#that's too much tags i'm sorry

[stormy-nights-are-best]

Hey WHAT if I made your turtles [shiny emoji] slightly more scientifically accurate [shiny emoji]?

I'll start with the Disaster Twins.

Alright, so Leo is a red-eared slider turtle. At first I was skeptical about his blue shell and horizontal marks, but then with some research, I found red-eared sliders aren't always just the most gorgeous green - I found this lil blue gal in the pic! - AND their stripes CAN have some wiggles that make horizontal lines (first pic tart has one on its shoulder). So I didn't have to change those!

I did give him some actual stripes and plastron marks (there is no red-eared slider without those, plus they can be blue too so it suits him) though.

And a long thin tail because I'm okay with Trans Leo (male slider have short thick tails like in pic 2)

It was hard to figure out which type of spiny softshell Donnie was at first, but I was being dumb. It's obviously the Northern.

I started this whole project to fix Leo and Donnie's markings and DANG IT THEY'RE NOT INACCURATE- Spiny softshell turtles can have purple marks just fine (I'm pissed) so I let him keep his cool tech markings and just fixed his plastron. Picture one is a softshell's plastron, in case you hadn't realized. I know I took a while.

And!! Spiny softshell turtles have U-shaped nostrils. That's very important.

The hands and feet I gave Donnie are a little different from all the others' because so are spiny softshell turtles'.

But I think it'd be comical if the guys still couldn't tell the difference between the twins without their color coDING

OH, YOU MUST HAVE NOTICED LEO'S PERFECTLY FINE AND RAPH DOESN'T HAVE A HOLE IN HIS SHELL! That's because those are gonna be all in that time gap between the end of S2 and the movie.

If you WANt scientifically accurate post-movie wounds though.... Here's Leo's.

[egophiliac]

don't think I'm not still obsessing over 7-12

[girldadbuckley]

His name is Buck.. a buck is a male deer.... Bambi is a male deer......

9-1-1 3.08 // Bambi (1942)

[drawsmaddy]

[ID: A digitally illustrated two panel comic of Martin Blackwood and Jonathan Sims from The Magnus Archives. In the first panel Martin is stood at a counter preparing a cup of tea. He is smiling softly with his eyes closed and a thought bubble next to his head shows a small image of Jon with some hearts around him and text reading "ah... Jon...". The second panel shows Jon sat at his desk with the mug of tea from the first panel in his right hand and papers in his left. He is growing and saying "Martin's such a fucking idiot I hope he dies". End description.]

Stupid season 1 jonmartin dynamic ily forever

[villain-enthusiast]

TOUCH-STARVED HERO RAHH.

.

“You’re hurt.”

“I’m fine, actually,” the hero muttered from their sloppy position on the ground, though the oozing gash slicing across their torso and the fresh bruises circling their throat said otherwise.

The villain arched a brow, crouching down so they were eye level with the hero. “Do you think I’m dumb?”

The hero glowered at them. “Seems like you're deaf, actually. I said I’m fine,” they snapped, even as pain shuddered through their battered body. “Now if you could just get out of my way—,”

“Darling, please. You couldn’t stand up even if you tried, let alone walk yourself halfway across the city to your apartment.” The villain smirked at the hero’s deepening scowl, but the teasing flair didn't quite reach their eyes. “Let me do you a small favor while I’m here, at least.”

The hero bared their teeth. “Fuck off. I don’t need your stupid healing powers. You'll probably turn this into one of your idiotic bargains—," A harsh coughing fit cut them off, rattling their chest.

They tasted blood on their tongue. Fuck.

“Gosh, so prideful." The villain sighed, tilting their head. "Oh look at that, you're bleeding." They lifted a hand and ran a thumb over their hero's lips, wiping away a smattering of blood that had spilled from their mouth.

The hero's breath hitched at the villain's touch, the smallest, most delicate of noises escaping them before they could stop themselves.

The villain paused, their brow furrowing as their gaze took in every little movement and detail of the hero's involuntary response.

The hero's jaw tightened. Every muscle in their body screamed at them to get away, but they couldn't move. Or was it that they didn't want to move? "Villain, I swear—,"

Then the villain’s hand was cupping their cheek, and the hero melted.

A desperate whimper tore from their throat, their head lolling into the cool touch of the villain's palm as all the pain and exhaustion radiating through their body suddenly evaporated.

They closed their eyes, feeling their face begin to burn with shame.

"Oh, sweetheart," the villain murmured. Their other hand swept through the matted strands of the hero's hair, working through the tangles.

The hero had to bite down on their lip so that they didn't make another embarrassing noise. So gentle. The villain's touch was so, so gentle. So at odds to their earlier opponent's strangling grip and blinding punches, so contrasting to gaping loneliness and helplessness of coming home to no one, of having to painfully stitch themselves up day after day after day...

The villain brushed away a tear that the hero didn't realize had fallen.

"Hey, look at me," the villain said softly, nudging their chin up. The hero blinked at them, fighting back a sob. "You need to let me heal you, okay? You're losing a lot of blood."

The hero swallowed, barely processing the villain's words, their brain entirely occupied by the hand still on their face—or maybe it was just the blood loss. "Yeah," they managed, voice hoarse. It felt like their vocal chords were coated in tar.

"I'm going to do your stomach first," the villain noted. "I need both my hands for this, alright?"

The hero nodded, ignoring the inevitable panic that shot through them at the sudden absence of the villain's touch, which returned almost immediately on the deep laceration on their lower torso.

The hero cringed, bracing for some kind of torturous, painful mending, but the villain's powers were warm, soft, like honey in a cup of hot tea or a crackling fireplace during a winter storm. God, how many years had it been since they'd felt so comforted?

A whimper escaped the hero once more. They tensed. Jesus fucking christ.

The villain cracked a smile as they worked. "Don't worry, love. You're not the first person I've healed that enjoys the feeling." They brushed a palm over the wound, weaving the hero's flesh and skin back together. "This is gonna scar, but at least you'll live to see another day, hm?"

The hero scoffed weakly, still drunk on the villain's magic.

The villain swept their hands over the hero's body, feeling for more damage. "Gosh, Hero," they hummed, "you get yourself into so much trouble, do so much for this pitiful city, and for what?" They placed their hands on the hero's battered neck, soothing the inflammation. "When's the last time someone took care of you?" they asked quietly, but the question seemed more for themselves than for the hero.

Several heartbeats passed before the villain pulled away, finished with their work. The hero couldn't stop themselves from chasing their touch, nearly toppling over.

The villain caught them before they hit the ground, chuckling. "Oh, what am I gonna do with you?"

The hero felt a lump form in their throat at the thought of the villain leaving. I'm not gonna make it home. Not without Villain. They squeezed their eyes shut, swallowing their pride. "Please," they whispered. "Take me home. All I ask."

"Don't need to ask me twice." The villain swept the hero up into their arms, smirking at their indignant (and exhausted) glare. "You're not walking, sorry. You're getting all my love and special treatment today." They winked, as if they were joking.

But as the villain paced their way to the hero's apartment, and as the hero began to fall asleep in their arms, they both knew it wasn't a joke.

[shinkotori]

This art of Serana from Skyrim (as always, drawn by my friend @yuramoonbow, also available on twitter here) was actually not a commission, but a surprise birthday gift after they had already drawn this other piece for me.

[ Image Description: The Elder Scrolls V: Skyrim fan art headshot of Serana Volkihar. She has a neutral expression on her face and the background is solid black. It is signed 'yura moonbow'. End ID.

[rosemarytrash]

this is so needlessly chaotic but so is act 4 so really if you think about it i'm imbibing the spirit of it all into a lot of gaussian blurring

[beargregor]

wait i'm curious, what makes you say that gregor doesn't like everyone else (if i read that post right)? just curious since i've never seen anyone else say that

i don't necessarily think gregor dislikes everyone else at lcb but i do think that gregor is an incredibly petty person that isn't nearly as close to the rest of the sinners and even outright dislikes some of them cough cough rodya cough cough which a lot of people just Refuse to see because he's as much of a doormat as he is. there's several examples i could get into to try and prove my point however i'll just focus on what i personally think to be the biggest ones.

additionally, this is going to be kind of long, so i'm adding a read more. read more! read it. sorry for being so wordy. i have several diseases.

Pt1. gregor is the type to try and get along at least decently with everyone, especially if he gets a good first impression from them.

this is less a point in favor of gregor's distance w/ the rest of the sinners and more just a contributing factor to it. once again there's several examples i could point to here but i think the most in your face one happened in canto I with yuri, as several people have pointed out. even before gregor comes clean about growing attached to her as quickly as he did because she reminds him of his sister, we get this interaction.

i'll go ahead and make the disclaimer now that i don't necessarily think gregor is the most reliable of narrators, especially when it comes to his feelings and interactions with most people, but from the way he acts when the topic of yuri comes up (and the way we still see him act even all the way up to c7, nearly a whole year after yuri's death) i don't see reason to question his sentiment here. gregor immediately got that aya and yuri were close, potentially even taking note of their traded belts, and went out of his way to get something nice for yuri despite hardly knowing her.

i feel like a lot of people have forgotten as much, especially since it's been so long since c1, but gregor actually spent a good bit of season 1 doing the exact same thing with the other sinners! gregor reads a connection between him and ishmael pretty quickly despite getting off to a rocky start

mostly because gregor can tell that ishmael is pretty sardonic in a very similar way to him. there's been multiple instances where ishmael and gregor have essentially expressed the same sentiment at different moments, most notably gregor's little argument after ishmael got shot with a decay ampule in c4

and ishmael's response to pilot talking about self-sacrifice in c5

i could go ahead and pull up more examples, but in general pm has gone out of their way to show us that gregor and ishmael are pretty similar, so it makes sense for gregor to assume that they're friends, right?

this will be pushpin 1. keep note of this for Later.

ishmael's only the first sinner we see gregor trying to do this with in s1, we also see him try it out with heathcliff, sinclair, and ryoushuu

he's tried to get along with charon, being one of very few sinners that we've seen actually try to establish a connection with her at all

even rodya, despite my insistence that gregor doesn't like her nearly as much as the fandom thinks he does

all of these seem pretty fine and dandy, right? sure it frequently leans towards self-degradation, micromanaging, and commiseration, but gregor can at least be pretty chummy with most of the sinners, can't he?

Pt2. hell's chicken was more than just comic relief guys please

i'm fully aware that this is quite the hot take, but i think hell's chicken deserves a lot more credit for character writing than the fandom gives it. hell's chicken gave us foreshadowing for several events, such as the donqui bloodfiend reveal

heathcliff's distortion in c6 (as well as hong lu's highly speculated distortion at some point in the future)

and ryoushuu and sinclair's continued connection by making him the odd one out on her team

which, hey! that implies something about gregor's odd one out, don quixote, too, doesn't it? yes. yes it does. that's pushpin 2. keep note of that for later.

speaking of pushpins, hey! that's pushpin 1!

splitting into teams is one of the major events in hell's chicken, and most of the sinner's choices are either motivated by very little, backhanded, or motivated primarily by not wanting to be on the opposite leader's side. i didn't include all of the picks, just because i feel like including most of them already gets this across, but i think gregor took one major thing from this: most of the sinners, when push comes to shove, will only side with gregor when they refuse to or can't take his opponent's side.

now, don't get me wrong, i'm fully aware that this is primarily intended to be comedic relief, but when gregor is being described as having his trust broken by ishmael or nearly crying because no one on his team properly sided with him for him, i feel like it's pretty fair to read into this.

something that i think is pretty important to remember in conjunction with this is that we know that gregor is the type to hold a grudge, both from his general attitude towards the G corp soldiers in c1 as well as his continued distaste for vergilius

even beyond the splitting into teams of hell's chicken, the sinners have given gregor plenty of reasons to feel bitter. i feel like this is something people have noticed but haven't really put a finger on, but it's kind of wild just how often the rest of the sinners make gregor the butt of the joke

and sure, we could argue that a fair few of these aren't really made with any ill intent. quite a bit of it could have been meant as harmless teasing, but with gregor being more sensitive than most, it coming from nearly all sides, and as often as it does? yeah, i think he's prone to taking it a bit personally.

Pt3. yes i do still think gregor was the third most important character in canto VII you guys gotta hear me out okay

of course, all of this leads up to the bit of the story i highlighted, doesn't it? c7? i totally get why people haven't really picked up on all the gregor things i did in it, seeing as they were mostly not *directly* said about him or by him.

personally, i think that gregor's distaste for talking about himself on any serious level and thus leading to him getting sort of "sidelined" narratively (which i take issue with that claim, but still. it's effective for getting what i mean across atm) is supposed to lead players to take a deeper look at the times gregor gets held up to other characters and compare and contrast what's being said about them by the matchup. as i showed earlier with his immediate latching onto ishmael, i think this is something gregor himself is at least partially aware of too.

so, that begs the question, who was gregor compared to in canto VII that makes me think it's one of the most critical pieces in understanding his character?

really, i'd like to avoid getting too lost in the analysis of this canto specifically, since i'd like to do a proper post about this later, but i figure i can bury the lede a little before doing it properly.

c7 features several characters being made to perform in sansón's play, acting out the relevant backstory for this segment of the plot. a lot of these characters have rather direct, degrading reasons for playing the roles they do.

outis, a character with an inflated ego who wants her journey to have a purpose, is made to play an aimlessly wandering villager with a single line.

hong lu and ryoushuu, two characters for whom families and the expectations placed upon them are likely going to play a major role, are made to play bloodfiends.

rodya, a character who resents her lot in life and is constantly shown to be eager to leave her destitution behind her and become someone special, is made to play a helpless villager that's too poor to even offer any money to the hero that saves her.

heathcliff, a character that has spent most of his life getting dehumanized by comparing him to beastly animals, is made to play a literal bear whose sole purpose in the plot is to get beat up and then quickly left by the wayside.

sinclair, a character that has two opposed parties essentially treating him as a macguffin to procure for their side, is made to play the character who was arguably the catalyst for this entire canto, not to mention playing a decently major role in ruina.

our star don quixote is made to play her father, the first kindred, but there's someone by their side the entire time, isn't there? don quixote's dear, steadfastly loyal companion. a character which don quixote has tasked themself with getting to come out of their shell?

hello again, pushpin 2.

gregor has been made to play our unreachable star, sancho. someone had to, of course. you can't really tell a story without it's main character, now can you?

now, i should once again give a disclaimer. i am not trying to say that i think adapting what happens to donqui/sancho in c7 to gregor is the road pm is going to take here, not only would that toe a bit past the line of foreshadowing, but it'd also just amount to rehashing that plotline again, which i don't think would make for a particularly exciting story.

what i DO think is that we can take a lot of the things that are said to either directly be the case for sancho and use them to inform how we see gregor.

and god, does playing sancho have some fucking implications for our favorite ossan archetype.

starting off, the earliest moment we get to see of sancho is quite literally her just waiting for death to take her in a pile of ashes.

which, i should remind everyone, is actually pretty damn close to what happens to gregor's literary counterpart at the end of the metamorphosis. gregor samsa experiences one final breaking point that pushes him over the edge and makes him decide to just wait for starvation to take him.

gregor and sancho both consider themselves to no longer be human, something which sancho goes out of her way to highlight repeatedly throughout the canto and gregor is quick to get defensive on her behalf for when outis starts really tearing into her

sancho spends quite a lot of this story denying herself the joys of community and friendship, despite knowing that, even with the rest of the sinners frequently making jokes at her expense and outright insulting her, they were things that she desperately craved.

and, while this is getting into my "outis is a red herring meant to distract us from gregor's eventual betrayal" theorizing, i also think it's worth noting for this discussion that sancho's fellow kindreds, her family, all seem to be under the impression that she dislikes them and ultimately her departure was an act of betrayal

and that, despite gregor being one of LCB's resident mood makers and attempted conflict de-escalators, one of the sinners that's most prone to making appeals to the bonds they've all forged together, only him and faust remained silent during everyone's speech

so yeah, i think there's quite a lot of little details and hints building up to the reveal that gregor's not quite as fond of everyone as he presents himself to be. i do think a lot of this ultimately comes down to gregor getting in the way of his own happiness, similarly to donqui, particularly because he's been frequently portrayed as something of a self fulfilling prophecy, especially by giving him as many christ allegories as they have by way of priest and garden of thorns. gregor is convinced that the rest of the sinners don't like him because he's not convinced anyone could like him, so he convinces himself that he hates them because why should he care if someone that he hates hates him too?

a lot of this ultimately ties back to my personal interpretation of what happens in the metamorphosis as well as my own theories regarding all the times gregor has made weird callbacks and references to lobcorp and ruina, but yeah. i think about this guy and his deeper characterization a fairly normal amount, i think.

to end this off i'll highlight one of my favorite little "gregor is fucking seething and trying so hard to keep it cool" moments, in the credits CG for c7 we see rodya teasing him by drawing a little horse on his window and actively pointing and laughing at it, which gregor really doesn't seem all too pleased about.

i personally think this ties into the other cruel part of sansón forcing gregor to play rocinante, which is the more literal "he's actually just straight up playing rocinante" side of things. gregor was quite literally made to play something less than human, less than even animal really, as he was reduced to nothing more than the shoes don quixote wore as she got to play the leading role. sansón directly makes jokes about gregor being nothing more than shoes in the play twice, which adds to this reading, i think.

this, imo, really plays into the adaptation of the metamorphosis! i've seen a lot of readings for the book that posit that, despite being the protagonist, gregor samsa can't really be considered the main character due to nearly everything he experiences in it being used to further his family's character development at his expense, which i think fits nicely with limbus gregor seemingly having the most said about him through indirect means by holding him up to other characters. also it's rodya carelessly making fun of His Big Major Insecurities™ again like she did in c1 which i always find fun. rodya i love you but god you're the worst.

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[pricklybruin]

Transformers Reverse Mini-Bang 2024 (@tf-bigbang) is finally here!!💥💥 Here is my piece, featuring Minimus and Ravage on a mission on a frozen planet. It's quite eventful!

Please go read @icypolargirl78 's wonderful fic Dead and Melting Ice!!!

((Close-ups below cut <3))

[wistfulvulpine]

the pride of camelot, yours and mine

[bamgeut]

daily soobin until he returns (except i'm late because i couldn't post anything yesterday) [10/?]

[otome-dissection]

Idk man I just think that mizu/ena5 and its progression was really beautiful actually. I just think that the release of the ena5 song was also really beautiful and kind of the nail in the coffin for me and I haven't been able to get the event(s) out of my head all week and that I kind of want to talk about it, actually.

It's about being hurt so deeply and continuously that any kindness that could be offered to you manages to feel like a sin, that it makes you crumble and shatter but for all the wrong reasons, not because of the newfound safety, not out of relief, but something worse and more deeply ingrained in you than kindness ever was. It's about carefully measuring the distance at which you keep others away from yourself, to ensure that it never happens again ("To save yourself the trouble", if that makes it easier).

It's about realizing that the people you've been spending all this time with are drifting closer, that they just might bump up against the unsightly parts of yourself that you've tried to keep locked away, it's about turning around and sprinting at full speed and slamming the door shut and holding onto the handle behind you to stop it from turning, because you're as frightened of the possibility of another wound being inflicted on you as you are of the possibility that kinder, gentler hands will reach out and smooth over the exposed scar. It's about hating eyes that judge and silently condemn you as much as you hate eyes that simply see you and take all of you in without scrutiny, because no matter what they're looking and they're looking at you and they know that your hand's on that door handle and they know that you're hiding something because, as much as you try to keep it shut, they've seen through the crack that you foolishly left open.

(The prominence of eyes in Bake no Hana, specifically eyes looking and searching, and finally landing on you, the viewer, Mizuki, is so fucking. Visceral in my opinion. Every character in the MV stares at the viewer in a deadpan, almost judging way. Even though Mizuki knows deep down that niigo won't really hate them, won't judge them, she just can't stand their kindness either; any gaze directed at her is a loss, another prick in their skin. It screams "don't look at me" while making sure that you know, with horrific certainty, that they're looking for you, that you're being watched. You can't go outside, can't leave your room, because they're searching for you, and while that should be reassuring, to you it's anything but).

It's about not wanting to be dissected, whether it's with hands that want to pull your organs apart or stitch them back together because no matter what they're there, and they're getting frighteningly close to your heart. It's about blinding yourself and covering your eyes to it all because seeing means exposure and exposure means they're taking something from you and you can't do anything about it, much less take it all back, much less have a say in the matter. Everyone's just taking and taking and taking and you wish you could just be alone. You wish everyone would just disappear and you could live in a world all to yourself, for only yourself (but is that really what you want?).

It's about the way that, near the beginning of the Yoka ni Mitoreta MV, Mizuki and her loneliness is represented as a dark, splotchy stain in the shadows. No colors, no patterns, no way to clean it or wash it all away, just raw ugliness marring a blank canvas. It's about the way that Ena reaches out to it anyway, the way she startles when the glass shatters just when she finally starts reaching forward, the way that the rest of the MV/song represents her searching for and reaching only further out to Mizuki, even if the broken shards of glass will only cut her fingers, potentially leaving scars.

It's about how, in every way, subtly, directly, consciously, and subconsciously, Ena shows that she fucking cares.

It's about the way that Ena lets Mizuki have autonomy, despite the situation being so horribly out of their control. And it's such a delicate thing: If she really wants to, Mizuki can take the opportunity to just run away, keep running forever, repeat the cycle over and over, and maybe she'll just destroy herself with it again, but it can't be denied that it's something important to them, something she can't quite live without just yet, their means of survival. Mizuki's autonomy is their identity, it's her tailoring her own clothes and choosing her own ribbons and styling her own hair the way she does. Ena letting them have that is as much about trust as it is about understanding that Mizuki of all people should have this right, when control was something stripped from her throughout so much of her life. She couldn't control how she was born, how people look at her or why, can't control what they think of her; lacking control has only left Mizuki vulnerable to the cruelties of others, has only caused them to suffer, which is why it's so important that it's given to them now.

She had the control to make the choice to see niigo's welcoming love and run away instead of staying, and she has the control to make the choice now whether she wants to keep things the way they are or take a step forward to be at their side again. She has every right to have it, and I think the fact that Ena realizes and respects that, even if it's subconsciously, is really beautiful (there is an entire fucking Verse about this in the new song and just. God Look at this. It's so caring, unconditional, and for fucking What. I think there is something to be said about how much Ena is willing to put aside for Mizuki, and maybe deep down it isn't healthy, but for now I'm just kind of in awe)

It's about how insanely patient Ena has been this whole time. Mizuki says that she basically lied to Ena's face about telling her their secret, even after Ena said with such conviction that she would wait for Mizuki as long as it takes, and Ena is just kept waiting and waiting and worrying like this seemingly indefinitely. It's about how Mizuki danced around it, avoided it, kept the distance, straight up ran when she was finally pushed, but Ena still chased anyway when she saw that she couldn't wait anymore, kept chasing just enough to intervene and get a straight answer out of Mizuki when she really needed to, but still leaving her enough space to leave if that was truly what she wanted. It's about how relieved Ena is the moment that Mizuki finally says outright how much they want to be with her and niigo, how much she wants to try, how much more light Ena's voice sounds when she grabs her hand, relieved, the way that the relief she feels can be felt through the music, throughout the entirety of Yoka ni Mitoreta, the way that warm colors always follow her when she chases after Mizuki, just to hold onto her and stop her from running away completely.

It's about how that careful combination of Ena's directness, Ena's persistence, Ena's warmth, her patience, her bluntness about her feelings, the way she chases and holds on but not too tight and her regard for how unsafe and exposed Mizuki feels actually works and breaks it all down. It's about how she really did reach through to Mizuki, despite the thorns and broken glass shards and nearly-unfulfilled promises, the way that Mizuki did finally let her turn the door handle and step through to see what she'd been hiding all this time, the way that Mizuki's hand, limp, when Ena first grabs onto it, shifts to hold hers back as they cry in the face of Ena's gentleness.

Despite how harsh Mizu/Ena5, and even Ena herself as a character can be (or at least was in the very beginning of pjsk), everything is somehow gentle and warm in the end, blindingly so. And you know what, I think that's beautiful. And what's even more beautiful than that is how Mizuki allows themself to crumble and shatter under that kindness, that warm light, but this time, finally, out of relief.

On a final note, I just want to say that I also appreciate how all that didn't have to solve everything. The scars haven't disappeared, haven't gone away, and Mizuki knows that their desire to run hasn't gone away forever, and maybe it never truly will. But for now they've calmed it, at least a little. She's learning to allow herself to be seen, learning that when someone's fingertips brush over their scars the way Ena's did that it's only out of care, and that maybe taking in that care and allowing herself to feel kindness and safety is okay. They're safe, for now, somehow. They're learning. They're trying. And I think that's cool :)

[egophiliac]

Do you play genshin impact or honkak a

Star rail?

I don't play Honkai, but I've just started looking into Genshin Impact's story (someone described Neuvillette's character to me and I was like. hmm. HMM.) I haven't gotten far yet -- really JUST started looking at it -- but I'm looking forward to more! :D

(I know almost nothing about these characters yet, I'm probably drawing them SUPER wrong, sorry)

[zolo-san]

Some thoughts on Law and his image of himself

Law clearly has a lot of conflict around being seen as "good" or a "good guy" I think he want to be a good person, and he actually is, but he doesn't see himself that way, so he has a hard time accepting when people try to suggest that he is good And I think that there are several reasons for that

Law and Survivors Guilt

Law clearly holds a lot of survivors guilt throughout his life and I think it takes a big toll on him When he was younger, not only did he out live his parents and his whole town, but he "failed" to save his little sister as well We see him go out of his way to try to save her specifically, but in the end, he's still not there when she needed him the most The loss of his family also lead him down a path of which he chose to be angry and violent (ooooo we love the stages of grief lol) and take out his feelings of guilt and resentment on others despite being raised by a family of caretakers As a doctor, his father put everything he had into trying to help the people in their town and I think that Law would have looked up to him and wanted to be just like him, but after everything that happened something really broke in him I can't help but think he would feel bad and like he failed again after he moved past the angry violent reaction - just like I think he later felt quite a bit of guilt over stabbing Corazon after the fact Corazon tried everything to save Law and gave everything to him and I think that that too would add to Law's feeling of guilt, especially because it took him so long to realize that he had been too guarded and untrusting to see that Corazon was genuinely trying to help him Once he was able to accept and recognize that, however, Corazon ended up dying shortly after Obviously, Law has a lot of guilt, specifically survivors guilt, surrounding Cora's death Corazon not only risked his life for Law to live, but Law was unable to use his fruit to save him because he didn't know how, then when Law did try to get Corazon help (against Cora's wishes) he managed to "get help" from the wrong person and put Corazon in more danger, leading to his death

Ironically this is not dissimilar to the way his sister died Law had told her to hide while he get help and not only did he not get help, but when he returned, his sister had been killed

I also think that Corazon's confession to Law about being in the navy as he was about to die adds to Law's guilt because he already knew that to be true and I think it hurt him to realize that someone who cared so deeply for him and was literally dying for him still felt bad and was worried he's disappointed him

There's also something to be said about Corazon dying with a smile and the fact that Luffy is also someone who always has a smile on his face, especially when it comes to helping others I think this very much molds the image that Law has of who a "good person" is

Law lived because he knew it was what Corazon wanted for him It was all Law could do for him (I do wonder if there's also some guilt he feels about dedicating the life Cora gave to him to revenge)

Law and Selfishness

I think Law truly sees himself as selfish for many reasons, one being that he was so driven by revenge, and I think he has a tendency to overlook the good that he does because of this

I think he even sees him saving Luffy at Marineford as a selfish act

I think that seeing the efforts that Luffy was going through to save his brother made Law feel that he had failed his sister all over again He would feel that he never tried that hard And I think that it's partly for that reason that he felt compelled to save Luffy

I can't help but feel that Law, without realizing it, was trying to absolve himself of his own "sin" of not saving his sister by saving Luffy I also think the idea of Luffy, after all his efforts failing to save Ace, really broke Law's heart and he couldn't stand the idea of Luffy having to go through something like he did, especially after all the effort Luffy put in

But because of Law's view of himself and his actions as being selfish, I think that Jinbe thanking him for helping Luffy was already too much for him He didn't see his act as selfless or "kind" he saw it as him acting in self interest and I think that's why he tries to present it as such He claims that he essentially saved Luffy because he thought it would be a shame and a waist to let someone with Luffy's potential die then and there, but I think there's so much more to it and I think a lot of it has to do with Law viewing Luffy as an actual good person and something that he's not Law leaves before Luffy can thank him because he doesn't think he deserves thanks

The next we hear of what Law did during the two years that Luffy was training, we hear about his collecting pirates' hearts and becoming a warlord He does this all as part of a plan to exact revenge on Doflamingo and as part of this plan, he leaves his crew behind with no explanation and fully expecting to never see them again (tho he doesn't tell them this) This brings up an interesting fact that even though Law claims he never intended to fight Doflamingo, he also never expected to live through it

I think that Law feels incredibly guilty about leaving his crew behind because he does really care about his crew and I think that lying to them knowing full well he's going on a suicide mission hurts him a lot But I think that despite his choice being fueled by a want to protect his crew, he would feel that it's a selfish choice When he's on Punk Hazard, Law is fully in the throws of pretending to be this other person that he isn't at heart He's trying to be that cold, selfish person he sees himself as, but I don't think he can really do it So I think for this all these reasons, Luffy's mater-of-fact declaration that he is "a good guy" would make Law incredibly uncomfortable I think he sees Luffy as the type of caring, honest, and straight forward person he wishes he could be When he thinks of a good person, he thinks of someone like Luffy - someone like Corazon - who doesn't hesitate to help others at his own risk and would die for his crew and the people he cares about

Luffy obviously shares a lot of traits with Corazon and I don't think that's lost on Law So having someone like that imply that Law is the same as him is something Law can't handle

In addition to this, I think that Luffy's willingness to fight for Law at every turn and his inherent trust in him only adds to Law's feeling of inadequacy next to Luffy And I think that his survivors guilt and the fact that he feels that he's nowhere near as good a person as Luffy are all contributing factors as to why he decides that if Luffy dies fighting for him then he has to die to

I genuinely think that the idea of surviving someone so good like Luffy (and Corazon) again is something that Law cannot handle and cannot allow to happen This is also why I can't help but think that we will see a point where Law attempts to kill himself via his fruit to save Luffy I think Law would rather he die knowing that he insured Luffy's survival than to outlive someone so kind and good Though I think there would be a lot of guilt and conflict here as well I think that whenever we get to this point, it will be abundantly clear to Law that choosing to kill himself for Luffy would also be a selfish act that Luffy would never forgive him for How could he curse Luffy to eternal life knowing that Law died to give it to him?

But regardless of Law's own self image, we see repeated examples of him actually being a good and kind person He has a strong sense of right and wrong and cannot abide injustice, especially the mistreatment of innocent, good people And even if he didn't go about things the best way when he was a kid, this feeling of right and wrong and a need for justice (not in terms of the law but more in terms of karmic, moral justice) was something that was instilled in him at a young age He was taught by his family to care for others in need and to put others before himself And he tries desperately to do so when his town is being erraticated He reaches out to Luffy at Saboady when he sees, in Luffy, the same moral values and the same demand for moral justice and fair treatment of others (something I think is very important to Law given the treatment he faces for his condition as a child) Law then saves Luffy out of compassion for him, whether he's willing to admit that out loud or not He goes out of his way to try to make sure his crew is safe when he goes on his suicide mission to take down Doflamingo and even tries to assure them that everything is fine to ease their concerns When in Dressrosa while he was obviously focused very much on Doflamingo, his plan also helped benefit so many other people in Dressrosa and the world who were suffering because of Doflamingo He also refuses, at every second, to leave Luffy's side and nearly kills himself several times in the process (not to mention taking a beaten and battered Luffy into his care for the second time at his own risk) When they get to Zou, he leaves to get to his crew fairly quickly because he want's to be sure their okay and he accepts their love and happiness at his return with no argument And when Luffy asks him about altering the plan so he can go get Sanji, Law's first thought is of the people of Zou

I think this is partly because he can't stand the injustice of what happened to them, but also because he knows that insuring their saftey is something very important to Bepo since it is his home country and his people (even if he didn't really grow up there)

The people of Zou thank Law for this and he immediately shrugs it off because he doesn't see himself as someone worth thanking (especailly not after he heard of all the good the strawhats did - how could he compare?) Despite it all tho, Law makes room for Luffy - he accommodates Luffy's request because he knows how important it is to him to get Sanji back And again, he does this all selflessly and at his own risk, tho he doesn't see it as such, Law changes his plan to help Luffy and he does so without really any hesitation

There are other examples of Law going out of his way to do good and be a good person despite the image he has of himself (I'm just currently only just finishing up Zou so I haven't gotten there yet, I just know things~)

But in short, Law clearly doesn't see himself as "good," tho he desperately want to be a good person, but regardless of how Law views himself, he is clearly "a good guy"