#the narrative isn't about his suffering. it's about what he's choosing to do with it.

[kaurwreck]

Not to keep ranting and raving shades of quantum physics that I barely understand, but I'd think it refers to Fyodor's incomplete understanding of the white hole singularity that Atsushi and Akutagawa are uniquely capable of creating when Byakko and Rashomon meet in their fully realized forms.

Which makes sense with at least one theory of white holes, which is that they happen to be the "exit door" of a black hole existing in another universe. Such a black hole - white hole configuration is what we're referring to when we refer to wormholes.

This is relevant because bookmarks aren't narrative devices, and they're not particularly related to or specifically meaningful for linear narratives.

Neither is bsd, though, so I may be misunderstanding. bsd is written as a nonlinear, polyphonic, anachronistic, out-of-place-and-time narrative. The setting and worldbuilding are a bizarre amalgamation of the past century, but there are also suggestions throughout that some of the characters have experienced several versions of reality, with Dazai most distressingly seeming to at sometimes experience multiple simultaneously. I don't mean Beast either, although Beast is relevant for catching moments in the canon timeline that Dazai reacts oddly to something that is different or the same.

(I don't mean that he seems to know things. He doesn't. Most of what the fandom attributes to an almost preternatural omniscenience is just Bayesian game theory. It's small moments where his attention is piqued over information that shouldn't mean anything to him, and doesn't really. It's most apparent in the first episode/chapter.)

Even the metanarrative is nonlinear and predciated on layers of lives and chanches to try again. The kaleidoscopic deepened further if you read bsd as a framework for interpreting the century of classic literature, and if you read that century of classic literature to understand what, why, and how kafka asagiri wove pieces of it into bsd. That 55 Minutes is the Time Machine by HG Wells, for example, is difficult to separate from how the Time Machine connects WW1 to WW2 in imagery and impact with regard to nuclear warfare.

But, returning to bookmarks for a moment.

I don't think I would call marking your place in a book marking the characters' place in the journey.

I'm not totally sure how a bookmark could facilitate a linear narrative, other than, maybe, if you're worried about seeing spoilers while trying to find your place. But, the linear narrative is such a beloved device because those details can only be understood and their impact felt in the context of where they fit into the story. Instead, linear narratives are facilitated by chronology, cause and effect, the three act structure, and other literary devices, because narratives are intangible stories, books are just the tangible mediums to which they're fixed.

Bookmarks are markers for finding your place in a book quickly and easily, agnostic to where or why you stopped reading (except insofar as they're most useful where your stopping place isn't a clear narrative milestone, since those are easier to find again later.)

Bookmarks are also content agnostic. They have the same use cases whether in a fiction book, a nonfiction book, a cookbook, a book containing a linear story, a book containing a nonlinear story. They're nifty the first time you read a book, and they're just as nifty when you reread them. Sometimes, it's not about picking up where you left off, even, but marking a requently visited passage or a recipe or a part you wanted to reread because something reminded you of it or you thought it might read to you differently now than it did before but before you could, you forgot you'd even wanted to, until the next time you were dusting and found a scrap of paper marking your place in a book you were certain you'd long finished, and then you start reading and it comes back in a rush, and you have a moment of immense affection for the past version of yourself who didn't have time to act on the urge that brought them to that passage, and so entrusted it to you instead.

In other words, bookmarks facilitate finding a specific page quickly, but they're physical objects that make using the tangible mediums to which we affix stories and information more convenient. They have no instrinsic narrative value unless we choose to assign them meaning.

Wormholes are hypothetical structures connecting disparate points in spacetime. The book has repeatedly been referred to as reality. Fyodor seems to believe that Atsushi is connected to a specific point in space-time, a page if you will, and whatever that page in space-time is to Fyodor, he wants to open reality to that page badly.

Atsushi is the protagonist because he doesn't have to be anything but chooses to be who he is, and his sincerity and hope and relentless pursuit of meaning is salvific. Fyodor is wildly misunderstanding, or may be even intentionally demeaning or rejecting the nature of Atsushi's role. Atsushi isn't a bookmark, he's the heart of things.

Kokoro is a comprehensive term in Japanese religion, philosophy and aesthetics often translated as ‘heart’, whose range of meanings includes mind, wisdom, aspiration, essence, attention, sincerity and sensibility. In Buddhist texts and in philosophy, kokoro (or shin in its Sino-Japanese reading) denotes mind, heart or inner nature, the site of human sentience or delusion. By extension, in pre-modern theories of art, kokoro signifies simultaneously the emotional capacity of the artist to respond to the natural world, which ideally catalyzes the act of creation; the parallel ability of an audience to respond to such a work of art and thus indirectly to the experience of the artist; and finally the evaluation of such a work as possessing the ‘right conception’, kokoro ari or alternatively ushin.

Kokoro by Viswanathan, Meera

*cackles in validation* Hey. Hey guys. Is Atsushi the bookmark because he’s the protagonist of the story and thus the page is marked depending on his phase of the journey, or is he the protagonist because he is the bookmark, where his very existence necessitates him becoming a catalyst so the story can unfold and be read in linear time?

[yokelish]

Solas sees himself in Rook is the lie in Veilguard I cannot get over.

"Solas sees himself in Rook, perhaps even things he doesn't like to acknowledge", they said. There are no two people more diametrically opposed than Rook and Solas. Outside of Rook doing that thing that pissed off a bunch of people in some sort of authority over them, there is nothing between the two to connect them. All their parallels are utterly superficial.

Well, they are both leaders! Solas lead armies, agents, spies against seven powerful mages with armies, agents and worshipers of their own. He had to be ruthless, to sacrifice, forge alliances knowing he'll break them, to manipulate. His friendship with Felassan suffers because it's exceptionally difficult to be emotionally open with a person you give orders to, who you know might die in your name, for your cause, willingly. Solas know it. That's why Felassan writes about how Solas is planning something and is not telling anyone, even his closest friend. It's nothing good. Both know that and neither can do anything about it because there is massive wall between them made of their complex relationship, their cause, Solas' devotion to Mythal and his vengeance for her murder. Solas cannot be a true friend to Felassan just as Felassan can be a true friend to Solas. Love and care are there there but there are things bigger than them and their relationship at play. Solas had to go along with the Dread Wolf narrative even if he hated it. Rook has to prove they are a really good guy to factions and therapyspeak their team of professionals into working under a lot of pressure. Rook suffers none of the consequences of leadership unless they utterly ignore their companions' side quests. What does Rook lose? Their moral codex? Not once did they have to do anything morally questionable. Their relationships? Hardened mechanics is utterly meaningless in the narrative. Since Hardened mechanics is the only thing that was brought from Origins, it's fair to compare it to Origins: Neve is not Leliana who becomes ruthless and thinks murder might actually be an answer to many questions; Lucanis isn't Alistair who accepts that he must become First Talon. What does Rook lose? One companion who willingly sacrifices themselves.

Solas made choices. Stupid ones, yes, but choices. His actions had terrible consequences. Rook is not active in the narrative. They only react. The choice between cities is so in the moment that it isn't about what Rook is willing to sacrifice, what terrible consequence they are more likely to accept, it is not about "all choices are terrible and you have to choose" but reacting to having to choose at all with very little information based on your companions 3 seconds explanation before they ran away. In inquisition, the choice between mages and templars is also quite early in the game. But it influences how you meet Cole and Dorian, it influences who comes to attack Haven, which enemy you are more frequently encounter in the world. Antivan Crows and Rivain apparently have business dealings going all the time, about supplies and Antaam, but after a dragon attacks Treviso, the Lords of Fortune do not offer a dragon hunter (who is big Crow fan) to help out their assassin business partners and consequently Rook. No, it's on Harding to find the dragon hunter. They see a blighted dragon in D'Meta Crossing, hear Ghilan'na speak through it, and not even say that this might be a big fucking problem very quickly and no one nearby knows how to handle it. It's after a city gets blighted that Solas is telling you to find a dragon hunter. Thank you, dear, but I knew that 6 hours ago. Rook somehow didn't tho. The choice between the cities is utterly superfluous, influencing only your gameplay (which companion can't heal you, which city's side quest get cut, which merchants aren't available) rather than the world. Minrathous is no better for fending off Elgar'nan in the end whether you save it or not. UNFORTUNATELY, due to AMA and John Epler, they resolved the artificial moral quandary of this choice as well. Because the Blight in Minrathous will calcify and die at the end of the game, the blight in Treviso will not. Thanks, I hate it. Though the Archon you choose is very much aware that there are blighted gods with an equally blighted dragons but no preparations for any war marches, attacks, sieges will be made. Antiva doesn't reconsider its governance after having a city invaded and blighted. You chose Treviso? Cool. MInrathous' blight will die at the end, Dorian will become Archon and outlaw slavery and cults. Crows rule unchallenged. You chose Minrathous? New Archon is outlaw slavery and cults, your blighted mage will be just fine, Crows rule unchallenged, not a single Talon is blighted. Sad about Treviso, though, that place might just have to be Chernobyl of Antiva.

Solas had moral complexity. Rook doesn't. Varric handpicked the goodest, goofiest little guy to go against a morally dubious ancient being (MW Rook seems to have committed some cultural taboo but don't worry that will not influence how Emmrich views you. MW is EASIER to gain rep with instead of harder. Strife being that way about VJ Rook who saved lives of their people is nonsensical because Strife sided with helping a human mage instead of cutting off said mage's limbs to free himself. LoF background is nonsensical. Why a bunch of pirates give a shit what nobles think? Because trade? They trade fucking lost treasures, not freshly caught salmon. If not those guys, it's gonna be the other guys. Every nation has insufferable rich people who like to put "exotics" into their home decor.) WHY Varric picked the goodest, goofiest little guy in Thedas to stop an ancient mage who fooled an entire organization (and possibly his lover) a decade ago before disappearing into mist that Spymaster of Inquisition couldn't find him until he wanted to be found makes no sense. The man who has lived and actively participated in the shit happening in Kirkwall and Inquisition. The man who fucking lies for a living. Yes, Varric is a overall a good man, but he isn't the paragon of goodness, far from it. It's not Varric who approves you helping refugees in Inquisition. In fact, Varric approves of Inquisitor deciding to let soldiers to fend for themselves. Varric greatly approves of bullshitting your way through thing, including lying, and protecting what is yours. Hawke was never the goodest guy, they are either a smuggler or merc he hired to go through the Deep Roads. Without committing to either choice presented in DA2, Hawke was presented with moral choices where either pick can be dubious. Hawke had to have picked either mages or templars. A bunch of people who are without a doubt dangerous. Or an order who will commit atrocious crimes because they can get away with given that the crime is against a mage. Hawke had some sort of relationship with the guy who bombed the Chantry and either executed him or let him run, either choice without being canonical presents a moral quandary of its own. Varric writes books about how underhanded tactics, lying, spying, and manipulation with a dose of blackmail can actually be for the benefit of the greater good if done with right intetions. But by choosing Rook, it's like Varric thinks that goodness of Inquisitor is what gets one through Wicked Eyes and Wicked Hearts, and not ruthlessness, self-service, and a lot of Varric's own favourite hobby - lying. Why Varric you meet in DA2 and Inquisition picks Rook? Well, he CALLS Rook clever and adaptable, but all Rook's cleverness is bulldozing through obstacles and killing obviously evil guys. Rook is stubborn, determined - no doubt. But Rook isn't clever, cunning, or crafty. They prioritize saving life in droves, which is something that would be on Varric's mind IF Varric was to believe Solas was a heartless bastard with no regard for the damage he causes and we know that's NOT what Varric believes about Solas.

Solas has to fight against his downfall - pride. I genuinely don't know what Rook has as a flaw they struggle against. Their compassion doesn't get them in trouble, they don't get tricked or betrayed. But Solas puts them in prison! Yes, but the reason Rook gets caught isn't due to Solas's trickery but because they can't do shit in the moment. They just fought against Ghilan'nain and her darkspawn puppets alone while trying to free their companions, get knocked on the head a few times, hangs upside down like cattle while their friend gets skewered. How Solas gets them into the prison is TACTICAL. Rook is weak, Rook is tired, Rook is vulnerable, and the Veil is thin so he can actually reach through. It's not trickery. But Rook and Co couldn't shut up about Solas' inevitable betrayal so the payoff is due in whatever way possible. Solas thinks he alone can fix what he has broken, he alone has to face Elgar'nan because many ancient grudges and regrets are knotted up in there. Solas turns on his friends because he thinks what he must do is the thing he must do or all is lost (elven immortality, magic, spirits, knowledge, the world he knew and its history). He thinks he alone knows better than anyone. Partially because he is one of the very few beings who lived since it all began, before the world was changed by the Veil. The Prison sequence wants you the player to believe Rook carries the responsibility in some internalized way, but it's not fucking written in any way until this point, so why would you consider it an issue Rook has to actively face and has struggled with and not just an excuse to have Solas out? My brothers and sisters by the Maker's grace, Leandra scolding Hawke for their sibling's death was more scathing than choosing a whole damn city to be left to burn.

"I've molded you into someone the prison can accept in my place". How? You've done nothing. We had like 4 conversations. 3 of which you spent telling me about the Evanuris, the Blight, their dragon thralls, and how much you fucking hate Elgar'nan. Solas says nothing that changes Rook in any way, how they view their leadership, their actions, or themselves. I think the prison will accept anyone with a formed frontal lobe, honestly. Solas makes you say "I'll do whatever it takes" in the dialogue! Again, that attitude Solas tries to push on you is: a. fucking necessary? you have immortal beings with pet dragons and almost unlimited power to fight against. b. the attitude is more embraced by your companions than Rook. c. Rook is never pushed into doing anything morally questionable or even debatably interesting to reach their objective. Not once is Rook saying "i don't want to do this, i hate to do this, but i have no choice." Rook doesn't even have to lie! Not fucking once!

Tricking someone doesn't make you right. It's one of the things Rook and Solas will discuss. And regardless of anything, Rook will go Shiro Emiya "just because you are correct doesn't mean you are right" on Solas's ass. And that's good. It shows that Solas is shit with introspection just like Elgar'nan and Ghian'nain are. It shows why he is stuck in the prison. On the other hand, his fucking murals are shows very nicely why he is stuck in the prison: he immortalizes his regrets that he wishes to forget instaed of working through them. And by bringing the point of trickery without engaging with what it actually menas to trick... It creates a problem. Well, two problems, actually. A. Where the Solas you meet in Inquisition and Trespasser and when can we get him back? Where is the man who tricked a whole ass organization, played chooms with a Seeker of Truth, Qunari spy, published liar, Spymaster of the Divine, and most ruthless diplomat? Never once does Solas feel superior or above the people he tricked there. He is in fact very fond of the Seeker of Truth who not once found truth on her own (I love you Cassandra). He is very fond of the Antivan diplomat who cheats, lies, manipulates, blackmails probably even better than he did as Dread Wolf and he doesn't feel any superiority for having outplayed Josephine. The reason Solas is the trickster is because it's his only weapon. He was never as powerful like Elgar'nan or Mythal, doesn't have a bunch of other somewhat powerful egomaniacs standing for his cause. Wits, trickery, deception are his only damn weapon, were his only damn weapon for centuries. That's why he is so good at it. The problem of Solas isn't in being a fucking trickster who thinks he is right because he can outsmart you, Veilguard, it's that he goes about solving the problems he creates the same way he goes about making them in the first place: alone, through deception. His trickery is a double edged sword and he constantly cuts himself, refusing to lay it down. He alone tricks the Evanuris into containing the Blight with their life force. Boom! The Veil. He lets the Venatori get his orb and bring it to Corypheaus, thinking he outsmarted them all and soon will unlock his orb and tear down the Veil he created. Boom! Corypheus lives, there is hole in the sky! So he slithers his way into the only force he thinks can fix what he just fucked up - the Inquisition - through deception, alone. That's his torment nexus. You tried and you came close, Veilguard, I giveyou that, but you slightly misrepresented the issue. B. The other problem is that Rook never has to trick anyone. Not even their enemies. Rook can never truly testify for the claim "outsmarting someone doesn't prove you were right" because they never had to. Rook is never confronted by the idea that tricking someone might actually good, put you on that high horse and it can be hard to get off. So Rook's words are just lipservice and not proven experience or tested issue.

"Solas sees himself in Rook". Only if Solas views himself as an insufferable goodie-two-shoes fool who thinks in straights lines and is about as easy to trick as a toddler.

[yellowocaballero]

Miguel is Fine, Actually (Being Spider-Man's Just Toxic As Hell)

Before I watched ATSV I said that I would defend my man Miguel O'Hara's actions no matter what, because he's always valid and I support women's wrongs. I was joking, and I did not actually expect to start defending him on Tumblr.edu. But I'm seeing a lot of commentary that's super reductive, so I do want to bring up another perspective on his character.

Miguel wasn't acting against the spirit of Spider-Man, or what being Spider-Man means. Miguel isn't meant to represent the antithesis of Spider-Man. Miles is the antithesis of Spider-Man. Miguel represents Spider-Man taken to its extreme.

Think about Miguel's actions from his perspective. If you were a hero who genuinely, legitimately, 100%, no doubt about it, believed that somebody is going to make a selfish decision that will destroy an entire universe and put the entire multiverse at severe risk - if you had an over-burdened sense of responsibility and believed in doing the right thing no matter what - you would also chase down the kid and put him in baby jail to try and prevent it. He believed that he was saving the multiverse, and that Miles was putting it in danger for selfish reasons. Which is completely unforgivable to him, because selfishness is what he hates the most. And then he goes completely out of pocket and starts beefing with a 15yo lmfaooo he's such a dick.

But why did Miguel believe that? Why did he believe that Miles choosing himself and his own happiness over the well-being of others was the worst possible thing? Why did he believe that tragedy was inevitable in their lives, and that without tragedy Spider-Man can't exist?

Because he's Spider-Man.

Peter Parker was once a fifteen year old who chose his own happiness over protecting others. It was the greatest regret of his life and he never forgave himself. Peter's ethos means that he will put himself last every time, and that he will sacrifice anything and everything in his life - his relationships, his health, his future - to protecting and helping others. Peter dropped out of college because it interfered with Spider-Man. He destroyed his own future for Spider-Man. He ruins friendships and romantic relationships because Spider-Man was more important. If Peter ever tries to protect himself and his own happiness, then he's a bad person.

That is intrinsic to Peter. Peter would not be Peter without it. A story that is not defined by Peter's unhappiness is not a Spider-Man story. If Peter doesn't make himself miserable, then he's just not Peter.

That is a Spider-Man story: that not only is tragedy inevitable, that if you don't allow yourself to be defined by your tragedy then you're a bad person. If you don't suffer, then you're a bad person. If you ever put anything above Spider-Man, then you're killing Uncle Ben all over again. Miguel isn't the only one that believes this - as we saw, every Spider-Man buys into what he's saying. There's no Spider-Man without these beliefs.

Miguel attempted to find his own happiness, and he was punished in the most extreme way. He got Uncle Ben'd x10000. He tried to be happy, and it literally destroyed his entire universe. It's the Spider-narrative taken to the extreme. Of course Miguel believes all of this. Of course he believes this so firmly. He's Spider-Man. That's his story. And the one time Miguel tried to fight against that story, he was punished. And like any Spider-Man, he'll slavishly obey that narrative no matter the evil it creates and perpetuates. Because if he doesn't, the narrative will punish him. The narrative will always punish him. It's a Spider-Man story.

I don't think the universal constant between Spider-Mans, the thing that makes them Spider-Man, is tragedy. I think it's the fact that they never forgive themselves. And Miguel is what that viewpoint creates. He doesn't believe this things because he's an awful, mean person. He believes them because he's a hero. He's a good person who hates himself.

Across the Spider-verse isn't really a Spider-Man story. It's a story about Spider-Man stories. Miguel's right: if this was a Spider-Man story, then Miles acting selfishly really would destroy the universe. But Miles' story isn't interested in punishing him. It pushes back against Peter's narrative that unhappiness is inevitable and that you have to suffer to be a good person. It says that sometimes we do the right thing from love and not fear, and that Peter's way of thinking is ultimately super toxic and unhappy. ITSV was about Miles deciding that he didn't need to be Peter Parker, that all he needed to be was Miles, and ATSV is about how being Peter Parker isn't such a good thing. Miguel shows that. Whatever toxic and unhealthy beliefs he holds - they're the exact same beliefs that any Spider-Man holds. He's a dick, but I don't think he's any more awful a person than Peter is.

TL;DR: Miguel isn't a bad person, he just has Spider-Man brainrot.

[sorcerersandskillusers]

Fyodor and the Devil: Analysis of Fyodor's motives and role in the narrative

Asagiri has stated that he based Fyodor not on Dostoyevsky the author but on a specific scene from one of his books The Brothers Karamazov where Ivan Karamazov confronts “the devil” in his room.

(It's a really good book, you should read it if you have time. Also. fun fact, Fyodor and the devil wear the same hat, “His soft fluffy white hat was out of keeping with the season.”)

Having read the book and gone over this scene, I realized that this could be used to find out a lot more about Fyodor as a character than we see in the story, including a potential glimpse at his real motivations.

A bit of context for the scene. Ivan Kramazov is a clever but deeply trouble man who has struggling with the concept of God and rationalising him with the cruelty of humanity, at one point while very sick, Ivan starts seeing a man in his room who claims to be “the devil”. Their conversation is a fascinating look at morality and why evil exists in the world, and if you look at it closely it reveals a lot about the role of a “villain” in a story.

This line from “the devil” is really interesting to me, and seems to explain a lot about Fyodor’s character, as well as align perfectly with how Asagiri has described Fyodor in interviews:

Before time was, by some decree which I could never make out, I

was predestined 'to deny' and yet I am genuinely good-hearted and not at all inclined to negation.

'No, you must go and deny, without denial there's no criticism and what would a journal be without a column of criticism?' 

Without criticism it would be nothing but one 'hosannah.' But nothing but hosannah is not enough for life, the hosannah must be tried in the crucible of doubt and so on, in the same style. But I don't meddle in that, I didn't  create it, I am not answerable for it. Well, they've chosen their scapegoat, they've made me write the column of criticism and so life was made possible.

Basically the devil is saying that he was created because without evil then good means nothing, if everything was perfect then nothing would happen or change, life couldn’t exist, so he was forced to be that evil even though he never wanted to be.

This is so similar to how Fyodor is described in the BSD exposition 2020:

Fyodor is the antagonist, he is the villain of the story, that is the role he plays. This explains why he chooses to commit so many atrocities in the name of  “following God's plan”. It even connects to his line in The Dead Apple, and his ability name. He is both crime and punishment, as “crime” or sin originates with the devil, but it's also the devil who punishes sinners.

(I mean the title of the episode he is introduced in is literally “My Ill Deeds Are the Work of God” by committing evil acts he is fulfilling God's purpose for him.)

And if Fyodor is really based on “the devil” it's very likely he also either does or used to wish for release from this role that was assigned to him, but he knows that he cannot stray from his path or the story will cease to exist. My evidence for Fyodor wanting to be free of his mission is just one interaction, when he kills Karma.

Look at Fyodor's expression here, this is the only time in the entire series where we see him look truly sad. This isn't an act, there is no one there for him to trick, he simply says a quiet prayer for the life of a boy who's only purpose was to suffer and die.

This next part of “the devils” speech actually seems to fit very well for Dazai, it's interesting since he is the narrative foil to Fyodor and clearly is a very similar character.

We understand that comedy; I, for instance, simply ask for annihilation. No, live, I am told, for there'd be nothing without you.

If everything in the universe were sensible, nothing would happen. There would be no events without you, and there must be events. So against the grain I serve to produce events and do what's irrational because I am commanded to.

For all their indisputable intelligence,men take this farce as something serious, and that is their tragedy. They suffer, of course... but then they live, they live a real life, not a fantastic one, for suffering is life. Without suffering what would be the pleasure of it? It would be transformed into an endless church service; it would be holy, but tedious. But what about me? I suffer, but still, I don't live. I am x in an indeterminate equation. I am a sort of phantom in life who has lost all beginning and end, and who has even forgotten his own name. 

This ties perfectly into Dazai and Fyodor’s debate on the nature of God in the sky casino arc.

Dazai here points out that it's not perfection and harmony that make the world move, it's the irrational, it's the foolishness and stupidity of humans who charges into life making a million mistakes but always finding ways to fight on through it. Here Dazai and Fyodor represent the conflicting sides of “the devil” with Fyodor embodying his mission to drive the world and Dazai embodying his secret love for, and wish to join, humanity.

“I love men genuinely, I've been greatly calumniated! Here when I stay withyou from time to time, my life gains a kind of reality and that's what I like most of all. Yousee, like you, I suffer from the fantastic and so I love the realism of earth. Here, with you, everything is circumscribed, here all is formulated and geometrical, while we have nothing but indeterminate equations! I wander about here dreaming. I like dreaming. Besides, on earth I become superstitious. Please don't laugh, that's just what I like, to become superstitious. I adopt all your habits here: I've grown fond of going to the public baths, would you believe it?

And I go and steam myself with merchants and priests. What I dream of is becoming incarnate once for all and irrevocably in the form of some merchant's wife weighing eighteen stone, and of believing all she believes. My ideal is to go to church and offer a candle in simple-hearted faith, upon my word it is. Then there would be an end to my sufferings.”

“"Why not, if I sometimes put on fleshly form? I put on fleshly form and I take the consequences. Satan sum et nihil humanum a me alienum puto."*

* I am Satan, and deem nothing human alien to me.”

This piece from the devil feels like it could be a description of Dazai’s character, his wish above all else to find happiness and love as a human despite believing he is a demon. Both Dazai and Fyodor have strong ties to the Devil, both of them are often described as demonic or inhuman, with emphasis placed on the darkness of their souls and the isolation they feel due to their minds.

But the difference between them is how they dealt with it, Fyodor chose to embrace it and fully commit to his role in the story as the ultimate evil for the greater good, but Dazai has always shown a fasciation with humans and has spent his life trying to connect to them and find meaning in his existence.

Finally, let's look at what we can learn about Fyodor’s motivation. Fyodor is the villain, he is the final obstacle the protagonist has to overcome, he is the driving force behind so much of Atsushi’s life and the reason so much of the series has played out at all. He sent Shibusawa to torture Atsushi as a child, he was an informant to the guild who put the bounty on Atsushi making the mafia turn on him, he was involved in the guild invasion, and obviously he was the master mind behind cannibalism and Decay of Angles.

If he is aware of his position as the antagonist, then he also is probably aware Atsushi is the protagonist, he knew he was the “envy of all ability users” after all, so he knows Atsushi has some significance to the world as a whole.

Atsushi is also the “guide to the book” which is seemingly Fyodor’s end goal, so even though Fyodor doesn’t seem to be focused on Atsushi, he has been indirectly influencing his whole journey up to this point. This also explains why Fyodor is only moving actively now, because the protagonist has appeared and his role as the villain can finally be fulfilled and he, like “the devil” can finally get the “annihilation” he asked for. Hence, Fyodor’s true goal is to erase himself from the narrative.

There is actually quite a lot of evidence for this. The obvious part is that Fyodor wants to rid the world of ability users while he himself is an ability user, he cannot exist in his perfect world. 

Then there’s the fact that in the Dead Apple, Fyodor calls himself “crime” if Fyodor is “crime” or “sin” then a world free of sin would not contain him at all

Even when Fyodor talks about sin, he says how humans are easily manipulated into killing each other, while he constantly manipulates characters into killing each other, he is the cause of the sin he fights.

A really strong bit of evidence is this interview with Asagiri and Harukawa

Not only does Asagiri reiterate Fyodors role as the person who moves the story, Harukawa specifically mentions that Fyodor might be trying to create a world without ability users because he thought it was a “bad thing to do” aka the action a villain would take that would lead to a hero stopping them.

“Dos-san is the biggest villain in the story so far, but I have continued to draw him with spaced out eyes that are neither righteous nor evil for a long time. The only time I drew his eyes completely white was when he said he would create a world without skill users. It was because, in reality, we would decide what is evil or not by our own scales, but I wasn't sure if he himself was doing it because he thought that was a bad thing to do.”

This also connects to how Fyodor was able to understand Gogol when no one else could, Gogol is chooses to fight against the way the world is to prove to himself that he truly is free. Fyodor, who is bound to play a part in a narrative, would understand that feeling and that longing to be truly free.

To be clear, I don’t think that Fyodor is really a good person whose just been trapped in an awful position against his will, we see many times that Fyodor revels in his cruelty and enjoys killing and torturing others. Its the same with “the devil” in the book, although he hates the job he was given, he tells Ivan stories of the people he’s corrupted and seems very proud of himself for it.

My personal interpretation is that the sadistic zelot personality Fyodor displays is a mixture of a mask and a coping mechanism, kind of similar to Yosano developing a sadistic side to help her deal with the guilt of half killing people in order to heal them. I think it makes sense that after centuries of cruelty and manipulation a person would become detached and stop really caring about the lives he destroys.

This analysis is partially unfinshed but I wanted to post it now and see what other people think of it.

[cosmicjoke]

I saw @acmeangel's analysis post on this scene, which is fantastic and which everyone should read, and I was going to add my thoughts to their post, but then it got too long (as usual), and I didn't want to hijack their analysis, so I decided to just make my own, haha. This really is an important scene which essentially encapsulates the difference between Levi and Erwin and which I think ultimately showcases what makes Levi such a genuine hero.

One of the overarching messages of AoT is that we shouldn't give up our humanity in pursuit of an ideological goal. I've talked a lot about how Levi puts his trust in Erwin and admires him so much because he sees Erwin's ability to set aside his personal feelings for the greater good as a virtuous quality, one which Levi hopes to be able to one day emulate. Levi sees Erwin as superior to himself for this ability, because Levi, no matter how hard he tries, isn't ever able to do the same. He's never able to set emotion aside. He's never able to make decisions detached from emotion. He's never able to send soldiers to their deaths without it tearing him apart and creating in him a sense of conflict. He's never quite able to convince himself that the thing these soldiers are dying for, which they choose to die for, is actually worth it, which is also why he works so hard to bring their goal to fruition. He can't accept that those lives were given in vain, but the only way to ensure that they weren't is to make their dream comes true. Because to Levi, it's their lives that have value, not the cause itself.

One of Levi's most defining traits, one which makes him stand out from basically every other character in the story, is that he has no dream of his own. Rather, he carries the dreams of others, makes himself the custodian of those dreams, and dedicates himself to their realization.

When he says in this scene that a pointless death doesn't suit anyone, what he's saying is that the cause Erwin is sacrificing soldiers for has to prove itself worthy of their lives, that it has to amount to something equal in value to those lives. Because that's the thing, Levi values life above all else. He sees each, individual life as being as important as the whole of humanity, and I think that aspect of Levi's character is demonstrated fully during the RtS arc, when he makes the choice to end Erwin's suffering. People argue and claim that Levi made the wrong choice here because they don't understand the thematic significance of it, getting caught up in speculation about whether Erwin would have been able to prevent the war between Paradis and Marley, whether Erwin would have been able to stop the Rumbling, etc... By getting caught up in that, they completely miss the point of how the story wants the audience to understand the importance of not giving up our humanity for any cause. It's trying to show us, through Levi's choice, why we can't let any cause or ideological movement turn us cruel. Levi's refusal to be cruel, his refusal to throw away his humanity, is meant to be seen as a good thing, and ultimately, ironically, it's Levi's humanity and compassion that makes him a superior man to Erwin.

Erwin tries to assuage his own guilt by telling himself that the lives given were for a cause greater than any, individual life. The cause of humanity. This is a narrative he clings to until he's forced to admit to himself that what he really was after in sending all these soldiers to their deaths was his personal pursuit of knowledge, in another attempt to assuage his guilt for the death of his father. Erwin sacrifices his humanity for a goal which is self-serving, and as he's forced to contend with that reality, his guilt grows tenfold, fracturing his psyche and self-identity. But even if his every decision had been for the so-called greater good, even if he'd been 100% dedicated to his duty as Commander, he still would have been left with a sense of guilt and self-loathing for sacrificing lives to this nebulous cause, just like Hange ultimately was, because the whole point of the contrast between Levi and Erwin is to show that, in the end, Levi is the one whom the audience should strive to emulate, not Erwin.

This moment in the story is driving home the point of choosing compassion over ideology, or even duty. Levi's choice is imperative in demonstrating to us that if we sacrifice our own, personal humanity, if we give into becoming cruel and unfeeling, if we lose sight of the very thing that drove us to wanting the world to be a better place to begin with, that being our compassion and desire to end the suffering of others, no matter how justified the cause may seem, we're essentially sacrificing humanity itself. Because it's when you start becoming cruel, for any cause, that everything turns to shit, both for ourselves and the world around us. It's cruelty that leads into justification of more cruelty, which leads into justification of atrocities. Bringing Erwin back, forcing him back into that role which was tearing him apart, mentally, emotionally, and spiritually, would have been purely an act of cruelty. But Levi isn't a cruel man. He's exactly the opposite. He's a man defined by his compassion and kindness. And what is AoT advocating for if not greater compassion and kindness in the face of a cruel world? It's telling us that the kind of compassion that Levi showed to Erwin in his dying moments is how we should choose to fight against the world's injustices and cruelties.

Because all the bad things that happen in AoT, essentially, happen because of a willingness to sacrifice ones humanity for ideology or for personal, selfish desires, and because it's those of us who retain our humanity and compassion, despite the cruelty of the world, and despite any supposed duty to any professed cause, that end up being able to live, as Levi says, with no regrets. This idea of sacrificing what we know is right for some abstract, nebulous goal of a better tomorrow is what leads to the destruction and corruption of our inner selves, and that, ironically, makes a better tomorrow impossible. If we become corrupted, if we allow ourselves to be lost to this idea of the greater good, in the end, it will only continue on the cycle of destruction.

Levi never sacrifices what he believes is right, never acts in any way which goes against his conscience. He never betrays his humanity. He maintains his compassion from beginning to end, and he never wavers in what he's fighting for, which, again, is every, individual life. That's what makes Levi a hero. His inability and refusal to set his personal feelings aside is, in the end, meant to be seen as the correct course. Because Levi's personal feelings have nothing to do with a dream or a goal. They have nothing to do with an ideology or movement. They aren't rooted in self-gain or greed. His sense of duty isn't to a cause, not to a country or an empire, or a sense of retribution or revenge. His duty, his obligation, is to doing what he feels, in his heart, is the right thing, what his personal feelings tell him is the right thing, no matter the situation or circumstances, no matter, even, if it turns out to have been the right choice or not. And that ties back into Levi's extraordinary compassion and empathy. It's his compassion and empathy which dictate his personal feelings of right and wrong, and his dedication to not betraying that sense is what ultimately dictates all his choices.

Levi thought of himself as a lesser man than Erwin because of this. Because of the way he wasn't able to set his personal feelings aside in the choices he made. It's why he chose to follow Erwin, because he thought it made Erwin superior to himself. But in truth, it's that quality of Levi's, that deep seated empathy, that makes him the better man. He can't detach himself from his compassion, he can't make choices without considering the consequences and impact of those choices on others, or even without making that consideration the principle factor in his choices, and that's a good thing. That's humanity. That's what makes the world a better place. By caring about how our choices affect others. That's not meant to be seen as a bad thing. Levi's kindness and empathy isn't meant to be seen as wrong.

Levi never betrays who he is, and he never betrays what he believes in, even as everyone around him does, at one point or another. That's true strength, that's true courage, that's true heroism. Someone who cares so much about people that he can't make a choice without factoring in the thoughts, feelings and desires of those people. Levi is meant to be the audience's role model, the character we're meant to want to be more like. Not Erwin. Because no matter how noble the goal we pursue, if we stop caring about each other in that pursuit, it all becomes for naught.

[dollypopup]

Lady Whistledown is the worst part of Penelope.

Lady Whistledown is not her independence, or her dreams. Lady Whistledown is not Penelope's purpose. Lady Whistledown is her coping mechanism for being unheard and invisible. She repeatedly tries to give it up, and she repeatedly returns to it, as if unable to let it go. Her entire narrative has set her up for realizing she doesn't need Lady Whistledown and that, in fact, for Penelope to live in the light, she has to kill that which keeps her in the shadows.

Penelope not wanting to tell Colin and insisting she doesn't have to is likely because she has already given it up, or she plans to. "I don't have to tell Colin because I'm retiring". What use does she have for Lady Whistledown when she's going to be married and thus cannot stay in hiding anymore? What use does she have for a coping mechanism when she knows she has people who listen to and hear her?

But even still, her not telling Colin is *wrong*. Whether she is retired or otherwise, she is in danger. And the fact that she then continues gallivanting about in the midst of a hunt for her, putting herself, their marriage, her family, and his family in danger, and still insists on not keeping him in the loop?

Polin is meant to be a partnership. That's what a relationship, a good one, is. When Portia tells her that she no longer has dreams, that's wrong, but also. . .Lady Whistledown isn't her dream. Writing, being heard, that's her dream. In fact, her and Colin have the same purpose: to love and be loved, to write and explore and sate curiosity, to be heard and taken seriously.

Colin has been honest with her, and she owes him the same.

Lady Whistledown is the anchor yanking down at her ankles, and she's wrapped her arms around him. If she sinks, he sinks with her. To see people insist that Penelope is not in the wrong for such an action, to purposefully keep the truth from him, and, even worse, to state it is COLIN'S problem to solve. . .that's asinine. And it's toxic.

Penelope has an arc of growth she must undergo, and in traversing it, she commits several harms. This fandom spent YEARS insisting Colin had to grovel and suffer for one statement, and were frankly cruel to people who rejected such an idea. And I don't want Penelope to grovel or suffer, either.

But she owes this man a hell of an apology. She has to see her actions as hurtful. She has to realize and understand that she is no longer alone, and that the mortifying ordeal of being known means she must open herself to unlearning the survival mechanisms she was so accustomed to. Because they weren't good for her. Whistledown made her win, yes, but it also made her cry. Whistledown is power, and that power corrupted. Whistledown is danger, and it is security of funds. Whistledown has served its purpose for her. And now she has to own up to it, and she has to walk into the light. Because to be loved is to be changed.

Colin has been open and vulnerable with her, he showed her all his cards, he was always in her corner and he always owned up to his messes, and he deserves a partner who can do the same with him. Otherwise, the same reasoning Penelope had being so adamant against his marriage to Marina, applies to her as well. Because what of him? What of Colin? She must not do this to a good man.

To love Colin is to choose him. And what people forget is that Colin *is* part of Penelope's dreams. He's not the full scope of those dreams, but he is absolutely a vital part of her fantasies and desires. Lady Whistledown? Lady Whistledown isn't. Lady Whistledown wrecked her relationships, broke her friendships, forced Penelope into corners both literal and metaphorical. Lady Whistledown is the coping mechanism I cannot wait for her to shed. That does not mean Penelope stops writing. That does not mean Penelope 'gives up' her career for a man and sheds herself in marriage to him. It means she can move on, upward, to better.

And let's be very clear here: Penelope is *lucky* that what Eloise wants is honesty and not revenge. She has good, kind people around her. Colin is a warm hearted person, he is the most forgiving of everyone in that entire ton, and all he wants is her truth so he might love her in full.

To deny him, her, them that much- is cruel.

[eruanee]

On Round 7 and the utility of sacrifice

⚠️ ROUND 7 SPOILERS ⚠️

I wanted to use this post to respond to some criticism I've seen circulating about Round 7 — it mostly being about Till's death making Ivan's sacrifice useless.

To be fair, this post doesn't aim to dismiss anyone's feelings or criticisms about R7 or Till's (presumed) death, they're all incredibly valid! I even have my own that I will talk about later. This post's only goal is really just to start a conversation about the general narrative of ALNST and how to write a compelling narrative in general. No matter what I'll say, people resonate with stories differently and expect different things from them, and that's okay!

Personally, I truly didn't expect Till to die. Before R7 came out, I even texted a friend saying this:

– If one of them has to die, I think it'll be Luka. Till's protagonist syndrome is too strong and his death would be narratively flat, I believe. – Yeah.

And well, shot missed, unlike the one that shot through Till's neck.

Though, I really do believe Till might not be dead, not only because of the #copium but this isn't really the point of this post — I will assume he is so I can discuss what his death would actually mean to the narrative and how it would impact it.

I understand that no one (including myself) expected R7 to go that way. A lot of it had us realizing we might have gotten some elements of the story wrong — something I didn't take into consideration is that the round was probably rigged to make sure Luka would win, which makes sense because of course that Alien Stage isn't the fairest competition (and if Ivan's pictures on the billboards aren't part of Till's hallucinations, this is plainly evil).

R7 also had us wondering what the goal of the rebels truly is: did they even intend to save Till? If not, why did they save Mizi, what did they see in her? Unlike what I first thought, like many others, it seemingly wasn't a rescue mission.

When I watched R7 for the first time, I audibly gasped the moment I saw the "Luka wins" sign appears and Till being shot down. And I thought "Ah, so that's the kind of story VIVINOS wanted to make." I was already a huge fan of their work before ALNST began, mostly of their horror stuff. When I watched it, I knew I was about to sit in front of absolutely devastating content that would leave me sick. The tragedy was always cruel, often unrewarding, but I would always ask for more. Good thing ALNST now exists, uh!

I mention this to state I went into ALNST expecting roughly the same thing and it's essentially what I got. I didn't expect Till to die but his death, in a way, didn't surprise me. Did it make me sick though? It sure did!

I do agree R7 feels incomplete. I think it's interesting that I have not a single idea of what's going to happen next, but my biggest regret is indeed that Till's death doesn't seem to do justice to his character or characterization.

Till, the rebellious misfit, always breaking rules to the point he has to be physically restrained, completely beaten by despair and trauma once again, dying on stage after he got a slight glimpse of hope he can never actually reach.

This is peak tragedy, and a beautifully animated one at that, but it doesn't feel like a compelling character development. If Till is truly dead, then he dies with the potential of being so much more. And this is truly sad and disappointing.

And this is why his death would make me sadder than Sua's or Ivan's. They got to choose their deaths and what it would mean for them, Till didn't. He was suffering and overwhelmed. He only accepted his fate because he got to know Mizi was still alive before his final moments. He got to die in her embrace, which is probably the only thing he could've asked for if that were to happen.

Sua's death got to introduce us to the reality of Alien Stage.

Ivan's death was an emotional climax. It conclused his character arc in a devastating way, but gave him a meaningful ending nonetheless.

Their deaths let us understand what kind of world Alien Stage takes place in : a cruel world where humans are pets to aliens, if not simple disposal. A world where feelings are never reciprocated until it's too late, where you long for something impossible until you realize you should've paid attention to what was right in front of your eyes, too.

Alien Stage is a show where the candidates' suffering are seen and consumed as mere entertainment.

In this system, I believe Sua's and Ivan's meaningful deaths are anomalies. Till's death is the standard. An extremely unfair event, result of an extremely unfair competition. This isn't about who deserves to survive, but about who manages to. If anything, I think the aliens are relieved Till is dead, as he was mostly a bother to them. Luka is beloved and accommodating.

A world where death is the easy escape, if not almost a selfish one. Sacrifice is an act of love, but also an act of egocentricity. The sacrifice aims to be remembered as selfless and generous, but in the end, they only "run away without any sense of responsibility". The gift sounds beautiful when actually, it might only be rotten.

In such a world, how can a sacrifice ever be useful? I guess Ivan's wasn't. A sacrifice only happens to create a possibility, a chance, a what if.

Another very frustrating part of Till's death to me is that I thought he had the power to be a protagonist. I still stand by it but he was robbed of this agency. Him being used as a narrative device for Mizi's protagonist plotline (at least that's what I believe) feels a bit cruel, even narratively.

Alien Stage can be a frustrating story because it seems there is no way out, which is ultimately not something people are seeking for very often in a story. I still hope there's a way out somewhere, maybe not for Till, but that would already be something.

As for now, it seems Mizi's role is to manage to make Sua's sacrifice, as well as all of these deaths, worth something. This is the 50th season of Alien Stage. The pile of corpses is leaking red.

I do wonder where the story is going to head.

At the very least, Till wasn't unknown till the end. You could say that being loved, even for a blink, makes one's life worthy to be lived.

[tokiro07]

Ichi the Witch ch.22 thoughts

[Dess' Contract's Got Some Mighty Fine Print]

(Topics: speculation - worldbuilding/narrative progression, character analysis - Desscaras/Ichi, thematic analysis - Family)

Before I get into the extremely enticing character implications of this chapter, I have a quick worldbuilding question:

Where...did the spell for this contract come from?

We know that magical items exist such as the leg-booster boots, but it hasn't really been delved into yet how such things are made. Do they have a pre-existing Magik's spell applied to them, or is there a unique method of creating a spell from scratch and embuing it into an item?

If it's the latter then creating a magic contract should be easy enough, you just draft up paper that enforces the stipulations of the words written on it, easy peasy. If it's the former, though, what Magik has that ability? Can any given contract be created, or is it specific to the Mentor-Pupil Blood Contract?

It doesn't really matter, and I only just thought of this question while writing this review rather than agonizing over it since reading the chapter, but it's still the kind of minor inconsistency that just barely holds this series back from being everything I know it can be

As for what it is, though, this chapter's glimpse into the ongoing character study of Desscaras and her relationship with Ichi only further solidifies this as my current favorite in Jump's roster

The Mother Who Stepped Up

There is an incredible amount of nuance to Desscaras' motivations for making such a dangerous contract with Ichi

First and foremost, as she tells Ichi, it's her way of taking responsibility for his life being uprooted and threatened. If she had been able to find a way to circumvent Uroro's trial, if she'd actually kept Ichi a secret from Mantinel, if she'd taken any other path, Ichi might not be set to die, and she can't pretend that isn't the case

Normally, Desscaras comes off as laidback and irresponsible, but I think that's more about things like navigating bureaucratic red tape than it is about peoples' wellbeing. When push comes to shove, Desscaras does actively fulfill her duties without complaint, it's just that to her, her duties are about fighting monsters and protecting people, not answering work e-mails or filing reports

By putting Ichi in this situation, she has endangered him, going directly against her own principals. This contract is a way of making amends for that, a statement that she isn't trifling with his life and takes his safety extremely seriously. If he should die, then she will repay his loss in kind

This leads into the reason she gave to Monegold and Shirabedonna: that she doesn't want to have peace that requires someone else's sacrifice, least of all a child's

The One Who Walks Deeper into Omelas

This is Desscaras' direct answer to and rejection of the Omelas Child conundrum: if she can't stop the child's suffering, she won't just walk away either - she'll help support the peace. This way the child doesn't suffer alone, and has some kind of happiness to show for it, while also allowing her to take an active role in protecting everyone else

After all, it's not that Desscaras is choosing the child over everyone else. Everyone deserves peace and happiness, it's just that with the knowledge that the child is the only one who doesn't get it, she'd never be able to appreciate her own again. By voluntarily choosing to bear some of the world's weight, Desscaras can feel like she's earned whatever peace she manages to take from it, secure in the knowledge that she did what no one else would: gave some peace, no matter how small, to the suffering child

This also serves to act as an indictment of Monegold's leadership, as while she definitely objected to Jikishirone's prophecy, she still kind of just resigned herself to it. She heard the prophecy, got angry, and...didn't do anything else. She may have been trying to think of a way, but as I said last week, it's just generally accepted that Jiki's words will come to pass unless she gives an alternate path - since the only alternate was the destruction of the world, Monegold likely wouldn't have made a real effort to avert the fate ascribed to Ichi

Now, though, Monegold's greatest asset has just said two devastating things to her face: 1) "if he dies, I die;" and 2) "good luck sleeping at night." Desscaras' actions have put into perspective for Monegold what a post-Ichi world will look like for her, which hopefully will give her the kick in the pants she needs to actually do something about it

At the very least, it ensures that Monegold won't get in the way of Desscaras doing something about it

Blood of the Covenant

For all of the practical and philosophical reasons Desscaras has, there's really only one that truly matters, one statement that Desscaras wants to make above all others: that she cares about Ichi

She wants Ichi to stay in her life, to take care of himself, to live

And if he won't do any of those things for his own sake, then by god, he'll do it for hers

"If you die, then I die" is an excellent inversion of Ichi's Death for Death; whereas it usually means "a kill for a kill," it now means "you are no longer playing with your life alone." If Ichi is reckless and charges in without a second thought on the basis that his life is going to end sooner or later anyway, then he now runs the risk of getting Desscaras killed along with him, which by his own philosophy would make him a murderer

This pulls double duty both by incentivizing him to stay safe and by showing him that someone wants him to stay safe

When his parents left him in the woods with a knife, they wordlessly said to him "we want you to die, but we're too cowardly to kill you ourselves. Starve, get killed by a beast, or kill yourself, we don't care, just do it away from us"

Desscaras' contract, meanwhile, says just the opposite. "I want you to live, and I'll fight to make sure you do. Live how you like, go where you like, do what you like, but whatever you do, just promise to come back to me"

I don't know if Desscaras knows Ichi's past; they've certainly had the opportunity to discuss it off-screen, but it's never been stated that they've opened up to each other about that sort of thing. My instinct is that she has no idea what this means to him, only that it means everything to her

Ichi, meanwhile, certainly has no idea about Libro, and likely can't comprehend why Desscaras would want someone like him as family. But what it means to her isn't his concern right now, because it means everything to him

They have no idea what the other has lost, only what they themselves have, and what this contract represents to each of them is the chance to get it back. Ichi doesn't know why Desscaras wants to give it to him, and Desscaras doesn't know why Ichi accepted, but both of them now have someone who has implicitly told them that they are willing to fill the hole in their lives, and that's all that matters

This is also why the little matter of Ichi being unwittingly enslaved is so easy to sweep under the rug

Siblings, Siblings

Naturally, once Ichi learns that the contract has forcibly made him subservient to Desscaras, he becomes indignant and demands that it be undone. He was tricked, after all, and he doesn't want to follow unreasonable orders

However, once Desscaras is out of the room, Ichi doesn't ruminate on his indentured servitude, that's the furthest thing from his mind. Instead, it is Desscaras' original words that resound in his heart: "a home is a place you can come back to, no matter where in the world you are." Even if she threw in a major downside right at the end, Desscaras' true message has been received loud and clear

It also remains to be seen just how far Desscaras is going to go with her ability to lobby commands at Ichi. Honestly, her commands so far have been pretty standard fair for a mentor - "cook for me, clean for me, learn the more menial aspects of our trade." I don't see her extorting favors out of him or anything, just little things to make her own life less stressful or to teach him a good work ethic

Plus there's the fact that her gloating was sandwiched between her initial pitch and her justification to Monegold. While the reveal of the slavery clause may seem to invalidate the sentiment of what she told Ichi directly, her confrontation with Monegold and soulful assertion that she sees Ichi as family confirms that nothing she said was a lie

What this tells me is that she never intended to pull a fast one on Ichi, nor was she being opportunistic to use her newfound power as a bonus to all of her previous motivations. No, I think she was just...embarrassed

As I said last week, Desscaras isn't one to be vulnerable. She's the Strongest Witch, and that comes with the expectation that she has no weakness

Like I said, Ichi doesn't know about Libro. He doesn't know that he's filling a void for Desscaras the way she is for him, and she doesn't want him to know

She doesn't want him to know how much she cares, she just wants him to feel cared for. So to hide the truth, she turns around and laughs in his face. She presents it as transactional, the void in Ichi's life being filled in exchange for free labor, when in reality the emotional aspect is completely mutual

And I think on some level, Ichi already has that figured out. Like I said, he moves on from it pretty fast and is able to smile warmly at the thought of having a home despite Desscaras' nasty attitude. Whether Ichi has any direct experience with family relationships in the first place, I think Ichi understands already that this sort of teasing, capricious behavior is just how Desscaras is and was all part of what he was signing up anyway

He understands that being family means seeing more of each other, for better and worse. Everything he knows Desscaras to be, lazy and selfish, won't cease to be true just because they share blood now, and if anything will be amplified. But he'll also see the Desscaras who was honest with him, who offered to provide for him, who wants to be with him. I think Ichi has known Desscaras long enough already that he recognizes when she's being genuine and when she's being defensive, so he knows that when she calls him her "dog," it's to guard her heart rather than to put him down

With this in mind, I think it's quite likely that "Family" is going to become one of the running major themes across the story, and that the relationship between Ichi and Desscaras alone won't be the only angle we approach it from

The Desscaras Bunch

Though it's been a hot minute since she had any real dialogue, Kumugi is still a member of Team Desscaras, and one who will certainly be used to further the Family theme. Her backstory has already been established to center around her family's dismissal of her abilities, making her a perfect parallel to Ichi: where Ichi's family abandoned him physically, Kumugi's abandoned her emotionally

Ichi's acknowledgment of Kumugi already shows how he can fill her void, and Desscaras' forceful interjection into conversation with Kumugi shows how Kumugi can fill their voids in turn. Both of them have an established dynamic with her that is set to be explored as the story goes on, and the interplay between their dynamics when together and alone offers even more opportunities for depth and growth

Even Uroro is likely to be a part of this family. Right now he's antagonistic with Ichi and Desscaras, but he did once ask Kumugi to be friends. Sure, he definitely had some ulterior motive, but it shows that he has the capacity to interact with members of the group outside of just Ichi, and therefore won't be confined to only one or two dynamics

And of course, Nishi has no plans to stop with only four members of the group. As Jiki's newest prophecy foretells, they're about to add a fourth "stalwart companion" to the team

I'm not going to go too far into speculating on this character since we know so little, but we do know two things: 1) that they violently hunt Magiks, and 2) they're apparently a man

The Arc Where a Man--

Viz always cuts out the editors' notes, but as you may have seen other folks mention already, in the original Japanese, he's referred to as "'a man' who tramples on Magiks." The quotes are suspicious, but they could just be there to highlight his gender rather than call it into question

While it is possible that he's actually a woman, for the moment I'm going to operate under the assumption that he's a man solely because I think it presents a more interesting angle to explore the world from

Case in point: I do not think that this person is a Male Witch like Ichi. Rather, I think that he wants to be, and is hunting Magiks to see if he can find a spell that he can actually use

Remember, in ch.1, it was stated that there were a handful of prerequisites that Ichi had to meet to use Magic:

Facing a Magik that allowed a man to pass its trial

A body and mind well-trained enough to handle its usage

The capacity to acquire a Magik at all

The first criteria is actually pretty easy - most Magiks' trials don't actually disqualify men in the first place! It's just that no man would ever try because it's "widely believed" that men can't use Magic. So all that's really needed is for a man to make an attempt rather than for the Magik to allow it

The second is also a no-brainer - look at this guy's bod! He's not excessively jacked or anything, but he's definitely drawn to look like a trained fighter, and even if we ignore his design, he's standing in the viscera of a giant frog! He ripped that thing apart with his bare hands! He's clearly at least comparable to Ichi in physical strength if not more, and what a "trained mind" means is still unclear even for Ichi, so we won't worry about it

All that's left then is to actually acquire a Magik, and the only way to know if you can is to try. So, by shaking down Magiks and asking for their trials, this guy increases his odds of finding a Magik that he's capable of acquiring simply through quantity

However, I don't think it's a matter of compatibility. If it were as simple as the Witch and Magik being a match, Togeice probably wouldn't have been able to acquire Macilvaine who clashed with her persona and aesthetic. No, I think it's a lot more fundamental than that:

I think that men might literally lack a Magic Circle

The way it's portrayed, it seems like a...cavity within the soul, a hollowed-out portion of the self meant for housing Magiks. For whatever reason, whether it's biological or spiritual, most men simply don't have Magic Circles, while women inherently do. Or, perhaps, men simply have too small of Magic Circles to be able to fit Magiks in the first place

Maybe that's why Ichi was able to do it: because he was either born with or otherwise created a Magic Circle inside of himself. Maybe he accidentally stumbled across the method to do so. Maybe countless men have and have simply never tried to use it because they had no idea they had! Maybe Minakata somehow implanted one into him, who knows?

I don't expect to get the answers to this one anytime soon, but if this new recruit is a man, I think he'll be an important piece in the puzzle for us to understand this element of the worldbuilding. I think he'll also provide a unique fighting style among the cast, being solely physical as opposed to Desscaras' mostly magical and Ichi's mixed styles, plus parallels to everyone else's narratives. The one I'd be most excited to see is comparing his attempts to overcome a perceived limitation to Kumugi's resignation to being incapable, but I'm not going to hold my breath just in case

Buuut if they are a woman, I'm certainly not going to complain, especially with those cute freckles!

Until next time, let's enjoy life!

[kirkwallguy]

I agree so much with you that Solas is an active detriment to the Dragon age setting. I am replaying Origins, and my incredibly hot take is that Solas recycles a significant amount of Keeper Zathrian's character, in order to create a more "epic" scale narrative that imo is also much weaker and messier than the original Zathrian to the overall scope of the world and to player engagement.

They're both bald magic elves who have been alive for absurd lengths of time, and who are convinced of their own righteousness even when their actions cause or will cause great and unending harm to those around them. At least with Zathrian his "optimal" narrative path (whatever that may be to the player) isn't gated off behind playing a straight woman, my Tabris can butch out with Leliana all I want and still access all modes of narrative engagement with Zathrian, and the Dalish within the Zathrian quest are granted legitimacy and dignity in their beliefs.

I am not a fan of the reveal that the Dalish gods were functionally just powerful mages, it's so obviously a plot beat written by a certain type of atheist who don't see how anyone could have faith in a greater force, or have curiosity about that mode of moving through the world, which is made even sillier when the setting has dragons and ghosts and stuff. Its so similar to the type of story that takes greek/norse/egyptian gods and re-imagines them as regular guys, functionally wizards, in an urban fantasy setting, wanting the power and drama but shedding the belief systems that go along with the gods, and what those systems do and mean to people. There's so much awe and wonder and hope in the codex entries in the Origins Dalish camp - are these gods gone for good, can they ever return and can the Dalish ever go home either with or without their gods' presence? What do the gods mean to a people who have suffered so much and safeguard those pieces of divinity that remain in stories and song and crafts? What might these echoes of distant gods mean to the city elves, so far removed from what once was but still cherishing the traditions they do have? But no, the Dalish were fools for their tattoos and their beliefs, and all the history and remembrances Zathrian kept and passed on to his people was false. What an idiot. Who even remembers that guy?

Anyways, you don't have to post my anonymous tirade, I just am a huge fan of one (1) bald elf so deep in guilt and tragedy and the weight of history that he is either blind to the harm he may cause, or so secure in his pride and belief in his own righteousness that he chooses to close his eyes to that harm. And that elf is not Solas.

i always giggle when i get to zathrian because he's so obviously prototype solas.

and despite his situation, zathrian's goals feel mostly grounded, we see him amongst the clan and understand his dynamics with the people around him. it's kind of impossible to fully grasp solas' whole deal because it's so hypothetical, all these things happened offscreen to characters with incomprehensible power who may have just been spirits at the time anyway. who give a shit...

and i agree with the religion thing but i'd say i always read dai and dav's handling of religion more as being liberal christianism than overzealous atheism. i wrote this post about dai, and i think dav only made it more true:

there's so little exploration of religious practices in dalish culture, dai at least does a little bit with those few sidequests, but dalish clans in dav are something just distantly spoken about and never fully explained. and this is in a game ABOUT the dalish gods. how is bellara saying (over and over again) "our gods are back!!! D:" supposed to hit when we don't know what significance the gods actually have? 😑 they had something really interesting in origins and da2, but it just feels like any other contextless fantasy pantheon now

[worrynoodle]

🥧🍻Contains spoilers for Supernatural ending🍻🥧

I take what I said about the ending back. I've been rewatching and I agree that it wasn't right.

Throughout the entire series, we consistently see Sam and Dean encounter other hunters who usually represent two paths. In this life, you die or go insane ("You either die a hero or you live long enough to become a villain" -The Dark Knight). And of the two options, Sam and Dean seem to have decided that dying is at least better than potentially hurting someone. Neither of them actually believe that because they keep bringing each other back.

But this post is mostly about Dean's ending - death, in the line of duty, by rusty rebar.

During my first watchthrough, I could see - very surface level - that yeah, sure, Dean would want to die that way. Going out saving people, Sammy at his side.

But almost every other time (if not every time) Dean is faced with his own death, he decides he doesn't actually want that. He feels he must. He dies so others can live, that's his job, it's expected. But he would live if he could. When he made the demon deal to get Sam back, he confronts his nightmare self and says he doesn't want to die. He doesn't deserve to die. With the mark of Cain, in the confession booth he tells the priest that he knows he doesn't want to die and that he wants to live and experience life differently.

Dean wants to break away from the expectation that hunters die. Maybe he can't have a "normal" life. But he wants something other than what's expected of him. What God expected of him.

This was supposed to be Team Free Will. This was supposed to be about breaking away from God's Plan. Not dying like the little soldier daddy raised him to be but to become more than that. Break away from the narrative.

In the end, though, Dean is forced to have the death that everyone else planned for him. The self-sacrificing version of himself, other hunters, his dad, God. All the people we as the audience wanted Dean to be free of, to live in spite of - he dies like daddy's blunt little instrument. Cas sacrificed himself to the empty, finding peace in the face of never seeing the love of his existence again, in the face of literal eternal nothingness so that Dean could live and be more than [Dean] thought he could be. He was happy to sacrifice his happiness for Dean's. Just for Dean's life to be cut short the same way Cas died to avoid. (Death because of the work. Death like a soldier in battle.)

All of the times Dean and Sam (and Cas) die and come back to life, all of the people they find who live happily, the family they find together, the love they find, defeating literal God - it all felt like it was building to something more substantial. That they BOTH (*) were going to get something more than they expected - or, rather, resigned themselves to.

And on Sam's end - throughout the show, they show us, surface level and parallel to deans death, that him living a "normal" life without dean is what is expected. He left the life. He left Dad and Dean, went to college, had goals and aspirations, and had a serious girlfriend. His life was laid out for him. Just like death was laid out for Dean. But when push comes to shove, Sam doesn't want to live without Dean. Even when Sam thinks he can do it, like when Dean goes to purgatory, he comes the moment Dean calls and gets back into the life. When Dean dies from the mark, he says so. He was wrong, and he'll do anything to get Dean back. Everybody asks him why he would ever come back when was almost out and he tells them that he actually loves this life. That now he isn't forced into it but chooses it. He doesn't want a life without his brother in it. And that is what he was doomed to suffer. By the end of the series, I don't think Sam would have just let go like that.

Chuck said one brother had to kill the other. In other words, one lives, one dies. And that's what happened.

*I wasnt going to but now I am. Let's talk about Cas too! Through the show Cas dies again and again and again. God hates the disobedient angel with a crack in his chassis who fell in love with a man. God kills him. God wants him out of the picture but he won't go. He can't go. The story falls apart without him in it. Dean falls apart without him. But somehow his death is considered a good ending for him (good story telling wise, externally)? That confessing his love was enough? That dying in place of Dean was where he wanted to be? Sure, he was happy but it came at the price of that very happiness. It was had and taken in a moment. He was destined to die by God and that's what happened. (And we are supposed to believe that Dean just... lives on, cuddlin his dog and eatin' pie like he's not wrecked? That every other time Cas dies he falls apart but this time when Cas dies, they defeat God and true happiness is supposedly possible now - Dean would just give up? That he wouldn't try to get him back? Especially after a love confession? That just doesn't make sense to me.

My theory is that there's more to the ending than we know. That they did intentionally wrap it up there, that you can take it or leave it. But it leaves you wanting, leaves just enough questions unanswered that if they were to do a revival there's things they can do with the story.

Tl:dr: for a show about breaking away from the narrative, choosing free will, and not being held back by expectations, the ending really didn't fit well and let us down. IN MY PERSONAL OPINION

[anistarrose]

I want to talk about the way aromantic experiences can be represented in very meaningful and validating ways without characters being written as intentionally aro, and also I want to talk about aro-spec Magnus Burnsides headcanons. Luckily, I can do both those things in one post!

During the events of the podcast, Magnus is disinterested in and often straight-up uncomfortable with romance, because of the fate that befell his last relationship, with Julia. I've seen a reading (that I don't think is objectively wrong, though I do not personally share it) that interprets this trait of his as some kind of "sacrifice" he's making on Julia's behalf, being a choice to stay out of other relationships to carry on her memory better. It's a reading that seems pretty reasonable at first glance, but not especially aromantic.

(Because if anything, it almost seems at risk of turning into something like "there is no sacrifice more tragic than not having a romantic partner," right? Or worse, "this is a trauma response that needs to be healed for Magnus to have a happy ending, because being able to enjoy romance is vital to his happiness and self-fulfillment." Both of which are... varying levels of uncomfortable, to me as an aro person. Like, I'm not in the business of telling people how to interpret fictional characters, but I personally can't engage with these without a bad feeling in my stomach.)

However! Back to the various potential readings of Magnus's character! It's worth noting that so much of Magnus's arc revolves around unpacking his trauma, from the destruction of Raven's Roost and Julia's death — and that healing process doesn't change how he feels about romance! The Eleventh Hour is the turning point when he starts to seriously re-evaluate what the trauma and loss made him want, versus what Julia would want for him, and what would let him live in the moment instead of in the past... yet in the Heart Attack segment of Wonderland? Magnus still expresses disinterest in dating.

In Arms Outstretched, then Story and Song, he further internalizes and chooses to let himself be saved and ask for help, instead of punishing himself with martyrdom — and no romantic relationships come up in the epilogue! When he passes away after a long, happy life, it's Carey, — his best friend! — who holds his hand while they wait for the end!

Magnus's reasons for not wanting another relationship are obviously complex — not just a conclusion about himself that he came to lightly, regardless of whether he's on the aromantic spectrum, not on it at all, or deliberately not choosing a label. What makes his arc so unique and special to me, in contrast with almost every other story about traumatized characters finding a happy ending, is that his happy ending isn't contingent on romance! Whenever he says that he's that not into dating, no one doubts him or tries to undermine him (other than Lydia, who's literally trying to feed on his suffering) — and to me, an aro listener...

Well, the way the narrative takes Magnus's wants and lack thereof seriously is just so refreshing.

Ninety percent of characters in fiction who repeatedly stress that they don't want romance or marriage are only shown doing so to set up for the narrative later proving them wrong. It's to contrast with that later point in the story where they "find the right person," or "understand when they're older." Or "stop being so cold," or "stop acting like they're too fucked-up and 'damaged'." Or "overcome their trauma."

It has an air of "wow, isn't this character so ridiculous, for thinking they won't change their mind later?" Or occasionally, "isn't it so tragic, that they can't envision themselves being loved?"

For protagonist-y characters, for heroic characters like Magnus — for any type of character in which "happily ever after" is considered a plausible, fair-game, genre-acceptable outcome — we see the genre conventions also dictate that "settling down in a romance" and the "happy ending" are intertwined. I've seen TAZ posts from back in the era of The Suffering Game/The Stolen Century airing, expressing sentiments like "Magnus not finding someone to love again would be so tragic and mean-spirited, I hate grim and edgy endings like that." While I can appreciate people trying to subvert tropes like "you can only have one 'true love' in all your life," the incredibly non-subversive and ultra-amatonormative belief that "romance is a prerequisite for a happy ending, or even healing arc" is such a deeply unfortunate one to tag on.

I am aromantic. I don't want a romantic relationship. And I find joy in that! I refuse to accept that I need to be "fixed" or "healed" to live a long, happy life, because I'm not broken! What brings me the most joy beyond just living as an aro is seeing stories actually acknowledge that people can find this happiness without romance — like how Magnus's story does! Like how casually and matter-of-factly it subverts expectations — how Magnus says he doesn't want another relationship, and no one comes along to prove him wrong! He doesn't "find the right person" because at this particular phase of his life, and of how he wants to live, there isn't one in a romantic context!

He heals from his trauma enough to find all kinds of joy — doing things he loves, surrounded by people he loves — and not because of, or in service of pursuing, a romantic relationship!

I almost never see fantasy stories where one of the heroes gets to have an arc like that. An arc where they get to live out an ending that I would want. A happy ending that would be happy for me! For people like me!

Magnus Burnsides gives me so much Aromantic Hope. That this is a kind of happy ending that I am not the only one to idealize, and that I could attain, no matter what horrors are being thrown at me in the present. Magnus dies peacefully, after years of assuming that he wouldn't, and he does so surrounded by his dearest friends and family. Who are all so proud of the life that he lived. Magnus was true to himself, to what he felt would bring him healing and fulfillment — instead of what cliché and expectation dictated to him — and he was completely at peace in the end. Ready to rush in one final time.

I immensely doubt that Travis intended for Magnus's story to be an aromantic story in those words, if at all. But Magnus's story resonates so, so much with so many common aromantic experiences. And that means so much to me. I'm so grateful for that. In this day and age, in this world, I needed that.

I needed to have a good long cry about Magnus Burnsides. Aromantic icon, intentional or not.

...

...Of course, because this is tumblr, I want to make a clarification. This isn't some kind of claim like "shipping Magnus with people other than Julia is problematic." It is, however, a thesis statement that "no such ship becoming canon makes Magnus's arc so much more unique." It's an explanation giving full context to how I'm biased, not objective, but willing to argue that it makes his arc so much more meaningful, too.

And most of all, it's a desire to shine a light on a side of Magnus's character and growth that I think goes underdiscussed. Especially underdiscussed through an aro-spec lens. And speaking of which:

Sure, I said I don't think Magnus was intended as an aro-spec character, or that he can only be interpreted as such — but if you made it this far, you know I think this ruff boi's just chock full of aro-spec subtext! So just for fun — and because the world is always deserving of more aro-spec headcanons — let's end this post playing with some different readings of him as aro-spec!

Gray-Aro or Demiromantic Magnus who rarely falls for people to begin with. Why would it be some tragic heroic sacrifice to remain "chaste" and wait for Julia, when not being into romance is just Magnus's default state of being? He's so confused about why people think he's making some tragic sacrifice! So confused, guys! I even wrote a fic about the gray-aro HC a few months ago (link)!

Gray-Aro or Demi Magnus who thought he was just aromantic, no attraction whatsoever, for over a century — until he met Julia, and fell for her (perhaps very, very slowly). But that doesn't change those years gaining perspective as a platonically, familialy loving aro who values those bonds immensely, and always wanted them to remain a prominent part of his life.

Losing Julia devastates him, of course it does — but especially once he remembers the Stolen Century, he knows he has a long-term support system no matter what, and it won't revolve around chasing that unlikely possibility of feeling romantic love again. Why would it? Why would he need to chase something so fickle just to heal?

Aromantic Magnus who feels no romantic attraction, but in the era of Raven's Roost, doesn't not want a romantic relationship. Except, he doesn't after all. Except wait, he kinda does, it's just complicated. Maybe something queerplatonic? Well, he really likes the idea of a wedding, and that's not necessarily mutually exclusive with a QPR, but there's no guarantee his partner would feel that way too, and...

There's just these expectations that go with dating or marriage, of partners expecting him to love them in such a specific way that he knows he can't... and then he meets Julia, who's a romance-seeking aromantic too, with heavily overlapping feelings. Bonding over their similarities leads to dating, and eventually marrying, over a deep platonic love that may or may not still involve cuddles or kisses, or a desire to start a family. They don't panic too much over the labels — they're just so delighted to be with someone on the same wavelength!

When Julia dies, so much goes through Magnus's head. After a while, he can't help but start thinking again about how rare it is for people to want the same things out of a relationship that he does. Or to consider the way he feels for them to be enough. But as time passes, Magnus comes to terms with it more and more. He's happy to wait for Julia again. After all, he's longing, but not lonely. Mourning, but not incomplete.

Aromantic Magnus who is aromantic specifically because of his trauma, but no less aromantic for it. He just can't bear the thought of getting into a relationship again. Ironically, there's a point in time where he thought of himself as a romantic — back while he and Julia were courting each other — that now feels simultaneously so close and so distant. Magnus who has so much to grieve, and grieves this romantic side of him too — at first. Who thinks that there's only two options, for a folk hero in a story like his — settling down to live happily ever after, or dying in battle. And if there's nothing more upsetting, more uncomfortable, than getting married again — then living happily ever after has got to be off the table, right?

Magnus who slowly realizes that doesn't have to be the case. That no, barring seeing Julia again, he certainly doesn't have reason to believe that even time will change this new, alienating part of him — but maybe, it's not so alien after all. Maybe he knows people who won't even question it. Maybe he doesn't have to change it or overcome it to be happy again.

Why is romance some singular thing he has to chase, in order to settle down peacefully again? Why can't he do it with his friends? With his dogs?

And last, Questioning Magnus who might be aro, who might not be aro, and is maybe most likely to be something in between. But it's hard to tell; he's honestly not sure if he'll ever crack it, and.. ultimately, he's okay with that. Because all that matters to him is knowing he doesn't need a relationship to be complete, to take full advantage of his well-earned happy ending — and he's got a great grasp on that one, surrounded by people who never make him doubt it.

Aromantic Magnus Burnsides. Aro-Spec Magnus Burnsides. My aromantically beloved. Thanks, bud, for all the hope when I needed it.

[altocat]

I was asleep when all the Lucretia stuff was going down but I still wanna throw in my two cents, and it's this:

I think a lot of the hate towards her is people forgetting that she does not have the information that we as an audience do Especially during the time she was pregnant. No one on the Jenova Project knew that Jenova was an alien Aside From Hojo. The discussion around her choosing to experiment on her child has to be predicated by the fact she thought Jenova was an Ancient and Hojo would have Never shared anything that contradicted this to her. By the time she started having those visions and her body started falling apart it was already far too late, and it's not like Lucretia understood Why any of that was happening.

By virtue of the us the audience knowing what Jenova is, that knowledge gets projected onto characters who don't have it and never did which muddies their actions and intentions. This is a phenomenon I've seen many times in different media contexts, it happens all the time. Gast and Gillian (very occasionally) get the same treatment at times but I rarely see the same visceral hatred directed at them (and when Gast gets some side eyeing it's, justifiably, for the other morally dubious shit he did and his narrative being a confusing mess for the past 30 years lmao).

But even bringing Gast back in for a moment when he learned Jenova was an alien it was long after the fact and seemed to send him into a mental spiral. We simply do not know how Lucretia would have reacted to this information, and it more than likely wouldn't have been good. She didn't even know that Sephiroth was going to be taken away from her; acting like she had full information is just wrong.

THISSSSSSSSSSS

Lucrecia isn't even a known sadist like Hojo or a callous bastard like Gast. She's literally just...some lady. Who evidently didn't have as much power within Shinra as she assumed. Hojo likely saw her as a prime opportunity to accomplish a goal. And since Gillian and Gen's mother had already served their purpose to the project, Lucrecia probably thought such actions were logical.

And honestly? Ignoring all that, ignoring her overall knowledge, culpability, etc. When is it EVER okay for someone to be emotionally abused by their husband? When is it okay for someone to have their baby being taken from them before ever even getting the chance to hold them? The person wasn't "asking" for this. They didn't bring this upon themself. No one wants to go through this shit. It's horrible. Losing a child is an unfathomable pain that I hope no one EVER HAS to go through.

Vincent himself, whether out of love or understanding or empathy, decided that telling Lucrecia the truth about what happened to Sephiroth would only prolong her suffering. His own actions, whether right or wrong in your eyes, cemented that there was no point in further bringing Lucrecia emotional damage. He chose to be merciful. He chose compassion because he KNEW that she was in enough pain already.

Why can't we?

[bestworstcase]

[Same anon who was talking about when Salem will find out the truth abt Ozmas curse] yknow, thinking of the Ozma-Salem reconciliation, I'm curious about what will happen when everything is over. Specifically I'm curious on if they'll stay immortal or if they'll choose to become mortal again? Being honest, I could see Salem choosing to stay immortal, probably turning what was used to harm her into something she owns (if she hasn't already tbh). I'm... less sure about Oz? I could see him wanting to, but how he reincarnates is... definitely a problem considering it's identity issues if it were a form of immortality lmfao.

Of course, this depends on them getting that choice in the first place, but I feel like it wouldn't be satisfying if they didn't, though i have no idea how they would get it (i doubt Light would budge, Darkness is probably Ascended, and i theorize Light will ascend and become human, sooo...), unless the Tree has that ability? No idea. I do think Oz will Ascend so maybe that'll be addressed then if that happens (note: if he Ascends, I personally think it'd be fun if he came out a faunus/snake faunus. It's not really a theory, just smth I'd do if I were writing RWBY, and the chances of that happening are pretty slim, IF he ascends at all lol. So it's more a self indulgent thought than a real theory).

Do you have any thoughts on whether or not they'll stay immortal, or both become mortal? It's pure speculation, but that's what makes it fun :P

(BTW I wanted to see if you were doing okay, if you're willing to answer? You disappear sometimes and idk if that's normal or not. Hope you're doing good!)

-🌙 <- for if I decide to send more asks

(yeah i'm doing fine. just busy irl)

anyway—prior to v9 i would have said definitely they both wind up mortal again, but then v9 threw its curveball of overtly questioning the premise that everything must die. immortality for ozlem has hitherto been framed strictly as a curse, because ozma sees it that way; i think it remains to be seen whether salem feels the same, because:

a) "if she were to turn humanity against Light and Darkness, she could rid herself of their curse, or at the very least… she could make them suffer." <- even before her rebellion, salem had begun to accept the possibility that she might never be able to make herself mortal again if she defied the brothers, and she made a deliberate decision to fight back anyway.

b) it has been so long that i have to imagine it is hard for her to even conceive of dying as a real possibility anymore? so even if she theoretically would welcome the chance to die i'm skeptical that it's more than a "what if the world was made of pudding?" type of nonsense hypothetical in her mind. 

and c) everything points to "salem wants to change the world" being the correct view, with salem herself envisioning a "new world"—and in the event that is true, salem isn't suicidal full stop.

the thing that makes her immortality a curse has always been isolation and exile, neither of which are innately because she's immortal. indeed the very first thing salem used her immortality to do once she decided to live was connect with people and build a coalition. the reason for her exile in the present is not her immortality per se but the fairytale narrative construing her as the Great Evil. becoming mortal again won't materially change those circumstances. 

ozma is in a different boat because, as you note, his form of immortality is bad per se—fatal to his hosts and torturous for him. we have however seen that a living soul without a body will just manifest a new body, both on remnant (penny) and in the ever after (ruby isn't just magically healed in the tree—her whole self is remade, hence the burning rose returns to her in the end—she's disembodied and remakes herself). so the immediate concern with oscar and ozma is to divide their souls, and i think there are a few of possibilities as to how:

literal ascension via the tree

the sword of destruction

silver eyes as the mirror revealing what is true (two, not one)

salem

some combination of 2-4.

from that point the crucial question is whether separating ozma and restoring him to his own body oncedoes or doesn't break his cursed reincarnation forever. if it doesn't (or if he isn't willing to take the risk that it doesn't) then… frankly the simplest and surest way to put an end to ozma reincarnating as a parasite forever is to make him immortal the way salem is immortal. if his soul can't die, he can't be bound to another by light's curse. it is death that empowers his curse. 

so to take away what gives light power over ozma, give ozma infinite life. right? 

which… i mean, the well of creation gave salem infinite life; she hoped that the pool of grimm would take it away; take from an infinite quantity, an infinite quantity remains; this force of pure destruction could not destroy, so it created… it's possible for two souls to be bound together as one and it's possible for one soul to be divided into two. the possibility of salem dividing her infinite life in order to share it with ozma isn't exactly a leap.

certainly i wouldn't rule out a straightforward ascension through the tree being the answer—it is kind of the obvious course—but i've been rolling dark's parting words to salem around in my mind a lot since v9. "still making demands of your creators?"

that rebellion ended in crushing defeat because they tried to fight back with the gifts the brothers gave them—power that did not in truth belong to humanity, because those gifts were not freely given. this is a lesson salem took to heart, hence her insinuation (in WOR) of aura/semblances being much greaterthan mere magic, cinder using grimm (a kind of power salem claimed for herself after the brothers abandoned it) to mediate her inheritance of the fall maiden (a mere remnant of god-given power bequeathed to modern humans by light's champion, which salem has repeatedly warned cinder to be cautious of), and her recent experiment with combining silver eyes with grimm. 

presuming salem is involved in the separation and breaking of ozma's curse at all, i think it's deeply unlikely she would be willing to trust the tree to just fix everything; i think there's a not-insignificant possibility that she has met the blacksmith herself before and may be factoring what she knows about the tree and/or the brothers' history into her plans, but if so it would be more on the level of knowing the brothers are finite and broken, not expecting the tree to save her. 

(sidebar: there's an expectation across a lot of the fandom now that the brothers can/will be 'defeated' by tagging in the blacksmith to scold them for being naughty, and that is just… not going to happen. lol. the blacksmith makes it crystal clear that neither she nor the tree can or will intervene, and while the brothers need to ascend and that's the obvious outcome the narrative is moving toward now, convincing light [and dark if he's still around] to do it is a problem remnant's people are going to need to figure out for themselves. also the fandom-wide treatment of the brothers as spoiled little boys who just need mom to scold them is both inane and, frankly, misogynistic—because "well, the brothers are petty assholes but salem is just a spoiled bitch throwing a tantrum because they didn't give her what she wanted, and actually all her problems are self-inflicted" is an outrageous position to hold about a woman hating the genocidal monsters who murdered an entire planet to spite her. and then the cherry on top is anticipating that the conflict will be solved by way of "mommy" swooping in to clean up the mess her silly boys made. come the fuck on.) 

anyway, i figure salem will be stridently in the camp of "no, we need to forge our own path." ozma, likewise, i can only imagine feeling extremely dubious of just putting his life into the hands of any god after what light did to him—let alone a god who is completely unknown to him. if he and salem think there is even the smallest chance that the two of them can break his curse by working together without divine intervention, i… think that will be Plan A for sure. after all, THIS is how ozpin closes out 'fairytales of remnant':

One interpretation of this story focuses on the fact that the people caused the problem in the first place. But in my view, it is only natural for us to want to bring more light into the world and “reach for the sun.” And on the brighter side, if you’ll excuse the pun, people were also part of the solution. They not only replaced the sun, a celestial gift from the all-powerful God of Light, but also improved upon it through their own ingenuity. Most importantly, they could not have accomplished this magnificent, godly feat without uniting for a common purpose in a way they never had before. The world once was divided between day and night, light and darkness, but by coming together, and overcoming their inherent jealousy and resentment, people made the darkness just a little bit brighter for all.

a parable about humanity claiming the powers of their creators to perfect their own design; a parable about the world coming together to replace their divine gifts, and in doing so create a better world in divinity's absence. like i'm always saying, ozma's zealotry is grounded in fear—in his terrified certainty that the brothers are all-powerful forces of nature who cannot be fought—but the world salem aspires to create is the one he dreams of too, in his heart of hearts. 

as for oz becoming a faunus—i honestly would not be surprised if he did? both thematically (the faunus in the myth are liberated through transformation into their true inner selves -> ozma must be liberated from oscar through transformation into his true self; the faunus mythically participate in their own creation and in doing so free themselves to choose their own destinies, making faunus the symbolic if not literal triumph of salem's rebellion) and, if i'm correct about faunus having been created by salem's transformation in the pool of grimm, also mechanically (in that event she would be the literal god of animals and manifestation of animal-like features representing the inner self follows the metamorphic pattern she created, so if it's predominately her magic mediating ozma's transformation/restoration then it would follow for him to become a faunus.)

but if he does, i think what he'll end up with is an avian trait—like trust love ("if you could only open up a door/spread your wings and fly away from here/write yourself into a fairytale/all your problems would just disappear") and sacrifice ("born an angel, heaven-sent/falls from grace are never elegant") both pretty explicitly, in opposite ways, equate wings with ozma's freedom. (hi @st-whalefall i see you.) and then there's the way ozma describes the branwens' bird forms: "Using this power, I was able to gift the Branwen twins the ability to "see" more, to move freely and be unburdened by their natural bodies. I... well... gave them the ability to turn into birds." <- freedom, unburdening, and clearer sight. IF ozma becoming a faunus through breaking his curse is in the cards, i would think this is pretty blunt foreshadowing. 

and if it isn't—well, it's symbolic and might well remain symbolic but another thought i've been rolling around for a while is ozma finding some way of separating himself from oscar as a bird. they're fighting this curse together now; the curse is fighting back, and with the kids returned from the ever after, oscar and oz are going to be hearing about ascension and afteran magic and—maybe, depending on how detailed team rwby is in their account—about "you could just be human, or just a cat, if you wanted." 

in one myth, faunus are created by the combination of sapient animals and human beings—through, it might be said, the merger of two souls into a singular new being. blake, in v1, is reading a novel about a man with two souls, fighting for control over his body. ozma loves stories, myths, fairytales—relies onstories to make sense of himself and his life. his curse is a false, corrupted form of ascension, and when blake looked at herself in the tree's mirror, it asked "are you complete? do you wish to return human-and-animal, separated?"

for blake, that was the tree's gentle way of confronting her with her past self-hatred, to help her see and crystallize how much she's grown from being that terrified girl who secretly wished she could just be human. but think about how oz and oscar might take that story. 

oscar doesn't like using magic because it makes the merge faster. long ago, ozma carved out his divinely-given magic and created the maidens in hope of sparing his hosts, but the magic of his curse remains. he can't sever himself from his hosts, and fighting the curse outright causes it to lash out and hurt them both. but ozma also did *something* to grant the branwens shapeshifting; either he really did draw on his own curse to do that, or else he used the crown of choice to make it so. either way… the curse keeps trying to force him forward. force him to come out. 

in the lost fable, the final outcome of his curse is at least represented by something like a haunting—ozma sees his other-self watching him from outside of himself. this may or may not be literal in the sense of what ozma experiences, but the idea of 'one soul in the body, one soul outside' is narratively in play. and ozma was able to seal himself off from oscar in a way that does seem to have altered the nature of their connection, or at least created room for oscar to reclaim his individuality. 

so what happens if ozma gathers all the magic and throws his will behind the curse's attempts to shove him forward, instead of against, with the specific purpose of manifesting himself in some physical form outside of oscar's head, drawing on old myths about faunus being similarly two-in-one that blake's account of the ever after seems to corroborate as having a kernel of truth? 

like—why not try something weird and out of the box? what have they got to lose? if it doesn't work then they're back to square one of grappling with the curse, and if it does then not only have they figured out a new way to give oscar some room to breathe but ozma emerging as a bird with a psychic connection to oscar would be real fucking helpful for the coalition as a spy/scout. 

[onyxisnotuniqueenough]

---WRITTEN A WHILE AGO AND KEPT IN DRAFTS FOR WEEKS UNTIL I THOUGHT ABOUT IT AGAIN---

i hate how comfortable most of the mouthwashing fandom is with calling a disabled burn victim "a baby", or making fanart of him BASICALLY representing him like some kind of pet. his wide eyes are not for your cutesy purposes. he does not look like "the autism creature" because of his limbs. you guys are infantilizing and absolutely dehumanizing this character, and through him, in a sense, showing a few of your unfiltered thoughts about the disabled community! he is not the silly mascot of the group!!! HE IS A FLESHED OUT DEEP CHARACTER WITH HIS OWN MORALS AND HIS OWN MISTAKES!!!! AND HIS STATE DOES NOT MEAN HE BECAME A THOUGHTLESS BLAMELESS BABY!!!!!!!!!!!! HE IS NOT A PET NOR A MASCOT!!!!! JUST DRAW POLLE THE PONY (THE ACTUAL MASCOT) AS THE MASCOT!!!!!!!!!!!!!! what in the actual hell is wrong with you people.

to be CLEAR this isn't only about the fandom on tiktok : i've seen countless fanarts on here being like "he looks so cute here", or drawing the other characters "holding him" like a plushie or a pet (if you can visualize what i mean) and damn, unfortunately tumblr is just as bad as tiktok sometimes

ALSO this isn't either about being able to find humor in media that aren't comedies, because yes the babygirl/blorbo/pathetic meow meow thing is prevalent in every fandom imaginable and especially for older, "masculine/tough" male characters. Which I understand even if I don't partake in it, since it's all just one big joke. Hannibal Lecter or Gus Fring covered in blood is babygirl, let's put a bow png on him. hahaha. how novel. But this is not what's happening here. you guys are not calling him baby or babygirl because he's hot or the comedic effect of calling an edgy tough guy a baby. the joke is supposed to be about the absurdity/contrast of calling those kinds of characters (murderers, criminals, old mean guys, buff masculine superheroes, or in general "stereotypical" masculine guys) "babygirl". But here it seems overwhelmingly sincere. and that's extremely concerning!!!!!!!!!!!!!!!!!!!!!!!!

and if you want to look at it from a different/narrative perspective :

obviously there was thought put into why this happened to curly, why he looks like this, why jimmy's the one who put him through this, why it's jimmy that gives him the painkillers and why the painkillers are pills in the first place. there is thought behind his state and how it mirrors anya and what jimmy put her through. and not only is curly a metaphor for society IN OUR CURRENT MODERN WORLD in his reaction and INACTION towards what happened, the FANDOM/PUBLIC's reaction to curly and the overall plot is also a great mirror to hold up to ourselves. I won't go into detail about my full analysis of this BUT AlleyDreamer's "You Are Missing The Point of Mouthwashing" youtube video, and @/luckylefty's tiktoks about the games are both eloquent and clear and i highly recommend watching them.

SO....if you view curly's impotence, suffering, dehumanization. and overall physical state as something that can be meme'd or funny, you probably have not considered that part of the narrative that the game developers explored. and if you have and think that somehow it's still all good jokes to make EVEN when considering that joking about his state is also making a joke out of anya, out of women, out of disabled people, DAMN do you absolutely SUCK. is that really the best you can come up with?

SO. all in all. i understand lightening the mood of the fandom by ignoring the elephant in the room and choosing to just focus on jokes, but PLEASE stick to jokes about the group and their game nights and the shenanigans, daisuke and swansea's father-son relationship, or even the game's low-poly graphics and animation - hell, stick to replaying that swansea twerking clip again and again. BUT FOR THE LOVE OF EVERYTHING ON THIS EARTH KEEP YOUR ABLEISM, SEXISM/MISOGYNY AND TONE-DEAFNESS TO YOURSELF !

ok rant over cough cough

[trashbag-usa]

it feels like a lot of people have given up on fully connecting ISWM/Engie Mark to the wider lore (aka WKM) since IRL Mark straight up told us he wasn't Actor.

but not only am i a stubborn son of a bitch, but yknow what Mark also said?

"Engineer Mark isn't Actor Mark, but Actor Mark just might be Engineer Mark."

so hear me out, y'all.

preamble; if you saw this in a yt comment section, no you didn't. (that was also me i didnt steal this i prommy-)

i have this entirely insane theory about iswm that Engineer Mark is actually Damien, but only sometimes.

the most obvious places i can spot him is in the abandoned ship with the candles ("captain needs their sleep" and whatnot), as Old Mark (specifically in the empty diner), and most definitely as the "Mark" we see as part of the finale, the one who realizes he was wrong.

Actor is allergic to admitting fault so I Don't Believe That's Him.

this explains the thematic focus on sleep and rest in these scenes, things told to Damien and told to US by DARK several times.

("Don't remember" anyone?)

speaking of Dark, it explains why he isn't there. we DO however see the suspiciously Darkiplier-esqe Ms. Whitacre, which it isn't controversial to say atp is CLEARLY Celine.

that is, until the universe does its final kablooey and Dark as we know him, Damien attributes and all, comes to take the warp-crystal.

and besides, think about it.

given Actor's whole goal in all this, as laid out in the Damien Project, do you REALLY think he would write a story in which all problems arise from HIS OWN NEGLIGENCE? NO!

that would make him a villain, and all he ever wants is to be portrayed as the hero, literally for eternity!

but you know what i think he would do? set up a farce for the most troublesome of his "co-stars".

you, the viewer, want genuine choices? you want to have some real control over the story? some responsibility? FINE.

everyone looks to you, but under your leadership everything goes wrong, no matter what. you don't know why, but you're actively villinized and the harder you try to go back and fix things, achieve an "ending" on your own, the more people HATE you. the more the thought that maybe there IS something wrong with you specifically will stick in your mind as a possibility.

all these options, but none of them "right", creating MORE suffering instead of fixing it just to find that ever elusive end.

damien wants control of the narrative? he wants his old friend, you, the District Attorney to be released from his eternal story and given back to him? FINE.

here's his role back in earnest, given the possibility to engage and choose instead of intrude and twist like usual.

(yes, i do think Damien/Engineer is genuinely going down his own hopeless path while we find our own. in one of the descriptions leading to the final "Hold On/Let Go" confrontation, it says "you're not the only one making choices. you're not alone, you never were".)

he is allowed to fight for the safety of others, side by side with his closest companion, just as they did when they were alive.

BUT, the twist is Damien becomes a genuine villain. in his quest to do the altruistic thing and help at all cost, he is personally responsible for the death of LITERALLY EVERYONE EVER.

this is a personal hell for someone like Damien, as seen from WKM, all he ever seemed to want was help others and guide them towards peace.

for his actions/leadership to fail so unthinkably catastrophically, seems like the exact hell a bitter Actor would want to subject his "old friend" to for meddling. :/

Actor sets the stage for a theatrical punishment game. Mayor and Attorney, together again, taking an impossibly long stay in a personally crafted hell for the horrendous crime of ever even thinking they'd be worthy of ✨️staring roles✨️.

Actor turns you two against each other, and once Damien is brough down to the depths of despair and you have finally learned that true responsibility can lead to catastrophic, painful results, we're brought back to our proper places.

you go to a proper ending, with the Engineer role now being played by Actor once and for all, and Damien once again becomes part of Darkiplier, pocketing the warp-crystal to plant on the box in Heist.

Engineer isn't Actor, it's a role he plays when it suits him and his goals, to make his enemies suffer. he's willing to be Damien's understudy, if only for this purpose.

but at the end of the journey, Actor becomes Engineer to take in the fruits of his labor. ..and maybe invite you to a Heist while he's at it.

BUT HEY, THAT'S JUST A

very long winded """theory""" that is pretty much only insane fanfiction-

[lunaxx08]

imagine waking up one day with the diabolical idea of making a character suffer like never before. that's exactly what prashanth neel seemed to have done with deva. and how exactly would he do that? simple, by making varadha suffer.

let's talk about deva for a moment. he's not just any character; he's a man driven by his principles, fuelled by his emotions, and haunted by the injustices he witnesses (this can be clearly seen in the mahara scene). his heart bleeds for those who are wronged and especially when it comes to varadha. the bond between these two isn't just friendship; it's a deep-rooted connection that defines deva's existence. because time and again, the movie shows just how strongly deva feels, seeing varadha facing injustice at each and every turn in his life, it really breaks deva apart.

prashanth neel is a genius, the way he designed deva’s character and how his suffering is channelled through his unwavering love and concern for varadha.

and now, enter varadha – a character whose life seems to be a never-ending cycle of hardship and injustice. whether it's societal prejudices, personal tragedies, or plain bad luck, varadha is constantly at the receiving end of life's cruel jokes. and who bears the brunt of varadha's suffering? none other than deva himself.

it's like prashanth neel took a magnifying glass and focused it on the raw, emotional core of deva's character, amplifying his pain and anguish through varadha's experiences. every setback, every betrayal, every tear shed by varadha resonates deeply with deva, tearing him apart from the inside out.

but why would he choose to subject his protagonist to such emotional turmoil? is it a stroke of genius or sheer cruelty? perhaps it's a bit of both. by intertwining deva's fate with varadha's, prashanth neel creates a compelling narrative that forces us to confront the harsh realities of life, love, and loyalty.

his decision to make deva suffer indirectly through varadha's experiences is nothing short of cinematic brilliance. it's a daring narrative choice that challenges our perceptions, tugs at our heartstrings, and leaves us pondering long after the credits roll. whether you see it as a stroke of genius or an act of cruelty, there's no denying the impact it has on the audience. so, hats off to prashanth neel for crafting a story that's as heartbreaking as it is breathtaking!