Prince to visit Earth (the acres that Jaune maps out but has yet to properly explore because he can't leave the Paper Pleasers, is trying to find a way back to Remnant, their "Earth").

Another interpretation is the Lamplighter as the Caterpillar, who similarly has a neverending and thankless task of helping the Afterans ascend, and has stagnated as a result.

The Stars are not a character in the book perse, but they do come up a lot both in RWBY and in the Little Prince, especially when it comes to the theme of death and rebirth, and grief. In V9 in the Ever After we meet the Paper Pleasers (origami stars) that Jaune is desperately trying to stop from ascending, essentially keeping them trapped as he monitors them. There is a character in the Little Prince that obsessively monitors the stars and keeps them trapped, the Businessman. It is pointed out by the Little Prince that while the stars make him rich, the Businessman is of no real use to the stars.

In much the same way the Paper Pleasers do not need Jaune as much as he needs them to prove his own worth.

The climax of the Little Prince movie (2015) adaptation is the stars being freed from their entrapment, ascending into the sky, free from control, by the protagonist who is a young girl trying to break free of the expectations placed on her by adults as she grows up, is like one of the stars herself, rising into the sky.

The paper pleasers ascending, while initially seen as tragic, in actual fact allows them to grow and be more, and the Genial Gem that appears to once have been the Paper Pleaser called Ruby is the one who explains this process to WBYJ as they are worried about Ruby and how the process of ascension will affect her.

The Pilot is likely WBY, as for them Ruby is like a younger sibling to all of them who helps them reconnect with their inner child early on in the story, much like the Little Prince does for the Pilot. For Weiss, Ruby helps her connect with her inner warmth and heart. For Blake, she helps reignite her lost idealism. For Yang, she is her inner child to nuture, the one who lost her mother. The author Antoine Saint-Expury based the character of the Little Prince on his own younger brother who died, and that the Pilot as the narrator of the story is himself as an older sibling remembering and grieving for them. When WBY all watch Ruby drink the tea, it mirrors the scene where the Pilot watches the Little Prince give himself to the Snake, and is too late to intervene, particularly for Yang.

Their body disappears, and it is uncertain whether the Little Prince has died or found their way back home to their planet, and to their Rose. For Ruby, it is both. She dies and was reborn, literally reclaiming Crescent Rose and regaining her Rose emblem, she reunites with her Rose, her own sense of self. And in her ascension is able to come back to defeat the Curious Cat, and return home to Remnant with everyone. (coincidentally I think this is how Oscar's story will go, he will sacrifice himself to the Merge fully and "die" in a sense, momentarily, but return fully to himself later on, reuniting with both his sense of self and his Rose, Ruby Rose).

Oscar is also Ruby's Rose in a sense, someone she has tried to protect and care for. Even the pattern on the back of his outfit can be seen as the stem and thorns of a rose, like Ruby's hood can be seen as the petals of a rose. The Little Prince believes that if the Rose is left alone, then it will be his fault if they die:

“If some one loves a flower, of which just one single blossom grows in all the millions and millions of stars, it is enough to make him happy just to look at the stars. He can say to himself, 'Somewhere, my flower is there...' But if the sheep eats the flower, in one moment all his stars will be darkened... And you think that is not important!"

"He could not say anything more. His words were choked by sobbing."

When Ruby cuts down an illusion of Oscar, killing him, it is foreshadowing that Ruby is afraid she will not be able to save Oscar from his fate. This is the final breaking point for her (along with Little's death) that leads to her drinking the tea.

...But as much as I am a Rosegarden shipper, it's actually her mother Summer Rose and Ruby's identity that is the main "Rose" to her Little Prince in V9 that she becomes separated and united with, imo.

She learns that their Rose (Summer, and themselves) are not uniquely one of a kind, but "like any other common rose" the same as all the other hunters represented through their weapons in the Tree with the blacksmith. Like the Little Prince in the Rosegarden:

"Good morning" said the roses.

The little prince gazed at them. They all looked like his flower. "Who are you?" he demanded, thunderstruck.

"We are roses" the roses said.

And he was overcome with sadness. His flower had told him that she was the only one of her kind in the whole universe. And here were five thousand of them, all alike, in one single garden! ... Then he went on with his reflections: "I thought that I was rich, with a flower that was unique in all the world, and all I had was a common rose."

Not in the sense of being a SEW who believes they are the only one of their kind, but that like her mother Summer Rose, or any other huntress or huntsman that has lived (represented through the weapons she looks at, and her saying they all have the same weight to them) she is not perfect, or unique in always knowing the right thing to do and being a flawless shining hero. Ruby thought the ideal of the hero Summer Rose she carried and tried to emulate was unique and special, what made her "rich" in the sense it defined her self worth, but she was a "common rose", a person, a human being, just like Ruby. Being like any other common rose means Summer is much like Ruby herself, just a person trying their best, with their own flaws and burdens to carry. Ruby leaves the Rose behind initially (gives up her Rose emblem that Summer left her, rejects Crescent Rose) and the pedestal she puts her on shatters, becoming disillusioned with Summer like the Little Prince does with his Rose, specifically after finding out that they lied.

Ruby: What? What was that? She… She lied. She left with Raven. Why would she…?

Blacksmith: Who knows why people keep the secrets they do. Maybe you’re not the only one who has felt the weight of other’s expectations. Like Alyx, like your mother.

What makes Summer unique to Ruby is not her being an ideal hero, but the love she had for her as a mother, and that in of itself is incredibly beautiful and powerful, because it helps her realise and affirm her self worth.

Summer: (voice) I love you…

Ruby turns to see the red glowing light behind her.

Summer: (voice) Just the way you are.

"Of course I love you," the rose said to him. "If you were not aware of it, it was my fault"

Much like the Little Prince learning and understanding that his Rose is unique to him, not because she is one of a kind, but because of their time shared together, loving and caring for one another. That it is our ties to people that makes us special and unique in the world, to the people we are connected to and choose to care for, more than any power or titles do. Which goes back to the source of Ruby's power as a Silver Eyed Warrior, her love and compassion of those around her. The true power of humanity.

[clfixationstation]

okay, it is kind of pissing me off when people insist Vi went with the enforcers because she wanted to join them and side with Piltover and move up in society, and not because it was the only vehicle available for her to go after Jinx and solve the problem she created

(also, Vi does not want to kill her sister. Vi feels she has a duty to stop further destruction and death from the monster she feels she created. Jinx told Vi that her sister is gone and only Jinx remains, and Vi believed her. After s2ep3, I don't think either of them believe that anymore)

Vi still detests the enforcers. You can plainly see on her face (and through her words!) that she does not want to be there. She just wants to get this over with.

if anything, Vi was trying to support Caitlyn, who is one of the only familiar things she has in her life at this moment. Her family is dead, she thinks her sister is gone, and the Undercity is barely recognizable to her - but Caitlyn was there. So, Vi took a gamble on sticking with Caitlyn, the seemingly sweet girl from Piltover who has sympathy for the Undercity, sees Vi's good heart, and helped Vi when she didn't need to.

Vi resigned herself to join Cait's enforcers, compromising her morals, hoping to be a positive influence. But the second she made a decision for herself, the second she stopped Cait from shooting a child, Caitlyn discarded her

she's lost, trying to find her footing wherever she can. Vi has been scrambling to attach herself to any scrap of familiarity since escaping Stillwater, and now she's left alone, in the dark, again

[gravityrises]

The Virtues of Stanford Pines

Summary: I've seen people accuse Ford of doing horrible things on one side, and people defending his actions on the other side. But how about we turn the tables and talk about all of the good Ford has done. (At least, that was the plan.)

Word Count: 2813.

Spoilers: Gravity Falls series, Journal 3, The Book of Bill, Lost Legends, thisisnotawebsitedotcom.com

1. He's incredibly hard-working:

Just because someone is smart doesn't mean they don't put a lot of effort into studying and Ford definitely did. It's mentioned twice just in "A Tale of Two Stans," when he tries to convince the college board to give him another chance and when he describes his years at Backupsmore.

And it doesn't stop at intellectual pursuits. In Journal 3 Ford says he exercises daily, despite having always hated physical activity.

Anyway, I don't think anyone is going to argue this point, so let's leave it at that.

2. He's supportive of his friend:

There are going to be a few controversial takes, but I truly believe that Ford was trying to be a good friend to Fiddleford. Now, there were fights between them, and Ford did say quite a few insensitive things both to his face and in the Journal. But overall, I don't think he ever intended to hurt Fiddleford, and he definitely appreciated his friend's company.

When Ford invited Fiddleford to work on the portal, he wrote in the journal: "He (Fiddleford) has sacrificed so much to come to my aid. He has temporarily left his bride and their young son... he has abandoned his own professional aspirations... I must do my best to make him feel at home.... I am off to the store for some banjo strings and microchips!" (quote shortened, because I'm lazy) Clearly, Ford cared about his friend and wanted to make him feel welcome.

He also compliments Fiddleford's "brilliant mind," "amusing quirks" and scrupulous work ethic, by saying "I double-check my equations. He quintuple-checks!"

And I hear you, didn't he claim the complete opposite in the series? According to him, Fiddleford "was wasting his talent trying to make personal computers", right? Well, if we ignore the fact that the creators weren't 100% consistent in their writing, here's how I would reconcile those two statements. Ford thought (erroneously) that his friend's research wasn't important in the grand scheme of things, but it was important to Fiddleford personally. And can you really blame Ford? He was about to demostrate the existence of other dimensions and create a gateway that would allow us to visit them. If something like that happened irl, it would've been a groundbreaking discovery, altering our very understanding of the natural world and how it works. Meanwhile, laptops, at least in Ford's opinion, were just "heavy, slow journals." Still, he knew this work was important to Fiddleford, and he wanted to accommodate that. Hence, his trip to buy microchips (and banjo strings.)

Ford tried (and unfortunately, failed) to help Fiddleford deal with his anxiety. In Journal 3, he mentions teaching Fiddleford some meditation techniques and going to the Carnival, so that Fiddleford would enjoy "a day of relaxation." In the Book of Bill, Ford feels guilty about not getting his friend a gift and decides to throw a surprise Christmas party instead. This was also an attempt to cheer Fiddleford up after his fight with his wife.

"But Ford didn't take Fiddleford's anxiety seriously, and it ruined his life." Okay, let's say you're right. Remember, Ford was raised in the 60s. A time when mental illness or just mental distress were looked down on. What was he supposed to do? Suggest Fiddleford goes to the therapist? I mean, they were studying paranormal creatures, if Fiddleford told those stories to a therapist who didn't believe in these things, there would've been a really high chance of misdiagnosis. Should Ford have simply fired Fiddleford? Well, that wouldn't have been very nice. Also, there is no need to infantilize Fiddleford in the first place, he's a grown-up person capable of makind his own decisions. If the job is too stressful, if the relationship doesn't work out, he has every right to leave, because his life and mental well-being are his responsibility. Instead, he ignored Ford's warnings and decided to use the Memory Gun and start a cult. It was, by the end of the day, Fiddleford's decision. And it's tragic. It really is. No one deserves to lose their family, their mind and their sense of self. It's something Ford feels guilty about, because whether it was intentional or not, he did indirectly contribute to Fiddleford's downfall. That's why, when they finally reunited after 30 years, Ford apologized to Fiddleford. And according to Journal 3, Fiddleford dissmised his apology, leading Ford to say that "Not only is this man's mind superior to mine, but he has one of the biggest hearts I've ever seen."

3. He has no reservations about helping others out:

There's a reason why Ford's the first person people turn to, when there's a problem. He has both the desire and the skills to help people out. Using Dipper's idea, he stops agents from investigating his family. He goes above and beyond just to change a lightbulb in the kitchen. Though morally questionable, he did give the kids a mind control tie with the intent of helping Stan win the elections. In the comics, Stan turns to Ford when Mabel's face is stolen and when Stan himself is cursed by an old chest.

And that's how things were in the past too. In "The Pines Boys in: The Jersey Devil's in the Details", Ford defends his brother, twice. First, when Filbrick accuses Stan of stealing the gold chain from his pawn shop. And then, when the Sibling Brothers offered Ford to let him keep the monster and become famous in exchange for photos that would prove Stan's guilt. And just to add an incentive, they threatened to frame both twins, if Ford didn't comply. Obviously, it didn't work.

According to thisisnotawebsitedotcom.com, that's also how he became friends with Fiddleford: on the very first day, he spent nine hours helping his new friend prove his theory. And in the Book of Bill, when Ford learns that Bill's home dimension was destroyed by a monster, his immediate reaction is to offer help with hunting it down.

Whenever someone's in distress, Ford really wants to help them out, and I don't know about you, but to me that doesn't sound like someone lacking empathy.

4. He's got no qualms questioning the status quo:

In Journal 3, Ford mentions traveling to Northwest Manor to confront Old Man Northwest with evidence of his family's deceit. Instead, he was met by young Preston, who wasn't impressed with his speech and forcibly escorted Ford from the premises.

Also in Journal 3, Ford wanted to debate politics with Reagan. Make of that what you will.

Now this one is more of a conjecture, but in the Book of Bill, this is how Bill compliments him: "Guys as smart as you come along once every century, and they scare the pants off of authority figures!" This lie wouldn't have worked, if it wasn't what Ford actually wanted.

And of course, learning that his former "muse" is one of the most feared beings in the entire multiverse, didn't stop Ford from going on a quest to defeat Bill. Even after witnessing other creatures shriek and cover their ears at the mere mention of Bill's name. Which leads me to my next point.

5. Calling him determined would be a massive understatement:

Forget his sleepless nights at college, forget his extensive research in Gravity Falls, Ford has spent 30 years, let me repeat that again, 30 years traveling across dimensions and looking for a way to destroy Bill Cipher. I haven't even been alive for that long! From the little we know about those years, they were anything but easy. In fact, Ford describes them as "frightening, exciting, cruel, and strange." (And of course, the guy actually does use the Oxford comma in his writing. Who would've thought?) Let me stress that Ford was under no obligation to continue his quest, maybe he could've found a quiet dimension to settle down and live peacefully, in fact, that's something he contemplates while visiting A Better World in Journal 3. But he decides against it. Not because he didn't want to, he literally says that he wanted to revel in his parallel self's success. Not because defeating Bill would get him recognition. It wouldn't, at least not in his home dimension, where no one is even aware of the danger. No, he didn't stay, because his own conscience wouldn't allow it. Ford just couldn't break his vow from 30 years ago, it's as simple as that.

And what does he do, when his plans fall apart? Does he even consider giving up? Of course not! In fact, he ends his tale of interdimensional travel with the following sentence: "My resolve to defeat Bill has never been stronger." It's almost comical, watching him throw anything he can think of at Bill and see what might stick. His battle in the Nightmare Realm was interrupted? He jumps through the portal to stop Bill's forces from entering his dimension. The portal created an interdimensional rift? He tries to contain it. Bill threatens to get his hands on the rift? This time Ford has two ideas: he tries to encrypt Dipper's thoughts and creates a mystical barrier around the house. The worst happens and the world is about to end? Well, get in loser, we're going to shoot Bill with Quantum Destabilizer. Ford misses and is captured? Not to worry, there's a Zodiac prophecy, we can give that a try. It doesn't work, because two grown men can't put aside their grievances for just a few seconds, gosh that scene is so frustrating to watch. Well, here is another idea: one can erase Bill with a memory gun as long as he's in someone's mind. I don't know what else to say, Ford really did his homework, when he set out to destroy Bill.

6. He has the patience of a saint:

Wow, now here's a controversial take. Remember Stan's "Beep boop. I am a nerd robot. That's you. That's what you sound like," which Ford just laughs off. Yes, that's what siblings do all the time. And yes, this teasing does come from a place of hurt. Stan was feeling like "the stupid twin," "a dumb idiot who screws everything up," so Ford felt like he just had to put up with this. But it's still hurtful to be mocked for your interests. It really feels like their relationship was already a little strained even before the Science Fair Project Incident.

What about the fact that he was the first to stop the fight in "Dungeons, Dungeons, and more Dungeons" and suggesting Stan might actually have fun, if he joined their game?

Or all the snide comments Stan made, when they reunited during Weirdmageddon, including "Well, he's lost his mind" and "You really think some caveman graffiti is gonna stop that monster?" All of which Ford simply ignored. Yes, he did correct Stan's grammar under the worst of circumstances, I agree, but you know, everyone has their pet peeves.

What people often forget is just how difficult it is to be a kind person, when you're stressed. It is much easier to treat people with respect and understanding, when you yourself are doing fine. So is it that big of a surprise, that someone who's under pressure, sleep-deprived and/or in pain might be more prone to outbursts? And we know how traumatic Ford's experience of being bullied as a kid was, how much suffering Bill put him through, how difficult his years on the other side of the portal were and how much pressure he was under, trying to prevent a literal end of the world. It's ironic that the people who blame Ford for his lack of empathy, really don't show him any empathy themselves.

7. Even under torture, he didn't reveal the equation that would've allowed Bill to take over the world:

Do I really have to spell it out? Look, as someone who was on the verge of mental breakdown from a simple toothache, I have nothing else to say other than: This is admirable. And he did it to protect the world that, need I remind you, wasn't particularly kind to him. On the same note, he just never joined Bill in the first place: not in the 80s, and not during Weirdmageddon.

"Oh, but he's the one who started the Apocalypse, so he kind of deserved it." Seriously? No, I mean it, are you being serious? Is that something you would say to a person suffering from diabetes type 2, that it's their fault for eating too many sweets; or to someone with liver cirrhosis that they deserve to suffer because of their alcohol addiction? Because this is neither appropriate, nor helpful. Talk about kicking someone when they're down...

8. He's fiercely loyal to his family:

I think the way Ford compliments his grandniece in "The Last Mabelcorn" is very revealing: "You've protected your family. You're a good person, Mabel." His very definition of a "good person" is "someone who supports and protects their family." Which is... interesting to say the least, considering that Ford has spent a very long time away from his family and completely alone. But it does sound like something he aspires to. That's why he goes out of his way to help his family out, whenever they're in trouble. (See point 3 for more on this.)

When Bill threatens the kids, Ford is willing to risk the entire universe for a slim chance that they might be spared. It's a cruel Trolley Problem, which once again proves just how much he values his family. Still, this is some Fate/Zero level angst and I don't want to talk about it more than I absolutely have to. Let's finish this up with something more lighthearted.

9. He's never lost curiosity and childlike wonder:

This! This is what made me fall in love with the man and why I'm wasting my time writing this nonsense in the first place. This allconsuming excitement, when he finds a new anomaly to study; this seemingly endless energy, when he explores new places; this pure joy, when he gets to play DD&MD with Dipper! I don't know how to talk about it without gushing.

Ford obviously loves games, and not just DD&MD. He plays chess with Bill. He mentions being great at charades in the comics. And what cracks me up the most: during Weirdmageddon, when Pacifica compared the Zodiac to a game of hopscotch, not only did not Ford get offended, but he replied: "It would be a pretty fun game of hopscotch." Ford, darling, the world is about to end, is this really the best time to contemplate a hypothetical game of hopscotch? Also, you've just been through something traumatic... Forget it, you've been through 3 decades of traumatic experiences, can you at least have the decency to become a tad more cynical as you age, like the rest of us. I guess, mirth really is the mail of anguish. (It's from Emily Dickinson's poem and the quote means that some people act cheerful to hide their suffering.)

Also, something Ford doesn't get enough credit for, mostly because people usually focus on his academic achievements, but he is quite creative. He draws incredibly detailed sketches not only depicting various anomalies he encounters, but also whatever happens in his life. (Probably off-topic, but I find the implications of that karaoke page so funny. Think about it: the guy sobered up, looked at the incomprehensible nonsense he had written the previous night and thought: "You know what? This could really use an illustration.") Also don't forget that he canonically plays piano. Yeah, if I were Stan, I'd be jealous too.

And of course, that's why he's so passionate about science. Sure, part of him wants the fame and recognition that would come, if he makes a big discovery, but you can't deny that he genuinely enjoys learning new things. And that he enjoys sharing them with whoever is willing to listen.

In conclusion, I'm not trying to say that Ford is perfect in every way and has never done a single wrong thing in his life. To be honest, that would've made him a really boring character. So, yes, he is flawed, and misguided, and sometimes insensitive. He's made a lot of missteps because of his upbringing, personality and, as many have speculated, neurodivergence. But I really take issue with people saying Ford's a bad person, when he clearly isn't. Ford is and always was a good person, and by the end of all the trials he became a better person. One who understands that the only way to success is cooperation, not being a lone vigilante. That it's not a weakness to ask for help or to need help in the first place. And that a sea otter shared is a sea otter halved.

That's strange... why did I write that?

[pureanonofficial]

What you come to understand about Les Miserables as you learn more about Victor Hugo is that it is all about Léopoldine, it is nothing but Léopoldine, Léopoldine is the heart and soul of it, every word and chapter is full of Léopoldine, Léopoldine, Léopoldine.

It is a book immutably shaped by the pain of losing a child.

[crimson-constellations]

One of the things I’ve been thinking about since I finished arcane was Jayce’s last speech to Viktor bfr the ending.

When Jayce said his imperfections are not weakness but instead beautiful and made him the man he was today and it worked , it kinda downed on me just how perfectly crafted the timing had been, and how It just wouldn’t have worked any other time. Don’t get me wrong it would have a lot of impact on Viktor, but it wouldn’t have been nearly as groundbreaking as it was in the moment of that last scene. in s1 before he began using the hexcore on himself for example, he’s definitely feel somewhat better about himself but not enough to give up on trying to change everything. Maybe he’s think about it further but I don’t personally think anything would go differently. After he died and absorbed the hexcore though, it really wouldn’t have changed a thing, no explanation needed.

But when he came back as machine herald we could see how the idealization of the glorious evolution evolved to a different level of obsession, the perfectionism all tied up to the emotions that formed him, that self hatred that came with his incapability of getting rid of his illness and disability, it reflected directly onto what drove machine herald’s ambition.

And then comes Jayce, fresh out his worst nightmare of loosing everyone he loves along with the entire fucking planet. Days of walking around injured absorbing the reality of what the world will turn into if he doesn’t end the life of his partner. Then the cave happens, and he suddenly has to endure everything that happened to Viktor in a fucked up, symbolic and faster paced way. (There’s a lot of parallels in there tho I’m not covering them I’m sure someone else already did that)

then he got out, shot Viktor, following the wishes of the Viktor he met in the other realm. After this he got an insight on what Viktor went through all his life, and that, along with what he told him about the perfectionism of the glorious evolution, he had time to fucking think about it and I’m sure he spent some nights awake with that on his mind.

So when Jayce got his last chance to try and convince Viktor he knew just how to crack him. I don’t think he thought of it strategically at all though. He said it not only because he meant it but because when face to face with him his emotions got the best of him (again) and the wish to just get Viktor back that’s what he thought Viktor needed to hear. After what he went through in the arcane, they were connected again and that moment was the only one he could have reached Viktor. His emotions were so strong they were inhuman already, the sole source of his motivation. That recognition from jayce in his most fragile state ( into the hive mind )

It’s the words he needed to hear the most all his life from the person who understood, the one that brought him back.

[actuallyjustabiscuit]

PART EIGHT

Listen. Listen. Listen.

I will go over everything between Kinger and Pomni’s convo in Hell in a more in depth analysis, amongst other significant things that happen in the episode.

But before all that, these are the last little bits that I just wanted to mention.

Again, lighting is hella (lol) dark, but I’m in love with this extreme wide shot view of Kinger and Pomni staring into the hallway of the damned because it’s very similar to this shot with Pomni and Gummigoo in ep 2 when they were stuck under the map👇🏽

Both scenes make the characters look so small.

And, incidentally, both locations happen to be “underground”!

These are quite literally the low points of the episodes, and in both instances the characters experiencing emotional turmoil are able to resurface with newfound hope from the help of a friend.

It really drives home Kinger’s point about how their current existence may seem pointless, but having people who care about you can mean a lot.

These characters are trapped in this massive virtual world with so little control over their lives, yet they can still find comfort in each other.

We know this is physically painful for Pomni.

We know because she tells us right at the beginning.

Anyone who has ever held their breath for a long time, either while swimming underwater, avoiding noxious fumes, or just for kicks, understand that when your body is screaming to take a much needed breath your brain is instilled with the fear of suffocation if you continue to deprive yourself of oxygen. Ya know that thing people normally need to live.

However, we also know that, because the player’s digital bodies aren’t real, that fear is now rendered unwarranted. Pomni has been told that she should have no fear of death if she doesn’t take a breath, yet she still feels it, because she is still afraid of it.

Now of course this is much easier said than done, but it is what ultimately helps Pomni in the end. And it’s done almost accidentally because just as Pomni is beginning to feel the fear of suffocating…Kinger starts to glow, and as a result creates a sort of distraction for her to make it through the hallway. She is no longer thinking about how she should be afraid of dying. Kinger, just by walking through "hell" with her, helped her become a little braver.

It’s not only visually beautiful, it’s also thematically heartwarming.

This overhead shot of Pomni approaching Ragatha is so funny to me cuz it feels so unnecessary.

We already know she smol, the angle here is almost rubbing it in!

Look at this loser. Absolutely enamored with this girl finally giving her positive attention.

Meanwhile Jax’s literally stuck in the background watching this sapphic saccharine scene playing out against his will thinking