#the rebirth after the ultimate death

[crybabyboyscout]

Drinking wine. Unpacking. Roller skating around my bedroom

[plutonianeris]

Pluto + rebirth

Pluto, often called the planet of transformation, is all about change, power, death, and rebirth. When it shows up in different areas of your birth chart (or during a transit), it’s like a cosmic signal that something in your life is about to go through a deep, intense shift.

Pluto in the 1st house

When Pluto's in your 1st house, you might feel like you’re going through a personal makeover—inside and out. It’s all about reinventing yourself and shedding old layers of identity to step into a more powerful version of who you really are. Imagine someone who’s always struggled with self-confidence suddenly gaining a sense of inner strength. Maybe they start working out, change their appearance, or embrace a new attitude that completely shifts how the world sees them.

Pluto in the 2nd house

Pluto in the 2nd house can shake up your finances and challenge what you consider important. This could mean a financial crisis that forces you to rethink how you make and save money—or even a total shift in your sense of self-worth. Think of someone who loses their job unexpectedly. At first, it’s tough, but it leads them to pursue a passion project or start their own business, completely changing their relationship with money and success.

Pluto in the 3rd house

Pluto in the 3rd house works on your mindset. It can bring up old fears or communication patterns that no longer serve you, forcing you to express yourself more authentically and powerfully.Maybe you’ve always held back in conversations, avoiding conflict. But with Pluto’s influence, you could have a breakthrough, learning to speak your truth in a way that’s both honest and empowering.

Pluto in the fourth house

In the 4th house, Pluto focuses on home, family, and deep emotional roots. You might experience changes in your living situation or power dynamics within your family. These changes, though intense, can lead to greater emotional resilience.Someone might move out of a childhood home, or a family rift could heal after years of tension. This marks the beginning of a new chapter where the family is stronger, even if it had to go through some tough moments.

Pluto in the fifth house

Pluto’s influence here pushes you to explore creativity or romantic relationships in a deeper, more intense way. It’s about shedding superficial connections or creative blocks and tapping into something more raw and authentic. Picture someone ending a toxic relationship that wasn’t allowing them to fully be themselves. Once free, they dive into their passions—maybe they start painting or writing again—and they find their creativity is reborn.

Pluto in the 6th house

Pluto in the 6th house brings a shift in your daily routines, work habits, and even health. You could face a health scare or burnout that forces you to overhaul how you take care of yourself. Someone who’s been overworking might be forced to slow down after a health crisis. This leads them to adopt a healthier work-life balance and discover a new way of living that feels more sustainable and rewarding.

Pluto in the 7th house

When Pluto is in the 7th house, relationships take center stage. You might go through a breakup or power struggles, but ultimately, it leads to deeper, more meaningful connections. A person may find themselves in a rollercoaster of a relationship, full of ups and downs. After working through some tough emotional challenges, they either transform the relationship into something stronger—or let it go and find someone more aligned with who they are now.

Pluto in the 8th house

Pluto in the 8th house takes transformation to its core—focusing on shared resources, deep psychological healing, and life-changing events. This is where you might face fears, experience loss, or gain through inheritance or investments. Someone might go through a life-altering event, like the passing of a loved one, that profoundly shifts their understanding of life, death, and what truly matters. This experience could push them toward deep healing or spiritual growth.

Pluto in the 9th house

Pluto in the 9th house challenges your belief systems and perspectives. You may go through a spiritual awakening or question long-held views, leading to a completely different outlook on life. Think of someone who travels abroad for the first time and comes back with a totally new perspective on life. They might start questioning their old beliefs and embrace a more expansive, open-minded approach to the world.

Pluto in the 10th house

Pluto in the 10th house means big changes in your career or public reputation. You could experience a significant career upheaval, but it leads to a new sense of purpose and a stronger professional identity. Someone might face a professional crisis, like losing their job or going through a public scandal. While it feels devastating at first, they eventually reinvent themselves and emerge with a career that’s more aligned with their true calling.

Pluto in the 11th house

Pluto here transforms your social life and group involvement. You might let go of old friends or find yourself drawn to new causes that bring more meaning to your life. A person might leave a shallow social circle and instead start connecting with people who share their deeper passions, such as environmental activism. This transformation helps them feel more fulfilled and aligned with their ideals.

Pluto in the 12th house

Pluto in the 12th house brings hidden fears, traumas, and spiritual matters to the surface. It’s a time for healing and letting go of old patterns that no longer serve you, allowing for a profound spiritual rebirth. Someone might start therapy or dive into meditation practices that help them uncover and heal past wounds. This process could lead to a spiritual awakening, where they feel more connected to themselves and the universe at a deeper level.

[ew-selfish-art]

Dpxdc Au: As Danny gets more comfortable as a “long term roomie” in Wayne Manor, he starts to have freinds over. Aka psychopomp AU

Danny decided to take Batman’s deal upon the JL shut down of the GIW and Fenton Labs. He’d been working with the various heroes for a minute while they pursued the illegal government branch and his mad scientist parents- when it was clear he wasn’t going to have a home to return to, the Bat said he had a civilian contact that could help him and Jazz.

Jazz was honestly so relieved that they wouldn’t have to start from zero in her college town- how could Danny possibly say no when it took so much stress off of his sisters plate? Begrudgingly, he gets back to the Big Bad Bat and gets the contact info for one Bruce Wayne. Adoption is refused but, Jazz and Danny are invited to stay for how ever long they need to get their feet under them.

Danny keeps a lot of distance between himself and the other kids in the house, only coming to the meals that Jazz also attends. She’s pretty busy with classes during the day but it’s becoming clear that she’s also spending “quality time” with one of the older guys that stops by for dinner. Jazz advocates that he start to integrate himself or find a local community and after months of being a shit about it- Danny agrees to make new friends. He never said they would be alive tho.

Thus, Danny becomes Gothams local psychopomp. He just starts inviting the Shades of the unavenged for tea time in the west wing gardens. Alfred is always happy to supply tea and snacks, Danny doesn’t understand how the man doesn’t have more questions but is going to push his luck by asking. Wayne Manor is high key becoming the most haunted spot in the city and it’s starting to show.

Tim is the first to notice the changes in the Manor- he’s always been the smartest detective- and joins Danny at one of his tea times. What he hears Danny and the vague shape of a man talk about… is an old cold case. Holy shit, he’s got a break through.

Jason is the next to show up, but not because of the flickering lights or cold air, because he’s just maybe the teensiest bit interested in Jazz. Danny initially ignores him but seeing as the shades are all quivering in fear, Danny sighs and ultimately tries to figure out this dudes “whole undead deal”. Jason just wants to know what her favorite meal is but Danny will only exchange information for information. Jason gives him an abridged version of his death and rebirth- He walks away knowing Jazz’s preferred take out orders, favorite brand of tea and the cafe she likes to study at.

It’s going well honestly- Danny is having quality time with the ghosts in the city, the city is repaying him in good karma and Jazz is too occupied with the zombie to get on his case about not making human friends.

Then one of the batkids gets overshadowed and it results in… reveals? Drama? Friendship? Actual brotherly bonding?

[monakisu]

I want you to know that I came across a random post of your Death Note art, went "Awww, oh my gosh, with the way this person draws Light I think Akechi would look fantastic in the same style!", clicked onto your profile, and then saw your newest artwork was Akechi. I'm still kind of cackling over it and thought maybe you'd find it funny too. Your art is SO cute, I'm very happy I found it <333

HAHA THAT’S AMAZING (<< was an akechi artist wayyyy before i fell head over heels for light)

but rlly… theyre so similar:

- brunet

- asshole

- pretty boy

- mass murderer

- black-haired homoerotic rival

at the end of the day, the key difference is one is a top and the other is a bottom.

ok but seriously, they’re vastly different characters on a fundamental level:

- light was handed everything him on a silver platter: family, friends, looks, intellect, a comfortable life… as a bastard child of a sex worker and now an orphan, goro had to fight his way to his current position and will always harbor a terrible sense of inferiority (light is completely confident in his absolute superiority, Always (that’s why the challenge of L sent him off the deep end of obsession lol))

- light genuinely sees himself as a hero, while goro would like to feel the same but is nonetheless depressingly aware of his villain’s journey (his undesirable position as the detective vs the underdog phantom thieves, his string of assassinations, his ultimate dirty bloody goal, etc.).

- light’s motive is about the world’s salvation, cleansing, the birth of his ideal reality (very messianic of him with the slightest loving tinge of mary cradling her lamb hahaha) while goro is laser-focused on ruining this one asshole’s life in particular, vengeance and revenge at once! one’s focused on rebirth, and the other gunning straight for death! they both use murder to get what they want but light probably floats around thinking himself so clean and divine as mother of the world (ignorance is bliss) while goro is constantly desperately trying to cover up his suspiciously red hands with his gloves hehehe… they’re both constantly striving for perfection, just with varying levels of self-awareness!!

- goro is a canonical loner; light has a horde of friends; this is probably due to a difference in public persona! goro is an untouchable idea of what he thinks a human should be and is completely out of the loop when it comes to normal social interactions (believes opening with hegel will instantly endear himself to the average person (luckily he inflicted that upon akira who is decidedly not average in the slightest)), light is implied to be more down-to-earth and even slightly goofy (he’s gaming decorum like an advanced speedrunner)! it’s probably good how distant goro is, because getting any closer to him will allow you to see how off-putting and uncanny he is, sorta like an AI-generated image—seams in the wrong places and far too much teeth LOL. meanwhile light has this whole shebang so thoroughly figured out that he’s BORED with it all! he’d like to move on to the next game (with L), thank you!! light definitely still exudes uncanny creepiness (it’s his natural state of being) especially when he zones out or starts hysterically cackling out of nowhere at his own thoughts, but he’s a hundred times better at masking compared to goro due to a better upbringing. goro is starved for the adoring friends he sees akira easily picking up one after another; light couldn’t give less of a shit because he’s always had those trivial luxuries! he’d much rather prefer an adoring WORLD!!

- then there’s the difference in how they die… one started out surrounded with company but ultimately died alone, while it’s the opposite for the other (if you count the de-realization of maruki’s reality as goro’s “death” (which i don’t)).

- in conclusion, light and goro are like funhouse mirror reflections of each other!!! one is a pampered lapdog getting a taste of rabies and letting loose, while the other is a starving wolf trying to domesticate itself for treats and headpats!! and i <3 them both!!!!!

anyways i may be wrong about light because im going purely off of fics, tumblr shitposts, and my own imagination :] feel free to school me in a way that won’t destroy my delusions!

[nayatarot777]

What Should You Focus On About Your Internal Self?

• Pile One •

Hi, Pile One! Welcome to your reading!

You’re being called to focus on your lack of productivity. It’s keeping you stagnant when you could be creating and manifesting great things for yourself. There needs to be a death to a part of you that’s stuck around for longer than necessary. You may be satisfied with less. Or seemingly satisfied with going without what you know that you could have. It’s time to change that. And it won’t be easy (a part of you will feel like it’s dying - because it is. Your ego will resist and try to drag you back from fully laying this procrastinator within you to rest) but it’ll catapult you out of this energy of being stuck in the same place. Your ego only resists death because it’s afraid of the unknown. Thats when you have to come in and soothe yourself by providing understanding to your ego about how the unknown is new, but positive. After death comes rebirth, right? There’ll be a brand new journey for you to embark on and learn about. You’ll be able to learn about your capabilities, your creative efforts and how far they can go, etc. This procrastination is a method of self-protection that your ego has utilised for a very long time, meaning that it’s afraid of experiencing failure which would ultimately lead to shame, disappointment, etc. However, it’s already experiencing these things because you’re allowing it to prevent you from doing anything anyway. There’s a reason why your ego is so closely linked to your inner-child. What do you do when a child doesn’t want to do something that you know would be good for them, due to their own fear? You calm them and slowly introduce them into the unknown that they’re afraid of, while reassuring them and praising them for ever step forward that they take. You don’t let them allow their fear to control them. You subdue their fear with comfort and assurance. This is what you need to do for yourself.

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• Pile Two •

Hi, Pile Two! Welcome to your reading!

You are being called to focus on finding peace and contentment. Focus on finding satisfaction within yourself as well as a feeling of safety. There’s an internal transformation happening for you, and it does lead to this feeling of safety that we’re speaking of. You may have a history of not having the tools of self-protection, leaving you vulnerable to those who wanted to use you or take advantage of you. There’s a part of you opening up that is some type of warrior on behalf of yourself. A part of you that’s able to protect yourself from anyone who gets too close to you too soon. This protector is your intuition. Your crown chakra that’s the medium between your higher self and your human self. This is what’s opening and transforming within you. You may be experiencing ascension symptoms (specifically your third-eye opening a lot more, enabling you to read between the lines of what people say and the situations that you find yourself in). Trust that you don’t have to be in defence-mode anymore, because you’re capable of protecting yourself. Don’t be discouraged if you feel like your consciousness is slow to catch onto certain things either. Tapping into uncharted territory such as your intuition or your 3rd eye takes time. Let it develop naturally. The people who don’t usually end up going a bit crazy and unhinged because they’ve opened their third eye (their pineal gland) forcefully and too quickly. You don’t want to be one of them 🙃. You also need to ensure that you’re breathing life into your intuition. What do I mean by this? You need to validate that your intuition exists. Don’t suppress it - because that’s the opposite of giving life to something. That’s how you squash it, eventually killing it. Validate its existence and its being. Again, your intuition is the direct connection to your higher self. Your higher self is on a higher dimension compared to you, meaning that they see things that you can’t see with your physical eye - hence why you see symbolisms and messages in your metaphysical (non-physical eye - your third eye. Your mind’s eye). Try to bring to an end your habit of disregarding what you see spiritually.

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• Pile Three •

Hi, Pile Three! Welcome to your reading!

There needs to be a lot of acknowledgement from you towards yourself in regard to how much work you’ve put into creating safety and peace within yourself. You’ve completed the journey that Pile Two is currently on. You’ve been busy putting yourself together internally, which your physical reality is probably reflecting in some way - as within, so without. I’m hearing “you can rest”. You’ve found a lot of the safety and peace that you were looking for, thanks to your own efforts. You can take some weight off of your shoulders and just relax. Get playful and treat yourself in some way. The reason why you’ve found this sense of safety is because you’ve protected your mind, in-turn protecting your peace. “The ALL is mind; the universe is mental” - for those of you who are avid readers, I suggest that you read The Kybalion if you haven’t already. It seems like you’ve already taught yourself one of the principles of mental alchemy, which probably means that you’ll be able to grasp the other principles relatively easily too. You’ve found peace because you’ve found trust in yourself and your inner-knowing. Your intuition has been working overtime 😂. Your intuition is why you can keep yourself in your serenity. I’m hearing clapping from your higher self. They’re proud of you. You’ve reached a stage that many of us are still working on completing. Now that this ability to connect and to have faith in your intuition comes so naturally to you, you can rest. You don’t have to be vigilant all of the time. If your intuition needs to tell you something, then it will. You don’t need to constantly stay alert to it because you’ve built a great connection to it now.

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[rachetmath]

Retracing Steps

Nora: Jaune?

Jaune: *researching*

Nora: Jaune?! Jaune?!!

Jaune: What?

Nora: Jaune I get you and Lewis were friends but he’s gone.

Jaune: I know.

Ren: So what are we looking for? His grave?

Jaune: No. That’s not what I’m looking for.

Emerald: Then what is it?

Jaune: His first draft.

Nora: You mean his book?

Jaune: Yeah. Lewis censored a lot of information. More importantly, his story was based on his diary. I don’t know what happened to him but he still lived in Vacuo or moved. He had to have taken it with him.

Nora: But what’s so important is that you need his book.

Jaune: *silent*

Nora: No. Jaune you’re not thinking– Are you-

Jaune: Slow down. Yes, I’m looking for a way to return to the Ever After. But not for me. For Salem.

Ren: What?

Jaune: When I was in the Ever After, I thought Ascension just meant death. Which it is. However, it’s also about rebirth. Making changes in one’s self. 

Emerald: And? What does this have to do with Salem? 

Jaune: Think about what Ruby told us. Salem failed to learn the value of life and death. In The Ever After you still die but-

Emerald: Salem’s immortal Jaune.

Jaune: Listen. After you die or are taken by the tree as Ruby described, you are sent to the forger. The forger has the power to create, reforge, and repair you.

Nora: Jaune we fail to see your point.

???: I get it.

Ren: Ruby? When did you and your team-

Ruby: Sorry. I was looking for Jaune a while ago. They were just helping me look. I wanted to talk but that can wait. Jaune, if what I’m guessing is correct then if you find this portal back to The Ever After, you can send Salem there.

Jaune: Yes. However once I find it and see if it works, I need Raven there before sending Salem. 

Yang: Why my mom?

Jaune: Her semblance allows her to travel anywhere as long as she has been there before. 

Ruby: And unlike the staff, it ignores time and space. That means Raven can easily leave the Ever After without having to go through the door again.

Emerald: Okay. Stop! You keep talking about the Ever After but what about Salem?! What does any of this have to do with beating Salem?!

Ruby: *smile* It’s possible but only a theory. If we send Salem to the Ever After, allowing the tree to take her-

Weiss: Then she ascends. 

Blake: Allowing the forger to reset her.

Yang: Leaving her-

Jaune: That’s right.  She can be imprisoned or she can return but maybe as… a mortal.

NER: !!!!

Nora: Meaning…

Ren: She can finally be killed.

Ruby: Exactly. 

Nora: Yes! Fearless Leader strikes again. *hugs Jaune*

Jaune: Nora, calm down. Besides like Ruby said it’s theoretical. And even so, she could come back maybe stronger than before.

Weiss: Maybe. But still-

Yang: It’s better than nothing.

Jaune: *continues his research*

Ruby: Hey, can you all leave for a minute? I want to talk to Jaune alone. 

NER and WBY: *leave*

Jaune: *sigh*

Ruby: I’m… I’m… I’m sorry.

Jaune: For what?

Ruby: For what happened on the bridge? 

Jaune: *stops what he’s doing for a second*

Ruby: I… I figured out what happened. Put two and two together. And… I’m sorry.

Jaune: *continues working* Just promise this. Don’t be like them.

Ruby: Like who?

Jaune: Pyrrha. Penny. And Alyx.

Ruby: I don't -

Jaune: Pyrrha thought she could do it. Though it was slim she still went in with no way out. She could have lived to fight by our side if she hadn't been egotistic. Penny could have lived if she had been a little more selfish. Willingly to put her life first before others. What made her death even sadder was… she died a puppet on the strings. Alyx died because of ignorance. She thought irrationally. Jump to conclusions. Not taking the time to think things through. All those things probably are what ultimately led her to her death. She was truly a naive girl.

Ruby: *silent*

Jaune: Look Ruby, your silver eyes are not the only things that make you special. And just because you get praise for it doesn't mean you should let them define you. You are not alone. So please, count on me to help. Or at least your team. Don't die over pride. 

Ruby: *hugs Jaune*

Jaune: Hm. Hey, what's- …oh.

Ruby: *in tears* 

Jaune: *sighs and smiles* Alright, I’ll take a break, for you at least.

Ruby: Thank you.

[the-one-that-weeps]

The day people realise that Niigo symbolises life and rebirth and Wxs symbolises death and farewells is the day I can die in peace. No I will not elaborate further.

...

Actually yes, I will elaborate further. Much further.

If you take a closer look, all of the units represent rebirth, even if their portrait of it varies: Leoneed broke apart but came back together because whatever sets them apart isn't as crucial as what brings the together, More more jump almost gave up on their dreams but came back and came back stronger with newfound passion and Vivid Bad Squad are literally the ashes left behind by the dying phoenix that was Rad Weekend. They're bringing new fire to good old Vivid Street. If that's not life and rebirth I don't know what is.

And Niigo... Gosh. Niigo is about love. Niigo is about care, about healing, about despair and rage and joy but most of all it's all about love. Mizuki and their journey towards self-love and trust, Ena's fight and frustration to recover her love for art, Mafuyu's path through self-discovery, freedom and the cage of conditional love that keeps her locked away from it, and it all spins around a lone composer who carries around the rags of past love and comfort just as closely as her neverending guilt.

Just... Look at what they were during the main story and look at them now. They've grown so much stronger and so much healthier and it's all thanks to love.

It's also important to point out that none of these alliances have a reason to end. Niigo will keep composing for a brighter future even after 25:00 disappears from the clock, Vivid Bad Squad are on their way to not only surpass the ultimate legend but also expand outside of that (and potentially take over the world), More More Jump are doing better than ever even after they switched to the credit based course and Leoneed has a whole promise about never disbanding again!

It's devastating to know that Wonderlands X Showtime... Don't have that.

The disbandment arc has been teased for years and it will continue to be part of their story whether we like it or not. They have different objectives and different paths to cross. In other units characters fight to hold onto one another time and time again because of their love, but wxs love each other enough as to let each other go in order to secure a better end for everyone.

Wxs' themes and happiness and dreams, and obviously neither of those can last forever, but you can hold them close and relish in them while they're here. Isn't that what life is all about?

The thing is, feelings and people are ever changing, perhaps that’s what makes them so beautiful. And never and forever are a long time. But they don't exist. Not for you, not for me, not even for the sun and the stars. One day the music will stop and we'll know it's time for the curtain call to fall one last time. And then we'll begin again

[honestlyboringperson]

The mean gay and the even meaner bisexuals. And Pearl. (Persona 5 AU)

Also I just realized that Scott’s yellow eye is in the wrong socket. Eh, too late.

Southlanders

Team B.E.S.T.

Fairy Fort

Magic Mountain + Cub

More Information Below!

Scott - “Prism” - The Star Arcana - Dionysus/Sigyn

Sarcastic yet intensely devoted and loyal, Scott is known for his business “Chromia”. He sells dyed goods along with one of a kind clothing, along with the actual dyes themselves. He’s relatively well known throughout town due to his social media presence, and helps the Phantom Thieves with a calling card utilizing social media. Pearl and Scott are notable for their distaste of each other, which differs from their closeness a few years back. According to him, Scott only really joined the Phantom Thieves for his own amusement rather than agreeing with their goals.

Dionysus is Scott’s persona. Dionysus is the god of wine, revelry, orchards, and madness. I mean, Scott did join the phantom thieves for his amusement, so his persona is one of festivities. Another aspect of Dionysus is his Orphic version known as “Zagreus”. If you played Hades, you probably have an idea of who he is. He is the son of Hades and Persephone, and is the god of rebirth. The “rebirth” aspect of Zagreus can refer to the amount of times Scott barely escaped death from SEVERAL people.

Anyways, Scott’s Ultimate Persona is Sigyn, the norse goddess of mercy and compassion, and wife of the trickster god Loki. When Loki was caught and punished after he killed Baldr, he was sentenced to be tied under a venomous snake and have it’s venom fall into his eyes, Sigyn shirked his punishment by placing a bowl or basin above him to catch the venom before it falls into his eyes. However, some venom does get in his eyes when Sigyn goes to empty the bowl and Loki’s pained squirming causes earthquakes.

Pearl - “Carmine” - The Moon Arcana - Little Red/Diana

Pearl is a journalist, who often pulls all-nighters and stake-outs to get her scoops. Although chill and laidback during the night, during the day is a ball of feral neuroticism from the lack of sleep. She often finds herself in odd situations to find her scoops, usually seeking out seedy parts or town to report on the criminal activities. This also led her to meet a strange man covered in sunflowers saying she resembles his god in his religion and some oddball bar performer claiming she pushed him out of some godly realm. She is also one of the Pupil’s victims with false memories implanted in her. In this case, she believes Grian is her younger brother. She owns a little dog named “Tilly”.

Her Persona is Little Red, as in Little Red Riding Hood. More specifically, the version she and the huntsman along with her grandmother feed the wolves rocks after the huntsman cuts them out.It then dies either by drowning in a well where the rocks weigh it down or where the weight is just too much for it to handle and it dies. I mainly chose this for the ✨aesthetics✨, with a red cloak and giant terrifying wolf. I suppose it could represent the two sides of Pearl; the chill and laidback Pearl during the night and the feral (albeit kind of sad) and sleep deprived Pearl during the day.

Anyways, her Ultimate Persona is Diana, the Roman goddess of nature, hunters, wildlife, and the moon. She’s often equated with Artemis, but also has an association with Hecate, god of witchcraft due to both of them having crossroads under their dominion. Pearl could theoretically have any of these goddesses, due to their themes aligning with Pearl during Double Life where she goes kind of stir crazy and lonely. Heck, Hecate is even accompanied by a procession of dogs.

Cleo - “Ghoul” - The High Priestess Arcana - Bloody Mary/Durga

A sculptor known for her ornate, detailed, and beautifully haunting sculptures. She was one of the first people that managed to befriend Etho, most likely due to her similarly intimidating aura. She is roommates with Joe Hills, a strange man who often speaks through a puppet on his hand. She had to become more intimidating due to people with less than favourable intentions often flock to prodigy artists. However, if you have her back, she’ll have yours and will always make sure she fulfills a promise or repays a favour.

Her persona in the metaverse is Bloody Mary. She’s most known for her urban legend, where you can summon her via going into a dark room (usually a bathroom) with only a candle and reciting her name three times. Although there are several different origins she may have had, this version is specifically Mary Worth. She was a woman who lived in the woods who was accused of witchcraft. She was burning on the stake when she cursed the village, resulting in the vengeful ghost we know today.

Durga is the Hindu goddess of protection, strength, motherhood, destruction, and wars. She has the ability to unleash divine wrath on those who oppress and is often depicted riding a lion or tiger wielding multiple weapons and fighting demons. Cleo is both someone able to intimidate those into avoiding her and protecting her allies, represented by the combination of the aspects Durga represents. Also the motherhood aspect is calling back to when she was part of the c(l)ockers as the “mom”.

Gem - “Satyr” - The Strength Arcana - Atalanta/Freyja

Gem, although she may not look or act like it, is a former mercenary. She is retired, but not after making herself known through her feats of strength and her near inhuman fighting abilities. As of today however, she spends her days working as a lyricist and LARPing with her friends, as well as regularly bugging Etho. She can crush apples with her bare hands and is both well liked and feared by the rest of the phantom thieves.

Her initial persona is Atalanta, a famed hunter from Greek mythology. She was raised by bears and is the slayer of the Calydoanian Boar after Artemis wasn’t honoured with a sacrifice. She was also possibly a member of the Argonauts, where she fought along side them at the battle of Clolchis. She was a rare example of a female Greek hero in the frat house of the rest of the Greek heroes.

Her Ultimate Persona is Freyja, the Norse god of love, beauty, fertility, war, and gold. She and Odin equally spilt the soldiers who died in war into two halls, one belonging to Freyja. She wears a necklace called “Brísingamen”, obtained through trickery but was broken when she got so wrathful, the hall shook. Thor utilized said necklace to disguise as her to steal back his hammer Mjolnir.

[cherriesbloodclouds]

With the release of FF7 Rebirth coming up, I just want to remind you all how beautiful Cloud and Aerith's relationship is. Even if it didn't present any romantic undertones (which it obviously has), it's such a crazy relationship because what if I learned to care and love for you in a way that I haven't cared for about anyone else. What if the guilt of your death is what ultimately brought me back to you, because I cannot live without your forgiveness, even if you do not believe it was my fault after all.

What if I spent all these years waiting for someone who has never come, and you come into my life. There's a sense of familiarity there, like we've known each other for a long time, and maybe, even though it's useless and we're destined to meet the same fate, we try again, because that's what love is for.

[redhoodinternaldialectical]

Thoughts on Jason Todd’s choice of weaponry?

:D an ask! Yay!

Oooh, lets see, I'll start with the crowbars because I appear to be like one of three people on the entire planet who actually likes them.

They're a tacky as fuck riff on the fact that Jason's death is central to his character. They overemphasize the manner in which he died, muddy the waters about what part of his death is important to him, and strangely cheapens the manner in which he died through the parody feel of it.

No one seems to really disagree with my analysis here, but I happen to enjoy that about them and think it's very on brand for Jason. What can I say? They're fun!

Best Quality - His Wiggles

This ultra-sharp curved blade used to be his signature character design feature, the way the white streak in his hair is now, and I'm really not sure why it didn't stick!

Best weapon he's ever had, bring it back please!!!!!

The All-Blades

hmmmmmmmmmmmmmm....

HMMMMMMMMMMMMMMMMMMMMMMM...

I have mixed feelings about the All-Blades. Like much of Lobdell's work: phenomenal idea, poor execution. Giving the guy who is most known for being morally grey a set of powers that is exclusively based on moral absolutes sucks shit, I gotta be honest, and the trick he pulled on the blood blade was cool but ultimately does nothing to solve those problems.

HOWEVER

I want to love them so fucking badly. A set of glowy soul blades is a dope sicknasty off the chain concept and I wish the well wasn't poisoned with the moral implications and the restrictions to use them only on the "Untitled", a set of enemies that only exist for Jason so far as I can tell. If someone seriously took Jason down a magic based path that removed the DnD alignment chart bullshit, I would be so game to see them come back! Hell I wouldn't even insist on a better cooler design for them!

...though uh, yeah those are the least interesting magic sword designs I've ever seen tbh

Normal Ass Swords

They're alright I guess. Like, there's nothing in it really, but it's not bad?

Guns - Real Bullets

Excellent, evocative yet simple, straightforwards and to the point. It makes hella sense thematically to boot, love this for him, please give him back his pistols and miniguns and shit

Guns - Rubber Bullets

Hate. HATE. hate ick disgusting bad NO.

I just fucking hate rubber bullets, like, as a concept. I refuse to accept "non-lethal" bullets as a valid use of gun, either in real life or in fiction. Guns are for putting many holes in things very fast!!!! If you're gonna use a gun, fucking well own up to that!!! Do not play this silly ass game of pretending that you can change out the material and do the same things as with lead bullets but with the video game status effect of "non-lethal" applied. YOU ARE GIVING PEOPLE SMALL CIRCULAR BRUISES. This is still harmful, yes, ooph ouchie, but it is not even slightly a good use of a gun, you are wasting holster space, and carry weight, and the physical materials used to make it all!!

JUST USE A FUCKING STICK! YOU DON'T RUN OUT OF STICK AMMO!

My belief in his capacity to take out enemies is shattered the instant those fuckers are on panel. Maybe this ain't entirely rational, or realistic to how fights go with rubber bullets IRL, but I hate them so much on principle that I will ignore any counterargument you might have that they'd work. I will die on this hill. Rubber bullets BAD. Please stop making him use this!!

Bombs

Love it, give him more bombs forever

ka-BOOM!!!!

His Brain

This is actually his best weapon - sorry wiggly knife, you're being shunted down to number 2 on a last minute technicality! I think Jason is at his best when he's outsmarting people and making long term fucked up schemes to ruin people's lives.

He's so good at it! It's so fun to watch him do it!

Genuinely a shame that this facet of him was mostly lost after Flashpoint, though to give credit where it is due, in Rebirth Jason did ruin the Penguin's life in an impressively elaborate way, which I did really enjoy. I want to see him be a tactical deliberate menace to one person in specific again idk, that's part of why I do kinda agree that he works better as an antagonist than a protagonist - which it should be noted does not mean I think he works better as a villain necessarily, his ethics aren't what matter here - he's just had his best moments as the schemer, and it's hard to have a protagonist schemer even when you make them ethically the good guy.

I hope you enjoyed my nattering on about Jason's weapons :D thank ye again for ask!

[idkwhyyouaskingm3-blog]

Final Error Theory before we get everything confirmed.

Error is an Archivist from a different dimension. If I had to guess it was the dimension that the meat hole tape was sent to that's why Error sounds like that statement giver.

When RedCanary removed the box from the Magnus Institute ruins something happened that weakened the wall between the TMAGP dimension and the Error dimension. That's why RC doesn't find any paper or mulch but Sam and Alice do. It's also why there's so much more rot 2 years on (more damage in 2 yrs than in the 20 yrs before hand). RC says the flooring pretty sturdy and he only breaks the floor a bit because he's clumsy. Alice and Sam fall through multiple times and Sam gets into the archive because the wood around the lock is rotten. The water damage is from Error trying to break through the trap door that's keeping it shut in. It's also why RC didn't find the archive but Sam and Alice do. It's a blurring between Errors and TMAGP dimension.

Once in the TMAGP Dimension Error isn't fully corporeal. It doesn't walk in and out. It emerges and recedes. It's stuck between both dimensions.

It only seems to turn up around water. In Alchemy Water represents the last stage in life. It breaths in the new statements linking the new dimension to Air which represents the first stage in life. Something something rebirth.

It can't survive without the fears that aren't in this dimension. It uses the tapes to keep itself alive. That's why it's described as cloaked in pained whispers. It's surrounded by the statements. It's also why it can't breath well and talks in short raspy sentences.

Ink5ouls can hold the recorder after the statement is taken. The statement has given the recorder it's form. It's only temporary though that's why there's not loads of tapes running around biting people and why they disappear eventually even though Error doesn't pick them up.

This is also why the statements taken from the victims seem to hit on a lot of the things we associate with the fear. (Mr Jarrod Hunted, Drown victims experience sounding a lot like the water version of Daisys coffin experience, Violet mostly a lonely statement with a bit of the spiral, Gwen Corruption, Sams flicks between different fears finishing on the flesh.)

Error isn't trying to kill the victims. When it takes a statement it puts it's victim between dimensions similar to itself. That's why they're unaware of the world around them but can still be seen. Sam's described as receding into the nightmare. Violet is found miles from home. Drown victim still drowns in salt water even though they're not near the sea, Mr Jarrod doesn't die until he stops running. Interacting with people in the real world pulls the victim more into the real world. That's why Gwen can run away, that's why Mr Jarrod briefly sees Alex. It could even be why the drown victim comes back up for air a few times, she's bumping into people. Gwen, Sam (and Ink5ouls) don't die because their nightmare didn't end in death. It's also why 2 of the victims are dated 2 days after each other but we only have 3 dead victims (that we know of). Not everyone's dying we just hear about the dead ones.

I think Error is ultimately trying to find a more permanent solution. Similar to how Lady M can smell that Celia isn't from this dimension it knows someone in the OIARs is out of place. Maybe it can't quite tell who. Knowing everything Gwen knows it couldn't tell who it was but now it knows what Sam knows it's worked out that Celia is the odd one out. It's going to Hilltop Road because that's the next place Sam and Celia are going to outside of work and it can only move around when waters present. It's getting there before the storm ends.

I think it's either going to body hop Celia or attempt to use her to become corporeal.

I don't know if it'll work because Sam doesn't know that Celia's also been waking up closer and closer to Hilltop Road, the place she probably came to this dimension from.

[sihayadunee]

🌘 THE ECLIPSE a UNION of OPPOSITES 🌒

an analysis of the mythic motifs in dune part two through the lens of mythologist joseph campbell, and some predictions for dune messiah

• Divine Couple

• Death and Rebirth

• Redemption Through Divine Union

• House of Atreus

• Lunar-Masculine / Solar-Feminine

• Goddesses

THE ECLIPSE

This motif has been connected to Dune since the first film’s promo, especially with the concluding track of Dark Side of the Moon accompanying the initial trailer. Some fans believed this theme had been dropped as it wasn’t very present in the first film. However the eclipse continued throughout the promo of the second film. This was because Part Two is where the real pay off is, already in the first 10 minutes.

This concept is intrinsic to Denis Villeneuve’s adaptation. Since the first film I have been saying that Dune embraces the Lunar-Masculine (Paul) and Solar-Feminine (Chani). However beyond just that, Dune: Part Two showcases multiple pairings of the lunar-solar dynamic.

But before we jump into that, let’s establish the meaning of an eclipses in general mythology. Typically they are a symbol of death and renewal. Common interpretations have a beast devouring the sun, or a celestial couple evading or pursuing one another. These interpretations are consistent over and again in Dune.

What we will see, is that the greater Imperium holds a Solar-Masculine identity, but when it comes to Arrakis there is a distinct shift to the Solar-Feminine archetype.

PAUL as the MOON

There are an innumerable amount of connections. Bull motifs are reoccurring throughout the first film, where he grew up on a water world. After all, the moon is associated with the tides. He takes the name Muad’Dib, and one of the moons of Arrakis has the icon of a Muad’Dib aka Desert Mouse visible on its surface. And ultimately, Paul experiences rebirth in Part Two.

The bull is a figure of sacrifice which aligns very well with the lineage of House Atreides which can be traced back to the House of Atreus and it’s curse of familial murder, betrayal and symbolic consumption. Sacrifice of the children in each new generation.

IRULAN and the GOLDEN LION THRONE

Starting here is a good place, because it shows the transition of the Solar-Masculine of the wider Imperium toward the Solar-Feminine of Arrakis. Irulan Corrino of House Corrino is the daughter of Emperor Shaddam who sits on the Golden Lion Throne. His reign is coming to a close as Paul rises on Arrakis, and with no male heirs Irulan his eldest is the successor destined for marriage. In this way Irulan becomes the embodiment of the Lion Throne, and her determination in Dune Messiah to produce Paul’s heir becomes clear. That function of the Queen Mother and how that feeds back into the Solar-Masculine as the King becomes tied to the lion and the throne once more.

In particular I would say her story is best reflected in the myth of the goddess Cybele who falls for Attis and when he falls for a mortal girl Cybele plots betrayal. Something for which she later feels guilt and tries to make amends for (Children of Dune).

PAUL and JESSICA

Their dynamic is incredibly complicated, but I think the opening of the film during the eclipse sums it up very well. You follow the path of the moon as it covers the sun, and as it meets its full coverage Paul is the one taking action in the fight against the Harkonnen. However as the moon passes by and the sun takes over again, Jessica emerges to save Paul’s life.

This was intentional by the filmmakers, as is revealed in the Art and Soul of Dune Part Two, DP Greig Fraser identified the exact time, date and location in order to shoot the sun as it appears directly behind Rebecca Ferguson.

Jessica represents the sun on Arrakis, and in this scene we see how the moon dies into the sun to be reborn in their dynamic. It also lines up with motifs of the sun goddess giving birth to the sacrificial bull. Sacrifice toward this death and rebirth.

What we see is the separation of mother and son that brings them back together in the same place. Paul takes the lead and rejects his mother’s influence, but she leads him toward the death and rebirth he must experience, and this brings them back to a common understanding.

This is also why having Jessica sit the Atreides “throne” in the finale instead of Paul (who did so in the book) makes mythic sense. Because again we return to the Solar-Feminine mother as the throne, and her son as king. But in a different context here then what Irulan aspires toward.

A SYMBOLIC UNION aka THE BULL SACRIFICE

The House Harkonnen family seal in the books is the griffin, which makes his introduction in a gladiator arena killing Atreides even more appropriate. Feyd’s birthday is also associated with a solar event. Because ultimately Feyd is the matador and Paul is the bull.

What works so fantastically about the dual, is how it is bathed in the sunlight. After all, the sun figure (day) is facing off against the moon (night) figure in this sequence. Plus the bull was the eventual demise of Paul’s grandfather who was a matador. This takes place at sunrise, and it’s a dual for the throne, where whoever is victorious inherits the Golden Lion Throne. The

Denis specially describes the dual as a symbolic union, and it works on multiple layers. This bull sacrifice, is in essence the quote from part one of “when you take a life you take your own” so Paul killing Feyd is penetration, intimacy, it is rebirth.

It is also reminiscent of how Campbell describes the sun-moon twins of Navajo myth:

The two, Sun-child and Water-child, antagonistic yet cooperative, represent a single cosmic force, polarized, split, and turned against itself in mutual portions. The life-supporting sap-power, mysterious in the lunar rhythm of its tides, growing and decaying at a time, counters and tempers the solar file of the zenith, life- desiccating it its brilliance, yet by whose heat all lives.

— Joseph Campbell's Commentary from "Where the Two Came to Their Father: A Navaho War Ceremonial" by Jeff King and Maud Oakes

DESERT SPRING TEARS and DIVINE UNION

There is a section in the Dune Encyclopedia that talks about the foundation of the Bene Gesserit beliefs. In particular the teachings of a certain ancestral memory personality, called Inanna (yes that is the name of the Sumerian goddess who was also in a divine union caught between life and death glad you asked) about the Kwisatz Haderach. It basically establishes that the entire premise of the Bene Gesserit and the Kwisatz Haderach is in essence the Divine Couple.

It specifies two mirrored dynamics the son saved/resurrected by the mother and the husband saved/resurrected by the wife. Inanna called them Au Set and Au Sar. The Kemet names for Isis and Osiris. The idea of the Bene Gesserit would have this as the mother of the KH, and the Corrino princess he would have married. But with things thrown off course, it represents outside their control.

In Dune, we see it between Paul and Chani. Like Isis who has the solar disc and Osiris who is tied to water and death, her lover has died and she is the one to revive him.

Furthermore the concept of mythical tears can be found in the goddess Freya (who arguably is compatible with sun-goddess motifs) who weeps when her husband Odin is lost to her.

But perhaps most compatible—the healing tears of a phoenix. A bird archetype similar to Isis as bird. This is where the yin-yang dynamic of Chani and Paul becomes most apparent, since the serpent is synonymous with the bull and therefore Paul who “makes peace with Shai-Hulud” encompasses the dragon (yang) as a complement to Chani’s phoenix (yin).

In the behind the scenes of Dune Part Two, the Maker Temple is said to be designed like the infinity symbol with the two circles (one of sand and one of water). Sand being death and water being life, but also the reverse. As the sandworm thrives in the sand but is drowned in the water. And Paul is stuck between life and death, literally laying between both pools, when Chani comes to resurrect him.

This film literally has three kisses. Their first kiss when Chani says she will show him the way of the Fremen, their second kiss on screen when she says he will never lose her before going South, and the third symbolic kiss of life.

This marriage/death is also foreshadowed in Paul’s visions in Part One when Chani kisses him and then stabs him. Which is where we return to Isis and Osiris because Paul’s death state (dying again as we established, after killing Feyd, similar in a way to Set and Osiris) is where we will eventually get the twins Leto II and Ghanima with Leto II being the Horus in this equation.

As the Pink Floyd lyrics say, the sun is eclipsed by the moon and this is captured in the heartbreak Chani feels over losing Paul and losing her people to the Lisan al Gaib. The Fremen way of life has been eclipsed and over taken by the Atreides and the Bene Gesserit. Here we see more of the concept of that beast devouring the sun from the beginning, verses the celestial couple dynamic.

Chani leaving the residency chamber is also reminiscent of certain myths like Amaterasu going into hiding, or the Inuit folktale about the sun goddess fleeing her moon god brother/lover who pursues her.

However the Dune Encyclopedia also talks about the concept of redemption (which is why in the film Mohiam asks Margot if Feyd is capable of redemption) of the “mate savior”. The Kwisatz Haderach. They would bring about a release from bondage through redemption and rebirth.

Which is relevant to the dynamic of Paul and Chani in Dune Messiah for Denis, because he has said Paul is going to be looking to save his soul in part three, and how Paul and Chani come back together won’t just be explained away off screen between films. It will be that continued cycle of rebirth, through redemptive love. Rebirth as a whole in Dune is worth its own discussion, since all the different Jungian descriptions of it can be found within this universe.

CONCLUSION

The eclipse, a lunar-solar dynamic representing the union of opposites, is very significant in Dune Part Two and sheds a lot of light onto what we can anticipate next in Dune Messiah, particularly in regards to the central romance between Paul and Chani and the changes Denis has made from book to screen.

[o-wild-west-wind]

okay, here’s my actual thoughtful post: I get why people are upset about the finale…I really do. but I want to mention that there’s a bigger picture to this story that’s missing if you’re zooming too close onto Izzy as a character, and I’m honestly so grateful that the show stuck to the thematic arc it introduced in season 1 because, as per usual, it’s about the themes 🤌 and this show never skimps on the symbolism!!

so here’s the thing: the primary themes are toxic masculinity (& it’s opposite, queer joy); trauma; love as a healing force for the above; and, title alert—DEATH. because it’s so much more than a cool title!

now, Izzy has always represented something metaphorical about all of these points; most directly, he’s always represented masculinity, and s2 has been an arc of toxicity deconstruction. but crucially, he’s also represented all that for Ed, who is the deuteragonist of this show. because—don’t forget—Stede and Ed are the show.

I’ve always doubted myself for feeling this after seeing how fandom saw Izzy as a third romantic figure (which like by all means have a blast in your fanfics I don’t care it’s about joy at the end of the day and pursue that as you want to), but after hearing something about djenks referring to Izzy as a father figure, it confirms a major point for me—Izzy is also in a lot of ways a parallel to Ed’s dad, and a representation of the trauma and guilt Ed felt from that formative killing. for so long, Izzy was an aggressive shadow in Ed’s life, and a tangible reminder of those daddy issues—someone telling him what to do, keeping him Blackbeard—and the beautiful thing is how that changed this season, how Izzy became a version of masculinity that could love and be beautiful and make good from the hurt, the literal poison into positivity. someone antithetical to his own paternalistic force, healing our daddy issues one drag show at a time. BUT, Izzy is still thematically representative within Ed’s arc—and by also representing the trauma that made Ed “Blackbeard,” it does make smart writing sense as to why Izzy died (NOT saying you can’t be sad about it—stick with me for a moment).

because here’s the thing—as aforementioned, this show is also about DEATH. killing is the root of everyone’s trauma, and reconciling a relationship with death is the ultimate arc Ed and Stede are both on, with the ultimate path of learning to live despite its inevitability. there’s a reason it was such a huge thing that Ed couldn’t personally kill, and then in this episode killed so many people with his bare hands in the name of love—and there’s a reason that was framed as a good thing. and there’s also Ed’s (and arguably Stede’s) active suicidality, which has been a huge force driving this season. these are characters who see death as this all-consuming thing, and they see their own deaths as the only solution. death is the traumatic force driving almost everything about their being for so long—and its reconciliation is everything for them, the greatest sign of growth. so Izzy’s death, and everyone beginning again with love—healing each other with love—is a cap to it all. it’s death as a positive force, for once. it’s death as love, not trauma. it’s death as something that will always happen, but this time not forced by your own hand. it’s a death to everything toxic, to what “Blackbeard” represented, and all the while a sort of rebirth. it’s kind of a death to…death? it’s functionally like the real physical moon replacing the giant romantic imaginary orb: it’s taking the thing that’s been artificially morphed in Stede and Ed’s heads and making it real this time, with all the bittersweet emotions that come with tangible reality.

and honestly, I’m glad that it was tragic and emotional. I didn’t think I’d be so devastated to see Izzy die, but it really did get to me, especially because of everything he said to Ricky and then to Ed. but think of it this way: Izzy and Ed might be romantically compelling because they were toxic and charged (and I hope people still enjoy everything they get from that dynamic in fan work), but imagine if the show had actually gone in that direction—where would it take us thematically? it would kill the thesis; it would be love as chaos and entertainment, but not healing. instead, this show gave us something so much more powerful: a legitimate, fully-fleshed trauma arc.

trauma hurts. Izzy’s death hurts. but that’s okay. that’s great, actually! it means the storytelling was effective—that Izzy’s arc made you feel something. and i know this won’t be every viewer’s experience, but honestly? I’m glad I can have this grieving process in such a beautifully framed light in the safe space ship of this show, because let’s be real—death, real life death, fucks you up. and let me tell you, I could’ve used this show during so many episodes of grief in my life. but here it is now, reminding us that our grief and trauma doesn’t define us—and WHAT a powerful thing for queer love, especially, to be presented as the thing that heals us all. ESPECIALLY when so much grief and death in this community is woven so deeply with the trauma of our identity.

so grieve as you need to, but don’t forget to turn the poison into positivity 💛 because that’s what the show is telling us—choose live, despite!

[amphibious-thing]

Hi!

I really enjoy your posts about d'Eon; she's so fascinating. I'm definitely not an expert on her, but I'm very interested! One article I read said that, in her unfinished memoirs, she used both male and female pronouns. Is this a) even true, given some of the clearly wrong historical writing you've cited before, and b) if it is true, what do you think about it?

So I don't speak French. D'Eon's unfinished memoirs were originally written in French and I'm working with an English translation. This makes any discussion of gendered language in her memoirs a bit more difficult as there are words that are gendered in French but gender neutral in English and vice versa. Helpfully the translation by Roland A. Champagne, Nina Ekstein and Gary Kates notes when the masculine or feminine form is being used. However I'm still answering this question based on a translation not d'Eon's original words.

D'Eon's memoirs are written in first person so the majority of the pronouns she uses for herself are first person pronouns (I, me, my, mine).

Other characters use either he/him or she/her pronouns for d'Eon but this reflects that characters perspective not d'Eon's personal pronouns. For example in a scene set in Russia the Comte de Vorontsov confronts d'Eon about her double life, using feminine pronouns for Mademoiselle d'Eon and masculine pronouns for Captain d'Eon:

This young lady remarked to Madame Vorontsov and to my niece the Princess Asthoff that she remembers very well that Mademoiselle d'Eon has a small wine-colored birthmark on her left cheek near her ear, that at the convent in Meaux she wore gold-drop earrings, and that if Captain d'Eon has this wine-colored birthmark on his left cheek and that if he has pierced ears, you can be sure that this is the Demoiselle d'Eon whom I knew in the convent. (p20)

D'Eon pretty consistently seems to use feminine language for herself when speaking in the present tense. She uses the words "woman", "girl", "maiden", "daughter", the titles "mademoiselle" and "chevalière" and "she/her" pronouns at points when she slips into third person.

However when talking in the past tense she sometimes describes herself in the masculine. She was a "man" but is now a "woman". She will sometime talk about her past self in third person referring to "him" as her "brother". After Mademoiselle Bertin dresses d'Eon in woman's clothes for the first time d'Eon says to her:

You have killed my brother the dragoon. That leaves me with a heavy heart. (p61)

D'Eon's describes her transition as a death and rebirth. A few weeks before d'Eon was to be presented at the Court of Versailles as a woman she returns home to Tonnerre. Still wearing men's clothes she gets into an argument with her mother who believes she should start wearing women's clothes immediately. But d'Eon is reluctant, avoiding it. At one point in the argument d'Eon tells her mother she must resign herself to "the imminent death of your pitiful dragoon" as "he" only has a few weeks left in men's clothes. Their argument ends with the following passage:

In tears, my mother said to me: "You are still my dear daughter sitting in the darkness and the shadow of death. But you will be reborn, my daughter, without fear or reproach, to live and die peacefully by your mother, who loves and will always cherish you. For your salvation and our mutual happiness, I have long prayed for the misfortune that befalls you." She wiped her tears against my face and returned to her room. I hid my face under the covers in order not to see or hear anything. I was even troubled by my own presence in he darkness of night. (p41)

While d'Eon describes the loss of her "brother" the dragoon as painful she ultimately sees it as something that is necessary and positive:

Mademoiselle d'Eon has only one more step to take to bury her brother the captain of the dragoons with the full honors of War ... Tomorrow without fail I will inform Mademoiselle Bertin of my return to Paris and tell her to bring with her feathered aides-de-camp to deplume me and to sew the dragoon's skin to that of a girl who is worn out from bitter disappointment with her own skin. This girl has the greatest need of her help to be trimmed, readied, and fitted out by her skillful hand in order that I may walk with unworried assurance along the narrow path of virtue, as is befitting a Christian maiden (p56)

The death of the dragoon captain gives life to the Christian maiden:

In my regiment I sought only the rough and tumble. But in my convent I find only remedies and healing. Thus by a natural tendency I find it impossible to reconcile Mademoiselle d'Eon with her brother, the dragoon captain. The brother is imperfect, the sister perfect. How can one reconcile between the imperfect and the perfect? (p72)

Her life as Geneviève d’Eon brings her joy:

At present I am living in profound peace; and my joy is so great that I praise God in three languages so that a greater number of people may partake of the happiness of the angels in this life while awaiting the crown of ordinary martyrs, Nunc Genofeva d'Eon est nomen meum; quam suave et dulce est laetitia mea! [My name is now Geneviève d’Eon; how delightful and how sweet is my joy!] (p87)

However she doesn't always refer to her pre-transition self in the masculine. D'Eon presents herself as a woman who was raised as a boy by her parents: "I had been educated as a boy, and I dressed as one." (p7) She describes her past self as a "foolish girl who was tricked to go along like a foolish ewe." (p3)

One interesting example of d'Eon's use of gendered language is her invention of the word "demoiseau". One of the translators Roland A. Champagne describes it as a "masculine version of demoiselle" and explains "We translated demoiseau as "pretty boy" in order to capture the lexical proximity of demoiseau to damoiseau ("fop")." Champagne concludes that "d'Éon constructed in a neutral gender the demoiseau to live as a masculine woman beyond the codes of the Ancien Regime." (Decoding "The Maiden of Tonnerre": Translating Gender from the Eighteenth Century)

Champagne is correct to say that d'Eon lived as a "masculine woman" but I think he might be making too much of this one word considering the context. The word "demoiseau" comes from the following exchange between d'Eon and Bertin:

Mademoiselle d'Eon. Alas, at court everything is beautiful. To please the court, does a former dragoon captain have to become a pretty boy [demoiseau]? Mademoiselle Bertin. Yes, absolutely, when the so-called "boy" is discovered to be in fact a girl by the systems of justice both in England and in France. (p64)

So I don't think d'Eon necessarily identified as a "demoiseau" but perhaps I'm missing something in translation.

The part I struggle with the most is words that are gender neutral in English but gendered in French. Without being familiar with French it's difficult for me to understand what the use of masculine and feminine forms of words means in context. Take the following passage for example:

Neither my body nor my mind was worn out from studying when my father took(m) me to Paris at the age of thirteen. At that point, I knew only how to read and write, and not well at that. I, however, fell into the hands(f) of my uncle and aunt who made(m) me feel ashamed(m) of my ignorance and who motivated me to study. Furthermore, they alerted and warned me that if I revealed the truth of my sex I would be locked away(f) in a convent forever. (p4)

In "my father took(m) me" took is masculine. Does that mean that d'Eon is masculine, her father is masculine or the act of taking is masculine? What about "made(m) me feel ashamed(m) of my ignorance" is d'Eon masculine or is her shame masculine? If her sex if revealed she will be "locked away(f) in a convent". Why is the word away feminine?

One thing that I particularly found interesting is that the pronoun "me" is sometimes marked as feminine, sometimes masculine, but most often not marked as either. So we have:

The Revolution made me(m) so rich that today I do not have the means to buy ink or paper.

And then just a few paragraphs later:

I would just as soon suffer childbirth as to be doing this painful work of writing, which I have begun because of the destitution to which the Revolution has reduced me(f).

Then a few paragraphs latter:

I am no longer a disciple of this world since my wonderful conversion, which separated me(f) completely from the body of the dragoons and from the sin of my uniform and which finally stripped away the old man in order to make of me a totally new being before Our Lord, in the eyes of men, in front of the Queen's ladies-in-waiting as well as the Daughters of Holy Mary, and in the hopes of the fortune reserved for me in heaven. The knowledge of that fortune has filled me(m) with complete wisdom and spiritual intelligence so that I might bring to fruition every good action and so that I might behave as befits a Christian woman not only before the world but also before the Lord, since during my novitiate I was washed(f), probed(f), tested(f), corrected(f), corroborated(f), strengthened(f), and rooted(f) in every way, which I endured, in complete patience and spiritual tranquility, the Lord having erased my obligations, which consisted of military orders, orders contrary to my spirit, and which He completely abolished and replaced with my new obligation to live and die in the essential purity of my innocent dress, no longer thinking of those things here below but only about those on high. (p136-137)

The switching back and forth between "me(m)" and "me(f)" is interesting but I honestly have no idea what it means.

If I ignore all the little "f"s and "m"s the gendered language seems pretty clear and consistent. D'Eon is a woman who was raised as a boy. She is feminine in the present tense but sometimes masculine in the past tense. But I can't just ignore the fact that I'm reading a translation. That would not be a honest analysis of her memoirs. I'd love if someone who is familiar with French went through her writing and really analysed her use of gendered language. I'm unfortunately restricted by the limits of working with a translation.

[stellarxdeath]

I've seen a handful of posts lately saying that the writers of IWTV have butchered Claudia's character and/or wrote her poorly, things of that ilk; lamenting how dirty she was done by the skill of the writers. Now that I'm all caught up and s2 is finished* [ sob ] I... Have some choice thoughts on this perspective.

Number one being that Claudia was explicitly doomed by the narrative the moment she'd been introduced to it. Her death is referenced but not outright stated initially, moreso implied, but the writing makes no mistake in telling us that Claudia, the Child Vampiress, will die. She's not potentially out there somewhere, she's not in hiding, she is dead, and she will never be able to tell us the whole of her truth beyond her diaries.

The second issue that the "IWTV Writers bad" crowd seems to forget is that, Even with the diaries, this is ultimately Louis' story, and the gaps in perspective are inevitably filled by him and eventually Armand, but never Claudia. She was disregarded because time and time again, Louis disregarded her for Lestat, and then for Armand; She was betrayed by the coven she professed her love for with a horrible, terrible, calculated eagerness because of Louis coming in and fucking with the coven dynamic; Regardless if that dynamic was healthy or not.

What Claudia and Louis had was precious, but it was also deeply, deeply flawed. He can effectively be blamed for her death, drawn all the way back to the riots incited by his choice to kill Fenwick; Was Louis justified in doing so? Yeah, abso-fucking-lutely, but this doesn't change the fact that his choices directly damned her to die.

Third is the claim that Claudia went from lethal and independent to desperate and weak? When? No?? Again I'm loosely paraphrasing some posts I've seen and attempting to take them in good faith; Claudia, from season one, was very interested in finding other Vampires, she was hellbent on it, and unfortunately it lead her to Bruce aka "The Motherfucker."

Her attempt to take Louis with her to Europe in s1 was in service of that goal. Claudia wanted to escape Lestat, she wanted to save Louis, and she wanted to find her people. She even tried to make her own Vampires despite being a fledgling! She has always wanted community, and I'd go as far as to say she was so strong because she could only rely on herself for so goddamn long, Louis being trapped under Lestat's thumb even after Lestat came crawling back in the later half of s1.

I understand that Claudia is a fan fave and people very rightly wished for her to live - the thing I have a gripe with is that some are taking this love for her and making it more important than the story itself. Interview With The Vampire is a tale of regret, trauma and abuse, a story of how memories are monsters and to be a Vampire is to be damned to the Odyssey of recollection, and if you don't survive, your memory will always inevitably be twisted over time. A life in eternity is a life full of pain.

The fact that people are so upset over the unfairness of her life is the intended effect; You are supposed to be upset that she is doomed, the writers of IWTV did a fucking fantastic job of making you feel that way - however, blaming the writers and crying "Bad writing" over the intended reaction feels just a tad silly to me.

As another post put it: Louis loved Claudia so much, but it was never enough. Everyone in Claudia's life except for Madeline betrayed her, her vampyric rebirth was the bandaid to a shitty vampyric marriage, she was denied her own life and Armand the Ancient fucking Coven Leader did nothing to save her; so much so that she was a goddamn Sacrifice so that Louis may live instead. Disregarded. Doomed. Damned. The injustice is meant to piss you off, I beg of those who think the Writers fucked up to simply sit with that feeling. Sit with the injustice. In the end, it's all any of us can do.

it was not finished oops* more opinions on the way

[aihoshiino]

Oshi no Ko 145: A Story Without 「アイ」

The question of how exactly Aqua and Ruby were reborn is something that floats around vaguely in the early stages of the Oshi no Ko, teased as a mystery that will exist in the background as opposed to one actively pursued for resolution. My theory is that this element of the story was likely more prominent in the version of Oshi no Ko that was originally conceptualized (i.e, the one that did not involve Ai's death) but the abrupt change to the story's dramatic tone and intensity pushed it into the background. As it stands, Aqua's wishy-washy statement that he'll figure it out once he's done enjoying Baby Mode about matches the weight this is given is the narrative, at least to begin with.

Even with the turn in tone and focus the manga takes, we do ultimately circle back to addressing and answering this question via the presence of Crow Girl/Tsukuyomi who seems to be the one responsible for facilitating their reincarnation in some way or another. Admittedly, this reveal in 145 comes a bit abruptly and the implied motivations it ascribes to Tsukuyomi don't… really line up with the things she says and does prior to the Movie Arc. But what really left me a little cold with this reveal is that it does not involve Ai whatsoever. Her name and even her image are not even once mentioned, not even in passing by GRSR.

This made me feel pretty uncomfortable for a variety of reasons I'll get into later but it wasn't until I started going through the manga to look more into how the reincarnation had been discussed before that I realized just why this felt so jarring - it simply wasn't consistent with what came beforehand. While the current explanation excludes Ai entirely, prior discussion of GRSR's reincarnation centers her to an equal and opposite degree.

Both Gorou and Sarina are thinking of Ai as they die, with both of them also (even if only symbolically) hearing her voice in their final moments. Gorou hears her singing as his ringtone plays and Ruby says Ai was "singing in [her] head" up to the very end. Ai's face is implicitly the first thing either of them see after being reborn and Aqua even speculates, as his first guess as to the nature of their rebirth, that it was this strength of feeling all focused on specifically Ai that caused it to happen.

Not only that, but Ai is even centered in the "fake" story of their rebirth that the twins sell Miyako to get her on board.

Perception of this bit in the fandom seems to vary from "it's just a joke" to "Jokes Are The Deepest Lore" and beyond. I myself don't put a massive amount of weight on it. However, in discussions where this is taken even semi-seriously as foreshadowing then it is flatly disingenuous to cherrypick the AQRB crumbs while not giving the same weight to the (imo, equally loaded) implication that Gorou and Sarina were reborn as Ai's children because she herself was favoured by the gods.

As the murder mystery elements of the story take prominence, this question is left unanswered but resurfaces towards the end of the Private arc with the arrival of Tsukuyomi. Here, too, we see Ai being centered as a key figure in Gorou and Sarina's reincarnation - the chapter is even named 'Mother and Mother', in reference to both of Aqua's mothers for each of his lives.

Most tellingly of all to me, however, is Tsukuyomi's appearance at the end of the chapter. Literally her first speaking line is commenting on how kind the gods must be to bring the Hoshinos together - describing them as (paraphrased) two motherless children and a childless mother and ascribing a great deal of weight to their togetherness.

Even if you disagree that the manga is centering Ai in this context, it is undeniable that the togetherness of the Hoshinos as a trio and specifically as a mother and children is what Tsukuyomi is highlighting as being meaningful here.

We even see a repeat of this in chapter 118 and her first on-screen conversation with Aqua.

I've seen people take this to mean, in the context of future chapter hindsight, that she is claiming the 'meaning' of his rebirth is his connection to Ruby. But if you go back and follow the thread that leads to this mic drop... it's a conversation that's about Ai. And specifically, Aqua is told to consider what it means that his soul was reborn in that body (emphasis mine): i.e, what does it mean that he was reborn specifically as Ai Hoshino's son?

With all this laid out, I really don't think it's a stretch to say that Ai, both as an idol and a person, is treated as a more or less equal part of the GRSR -> AQRB reincarnation as the two people being reborn. Which, like… she should be! She's their mother. But when we do finally get around to concretely answering this question..

Zip. Zilch. Nada. It had nothing to do with her. The closest we get to an acknowledgement that she even exists full stop is her goofy ass bunny mascot's face on (presumably) Sarina's snowman.

As I've said before, the basic beats of this as an answer to 'why reincarnation' are not inherently bad or unworkable. An animal repaying human kindness in some supernatural way is a tale as old as tales and given the ways in which Oshi no Ko plays around with mythological and folkloric ideas, making the reincarnation the result of a Tsuru no Ongaeshi-esque repayment of selfless kindness suits it quite well. The issue here is not one of an inherently broken idea, but flawed execution.

If this is the final word on the hows and whys of Gorou and Sarina's reincarnation - and I feel more or less settled that it is - then Ai has been entirely excluded from the birth of her own children. The sheer amount of weight placed on her role, specifically, as Aqua and Ruby's mother has vanished because after all the build up of why? the answer seems to be just that she happened to be pregnant.

I don't think I need to overexplain why it feels gross for Ai to be reduced to a convenient walking uterus in this regard. This was the element of this answer that made me so uncomfortable when from the get go: Ai's arc is so overwhelmingly about her being denied the right to agency over her own body and sexuality and her giving birth to Aqua and Ruby is, in part, a reclamation of it. It wasn't just an act of love performed for her children but also one for herself - she risked everything in order to give herself the family she had longed for her entire life.

If this incongruity was intentional, I think I would be interested in it as an element of Ai's tragedy - the idea that even the birth of her own children was hijacked by forces beyond her control and warped into something that existed to serve her fans. But I really don't get the sense that this was considered at all and honestly… that's kind of equally sad.

I was wordvomiting a much less articulate version of all the above in the Oshi no Brainrot Discord server and @penguinkyun said a few things that I think really nailed the heart of the issue here:

"theres barely anything of ai here when shes such a central character […] removing ai's own emotional stake in the matter and rounding it up to "crow girl felt bad for gorou and sarina because they helped her that one time and then reincarnated them" just…doesnt hold the same impact."

This is, I think, key to what made this reveal fall so flat for me and highlights this chapter's place in a much broader trend of Ai's place in the twins' lives being downplayed and favour of amping up the intensity of the GRSR relationship. To once again quote Lace because I think she sums it up quite neatly:

"[...] akasaka is absolutely ramping up the soap operaness of grsr with ai as collateral."

And that just kind of bums me out. :(