#there’s just so much to analyse

[b0tsbby]

It only concerns me a little bit I haven’t really seen a written introspection on Stampede Knives’ character, specifically him. 98 is 98 and Maximum Knives has enough elitists on his case to cover him, definitely not a fan favourite but people have broken him down.

I’m aware of how disliked he is, Stampede that is, but it really is something. Could I write it, and could I kill an analysis of him? Most likely. I’ve been injecting the character into my veins, breathing him in and out for a year, every incarnation of him.

But I’m so curious to see someone else do it. Curious to see if someone else will do it…Maybe to convince myself I’m not a complete fool, or stuck in delusion. Maybe to find someone else that got it.

Hate and disdain, is something I’ll never protect him from. He’s an asshole. But man, even he doesn’t deserve the shallow reading of him that’s too widely accepted I think.

But who am I to say what is and isn’t…

[calmlb]

It’s been clear that the Tanizakis aren’t siblings from the very beginning

here’s some evidence now that it’s been confirmed canon…

everyone who’s read irl Tanizaki’s book knew that Junichiro & Naomi weren’t siblings as soon as they introduced themselves

BUT just because the Tanizakis aren’t siblings doesn’t mean you can’t feel uncomfortable about them. if you feel uncomfortable, GOOD. that’s exactly what they want

the Tanizakis, Mori— they all use these disturbing ruses to disarm or distract people in order to protect themselves, or to accomplish their goals. this is a writing device that asagiri commonly employs as a way to parallel the irl literature (it’s actually ingenious)

there are 4 main indicators that have always made it clear to me that Junichiro & Naomi are not siblings:

1. most obviously— their character designs. Harukawa is extremely intentional with character designs, & she very intentionally made Naomi & Junichiro look nothing alike

their eye shapes are purposely different

their color palettes are contrasting

even their differing styles of clothing have meaning

this was all done so that the audience could PLAINLY see that they’re not related— so that WE know that they’re lying when they say they ARE related

2. how the people around them respond to their act.

the general reaction is “don’t question it”— which is exactly what they want. “be distracted by how uncomfortable you feel so that you look away from what we’re hiding” (this is likely a protective measure)

3. most importantly, this is meant to parallel irl Tanizaki’s book “Naomi,” where the main character Joji picks up Naomi to raise her into his ideal woman, but since she's so young (& a minor) they call each other cousins (Joji makes no sexual advances on young Naomi btw)

however, his plan backfires because when Naomi gets older & they get married, she flips the script on him & manipulates HIM so that he's under her thumb (which is why bsd Tanizaki is at a domineering Naomi's mercy). Joji let her have her way because of his masochistic tendencies

4. lastly is the emphasis that Asagiri and the Tanizakis themselves put on calling each other siblings.

over & over, it’s “my brother this” & “my sister that”

like they’re desperately trying to convince us that it’s true (“don’t let your lying eyes deceive you”)

here are just a few of many examples from the light novels…

again, if you’ve read “Naomi” you knew that Junichiro & Naomi weren’t siblings as soon as they introduced themselves

just like if you’ve read irl Mori’s works, it’s clear that bsd Mori isn’t a pedophile

just like if you’ve read No Longer Human you know that Dazai’s an unreliable narrator. he makes you think he’s a bad person bc he believes he’s a bad person, but those around him see him differently (btw this doesn’t mean he’s never done anything “bad,” though bsd isn’t about morality— but that’s another discussion)

anyway, i’m so excited for the Tanizakis backstory to be revealed so that we can better understand why they use this defense!!

also let this be a reminder to READ THE LITERATURE if you’re able to!! even reading synopses & analyses of the coordinating books makes bsd make much more sense 🥹

reminder that this how you’re supposed to react while reading bsd:

also, if you’re interested in a post explaining how Mori isn’t a pedo, i wrote this analysis on twt. OR you can read this document that one of my moots sent me (remember: analyzing a character does NOT mean you condone any actions they may or may not commit!)

[lizardson]

I understand people who hate lirin (he is a very frustrating character) but I also think they tend to ignore that he spent years believing he killed both his sons because he refused to give in to roshone. The way he treats kaladin is awful, but it comes from a place of intense shame and regret, not a place of judgement. When he tells kal that he should've obeyed and proven himself to his masters instead of fighting against them, he says it because that's what he wished he had done. Lirin in RoW is not the same person from the WoK flashbacks and his extreme and irrational moral rigidity is the result of trauma and grief, not just "he's a surgeon so he thinks killing is bad."

TLDR lirin is more complex than people give him credit for and also your son miraculously returning from the dead doesn't negate believing for years that you killed him by having the audacity to fight against your oppressors. thank you for coming to my ted talk

[obsidianbit]

I love this gay ass show with its literally life ending injuries that heal immediately, but only when convenient to the plot, and its ridiculous use of modern phrases, and its laughing in the face of historical accuracy, and its kissing the face of the fans instead of trying to outwit them, and the way everyone involved in the show seem to go 'I KNOW RIGHT! I'M EXCITED TOO!' instead of mocking the fans

[fumifooms]

Dad always said I was like him

Meijack and Chilchuck Tims Dungeon Meshi, Ryoko Kui

^ 1: Moony moonless sky, Fatima Aamer Bilal / 2: Bug like an angel, Mitski / 3: Woodtangle, Mary Ruefle / 4: The Third Hour of the Night, Frank Bidart / 5 & 6: FROM THE MAKERS OF "TWO-MOM ENERGY DRINK," IT'S "LET YOUR FATHER DIE ENERGY DRINK,", Daniel Lavery & Cecilia Corrigan / 7: Batman: Year Three (1989) / 8 & 9 : FROM THE MAKERS OF […], Daniel Lavery & Cecilia Corrigan / 10: Wilt, CJ the X / 11: How Do We Forgive Our Fathers, Dick Lourie / 12: Milk and honey, Rupi Kaur / 13: And My Father's Love Was Nothing Next To God's Will, Amatullah Bourdon / 14: Moony moonless sky, Fatima Aamer Bilal / 15: Someday I’ll Love Ocean Vuong, Ocean Vuong / 16: untitled, Joan Tierney v 17: Drunk, The Living Tombstone / 18: unknown

When your father tried his best to provide for you but he worked all the time and even when he was home he was either tired or stressed and he’s always liked to get drunk to relax and cheer up. When you know he values work ethics and respectability so you grew up to be capable and quiet. And when he says you’re like him you’re sort of puzzled, does he really know you so little, or does he know himself so little? But you like the feeling of your father ruffling your hair so you accept it, and still you stand next to your mother just as silent and just as stoic as her during family gatherings. He leaves again and again and when your mother leaves him nothing changes, really. You wonder if it’s more telling that you know him better than he seems to himself or that you don’t know him as much as you wish you did, or that you don’t think about him all that much these days. Out of sight, out of mind. And he’s never really been there, even when he was there, after all.

[empressofthewind]

Honestly it always makes me a little upset when people say Near is a copy of L/too similar to him, because as much as that's the point of his character, I also don't even think it's that accurate?? Visually he's similar, but in personality, there are a lot of key differences that get overlooked in favour of the cosmetics. Their treatment of Light/Kira is a major one that comes to mind, with regards to the notable respect L shows towards Light and his methods. Near is also quite a bit more expressive than L; L mostly alternates between "deep in thought" and "mildly annoyed", with some minor flexibility outside of that, whereas Near has a distinct look of excitement when things are going his way, looks distraught when his team members die, and gets angry several times to the point of physically breaking things. Near's manner is more blunt, and he's a much bigger nuisance to Light on the basis that he's more inclined towards brutal honesty, whereas L is a notorious liar with a habit of deception. Near also focuses more on morality in his approach to the Kira case, and doesn't have the same ego or personal investment in detective work that L does. L is a lot more physically active than Near too, with his record as a tennis champion and occasional tendency to pace while speaking. The move to enrol in college, for example, is not something I could ever see Near doing. Near was specifically groomed to be L's successor, so there's definite overlap in their attitudes and methods, but they're actually quite different characters if you look beyond the surface, and I think it's important to treat Near as a unique character who takes on L's role rather than an outright clone.

[vaxxman]

What do you think about 5cp TF2 map Gullywash?

Getting autobalanced on Gullywash feels especially tragic.

More sketches and more impressions under the cut.

In order to draw this, I watched some highlander matches on Gullywash, due to finding no matches in competitive, and the aimbots going rampant in casual. I was only able to play 5 proper matches on casual, (2 of which my teams won purely due to team imbalance,) so some of this is based on what I saw other people were doing in competitive match recordings, as well as how it feels to play on community servers with AI train bots. No one was playing whenever I was queueing up :(

I learnt very fast that Gullywash is one of these maps where you will die a lot, or steamroll the capture points, and there is no in-between, because you either position yourself correctly or you don't. While this goes for every map in tf2, I never really felt frustrated when dying here. I could always find a reason for my mistakes and generally it turned out to be a very rewarding learning experience.

I think Gullywash is extremely fun and fast paced. I especially enjoy giving scouts and pyros overheal buffs, because of how much flanking you can do here. The symmetry of the map is immaculate and the amount of objects that just lie around allows demos to place a lot of traps and players to just hide in corners.

(Using Scouts as your Uber Driver here is also especially fun, so many near death situations!)

For some reason, the soldiers and demos who play on this map are really good at protecting medics? That's the impression I got, everyone knew when to retreat and not push, everyone turned around when they saw my health go down, everyone was shooting the spies for me when we were in the open and I was too focused with healing the people fighting death matches at the front so we could capture.

(My personal heroes who just rocket jump over to you just to shoot the spy 2m away from you, and then just rocket jump away again)

Snipers aren't much of a problem, since there are so many options for hiding properly while still being able to reach your team mates. The same sadly doesn't apply to spies and I think I have died more to spies on this maps than to sticky traps.

While I love the vaccinator, I think Stock and Kritz are the better options on this map. Nothing cries geneva convention war crime more than entering the door to the last capture point and ubering a soldier who starts spamming everyone with rockets in this rather crammed up room where everything can give you splash damage.

Shoutout to a pyro called Joey who carried the last game I played, it was a blast ubering you through the last capture point.

[melverie]

Sometimes I'm doing well, and then other times Lucifer's level 30 intimacy phone call in Nightbringer suddenly comes back to mind, and I am once again reminded how Lucifer is so utterly desperate to connect with Satan in any way. It doesn't even have to be meaningful; just having his brother despise him a tiny bit less than before would already be more than enough

And when they finally do make the tiniest, most insignficant amount of progress imaginable, Lucifer is so overjoyed about it that he ends up celebrating with a horn of Demonus......or two, maybe three... Might as well finish the bottle. Let's open another one! And another, and another, and another! We've got to celebrate tonight, after all! Hm? No, he isn't drunk MC, what a stupid question to even ask. Here, he'll drink some more just to prove it! Then after that--!

And all that because he and Satan managed to hold a conversation for a minute longer than usual

[double--blind]

(SPOILERS) Ashley, self-esteem, and starvation

So, I adore Ashley. She's this intensely toxic, vicious, cruel, manipulative girl, and her psychology gives me hella brainworms. Andrew's not the only one whose head I wanna crack open and root around lol. She's thrown away the world just to keep her brother by her side, and she'll continue to do worse and worse for the same reason. She's pretty awful! I've been thinking about why, though. How did things get so bad? How did her soul get so dark?

We don't know everything (I'm waiting for those new eps patiently aND CLAWING AT THE WALLS AND FROTHING AT THE MOUTH but whatevs y'know whatevs I'm normal. I'm fine), yet what information we have been given is bumping around my brain like a DVD screensaver on hyperdrive

It's clear from the start that the roots of Ashley's issues lie in her horrible, neglectful upbringing, but it's hinted that even those outside of her family felt the same abt her. I'm lowkey even betting we'll learn later on that she was ostracized by her peers somehow. However, what's most disconcerting, I believe, is how little she was when the results of this alienation are first made apparent to us (bc kids aren't dumb; they notice this stuff oftentimes instinctively, impossibly young, before they even know what it means to be hated), and how devastating the consequences were.

(There's something decidedly childish abt her dream sequence in the "questionable" route—filled with crayon scribbles and rabbit plushies, the metaphors simplistic yet profound—which really hammers in how these sentiments are things that have made a home in her since childhood. Formative subconscious truths.)

Growing up unloved and noticeably unwanted by virtually everyone around her likely left her with a gaping hole in her heart that she'd spend the rest of her life trying to fill. She'd make friends, but she'd always worry that they'd leave her, that they'd betray her, nothing tangible or weighted enough in their connection to trust in its persistence. Why should she expect otherwise? Not even being bound by familial ties ensures affection if her parents are any indication.

Every lesson she'd ever learned had always taught her this: you are easy to abandon. You cannot love and be loved by virtue of your own worth.

You have to rip their affection from their clenched hands if you want it so bad.

This understanding carries with it an undercurrent of degradation, instilling within Ashley a constant, biting inferiority complex which will never fail to be a source of insecurity. She will always be put last. She was difficult to raise, so her parents gave up on raising her. She was difficult to get along with, so her friends gave up on getting along with her.

It's an odd cycle. She's difficult bc she needs to be to get attention, but bc she's difficult, she can't keep it. Not without having whatever fondness she's managed to cultivate within someone fray at the seams, volatile and prone to collapse, bleeding toxicity.

Hence, her relationship w/Andrew.

By being the only reliable constant in her life, caring for her and keeping her company, Andrew essentially became her only source of happiness, and she's since learned not to bother with anyone else. Still, it's dangerous to keep all your eggs in one basket; since he is all she has, she must protect her place in his life with even greater ferocity, which becomes a torturous ordeal when coupled with her damaged self-esteem.

It's apparent in her quarrels with Andrew that she needs constant reassurance that she is wanted in some capacity or perceived in some positive light (getting pouty when Andrew says he's "stuck with her", needing to hear that she's pretty, needing him to "choose her", wanting him to say he loves her back, etc. etc.), yet her insecurity remains, bc unlike her, he's got options. She doesn't think he needs her like she needs him. He's got a gf, their parents love him, her friends love him. Why would he settle for her? What if someone better comes along? Someone she can't scare away?

Wouldn't he just leave her like everyone else?

Even before getting locked in the coffin of their apartment, starvation's been a constant theme in Ashley's life. She's constantly aching for love, and Andrew's the only one who can feed her. When you're forced to fight for a bite to eat or suffer every moment you hunger, you become ravenous—covetous—when faced with food; you don't want the hunger to return, so you lock down the source of your sustenance, wary of its retreat. Ashley's in a permanent state of intense insecurity, always anxious that the love that gives her life will leave her.

Andrew knows Ashley better than anyone else in the world, and it's obvs to everyone and him how desperate Ashley is for him, but I don’t think Andrew has truly, consciously processed the depth of that desperation. It's there buried in his head somewhere no doubt, but rn, he doesn't operate w/the direct awareness that he is everything. He is brother, mother, friend, and soulmate. He is life and love, air and water, everything that is good in the world—everything that there is to justify existence.

It's heartbreaking, in a way, that it's so difficult for Andrew to convince her of his loyalty. This goes further than his tendency to hide his true feelings, bc when push comes to shove, he's at her beck and call. Objectively, he's hers. She doesn't see that bc all she sees is all the ways she can lose him.

So, she gets bratty. She gets pushy, possessive, territorial. Manipulative. Gets under his skin, guilts him to exhaustion, bc she can't see him staying any other way, bc he doesn't get it, bc it works. He bends to her will, for her sake. For now. It's always "for now", bc he'll start slipping away again, and then it'll get worse. She does worse.

Becomes worse.

[abnomi]

random assorted headcanons for Turbo because I like thinking and having fun !!!! 🎉

Read More to Find Out...or are you too scared?... i bet ur too scared ahaha youre too scared Lol! Hahaahaaa!!!

The steering wheel of his kart is covered in bite marks, similar to how one would bite their favorite pencil. he bites things to mark his territory because Nobody is gonna touch that unless they want all of his diseases (150+).

i just know he was fighting to restrain himself not to chew on any of the candy civilians

when it comes to music, he doesn't see the point of listening to it. he doesn't have enough patience to really take it in; to him, it's just a thing that exists and not much more than that ¯⁠\⁠_⁠(⁠ ∵⁠ )⁠_⁠/⁠¯

adding onto that point, this guy listens to metal clanking sounds and loud engine roaring for entertainment because he likes things that would overstimulate any normal person. turbo is incredibly sensory-seeking and will do anything for The Sensations

someone should take him to a heavy rock concert i think it would change him a little. keep that thang on a leash

related to being sensory-seeking, i think he would absolutely love running his hands over random textures. if anyone has run their hands along a wall while walking alongside it...He does that...If u know u know... he is SO stimmy its unbelievable. Unreal.

very pain-tolerant. he'll whine and complain about it for attention, but physical hurt really doesnt bother him much until it gets in the way of what he wants to do.

funnily enough, he is very picky when it comes to temperature. he can handle getting ran over but if its 1° too hot or cold he'll start nagging and nagging for it to go back to normal. turbo really needs his own enclosure i think it'd do him a lot of good

this is a more popular headcanon and its canon-leaning, but he's an artist :-] he usually sticks to graffiti art because its generally considered more "rebellious and cool" but he also sketches cars, design decals, and other stuff when hes alone!

i would love to see his process of character designing king candy because i dont think he really knew what he was doing

he was just like "ok what does a generic king look like. uhhhhh.... 1, old and jolly like santa claus.... 2.... uhh crown..... 3......... purple.... FUCK YEAH im so good at this!!!!🔥🔥🔥"

i just noticed how his design has like 0 actual candy motifs aside from his bow being a candy wrapper and his shoes having those little gumdrop end pieces. what was he THINKING

while King Candy has a lisp, i think it's a coverup for his actual voice because of how goofy and recognizable it is. Overall its the same as his regular voice, he just gets silly with it. i noticed that he still does retain some of his lisp when hes screaming his lungs out at Vanellope, however, so maybe he genuinely does have a lisp that makes itself known when furious :3

another thing i noticed is how he hisses his S's. very cool very cool the reptilian

@/tasticturbo made a post abt how he has tinnitus from the constant noise in his game and i couldnt agree more

AND THE PRESCRIPTION GLASSES. where did he get those...he needs to See

side note, the aforementioned account has made so many interesting analyses on turbo and theyre all so insightful. i recommend u check them out

i think he gets migraines from stress. constant buzzing or pain flood his head but hes like "IDGAF i need to DO something at ALL TIMES no matter what"

hes like a shark in that way. if hes not moving he'll die instantly. idk a lot about sharks or if thats how it works srry but im going off of what the Worms are saying to me and i dont have much to work with

i think a really big contributer as to why he lacks in the self care department is because he fails to notice that something in his body is wrong. hes far too distracted on something he thinks is more important than remembering to Eat Food or Drink Water or Wash Himself or

he's like "WHY DO I FEEL LIKE SHIT ALL OF THE TIME!!! I HATE MY LIFE" and he hasn't slept in 4 days

hes so me. Sorry.

i dont think turbo is necessarily suicidal, but the way he behaves shows a clear disregard for his own safety and wellbeing. he thinks that he knows what he needs but he really doesnt :-[ i think he has some kind of immortality complex, feeling untouchable and like nothing could get to him. as scared as he was when ralph was about to turn him into sloppy mush, he didnt take the threat very seriously. like it was some kind of joke

his kart regenerates every time his game starts up, so what if he smashed it into buildings for fun. He's the number one fan of car accidents. he is all about that shit

i think his living space would literally be a garage btw. its a place to sleep and a space for his car all in one!! he thinks its very convenient and awesome but i think he is coping. he has some old dingy stained sheetless mattress that he has never washed in his life and its covered in dirt and smoke particles. no wonder he has such heavy eye bags Dude Please

the turbo twins have a garage used in a similar way, and while its still pretty shitty, they still at least TRY to maintain it. they just fight a lot over who has to care of it. nobody taught them how to take turns ever

but this aint about them. maybe another day

i think that turbo would find comfort in garbage and keeping it around because its familiar to him. a big clean empty space would make him so mad and if anyone moves even an inch of scrap off to the side he will throw a fit. he generally doesnt pay attention to his surroundings but when its his personal space he is 1093 times more neurotic

i think the big empty castle he stole wouldve been a big transition for him. maybe it helped him clear his mind a little more to practice his tricky schemes...it helped him get more subtle

thats all i have for nowww ty for reading ^_^ if anyone else has any wacky ideas pleeeease tell me i would love to hear them!!

[blueepink07]

Yuno: her struggling relationship with autonomy

(character analysis)

One aspect I have always loved about media characters is their attempt to be perceived as mature, despite their young age. Some succeed, others struggle to hide what they see as their childish side.

Yuno is no different in this context and I'm surprised that people don't talk about it enough.

Beginning with her age 18, it's truly a controversial age, if I may say. It's a confusing age, because you are technically considered an adult, but, at the same time, your mind is not fully developed to actually be one. In the end, you are still a child at heart and mind, despite the fact that you are legally an adult.

We don't know much of her home life and honestly I don't think it would do any good for me to make assumptions, since it's pointless in the long run and it would just lose credibility. However, one thing it's for sure based on Yuno's actions. She desires autonomy.

Yuno: Despite that, you arbitrarily assumed things about me and sympathized with me. Even though all I did was make a rational decision of my own free will.

I'm the one who chose, let you and you and you all in ~🎵

She highlights quite a lot with these phrases… She chose for herself, she is an adult who willingly decided to partake in compensated dating. Being called naive or innocent, two words that usually are used to describe little children, surely infuriated her… and she shows it.

It's funny now that I think about it. Fuuta also has the same problem, but his reactions are more childish, in the end, not doing him any justice. However, Yuno is no different. Of course, she does it in a more subtle manner, but she really does get worked up quite a lot when it comes to her being perceived more as a teenager than an adult. Her whole song it's literally about this idea. Yuno being infuriated that she is infantilized by the audience, making a sad backstory for her so they can dismiss the idea that there wasn't necessarily a big factor that provoked her to partake in compensated dating, but it's only her own free will.

I might add that the compensated dating itself is a way for Yuno to feel that she has more autonomy and she no longer needs to be treated as a child.

"An adult is a human or other animal that has reached full growth.[1] The biological definition of the word means an animal reaching sexual maturity and thus capable of reproduction." ~ wikipedia

Moreover, even the media promotes the fact that sexual content should strictly be watched by adults. And Yuno does end up having sex during some of these dates…

And if this idea isn't convincing enough… I think that Yuno likes to partake in compensated dating, because she knows the clients don't consider her a child. They are interested in her, in a way that makes Yuno feel satisfied with herself (at least, for a short period of time, when she is in their presence) she feels grown up and mature. She also receives money for her services, providing her with enough financial resources for Yuno to consider that she finally managed to complete one of the first steps of adulthood, to be financially stable.

Doing something that is not really socially accepted, again, can be considered as autonomy, because you do not follow the same rules that the society obligs. Yuno knows how compensated dating is perceived, but she still does it, because she thinks this action provides her "warmth".

The "warmth" that Yuno speaks about is a vague term to describe her desires. Based on her interactions, I would like to think that this term refers to genuineness and mutual understanding. Yuno, in the first VD, describes the society as being a place where "everyone eats each other". People need to point fingers at others who made a mistake, who did something that's not socially accepted to make themselves feel better.

Yuno: That’s right. You know those people who just wanna convince themselves, so they intrude in other people’s affairs even though it’s not their place—I despise them. That’s what I was saying. They only do that to make themselves feel better, don’t they? Those people don’t actually end up doing anything.

And you know what is interesting? The fact that Yuno finds more closure being in the company of some murderers. Why? Because they can also be considered some outcasts of the society that she pretty much dislikes.

Es: However, it also explains why you’ve given up. About yourself, human beings, even the whole of society, you’ve realised everything—that’s why your expression is so cold.

Teenagers usually have little power in our society. They can achieve great things, but have to go through more hardships due to the limited freedom. They need an adult to actually help them. That’s just how society is built.

Yuno's distaste for the society can explain why she has grown so fast, or, at least, thinks that she has matured enough. She was tired of the society inflicting on her rules that she, as a simple teenager, had to oblige. So, going into Milgram, starting to hear people crafting a sob backstory for Yuno, treating her like a child, despite the fact she has already done a few steps in order to sustain herself financially and emotionally as a young adult, it's truly insulting.

Es: This is just popular belief, but the law is also something the people have decided. There’s nothing, which can satisfy every single human being, now is there?

Yuno: That’s right.

However, even after all these, that doesn't mean she doesn't actually struggle with this new found autonomy that she craves.

I actually think that this autonomy is the cause of most of her suffering.

As I stated before, compensated dating is something that she decided to partake in, in order to prove her independence. She thinks that what she has chosen for herself is healing, helping her. But, if it's that the case, then why do we have these scenes?

It's difficult to admit that one of your decisions was actually… Quite wrong. Especially, when it's one of your first one's as an official adult, in the very first stage of your life when you finally have enough independence.

“Cognitive dissonance is what we feel when the self-concept — I’m smart, I’m kind, I’m convinced this belief is true — is threatened by evidence that we did something that wasn’t smart, that we did something that hurt another person, that the belief isn’t true,” said Carol Tavris, a co-author of the book “Mistakes Were Made (But Not by Me).”

She added that cognitive dissonance threatened our sense of self.

To reduce dissonance, we have to modify the self-concept or accept the evidence,” Ms. Tavris said. “Guess which route people prefer?”

So which one does Yuno prefer? To convince herself that what she is doing makes her happy.

Yuno: Despite that, you arbitrarily assumed things about me and sympathized with me. Even though all I did was make a rational decision of my own free will.

Yuno: I’m not pitiable. My family gets along super well. And I’m not particularly struggling for money. I decided, of my own free will, to do it because I felt that it was necessary for me.

Sometimes, considering how many times she mentions it, for me it feels like Yuno tries to convince herself that what she is doing is good for her.

But you know what is funny to me?

She is good at making herself enjoyable for others as well as giving somewhat good advice:

Mahiru: My birthday…… the day I was born……But was there really any reason for me being born? Lately I’ve started to wonder that. Do you ever think about stuff like that, Yuno-chan?

Yuno: Eh? Not really. I mean, Mahiru-san, you’re really the romantic type, right? Not that I have anything against that. But isn’t it a bit much to think that everything in life has a meaning? If it makes you happy to think like that then go ahead, but if it doesn’t, then isn’t that in itself meaningless?

Mahiru: : ……you might be right. I’ve always just lived my life like this, so I don’t really know.

Yuno: We’ve all just gone through a bunch of things in life that happened to lead us here. It’s nothing more than a coincidence. Definitely not fate or anything. Probably. Even if there isn’t a meaning, you can still be happy that it’s your birthday. That sort of thing’s all you need in life really. So happy birthday, Mahiru-san.

Mahiru: ……no, I’m fine. As long as I don’t move too much I don’t even feel any pain. Sorry for making you worry.

Yuno: Oh, really? That’s good then. Mahiru-san, if there’s anything you want then just ask. It’s not like it’s a huge burden, I can just ask for it along with my own stuff.

Mahiru: Ok…… I’m fine for now. Sorry, for making you worry. Ah, Yuno-chan…… Today’s your birthday, right? Happy birthday.

Yuno: …Haha, thanks. Thank you, but y’know. Is it really ok for you to be saying that to me when you’re in that situation?... you really aren’t suited for Milgram, huh, Mahiru-san.

Amane: What is it… Kashiki Yuno. Don’t sit so close to me. Go away.

Yuno: Sorry for barging in when you’re getting into your worldview thing. But Mahiru-san’s finally managed to get to sleep. Humour me with some small talk while I take a break. By the way, Amane. Have you ever wished you were never born? I’ve thankfully lived a pretty fun life so far, so haven’t really. But you seem to be struggling with something. So I kinda wondered if you thought like that.

Amane: ……I don’t think that. Being born into this world is the first miracle any person experiences, and is something to celebrate. Even if after birth I was put through trial after trial, the value of that will never disappear.

Yuno: Hmm. Ok…happy birthday, then. It’s good that you were brought into the world, I guess.

But Yuno has a big, and I mean a BIG tendency to self-destruct, not intentionally.

Wanting to be independent comes with its own downfalls. At the beginning of the trial, Jackalope states that Yuno has distanced herself from social interactions. So much so, that we have never seen her actually confiding to someone else, in any of the portal timeline translations. She might have her reasons, either minimizing her problems, and using her energy to help the ones she deems to have worse than her, or, this is simply her nature to bottle up her own sadness. This again might also be the cause of her wanting autonomy and proving to herself and others that she is mature enough to manage her emotions.

Not confiding in someone else for a long time can cause depression. Something that Yuno might be struggling with during trial 3 or she is already struggling with it a bit.

Furthermore, it's interesting that Yuno admits disliking behaviors that she deems childish. For example, she doesn't like the way Haruka and Muu behave, because they are ignorant of the problems in prison and have a really childish way of thinking. Amane's hate towards Shidou, might be often wrongly interpreted as a simple child's tantrum. Kotoko's actions, responding with violence to violence, it's again, an aspect often deemed as childish and immature.

Yuno: Really? If you ask me, Kotoko is someone I would never want to make my friend, though. She’s the type who picks a conclusion from the very beginning and won’t actually talk with you.

Yuno: Well, I guess it’s arbitrary who one gets along with. But Mahiru-san in particular is something. I think both her body and mind are at their limits. Also, Mikoto-san was also attacked but apparently it ended up in something of a draw. That guy was strong, huh—how unexpected. Also Haruka and Muu-chan have become kind of bothersome. And additionally, Amane-chan and Shidou-san too, huh.

Lastly, her second MV also shows her desire of autonomy in Milgram, not only through lyrics, but through visuals too.

Beginning with her door, it looks a lot like a medieval castle door.

Her room, the way it is designed, especially the bed and the chair, also resemble a princess' room.

However:

Despite the important role that princesses played in courtly life, they had limited personal freedom. They were often kept under close guard and were rarely allowed to leave the palace or castle where they lived. This was done to protect them from danger and to prevent them from engaging in political activities that might undermine the authority of the king or prince.

Medieval princesses had little to no autonomy most of the time. Their life was dictated from the start, having the only purpose to be betrothed and give birth to children.

That’s why the design choice is intentional. Yuno feels like a princess trapped in her pretty room (the MV is quite claustrophobic, the only outside elements being a few memories), exposed to the world (the many windows imply this), the voices that keep demonizing her.

That’s why the scene where she starts breaking things in her room is so important. It serves as a sign of rebellion, to show that she is not the perfect, helpless princess that people like to portray her as. She is an adult who makes bad or good decisions, who thinks for herself. She is proud of her autonomy and is tired of constantly proving to others that she is not capable of taking care of herself.

[madbard]

There’s something to be said about how Stanley Pines was treated his entire life as a lesser echo of his brother.

Stan was the failure. He had no value. He was never told he could thrive on his own, so he never tried. He balanced the weight of his dreams on remaining at Ford’s side, and when Ford revealed he had other plans, he spiraled. He lost his home, tried desperately to make a name for himself while spinning from identity to identity, losing more and more of himself as time went on. After years of running, his brother finally reached out to him again and Stan grabbed onto that lifeline, only to realize Ford didn’t want him to stay. Ford wanted Stan to do something for him. That was all.

Stan would never be anything without Ford. He would never be anything more than Ford. He took his brother’s identity while sacrificing decades of his life, but it wasn’t much of a life anyway, so what was there to lose?

Ford returned, and didn’t even thank him.

Stan had done all of that for nothing. His brother looked him in the eye and (from Stan’s perspective) decided he deserved nothing.

Stanley Pines deserved nothing because Stanley Pines was nothing.

And yet, at the end of everything, when everything else was lost, the world was saved.

Not because Stan pretended to be Ford, fulfilling his role as echo and shadow and double.

No.

Because, in that moment, Bill made a deal with Stanley Pines. The conman, the grunkle, the failure. The defender.

Stanley Pines, who would always protect his family, even if it meant sacrificing himself.

Stanley Pines, who was so very valuable, after all.

[taeggukxiie]

I don't really like endhawks and it's not so much because of the age gape or the fan/idol relationship (la brava and gentle have some age gape and bakudeku are the pure description of fanatization/idolization trope and I like both of those ships), but more because endeavor literally embodies what Hawks hate the most.

Hear me out on this one, they have cute interactions but for me the fact that Hawks stayed by endeavor's side even knowing what he did to his children is kinda out of character. I mean the whole thing why keigo wanted to be a hero was to help people and make them smile because he went through abusive behavior all his life. Endeavor do save people but doesn't make them smile, not directly anyway. Hawks wanted to help the new generation, but endeavor traumatized the generation he gave birth to. Hawks wanted to be free, but endeavor stole freedom from his children (at least until he becomes number 1 and shoto comes to UA).

I understand hawks forgiving and accepting endeavor even after what he did, because hawks is so optimistic that he wants to believe eveyone can change for the better, but I don't understand him staying by endeavor's side. I mean, how traumatic would it be to discover that your idol who saved you and gave you a dream to follow did the exact same things as the person who traumatized your childhood? I see some narrative problems here. Or maybe it's just that hawks is too optimistic for his own good.

The thing is, I think Hawks so desperately needed a symbol to give him hope that he didn't even try to look more profoundly into endeavor's mistakes. Like he tried so hard to convince himself. Here we can see that hawks says he could keep up with training and abuse by the commission because someone supported him, probably implying endeavor. But it wasn't even true, hawks just chose to idealize enji because he saved him, but enji didn't know hawks before metting him as a hero, so he couldn't actually support him in his dream. I know it's only metaphoric, but it does mean that Keigo just needed something, someone to hold onto because of all the suffering he went through. And he chose endeavor, who was the only person indirectly "caring" for him.

Now maybe it's because I adore Hawks and I hate endeavor (the man and his actions, not the way he's written), but I can't imagine them in a romantic relationship. How could Hawks give his trust and love to the exact same profile as his father? How could they live together without hawks remembering the abuse? I think that even enji himself wouldn't trust his own reactions and feelings, hunted by the past. "The past never dies", and it's true for everyone in this story.

Look how similar they are. Honestly I don't really understand horikoshi on this one because if he wanted to give enji a loyal sidekick, then why give Hawks an abusive father?

Or if horikoshi wanted to give us grumpy x playful duo, then do it with dabihawks? They had so much potential to be our favorite bickering duo, and their drama would've been so good if they both knew each other before touya's death, became close during hawks undercover mission and then went through a heartbreaking breakup during touya's reveal.

(look at them they could've been soo good as a grumpy x playful duo aah)

Instead, we got Hawks indirectly supporting the same abuse he went through and the destruction of dabihawks' potential with the biggest absence of interactions ever after the first war.

(Also I want to add that I respect everyone's opinion and I don't hate endhawks shippers at all! It's just my point of view on the ship, everyone is free to ship whoever they want if that stays legal 🙏)

Maybe I'm going too far into the analysis (someone stop me please I'm talking too much-), but I really think that endhawks couldn't work, for hawks as much as for enji. Now the interesting thing to ask would be : would dabihawks actually work in a romantic relationship? I guess we'll never know.

[withthewindinherfootsteps]

…What’s this?? WWX not being a self-sacrificial idiot??

It’s almost like… that isn’t a personality trait…

[danishphoner]

personal lyrics theories series (2/?): there’d better be a mirrorball - arctic monkeys

[bloodyopvs]

The Sanguinarch isn't a bad villain or a cliched one.

The only thing that his writing suffers from is the fact that a lot of the finer points in his characterisation were easily missed or flew over our heads due to Arknights's ambiguous writing — I also had to do some deep lore diving to the Arknights Terra Wiki to be able to piece a more coherent picture of him, something more profound than merely 'he's just a mindless psychopath and a remorseless war criminal'.

And it strikes me what he was actually meant to be, in Chapter 13, where he was the main villain.

He is, for lack of a better word, an inverted Jesus figure.

There's a lot of things supporting this.

First, we have the crown of thorns (actually the thing that got into this rabbit hole) that his chibi, boss sprite wore in his second phase. His artist, Chuzenji, also drew him with the same thing. The crown of thorns's symbolism is obvious. Jesus wears one, including his depiction in the famous movie, The Passion of the Christ. Though, it's probably not that special on its own; but it's only the tip of the iceberg.

Then we got the meaning of his name, a portmanteau of a Hebrew word and an angel's name —— 'Dook', meaning pierced, and Ariel, an angel whose name literally means 'Lion/Hero of God', at least according to the Terra Wiki —— and things are starting to get intriguing. Put together, 'Duq'arael' means 'Pierced Lion/Hero of God'. The angel's name aside, the lion is an animal that symbolised 'God's strength and command', one that was closely related to God, to the point where C.S Lewis, author of the famous Chronicles of Narnia, use Aslan, a lion, as a stand-in metaphor for God.

And yes, the deeper you go into Sarkaz lore, the more you discover that it was heavily inspired by the lore of Abrahamic religions in real life, although I won't delve too deeply into this or start drawing parallels to real life events, since it's an extremely sensitive issue. But my point is that Arknights has always been deeply influenced by religious mythology and symbolism, and Duq'arael's name goes deep. It hinted at us on his true character——how he views himself.

(Him killing his own elder brother, who was an 'ideal' King of Sarkaz, was also a clear allusion to the story of Cain and Abel, and ties in with the occult theory that Cain was the first vampire in history, but that's an aside. Though this also serves to strengthen the point that Arknights has always been deeply influenced by religious mythology and symbolisms.)

Back to the topic, I would also argue that his design cleverly reflected this hidden allusion. His uncanny colour palette—white, red and black—could be interpreted as a reversal, so to speak, of Jesus's darker robes and dark hair (as he was so often and popularly depicted to be). His entire design screams vampire nobility, but there's something uncanny about it, which was highlighted when we were first introduced to him in Chapter 10 (or was it 11?). He was described as an ordinary-seeming nobleman, one who wouldn't look out of place speaking about current politics in Victorian telly.

More than that, though...although he wears black and red, 'traditional' vampire colours, his main colour is obviously white. White hair, white clothes.

Both the absence of colour, and the colour of purity, innocence, and rebirth.

Duq'arael is also the 'Prince of Blood'. Amiya, during their confrontation in Chapter 13, asks him what does blood means to him. As a concept, as a symbol——a meaning. Now his answer here isn't that important (although it's curious that he equates it with suffering, especially that of the Sarkaz's), but there's a hidden symbolism bomb here: Blood symbolised passion. When someone angers us, for example, we say that it makes our 'blood boil'. When our lover arouses us, or when we were afraid during a horror movie, we say that it gets 'our blood racing'.

In line with this, Dukare's goal——what he hopes to achieve by sacrificing so many people, including his own people——is to give the Sarkaz, who had been robbed of not only their homes and lands but also their entire identity, who had been brutally dehumanised and discriminated against for centuries, salvation.

At least in his perspective. He spilled a single drop of blood for them, a drop of pure Teekaz blood, in order to give them this salvation as well as to once again summon their original sin in the form of the first Originium. He even goes so far that this is their curse——the curse of being a Sarkaz, the curse of Originium. The implication here is that he wanted to SAVE them. But because he's twisted, because he's 'inverted' Jesus, he accomplishes that by sacrificing others on the cross instead of himself. A selfish 'saviour'.

He also blesses the Sarkaz with his blood, granting them strength. Once more: misplaced salvation.

But wait, there's another layer to this.

Duq'arael's the ONLY one who saw himself as such. He has a saviour complex despite his pretenses to be indolent, and obviously, due to the crimes and sins he committed, others saw him merely as a murderer, a monster, and a blood purist. Someone who can't let go of the past, and is still heavily fettered by it——someone who blatantly refuses to let go.

He, after all, killed his elder brother out of disappointment. He also testifies that he saw several other Kings of Sarkaz come and go during his long life, and with each passing one, he grew more and more disappointed, more and more disillusioned. More and more jaded. That is why he wanted to kill Amiya too; obsessed with slaying her, even. Not because he's blindly obsessed with murder in itself (perhaps not only because), but because he's past the point of saving. Which was his tragedy, and one that Amiya and Logos mourned after they pushed him off the Feranmut.

This motivation of offering salvation is also likely why he agreed to help Theresis take Londinium. He had alluded to it himself; his ultimate goal or even his motivation wasn't to rebuild Kazdel, especially not as the shitty mobile city that most recent Sarkaz remembered it as.

No, he wanted to 'save' them. To offer them salvation; to return their birthright, which is the entire world of Terra, to them. Back from the hands of the Ancients and the Elders, outworlder races who once wrested it out of their grasp and then proceeded to give them misery for centuries. Millennias, even.

Again, that is his role——The False Saviour.

I don't get why Chapter 13's title was 'The Whirlpool That Is Passion' at first, but then I realised that HG was being sneaky. They couldn't possibly call it 'The Passion of the Vampire', which would be TOO on the nose, so that's why they call it that:

The Whirlpool (symbolising Dukare being twisted by his past and his disillusionment) That Is Passion (the Jesus symbolism). It's very clever.

In addition to all of the above, on their 4th Anniversary art, his artist drew him with a white lily. The flower of (you guessed it) purity, innocence, and most importantly, rebirth. It does work with his image as a vampire, plainly speaking, and the Master of the Crimson Court who's obsessed with the purity of the blood, but I'd say it's more than that, since the white lily is also Mary's flower. Mary, as in the Mother of Christ.

So, no, The Sanguinarch isn't a bad villain. While he is undoubtedly a war criminal (wouldn't say that he's misunderstood, since he's an absolute dipshit nonetheless), he's not 'just' a psychopath.