#there's probably a deeper level of analysis to do here

[neversetyoufree]

It's not the direction I usually go with my analysis, but I've been thinking a lot lately about what it would mean for VnC if we took the fear of the blue moon as something fully rational and correct.

Like, given that our main characters are The Blue Moon Guy and The Guy That Thinks The Blue Moon's Beautiful, I know I have a tendency (and I think the fandom overall has a tendency) to side with Noé and say that the blue moon really is beautiful, actually. We know that the human Vanitas isn't a danger to vampires, and the blue moon is tied to him, so of course we want to say that their fear is unfounded.

However, there's a pretty good argument to be made that fearing/rejecting the blue moon as a symbol isn't unreasonable. Regardless of the actions of Vanitas and Luna (and whether Luna really is behind the origin of curses or not), there's weight to that blue moon as a symbol of misfortune. Vampires' fear of it seems almost instinctual, rather than cultural. And on a meta level narratively, everything to do with Vanitas, Luna, and the blue moon is very deeply tied to death.

In a lot of ways, on both in-universe and meta levels, the blue moon fundamentally is a symbol of death and destruction. So what does that mean for those that find it beautiful?

We know that Teacher finds the blue moon beautiful, but we also know that he seems to take a perverse enjoyment from the suffering of others. This is the man that takes in damaged children simply to set them on the path to destruction and watch with fascination as they're forced into horrible choices. Of course he'd find the cultural symbol of death beautiful. His taste in beauty is not something that I trust.

And then there's Noé.

And again, through main character/narrator bias, I'm always inclined to side with him and agree with his perception, but what if he really is off-kilter here? What if his adoration of the blue moon, though good insofar as it helps keep him from judging Vanitas, is otherwise not something good or rational?

There's something really fitting and intriguing about Noé Archiviste, the man entranced by death.

[coddda]

Hiiiiiii. Episode 25/26 lawlight analysis rant thingy here. I don't know how to write an intro for this so let's just get to it LOL

I think one of the reasons that the rain/foot scenes stick out so much (the. Sheer insanity of a Foot Massage Scene in an anime revolving around two guys trying to kill each other aside 💀) is the fact that the anime specifically suffers a bit in terms of adapting a few of the "emotional" moments in death note.

And I don't mean "emotionally impactful" exactly. For example I think the adaptations of scenes like Raye and Naomi's deaths were very impactful and the atmospheres of their final scenes were great, but I mean more from a characterization standpoint (if that makes sense). Being more focused on mind and logic games, Death Note as a whole isn't as invested in individual characters' deeper feelings as it is in its action (which isn't necessarily a criticism per say, it's simply part of the nature of a mystery thriller series). But just because they're fewer and farther between doesn't mean there are none at all. In the manga we do get to see, for example, how much Light actually cared for his family and especially Sayu, and how he actually felt more conflicted and suffered lack of sleep/appetite when he first used the Death Note.

The anime specifically as an adaptation is pretty good at adapting the main mind fuckery and action of Death Note, but its lacking in properly adapting scenes like the ones I mentioned above is a criticism I see somewhat often, and it's pretty fair imo. Compared to all the other adaptations, it certainly seems to fall short on an emotional level: the musical has entire songs going in depth about the characters feelings and relationships, the 2015 jdrama is. Insane and has its emotional moments in spades (because it's a TV drama, which are more focused on portraying emotional conflict and the like), even the 2006 movies has its emotional beats and L Change the WorLd is. Well. Oh Man.

Anime Light to a lot of people is like. Light but he's "already evil" (which I have my own thoughts on but I digress). Light but after using the Death Note for like 2 minutes he's already like "fuck yeah time to kill criminals". Basically the anime doesn't take as much time to delve into his less cynical sides or really delve into his already vague and harder to decipher feelings in general, he is noticeably colder from the get-go here, etc.

But that's part of why I think episode 25 manages to stand out so much tonally (apart from it being, y'know, the episode L literally Dies). I love the episode so much and could probably rant for hours about how much I love the artistic choices made in it but what I'm trying to get at here is that it's one of the very few moments where the show tries to go deeper into specific character's emotions, and one of the very few moments where the show Attempts (emphasis on "attempts" because, well, you'll see in a bit) to get more in-depth into Light's feelings apart from his cynicism/apathy/justice. ness.

L in these two scenes in episode 25 is, well, pretty damn open about how he feels. It's usually interpreted as him knowing that he's going to die, and you can see it. He visibly looks/sounds lost, somber, etc. He never really had much to hide around Light to begin with (since he doesn't really care about hiding himself the same way Light does) but especially not now and it Shows, and I personally thought it was pretty cool to delve into his thoughts/show how he feels this way. The somberness can be felt throughout the entire scene, even people who don't already know the plot of Death Note from the manga could probably tell that he's about to die.

In the manga, once L starts suspecting Misa again and Rem realizes what Light is trying to do, it goes straight to Watari and L's deaths, but the anime instead gives a distinct and unexpected pause in the middle of this where L contemplates his own death. It's fucking great, and the shift from straight action to slower emotional weight makes these scenes stand out a lot, since, like I said, the show usually focuses more on the former. But it's kind of ironic, too.

Not only does the anime open up L's feelings more in these scenes, but it also tries to dig deeper into Light's feelings as well through L. And it's really funny honestly because while, yes, these are the more "emotionally open" scenes of the anime Light still manages to be Incredibly avoidant and contribute almost nothing to the entire ordeal.

L is visibly upset -> "Yeah Ryuzaki, you're not making any sense at all" (Not addressing the obvious conflict from L)

"Tell me, Light. From the moment you were born, has there ever been a point where you've actually told the truth?" -> "[The most stale, over-explained, avoidant answer to a "yes/no" question that you could ever hear + blatant attempts to reframe the question]"

(L's half-smile here kills me) "I had a feeling you'd say something like that" -> [Nothing]

"I'm sorry" -> [Nothing]

"It'll be lonely won't it? You and I will be parting ways soon" -> [Nothing]

^ From this point Light continues to say literally Nothing for the rest of the scene. I'm not even joking, from then on the rest of Light's voicelines are reduced to nothing but vague noises of confusion.

Everytime L calls Light out as a person ("Has there ever been a point where you've actually told the truth?" / "I had a feeling you'd say something like that." / "Won't it be lonely?") he doesn't actually acknowledge anything. Out of those three lines, he only answers verbally to if he's ever told the truth, and even then it's the most blatantly people-pleasing answer ever, as it usually is with Light. And I don't think it's because Light just. Doesn't care about any of what L's saying at all, or that he doesn't know what the hell he's talking about (questioning Light's authenticity as a person, saying it would be lonely when they part), instead he's choosing not to acknowledge any of what this means about himself or him and L at all. He's like a fucking wall.

And like, for the truth question in particular, the show makes sure that you know it's not something that Light just. Doesn't care enough about to answer. The hard cuts to silence are a very rare but extremely effective way that the show conveys an extremely important moment (see: Light regaining his memories, Matsuda noticing Light opening the warehouse door before he escapes (not as much of a "direct" cut to silence but still)), and cuts to multiple angles/framings/zooms of the exact same shot are also used for the same purpose (see: Light hugging Misa when she was crying, Matsuda aiming his gun to shoot Light, Light regaining his memories Again). Just like the scene where Light gets his memories back, the moment L's question finishes the show utilizes both. That question cut Deep. There's is a solid Almost 5 seconds of silence before the sound of the rain gradually starts fading back in, and honestly that should be telling enough as is (but of course Light doesn't actually admit that. Or anything at all really, so). Oh also another fun detail! We do not see Light's face At All (except for the shot where you can see his mouth moving but not his eyes), for the Entire time that he's going on his spiel to L. We Will Be Revisiting This Later, by the way. This is not, in fact, the first time you're going to see this detail from Light.

The only sort of reciprocation that we see from Light during Any of these two scenes is when Light dries L's hair while L dries his feet. Biblical meanings/references aside it's interesting because it's the only time he directly does anything "for" L in these scenes, but even then he doesn't try to pass it off as anything meaningful really the same way L does ("You're still soaked", a purely neutral and factual statement. It doesn't Add Anything compared to L's. Sin atonement loneliness grieving stuff. While Light is showing his own reciprocation to this more personal moment he also tries to keep it impersonal enough that it doesn't actually have to mean anything deep). And when L says "I'm sorry" after he once again gets no response from Light. It's also after this that L gets that pained look on his face, like he knows that at this point he's not actually going to get anything meaningful from Light (again, very significant and rare from L in the show. We've seen him in distress (see: when Ukita died, hell, when Watari dies), but even then he mostly manages to keep his usually neutral expression), we never see him "look sad" like he does here):

I just think it's interesting that this is one of the few scenes in this particular adaptation of Death Note where they try to open up the character's thoughts/feeling (especially considering the fact that they. lowkey blunder in adaptations of original scenes from the manga), and L himself is being rather open (not that he ever really tries to hide what he thinks nearly as much as Light), and yet all Light contributes to it in return is like. Actually nothing. Bro fumbled it. There is no resolution to any of this, to any of what L asks at all, to any of the many opportunities for a meaningful conversation, and the only thing even relatively close to an answer that you can get from Light is what you can infer from how he acts in the episode after L dies, where he's just going through the motions, but hardly acting as if he's actually living at all.

(Honestly I think the transition from this scene with the taskforce to the subsequent scene with Misa says enough on its own. Light's expressions and tone says everything:)

(Oh sidenote but. This shit again:

"Light, this is our first date in forever. can't you enjoy yourself a little more?" ('Why don't you seem happy? We can finally be together since L is dead') -> No response, Light instead changing the topic to him wanting to move in with Misa without changing his mannerisms at all

Also there's that one detail again. You pretty much don't see Light's expression when he speaks here at all, except for one shot of his eyes, which is quite literally the exact same shot they used when he "saw" L, just altered for the new setting. You have No idea what he looks like when he's responding to Misa, although it's probably fair to assume that it's the same empty stare he has for the whole Two Shots where you can clearly see his whole expression in the entire scene.

Something something Light Yagami bad at feelings I think you get the point though)

I guess Light's Kind of showing what he's feeling now? He'll admit to himself that it's boring without L, but no more than that. Light never actually admits to anything "significant", and L's dead already anyway, so what would that even do?

And then we get, uh. Basically nothing from Light. For the next 5 Years. Except that he joined the NPA, so, uh, yay? Good job, Light you totally nailed it! Thank you for allowing us as an audience to delve deeper into your inner thoughts and feelings as a character so we can find out more about you as a person! Very helpful! Thank you for not sabotaging one of your few dedicated opportunities to look into yourself as a person and reflect on your relationships with others and being 100% honest with yourself! We stay winning guys.

Anyway, this got way too long for a scene that's over a decade old, and I've probably just said everything that everyone else has already said in this fandom before. But unfortunately this has been living in my head for way too long and I must scream. I just think this episode's neat is all :)

tl;dr Part of the reason why the rain/foot scene (tbh episode 25 in General) stands out so much is because the Death Note anime specifically was a bit robbed in terms of its more emotional character moments compared to the other medias, which makes more somber/introspective scenes like the ones in episode 25 stand out a Lot in comparison. But it's also incredibly ironic because it's one of the few moments where the show (or specifically L) tries to look deeper into Light's character, but because he is so avoidant for the entire duration of these two scenes he adds basically nothing at all. It's almost funny. Mostly sad. It's also very gay. Aand post

Okay actually nevermind one more thing I talked about how the jdrama is supposed to be more emotionally in-depth because it is a TV Drama and just for the record, same thing happens there! I could probably do an entire analysis of the Blue Scene in this context like I did with episode 25 but I'd literally be here forever, so uh, just take this iconic line as my main example:

Same Thing. L's statement "I wish we could have met some other way" is personal. It's his own wish, his own regret that he is expressing to Light. While Light's reply obviously has that same regret implied it's also phrased in a specifically impersonal way. It's closed off. "This is the only way we could have met" it closes off the topic and simply renders L's wish as ultimately futile. Light does not say that he Also wishes he could have met L a different way even if it was likely impossible, instead it's a cold statement of cynical fact.

Idk just. Something something L being able and Willing to be more openly sentimental/emotionally open towards Light/about Light vs. Light's inability to be honest with anyone including himself and his own nature preventing any form of meaningful reciprocation. Something something self-sabotage, y'know the drill. God don't even get me Started on how sincere L's tone is when he says "It'll be lonely won't it?"(at least in the eng dub) in the anime I could talk about his tone in that scene for ages. Also yes all of this relates to L Change the WorLd too by the way. Don't ask how it just does okay.

I do think that scenes like these (rain/foot scene, The Blue Scene. Uh. L Change the WorLd The Novel Adaptation) show, at least in those adaptations, that L does genuinely care for Light, and show that he values him as a friend not just in the mindgame-equal sense but also just like, a more sincere sense you know. Idk if that made any sense and that's a whole other topic for another day but you guys just have to believe me on this one alright please please believe me buries head in hands. Okay post over finally thanks for coming to my tedtalk hope you enjoyed my very-unnecessarily long analysis of the week

[kradogsrats]

I've been kind of hesitant to voice this analysis/theory because honestly even I find it hella depressing, but... here goes.

At the end of s6e5: "Moonless Night," we have this kind of cryptic sequence with Viren:

Now, this isn't exactly subtle. It starts with a callback to Aaravos's "the human mage, already tainted by darkness and destined to play right into my hands," line (and a nice Callum > fake pearl > real pearl > Viren cut sequence) and ends with the kind of spider-and-fly imagery you bust out when you want the audience to really get the point. This sequence tells us in no uncertain terms, Aaravos will inevitably use Viren again... at least one more time.

I say it's cryptic because the eventual payoff is a lot more subtle, particularly since everything escalates so rapidly and is actually presented as a crazy, unexpected twist. Basically, there's no follow-up until s6e8: "We All Fall Down," where we have a highly specific series of events:

Sol Regem, under Phaaravos's direction, attacks Katolis

Viren decides to make the sacrifice of both doing dark magic again and losing his own life to protect the people from Sol Regem's fire

Viren successfully casts the spell and the people are protected

Phaaravos does this:

Once Viren has cast the spell (and is probably dying), Aaravos is pleased and ends Sol Regem's attack.

Aaravos needs three things to free himself: the pearl, the staff, and a sympathetic mage. He can't just possess Callum and free himself at the start of the season, because—whether that would work or not—he doesn't have the staff. He knows, however, that Viren is going back to Katolis, so he can influence Callum to switch the real and fake pearls. Then, when Viren arrives, the pearl and the staff are lined up... but Viren is no longer sympathetic (and possessing him wouldn't really do any good because like, come on... he's in prison).

The way that the attack on Katolis plays out gives him everything: the pearl and staff are abandoned in the chaos, leaving them free for Claudia. Viren, being dead, is also now unable to influence Claudia directly—not to mention that, despite what he told her in s6e1, he chose to do dark magic again.

There are several reasons that could be behind Phaaravos's smarmy little smirk there—either he's satisfied that the staff is in play and will be easily accessible to Claudia instead of buried under a castle's worth of rubble, or he's satisfied that Viren is going to die and that removes what could actually have been a very serious obstacle to Claudia's persistence, or... he's pleased that Viren has caved and done dark magic again, whether because that's leverage he can use with Claudia, or for a more insidious reason.

We can stop here, because "Aaravos uses Viren's loyalty to his family and Katolis to manipulate him to his death and to set up his daughter for digging herself deeper in aiding his own return" is honestly plenty of payoff as far as Aaravos "using" Viren a final time. BUT just to get a little tinfoil-hat, here:

How exactly are we supposed to understand the pearl got from the subterranean secret dark magic workspace to outside in the ground-level courtyard... except by Aaravos walking the dying Viren down there to bring it back out, then neatly arranging pearl, staff, and Dad's dead body in close proximity for Claudia's homecoming? Which is pretty fucking grim.

As a counterpoint, the one thing this series sometimes plays extremely fast and loose with is the space-time continuum: like, working out travel times? Good fucking luck—it takes exactly as long to get somewhere as the plot demands, regardless of distance, terrain, or mode of transportation. So "how did the pearl get into the courtyard" could just be one of those "how did Soren and Claudia get up the Cursed Caldera without Lujanne knowing"-situations where the answer is "it's fine, don't think about it."

Sure, the staff, pearl, and Viren's body are all suspiciously accessible, but we also don't have screentime for Terry and Claudia to do an extensive search of the rubble overlaid with sad music and intercut with flashbacks. Sometimes shit just has to be convenient so we can move along... but I'll probably still always kind of wonder.

[purplealmonds]

The Wuxing Elements in Relation to Eye Colors in Mononoke

Universally across all cultures, eyes are windows to the soul, yes?

Spoilers regarding to the analysis of new lore below the cut:

Wuxing, or 五行 in Chinese, translates literally "five movements" refers to the interactions between the five elements of wood, fire, earth, metal, and water. The methods of I Ching divinations with its complex bagua (八卦) trigrams and hexagrams build its foundations upon these movements. Here's the diagram illustrating how the elements relate to one another:

Let's examine the wuxing diagram, specifically the color its elements corresponding to the eye colors of Anime-Kusu, Hyper, Movie-Kusu, and Shingi.

Anime-Kusu's eyes are blue, which aligns with 木 - wood. It has a symbiotic generative cycle - 相生 - with 火 - fire, which aligns with Hyper's eye color. The simple metaphor here is that you cannot create fire without wood to kindle it. This makes sense, since Hyper's form is modeled after Kusu.

However, if this relation is left unchecked, it can become a destructive reverse-generative cycle - 相洩/相泄 - where wood is burned by fire. The fire-aligned exorcism sword Ri/Li - 離- serves as both bridge and barrier between Anime-Kusu and Hyper. Hyper's fire element feeds on Kusu's wood element, but can only be released under specific conditions (the exorcism ritual).

Movie-Kusu's eyes are yellow, which aligns with earth - 土. Similar to above, earth has a generative cycle with metal - 金, which, what do you know? Aligns with Shingi's white eye color! The earth-aligned sword Kun - 坤- serves as an intermediary between the two of them. Interesting, right? :D

Now let's to delve into headcanon territory that anime-Kusu and movie-Kusu have a mentor-mentee relationship. Anime-Kusu could have an inter-regulating relationship with movie-Kusu where wood stabilizes earth (thus preventing it from eroding).

Alternatively, if they are somehow at odds with each other, earth can also rot wood. From a meta level, this could represent how Kamiya replaced Sakurai as movie-Kusu's voice actor. Ouch.

We actually see a similar relationship between Hyper and Shingi, in which fire (Hyper) refines/shapes metal (Shingi).

There's an added complexity where Hyper's pupils are uniquely gold/yellow, which may give him an even deeper connection with metal-aligned Shingi because gold technically a metal and 金 also means gold in Chinese. Since they are divine beings, I think it's appropriate they have this level of depth in their relationship.

(Hyper's pupil color can also be interpreted as yellow, which matches earth-aligned movie-Kusu with his yellow irises!)

Another common thread between the two divine beings is that their sclera are both black, which represents water - 水. Water dampens/regulates fire (Hyper) and rusts metal (Shingi).

I believe this represents the represents the exorcism sword's power to confine/limit both Hyper and Shingi's powers until the time comes to unleash them. This is visually symbolized by the black schlera surrounding/containing their colored irises.

Shingi seems to have the shorter end of the stick since metal corrosion is a more potent type of destruction, which may explain his more human-like appearance compared to Hyper's otherworldly one. That...probably doesn't bode well with his upcoming battle with the karakasa.

[where-does-the-heart-lie]

Can we have a deeper analysis in Sabo's shape language study please? It's amazing how you make him give different vibes with just his hair and I like to understand how does that work.

Oh. I'm SO glad you asked.

(The Post In Question)

Okay so this isnt the first post ive made about shape language,

Here are the others:

ASL Shapes Strawhats Shapes

i'm just gonna copy and paste the definition i have for shape language from those posts here so i dont have to write it all again.

Shape language is defined as “a concept used in art and animation to communicate meaning based on shapes we are familiar with” (source). This concept uses circles, triangles, and squares to convey an idea of the “personality” of the design without using any words.

In designs, using circles and rounded edges in your silhouette and detailing gives the design a soft and squishy look. They tend to be harmless, approachable, or changeable.

Designs using squares gives the design a solid, sturdy, and strong look. They are supportive, reliable, and inflexible

Lastly, triangle designs are sharp and directional. They are dynamic, dangerous, and unpredictable.

That's base level but here's more in depth description of each design for ya:

this one is up first!

You may notice how in this design, his hair isnt in large clumps like the others are. His hair falls delicately and waves gently with little to no hard angles.

In this design, i was trying to convey the idea of "he wasnt born to fight, but he's molded himself into someone who will." I tried to depict that by making his hair all light and feathery, his facial features soft and rounded, but also showing how he's modified his body in a pointy and aggressive way.

I didn't want to only go hard edges with the piercings though because much like he's strayed from his mold of being delicate, he's also strayed from his mold of being a cruel noble. so some of his piercings are rings, AKA: Circles.

You may also notice the different in how I've drawn the collars of these guys. the collar of this Babo's black coat falls softly, and its' arc is rounded. The shoulders don't have any padding and it rounds at the corner.

This Man Is Round.

Next up is this Freak

This is supposed to be Triangle Him.

His hair is in larger, hard angled clumps. Indicating that he probably cut his hair himself. He did... greattt. I already headcannon him as someone who cuts his own hair, but i dont think this one ever gets any better at it.

The hard angles on his teeth, his scar, his jaw, his collar, that line i forgot to erase on the left, and his coat all give indication that this guy is Dangerous and you probably shouldnt mess with him.

I didn't have any real deeper meaning to this version, I just wanted to make him look as opposing as I could. this guy is "what you see is pretty much what you get."

Even though he doesn't have a lot of deeper meaning, I think this one is my favorite of the designs. I really love these colors on him and his hair was really fun to draw. I think I wanna draw him again at some point. I think this version of him would be very funny paired with Koala. I'm chuckling thinking about it:

Koala and her Armed and On Fire kindergartener

And lastly this guy

Sabo's base design is very rectangle coded. From his Hat, to his face shape, to his coat. So this version was very easy to make as I didn't actually need to change that much!

I think maybe I could've made his design a little more complex? But also I think there is a beauty in simplicity for this one. He looks straightforward, reliable, and kind. He seems like the kind of guy who gets his hands dirty, not because he likes doing it, but because he does what he must for the greater good.

I really love his hazel eyes, too. I think it brings a nice warmth to his design that is really nice.

Additional comments:

I love talking about this stuff. I love designing. I love art. I love drawing so much it's so fun

Everytime I get to sit down and make some funky doodles my brain feels like 🧠🤸🧘🧜🧚🙋‍♀️🙋‍♀️🧚💃💃💃💃💃💃

If you got this far thanks for reading :)

I usually have a description for my designs and my choices and stuff and I forgot to do one for this post, it makes me happy to see that it was missed :)

[likealittleheartbeat]

hey! i really enjoy your analysis of aang and zuko's relationship, and i was just wondering if you have any thoughts on this:

when aang considers what he's afraid of the most, he doesn't just see zuko - he sees the blue spirit. why do you think his fear is linked to that mask? zuko was the most amicable towards him when he put that mask on, and was hostile every other time.

Ooooh!! This is such a rich and meaty question!! And it's something I've wondered about but never dove into before.

I guess there are a couple of questions we need to explore. One, do we want to begin to analyze this from Aang's perspective or the series' themes, which, when put together, should offer us the fullest idea of what the intent might be? If we begin with Aang's perspective, then the next question we need to next ask what is Aang's view of Zuko and/or the Blue Spirit at this point in the narrative? My worry about beginning at that intimate level is that we might miss possible connections that a thematic understanding might facilitate and may, like many fandom analyses, leave it at a character level when, in fact, the characters exist to serve larger philosophical purposes, especially in a show like ATLA.

So, we'll return to those questions about Aang after we visit some questions about the broader themes here. We know for a fact that the team did a lot of research into Eastern philosophies that they had to then pack down into 24 minute episodes, preserving a surprising amount of complexity not in the words but in the actions and visuals. The 2 part Crossroads of Destiny episode is probably the most evocative of this practice. The four-way fight scene is celebrated for the way it masterfully shows character development through fight choreography. Then, Aang's crystal chamber he forms to master the Avatar State is a direct reference to a statement about pre-enlightenment in one of the foundational texts about Japanese Zen for American Buddhists, "The Three Pillars of Zen." The rapid explanations of the seven chakras with Guru Pathik might seem like a a skimming of Tantric beliefs based on the brief statements and processing, but it's another prime example the way ATLA suffuses meaning beyond the script.

What more can be said about the Earth (also called the Root or Muladhara) Chakra, then, that the show might reflect without stating it explicitly. Guru Pathik explains that the Earth Chakra "deals with survival." Is there any subject more prescient than that for our protagonist, the single survivor of an otherwise all-encompassing genocide? Other accounts of this chakra that I can find explain that it's at this chakra that one can observe that their base needs are being met--enough food, enough water, etc. There seems to be a subtle witnessing to the effects of PTSD here then. With this chakra untouched, unopened, and out of balance, Aang within his mind has been living in a state of emergency without knowing it, believing himself at a core level beyond his consciousness to still be under immediate threat even in moments of peace like his meditations throughout the opening of his chakras. "Your vision is not real," Guru Pathik points out, not to say that no danger exists for him in the world but to illuminate the immediate reality surrounding his person.

The memories and visions that flash during the sequence hint at how fear conceals deeper realities and thus possibilities. I'll start with the clip of Katara sinking away from the first episode of Book 2, "The Avatar State." The Earth Kingdom General performed this cruelty after many other attempts to force Aang into suffering to gain the Avatar State. Believing he lost another person he loved, the state was triggered despite the actuality that Katara was unharmed. The fear of her loss overwhelmed Aang, and even her safe return could not assuage his traumatic response. The Blue Spirit incident forms a striking parallel to this event, in that case. Aang felt himself helpless and in danger only to discover the opposite: the seemingly malevolent force freed him from danger. Further, that Blue Spirit Mask concealed Zuko who, by the end of the series, will be revealed (to himself and) Aang as an ally and a friend. The shadowy image of Ozai, then, connected with these two fear-inducing semblances, can be seen then as perhaps the ultimate foreshadowing of Aang's ultimate success in pacifying Ozai. Put in the context of this chakra and the other two visions, it frames the Firelord as a facade meant to induce terror and distance, when in reality, life and humanity still lay behind the horrifying megalomania.

Concerning the Blue Spirit element specifically in the series, I want to explore one more factor within the series before getting back to Aang's character relationship in this moment. Blue has a running symbolic theme within the series that seems especially relevant here since it played a huge role in a highly symbolic part of the directly previous episode, "The Earth King." As Zuko rides out his psychogenic fever induced by releasing Aang's bison and abandoning his Blue Spirit mask, he is confronted in his dreams by a blue dragon voiced by Azula and a red dragon voiced by Iroh. I felt really confused by these two would-be shoulder angels for the longest time (literally until I was sorting my thoughts out to write this) because Azula's blue dragon is the one who entreats Zuko to rest, which even in Grey Delisle/Azula's clearly threatening tone--she even ends the temptation by saying "sleep just like mother!"--seemed to be what Zuko needed to do as opposed to the red dragon's exhortations to get out. I could see how sleeping might also refer to accepting his upbringing without thought, but why blue? The layers upon layers of possible meaning overwhelmed me.

I posit that blue in the series, especially when put in relationship to red/orange, as it is in the dream sequence, the dynamic between the water tribe and the fire nation, the fire of zuko and azula (especially the final agni kai), and the energy-bending of Aang over Ozai in the finale, ought to be read as Yin (making red/orange yang). Yin is passive, retractive, and receptive, which makes the invitation to rest by a blue dragon make perfect sense. Yin is also feminine in nature, hence the association with both Azula (whose blue fire and lightning becomes especially interesting to explore under this understanding) and Zuko's mother in the dualistic dragon dream. If you know anything about yin and yang, you know that it's key tenet is ever-changing coordination of yin and yang within one entity and with relationships between entities rather than the privileging of one above another. The two dragons in Zuko's dream, while seemingly in opposition to one another, are actually seeking, like the bumper stickers say, "coexistence" of their dispositions.

Now, back to Aang's vision of fear over the Blue Spirit. The red that overlays everything is specifically a reference to the Earth Chakra, which is symbolized by the color red. But the fact that he has one fear of Katara, the pinnacle of blueness/yin in the series, dying, and another fear of the Blue Spirit, a de-flamed (read: emasculated) Zuko attacking him that are then overlayed by this Earth Chakra red, a color otherwise used to portray yang (masculinity, activeness, expansion, and repulsion) and the fire nation in the series, suggests that his fears are specifically about within holding onto yin nature (symbolized by his grasping for a disappearing Katara) without being entirely overwhelmed by it (in the image of the fear he felt as the Blue Spirit approached his imprisoned body). And all those fears are intensified when living in such a patriarchal, or yang-skewed age and society, which gets depicted through both the final image of Ozai, the ultimate patriarch within this world, and the red coloring.

I promised I would get back to the characters, and after that hopefully illuminating thematic expansion, we can hopefully get at the core of what's going on here for Aang personally and what it might mean for him to be picturing Zuko with the Blue Spirit mask as a fear. I want to put this moment into context with Aang and Zuko's relationship at this specific moment. Aang hasn't seen Zuko since he watched him cry over his uncle in the ghost town after Azula struck him with lightning as a diversion. That was ten episodes prior (and more than 6 months time if you were watching the show in real time as it premiered; May 26th-Dec. 1st). The next time Aang sees Zuko, two episodes later, they are glowering across a crystal prison cell at one another with antipathy as they're embraced (a gesture I can only remember from the fantastic black romance film Love & Basketball, and in a gay context that is clearly referencing that moment in L&B, in the Norwegian teen romance series Skam). Right before this scene, Aang readily agrees to co-rescue Zuko and Katara with Uncle Iroh despite Sokka's protestations. Nothing seems amiss with Aang, no obvious belligerence toward Zuko until he sees him. Zuko has barely seen the airbender this whole season, and the one moment they encountered one another, Zuko was attacking Aang's attacker rather than him. Why is Aang expressing anger toward Zuko in the crystal chamber then? It's a rare expression from Aang even when we look at their more antagonistic interactions from the first season.

Here's where this vision of the blue spirit Aang envisions as he opens his earth chakra might enliven his characterization and his relationship to Zuko. We get two pieces here. His attachment to Katara and the queer implications of his partnership with the Blue Spirit/Zuko. And they are inseparable.

I don't feel that I need to especially dive into the attachment to Katara since it's been a pretty big component of discourse within the fandom, both in general analysis and more specifically relating to the (literally historic) shipping wars between zutara and kataang that emerged after the series came out originally. What I'll say here is that the first vision that Aang has as he addresses his root chakra points to his fear of losing her and what she represents pretty explicitly and, as I suggested earlier, also provides its antidote in the realization that accepting/surrendering the fear of impermanence reveals its simultaneous illusion. Katara wasn't actually harmed and wasn't truly lost when the general subsumed her into the ground. Aang has to let go of her as a permanent fixture that he'll always be able to see and know entirely (not, as many have interpreted it, let go of loving her). He'll also have to let go of saving her and the world of so many others she represents, which is as much a pressure and role Katara and others put on him as Aang yolks himself to.

Part of this acknowledgement of Katara's impermanence as a living being and a romantic possibility is addressing the others in her life who pose both danger and attraction for her. Zuko embodies both of these things simultaneously. The aggressive stare Aang launches at Zuko in "The Crossroads of Destiny" can be understood through this lens. The Eve Sedgwick's concept of the triangulation of male homosocial desire between romantic rivals was one of the foundational ideas of queer theory. It's so well-established as to be a meme among the tumblr crowd. The show even references the history of these literary homosocial tropes in "The Avatar and the Firelord" as Sozin and Roku's tight-knit youthful friendship is slowly rent apart at the event of Roku's heterosexual marriage, which thus begins the imperialism of the Fire nation.

Except that Roku and Sozin aren't romantic rivals. And Zuko's obsession with Aang begins sans Katara. And, as you pointed out, if the romantic threat is Zuko, it ought to be Zuko in the Earth Chakra vision instead of the Blue Spirit? Well, those all exist because ATLA is not a tragedy for homosocial relationships, and it's hard for me to explain how groundbreaking that was.

You see, the show theorizes homosociality differently. If Aang is required to let go of Katara, he has no pivot point, no object (because women shouldn't be objects for male fodder!) to connect with and compete with a rival male, so he has to look directly at the desire of another male for him and, therefore, face the fears that he might have similar desires. I said above that the Blue Spirit is an entirely de-flamed Zuko, which I then paralleled to emasculation. One could even go farther to call it a kind of symbolic castration (Firelord Ozai losing his firebending at the end of the series certainly demands this kind of reading). These aspects ignite fears about lacking masculinity which then cause reactions, which make men avoid accepting any thoughts and behaviors associated with vulnerability and homosexuality invoked within themselves or by others.

I think Aang, in his way, is confronting these fears but not from the angle of someone raised within a homophobic or misogynistic culture. His openness to Zuko and the potential of connection to him is ripe from the first time they meet--"you're just a teenager" connects them without any intermediary. He comes to understand the rigidness of the environment he's in, though. He feels like he's being forced to choose between a yang/masculine role he plays with Katara, who at this point in the series though growing out of it and certainly not a fault of her own making still sees him as her savior and depends on him to save her and the world through metaphysical mastery and the repulsion of evil, and yin/feminine role he plays with Zuko, who finds Aang in and forces him into positions of elusion, surrender, and passivity, while requiring his compassion and forgiveness. When the Blue Spirit comes swinging his swords (read that with all the innuendos you want lol) at a shackled Aang, it's the ultimate expression of Aang's potential for submissiveness because, not only is he entirely helpless but the one who could harm or save him in that scenario is another who is not participating in the expected power of fire/yang/masculinity.

I think everything in the show says this is attractive to Aang--that he remains with Zuko immediately after their escape from the fort, that he reflects on the Blue Spirit as he opens his chakras, that a reference to the conversation that followed their escape that Zuko makes halts him in his tracks when Zuko asks to join the team. Zuko's Blue Spirit persona means a lot to Aang, a scary amount, and my point is that it's this fear of the meaningfulness of their encounter as two men who are not the masculine paragons they are supposed to be which Aang faces as he opens his chakra. As much as he wants Katara, he wants Zuko. He fears he'll lose Katara and he fears he'll lose his life to Zuko. These are the dichotomies he's tackling as he processes the Earth chakra.

Aang eventually opens the chakra, but that's only to say he acknowledges and surrenders his fears to a destiny and understanding beyond his control, not that he necessarily learns how to address and solve all the conundrums contained therein. We know he chooses his attachment to Katara at the end of the episode to obtain power over the Avatar state but perhaps we could've been clued into this choice by noticing he has not chosen Zuko with that initial glare Aang gives him. Aang hasn't found a way in his chakras or his heart to hold both Katara and Zuko at once, so he chooses Katara and expresses a newfound jealousy and rivalry toward Zuko (not that Zuko's at his best behavior at this point, but it's Aang who initiates the exchange).

By the end of this season, Zuko abandons the Blue Spirit mask and Aang loses his life for prioritizing Katara and a yang-centric mastery of the Avatar state. The next season involves all three of the protagonists finding more internal balance between yin and yang for themselves and accepting mutually reciprocal feelings for one another that allow them to escape the kinds of patriarchal tropes that have dominated Anglo- literature for centuries. The ability of this brief sequence to highlight so many of the series' central revolutionary themes speaks to the depth of the show and the way it invites the audience to think about rich subtext rather than pedantically hammer us with morals will just continue to be the gift that keeps giving from this show.

Thanks so much for asking! Didn't know how much I missed doing a deep dive into this kind of stuff.

[multidimensionalguidance]

SR Chart in-depth Analysis Part 2 🔒

Here’s the continuation and final part of my SR chart analysis and predictions, which has been very fun because its the few moments where I can see myself from a different perspective, and just focus on the information I can decode without any room for judgment.

Taurus 8th house: my sense of security will depend a lot on how much I can rely on indulging in delicacies within my own hidden safe space. Finances are merged or shared within close relationships. Partners resources become my own. Inflexible or hard-headed when it comes to the type of comfort or luxury I expect to enjoy. A big focus in other people’s resources becoming my own somehow. The ruler of this house sits in the 12H, which means that the money I receive or try to keep hidden will be used towards spirituality, foreign settlement, expenditure, bed pleasures, self care, health, work clothes, skincare, and extravagant procedures to enhance my natural beauty, which could be to an almost detrimental or excessive level since Venus is debilitated.

Gemini 9th house: communications in general will be towards philosophy, higher knowledge, luck, feeling blessed, traveling, foreigners, teachers, spiritual guides, etc. It is also likely I will be speaking a foreign language quite often. Lots of short distance traveling to foreigners places. These conversations and type of mindset will influence my finances, bet it due to new perspectives or simply luck allowing me monetize those newly acquired learnings and skills. That would particularly be due to 9H ruler sitting in the 2nd house. I’ve read before that Mercury in the 2nd denotes above average intelligence, so perhaps that will also influence on how I’ll be able to increase my resources.

Cancer 10th house: this year people will perceive me as very nurturing, mother-like, soft, intuitive, and like wife material (particularly bc that asteroid Bried is conj the MC). It is likely that I will be receiving lots of attention because that’s what luminaries do, they put a spotlight, which is career/public image for me. My work environment could be spent in a space that IS or feels like home. There could be discomfort from having matters that are private exposed to the public, so I might have to deal with some of that as well. The ruler of this house sits in the 5H, so I might be doing creative work online, related to children, with romantic partner, in a fun way.

Leo 11th house: my social circle will be full of creatives (artists, leaders, performers, teachers, government workers etc), royal-like people or individuals with a certain amount of influence. My goals, social media image, and gains/income will be focused towards notoriety, fame, child-like joy, romance, appearance, etc. On top of that, the ruler of the house sits in the 2H, so those gains/goals/social media image will also influenced my resources and finances.

Virgo 12th house: with Venus sitting there and it being the debilitation, I’m led to thinking that the possible negative significations of this placement will be experienced in isolation, during my daily night routine or in foreign places. The difficulty with Venus in Virgo is how overly critical and judgy it is towards itself and others. There is a difficulty with fully enjoying the experience of love and beauty because you’re too busy thinking of how things can be better or improved. Now, on the other hand, no one does acts of service and has a deeper awareness of health and beauty than this sign. They give and give happily to those they commit to or love in general. I will probably be enjoying a bit of those sides during this year.

Thank you for reading this far! I’m excited to check this during December and doing a sort of checklist of what I predicted accurately + everything else that will definitely happen without my awareness.

[secretarysong]

so much Mayday stuff (& a smidgeon of Vinyl City worldbuilding) in my head. ooouugghh. wrote this at 12am last night and i'm not the best at articulating my thoughts so forgive me as this wooonnt be the most polished. this is likee a mini conglomeration of personal headcanons and a bit of analysis (reading too far into things) ... i just wanna talk about her REEEAALLL BAAADDDD

i've always thought of Mayday as someone so deeply intertwined with Vinyl City (specifically the working-class & lower-class areas; the 'little guys') that her dream of becoming a big famous rockstar also stems from a desire for agency/power. power to be able to do SOMETHING in the name of her communities after personally living through, like, 2 decades of neglect—condemned by NSR to live in the shadow of the more tourist-oriented/commercial/profitable parts of the city—even if it means rising to charterhood under the same stupid record label that's the source of all her problems in the first place ...

i also like to believe this, in tandem with her rumbustious nature, is why Mayday IMMEDIATELY switches to aggression (dare i call it a TV meltdown...?) following her & Zuke's flames being so harshly snuffed out during the Lights Up Audition.

Mayday was probably warned beforehand by the adults around her about the EDM bias. i think she ignored/dismissed every warning/dissuasion because she believed in herself and her ability and her principles too unshakably for her own good. and then for the judges (particularly Tatiana) to unanimously strike her dream down like that, thus proving their warnings right & her hard work (and ignorance) in vain... FURY!!!! (Mayday is NOT the best at taking losses with grace)

and then the banning of Rock from the Lights Up Audition happens. and then the subsequent blackout and diversion of energy happens. and seeing the extent of what happens across the city with her own eyes from atop the ledge (after being limited to her own ground-level experiences on the outside, looking inward) is what finally tips her over the edge and into the vat of a full-blown revolution.

semi-related, but i also view Mayday's hatred towards EDM as. like. a general prejudice. it goes a bit deeper than just Not liking the sound/style; she associates it with NSR, and therefore links it with everything wrong with Vinyl City. rock music, a dying art in the era being upheld by her tightly-knit community, untouched by NSR, to her is authenticity.

she also loathes the "Order leads to progress in Vinyl City." slogan because, to her, order means complacency... and complacency has done shit all for anyone she knows. ("If chaos is what is needed to get things done around here, so be it!")

i know i'm kind of bouncing back to the second paragraph but. like. there's just something so dear to me about the idea of a Mayday whose a roving city girl from off the streets... armed with her guitar, her passion, and her support system, doing everything she can to prevent rock—her home—from becoming irrelevant. always chasing a fantasy about being something bigger than herself. even if the odds are stacked against her. even if Mayday's own impetuosity is a double-edged sword that impedes her just as much as it enables her.

to me she's. like. a melting pot of ambition and stubbornness and righteousness and naievite. Mayday girl i love you SOOOOOO SOOOOOOOOO MUCH ideally i would put this all into a legitimate form of writing like a backstory fic or something but gah i don't even know where to START

[xjackjackx]

Alan Becker Analysis: Hazard's Mysteries (Or Maybe I'm Overthinking???)

Ok so unlike this last post about Victim and Glasses Guy / "Agent", this isn't really me bringing anything solid onto the table (well besides one or two things). This is just me overanalysing random shit that frankly is likely irrelevant.

Anyways this post is about Bathroom Sign Guy aka Hazard aka Warning aka Sign, the gray pictogram mercenary from Animator vs. Animation VI, and why he might have a deeper role (prob doesn't).

Part 1 - The Overthinking of Minor Details

Ok this is the part where I'm 100% convinced I'm just talking stupid shit due to rewatching the episodes too many times, but eh.

Let's start off with something... relatively normal actually, which I saw pointed out by others. When Chosen attacks the mers with lightning, Hazard has this shit happen to him:

This is... frankly weird and idk what it means. When Wanted first came out, this and his movement made me think Hazard was a robot, but since then I started believing he's just a normal stick figure like the others. Besides, this whole series is on a computer so everyone besides the Animator is an AI lol.

So if he's not a robot, perhaps Hazard is connected to technology, and thus taking away the ship's energy took away his? That's the only other thing I can think of.

The second one was actually told to me by a friend, and tbh even in this whole post this might be the biggest stretch, but I still think this is worth bringing up. When Orange and Chosen return to the Outernet, Hazard is seen looking... somewhere.

(btw agent looks so stupid here lmfao)

The most likely answer is that he is simply looking around, like Agent and Primal - the cave drawing - are seen doing like immediately afterwards. But my friend did point out that it could easily look like Hazard is looking up - in which case, he could've possibly noticed Chosen and Orange, and then chose to not tell the other mercenaries until Agent notices them and thus forces Haz to intervene. Likely just huge overthinking of a one-off scene, but still.

The last one from Wanted is this shot of the Mercenaries in the elevator.

In this scene, Hazard briefly looks at Ballista - the pixel gremlin - and then proceeds to look away when the little guy stares back at him. Is it most likely them just finding the awkward elevator silence uncomfortable? Probably yea, but it could also be a sign of Hazard and Ballista having a rocky relationship - we see Ballista is pretty aggressive, so maybe Hazard is nervous around such a batshit crazy dude?

In "The Box", the first Hazard scene worth talking about is the first of his reactions to Victim's torture of Chosen.

We know he is a mercenary and a villain, so it should be expected that he's a cruel bastard, but still, falling asleep while watching torture is just another level. What kind of shit did Hazard see, or do himself, that he finds Victim's actions purely boring?

...and yet, just a few moments more later, Hazard has an actual reaction to Victim pulling out a lasso.

Now, the three dots - and thus, Hazard's silence of a reaction - could mean anything. Maybe he's still bored, just awake now. Maybe he's curious to see what will happen. Maybe he has actual standards. But it's still interesting to see that Victim's lasso got a reaction out of Hazard (meanwhile Ballista just crosses his arms, prob in curiosity or impatience, while Primal stays completely still - I'll get to their personalities later).

Similarly, Victim ordering Agent to clone him also gets a small reaction out of Hazard, his head jumping a little (I don't know how else to call it).

This time, it's definitely just shock/curiosity/surprise that Vic is doing something new, and/or that the Box lets you clone people, but still worth pointing out.

A long time later, we finally get something worthy of note from Hazard, that I actually find interesting. While the other mercs are too busy looking through Chosen's memories, Hazard notices Orange returning.

I feel like this was actually an intentional choice. Like, why make all the mercs focused on Chosen's memories, excluding only one of them - and it's not even the most important mercenary that's the big bad's right hand? Also, why is Hazard so far away from the other mercenaries? While I consider this whole section of the post just major overthinking, this one moment specifically is actually pretty sus to me.

Now, to close off this section, there is Haz's reaction to Super Orange.

Mainly, how he and Victim are the only ones who are inarguably scared/panicking. Primal just leans in like "de fuk", Ballista flinches once and then watches in silence, while Agent double checks on both the small and large monitor. Primal and Agent are confused, Ballista is shocked(? idk how to call it), but Hazard and Vic are the only ones with a true "OH SHIT" reaction. What this means? Idk, again this whole section is just overthinking things.

Thankfully we can leave the part where I talk meaningless shit and get into the parts that hopefully actually have a point.

Part 2 - Hazard and His (Lack of) Personality

Another part I noticed since Wanted first dropped (part of the reason why I first thought Haz was a robot) was that, compared to the other mercs, he has so little personality... which might be intentional.

I mean, Agent. He also doesn't showcase a lot of himself, but we still see that he's cool, calm, loyal to Victim, kind of a taunting asshole who plays with his victims instead of instantly getting serious, and despite it all, not unbreakable - He panicked when Chosen attacked him with the iceberg, and he was caught off-guard by Super Orange like everyone else.

Ballista probably has the most personality out of everyone. His body language shows emotion pretty much all the time: most specifically, anger. Whether it's his fighting style, his pose, or walk cycle, Ballista is pissed off 24/7. It's implied it even makes his co-workers nervous. At the same time, the grin he flashes when jumping off the ship in Wanted shows he enjoys his job.

Primal is second only to Hazard in lack of personality, but there's definitely still something there. Mainly, is that he's a very fight-focused person that is basically an empty shell outside it. He's so ready to fuck up a rhino in Wanted, and sharpens his spear for another hunt while bored, but outside of fighting Orange?... he's pretty dull. Only a bit more emotional than Hazard. He seems like a Kraven-type character who just wants to hunt the biggest prey possible, while having zero life outside it. Also he has a Hulk-style form which reduces him to an animal sapience-wise.

Hazard, though? He uhh... he wants to get Chosen, is very focused on completing the job, and that's kinda it. He's such a blank it feels intentional. Perhaps he has his own goals and is hiding them?

Part 3 - He's Either Holding Back or He's Fucking Useless

Yea not gonna sugarcoat this. There has to be some sort of big reveal of Hazard's true power in later episodes, or this dude's so weak it's laughable to think he's supposed to be a threat.

I mean, Agent has a toolbar that makes him a Mini-Animator, and he can pause anything and anyone. Ballista can shapeshift his body and pull weapons out of his ass. Primal has a stronger form that can pick up a rhino without difficulty, and he probably has more.

Hazard?

He, uh... is good at dodging. He also has this one Shock Sign that killed a bird. Yeah.

Ngl if this is all Hazard has then it's impossible for me to see him as a threat on par with the other mercs, or even Victim. Hell, I wouldn't even be able to see him as above the Stick Gang in strength, with how slow Orange was in that scene compared to his fights in the AvM Shorts.

So yeah, on top of possibly hiding his true personality/hidden motives, Hazard was most likely holding back heavily in Wanted, which only makes him more mysterious.

Part 4 - The End

So, this is kinda it. Was Part 1 all overthinking, or did I get a few things right? Is Hazard actually hiding something, or does he only show little personality because none of his scenes let him show off anything? Is he holding back his true strength, or is he actually weak?

Frankly idk, but I am excited to see where things go with this guy, as he has tons of potential.

[autisticlalna]

okay. full episode analysis coming later because i have so, so much to say about that one clip, but:

so. Dominion references. that's the big thing. we got two of them back-to-back in a very hard to ignore way if you're familiar with season 2.

but it's not just been Dominion. that's been what we're all excited about, obviously, but there's been some other stuff blending in.

after all, we have Viking surviving the apocalypse and talking about how he has experience working with tnt bombers-- something said ooc, maybe, but he has been working with them on both Hardcore and Twitch SMP, and died on TSMP because of getting caught in the explosions.

there's also the moment earlier in the trial where M1G starts ripping into Milkman for what he did on Pleasantcraft. again, line between ooc and in-character is blurry here, but either way Viking recognized what M1G was getting at. (Viking also cut out the part where it got called into question if that should count as testimony against Milkman seeing as it happened on another server and Elffe said "let's get multiversal". god, literally everything elffe did in the trial was great)

but, speaking of multiversal, i'm going to bring up something i've been calling "multiversal bleed" for lack of a better term. sometimes the lines dividing the Vikings are... wiggly. history likes to repeat and mirror itself (as shown in the trial), but some stuff slips in regardless of reality echoing itself. this is the obligatory part of the post where i pull up the TSMP transcripts.

because, for some reason, this specific line from tViking sticks in my head:

Viking: [cat beckoning noises] Frickin’ cat, like the cat I had one time. C’mon.

the reason this is filed under multiversal bleed is because Viking had a cat in Gilded Hardcore. (Also in Dominion, but Cranberry is better remembered.) tViking also could've had a cat during the gap of time between his arrival in TSMP's world and tRuby's, but either way the reaction was "wait, Gilded?"

there's also an equally brief example in the solo Skyblock series, where Wanderer recognizes Avid despite neither of them having crossed paths on-camera before... or those specific versions, anyway. again, Gilded Hardcore.

multiversal bleed is kinda a consequence of mcyt in general when you have multiple series running with different iterations of your character. there's bound to be crossovers and quick jokes and the like. but, considering that Viking's lore has been steadily building up to his status as a universal constant, it's more on the table as "something with canon repercussions".

going off of what moxijunk has suggested before, Summertime might be having heavy bleed from other versions of himself. he's still a separate entity from dViking, or Hardcore, or tViking, but when things get a little too familiar, memories that aren't his start to spill through. it seems to be what's happening to Cherryby, after all.

there is another route, though. on some level, we know the Vikings are aware of each other... maybe. again, most of my evidence is going to be from Twitch SMP, seeing as that went deeper into the overall storyline that's been building since the introduction of V.P. as a concept.

Navigator, local Viking that knows about the multiverse and is very involved in keeping it on-rails, told Sapphire at one point:

Navigator: You won’t tell me anything. And none of the others seem to know… or know even he exists.

and Sapphire later brought up:

Sapphire: Well. I am me as much as this one… is nothing. Hm. Y’know? Me, myself, and I… always work together. We’ve always have. Just as all Vikings. And… Navigator: So you work together… Sapphire: Even to an extent, VP, back before… Well. He didn’t, anymore.

...so there's some level of communication going on between the Vikings. Navigator keeping himself hidden from tViking probably has more to do with "tViking being an unknown and dangerous variable" rather than "Vikings aren't supposed to interfere with each other". maybe. basically anything with Navigator involved is vague, though.

and then, of course:

Viking: So for me, [laughs] I may not build these things myself, but I wake up and they’re done, and I know it’s me, because me wants to help me. Vikings help Viking. That’s how it works.

Vikings help Viking.

this hinges on Summertime being aware, either consciously or subconsciously, of his other selves.

in a TSMP stream i don't have a clip of at the moment he did swap places with tViking / Navigator, but there was no meeting of the Vikings and we don't know if he understood what was happening or if he even remembers it. most of the evidence here is from Navigator, who is an outlier and probably should not be counted, and tViking, who has been voted "most possessable Viking" since near the start of TSMP's storyline.

good lord this post got long. i'm going to go get coffee. draw your own conclusions because i forgot mine

[petarabbit2]

Realistic Deuce Spade + Headcanons

Deuce Spade + Realistic artwork done with Art Breeder and edited in Clip Art Studio:

Ready to meet the goodest boy? I am. (always)

Sidenote: When headcanoning Deuce and all my other characters I take both factual and some of my personal thoughts/beliefs of the character to construct my headcanons.

Back to my rendition, I didn't give deuce any flaws necessarily (moles, acne, freckles, etc.) since I can not picture deuce with bad skin and he just seems like he tries to keep himself tidy and neat after being accepted into NRC. (Even if he did have a bit, after his change in behaviour he would try to fix it to again look more tidy and put together).

However, it's not shown in the art since it's not to that level of detail but he has a couple of past holes in his ears from piercings and he has a reverse tramp stamp above his yk yk from his rebellious days. How’d he got it without being of age? Idk really but probs a fake ID or something. Anyways it's just a simple design I chose from pinterest which i'll draw him with someday but it's basically just a spikey sorta design?? Idk how to describe it.

I also made this deuce half asian, Japanese to be precise, as I have seen a lot of people headcanon it, plus it makes sense to the extent that a sign of rebellion in Japanese households is dying hair which deuce mentions he did back in middle school.

For his features, Deuce has hooded eyes, a bit thinner and higher eyebrows, a straight nose that is upturned at the end, sorta longer eyelashes and an upside down triangle face shape, most of this is taken from his character model but taking some liberties to make the cast more diverse in terms of appearance.

For his body its a trapezoid shape so wider shoulders and a smaller waist, however he has pretty muscular legs (from track and field) and I’m caking my boy up 🫡. He has just regular size hands and feet but slightly longer fingers.

Aw yes, another slight british accent, sorry not sorry 🤭 – used to use heavy slang but stopped after getting accepted into NRC but it slips out here and there.

Without & With Face Makeup:

Personality and backstory headcanons + a bit of character analysis:

Deuce, like Ace, is one of the first characters/friends we meet in the game, he is presumed to be a very sensible and hardworking student (which he does try very hard to be) but always ends up getting himself into trouble. We later learn of his past as a delinquent which we can connect to his still aggressive nature towards hostile people who threaten him or his friends. I haven't seen much extreme mischaracterisation of Deuce personally because he's an extremely hard character to mischarcterise as the game is very straight forward with his presentation and past.

But diving deeper into his character we can discover why he's the way he is. Its cannon that his parents are split with his father completely out of the picture, and we never hear of a grandfather (maybe due to another divorce or death) so he grew up around all women which in theory is great for a boy since they learn all about how exactly to care for them but can also be straining.

Even if Deuce loved his mother and vice versa, he still would have wanted a father figure, which could be why he became a delinquent. Obviously the other delinquents were either kids of his age or a bit older which were the only ones in his eyes that could maybe fill in that role as a father figure. I know it's canon he became a delinquent because of his slow learning, feeling the need to just not try at all but subconsciously, it could have meant more to him.

When he heard his mother on the phone crying about if she's raising him wrong, if she’s a bad mother, etc. it made Deuce realise what he's been doing, that he's been taking the easy way out of things. Even though he probably didn't (and still to this day) realise he was hanging around the older delinquents because he saw them as potential father figures. (help my boy plsssssssss)

We all already know Deuce is a big mama's boy, not the sharpest tool in the shed and can have a bit of a temper when provoked, I believe Deuce is also emotionally aware of his friends. Women are known to be the more emotionally aware and supportive gender stereotype, and with Deuce only being around them he must've found his foreground (we using the big english essay words) on being able to see when someone is upset and/or mad at him or something. Even though he may be able to see it he might be a bit awkward with the comfort as again, he's still an awkward teen. 

With deep conversations, he will try his absolute best to understand and will ask questions to further his knowledge on the topic even though he might not completely get it. He would never try to avoid or show immediate distaste for these conversations because he feels he really gets to know the type of person you are based on them (Ace learn something from Deuce). 

Deuce appreciates quality time with friends alot, and especially appreciates people he knows are there for him as well as those who he knows he could tell anything to and would never be judged. He probably had to fake things about his childhood and personality to his old delinquent friends and never really realised it until he got real supportive friends like Ace, Grim and Yuu.

My editor/assistant cause I can’t grammar or spell to save my life: @cyb3rpnnk 

SIDENOTE: DO NOT REPOST MY REALISTIC RENDITION OF DEUCE OR ANY OTHER CHARACTER I DO AS YOUR OWN. EVEN THOUGH THE BASE WAS MADE WITH AI IT IS STILL MY CREATION!

However you are permitied to use my headcanoing as your own for art or stories or whatever, just not my realistic rendition.

Also if you want realistic dating headcanons with the cast please leave a comment and I might do it! Btw if I do, these headcanons will be based on my normal headcanons of the characters.

[iwritenarrativesandstuff]

Just started Medjed arc of P5R; here are my current thoughts on the characters I know so far:

Joker: Look, I know people say he's a "self-insert" but I really, really see a few very distinct personality traits in him. He's lost in thought a lot. He zones out. He's really goal-driven. He's clever. He's a risk-taker. He's wary of consequences. He takes a little while to trust people, especially adults. He's suspicious and easily annoyed. He's on your side. He wants to help. He's a snarky little shit. His compassion is as much his defiance as his bitter disdain. He's hesitant. He's confident. He's bluffing. His respect is earned. His assistance isn't. He's free. He's chained. He's larger than life. He's a dumbass dork of a teenager. Incredibly fun character to play as, 10/10. I love that you can actually see him becoming more confident as time goes on. His dialogue options also become sillier/snarkier/more teasing as he becomes closer with people. It's just fun. I have a lot more thoughts on him but I'm going to stop here. I'd love to do a bit of an analysis on him once I finish the game - I'd like to go back through his main story dialogue options and his idle and specific scene animations. Plus, they seriously popped off with his character design. There's so much I could say about that alone.

Ryuji: Ryuji, my beloved. I wish you were less horny in uncomfortable ways in some scenes - I think, as well as Atlus not knowing what teenage girls are like, they also have not... spoken to people raised by single mothers, or mothers who got out of an abusive relationship... but anyways, asides from that, I love Ryuji. I think his desire for popularity makes a lot of sense - he's only ever stood out in a bad way. He just wants to be liked, you know? And he doesn't think he's enough the way he is. He's trying his best. I need him to shut up so bad but also I hope he never shuts up, you know. He's genuinely so funny, and he's the most ride or die of anyone. Ryuji gets angry on everyone's behalf when they can't muster up their own anger yet. Everyone say thank you, Ryuji.

Morgana: I do not get the hate for this not-cat; he's so funny to me. He's becoming a little more aligned to the thieves' morality, which is probably for the best since at the beginning he was definitely down with accidental murder and totally open about his pragmatism. He actually encourages this in Joker. It's just funny. I love my emotional support not-cat bestie who sits in my desk at school then tells me to go strike shady deals with random people in back alleys. You can definitely see a change in Morgana though; he's becoming more excited about helping people for the sake of it (like Joker, he too has gained purpose), but he's also becoming more insecure.

Ann: She remains my favourite of the Thieves. If Ryuji is the original drive and Morgana the original method, then she is the original conviction. The strength to stand with victims. The desire to force those who hurt others to understand the feelings of said victims. She has the rawest fucking lines at the end of the Kamoshida arc. She loves Shiho so much, and I really feel like her and Joker are on the same page when it comes to things deeper than their surface level interests. Get you a friend like Ann fr. It's a shame that later scenes have her mostly just getting mad at the guys when they uhhh... act like horny guys towards her. Feels bad man, especially because I love the aspect of her character that wants to be more comfortable with her sexuality and have that be on her terms. <- That's really cool, actually! Why couldn't we do more with that...? As a note though, I seriously love her admiration towards female cartoon villains and that one mean girl model. I think that's so funny and also such a mood. I do not believe for one second that Ann is straight. I hope she becomes the sexy and confidant morally-ambiguous thief of her dreams, and also that she gets a girlfriend. It's what she deserves.

Yusuke: He's so dramatic. Do you expect me not to love him? I really loved his conflict during Madarame's arc - those revelations were absolutely brutal, and Yusuke really handled things well, all things considered. Again, like Ann, there were some raw lines in there. But then, of course, the slump on the other end, when the adrenaline wears off. That Yusuke's painting only showed the dark side of desire tells me that he is still grappling with the effects of all these reveals. He has a lot to process.

Makoto: I just think she's so cute. Her design is adorable. She's such a sweetheart. On the flip side though, while I don't find her as intimidating as the game seems to, I definitely would not want her mad at me. While, as I mentioned before, I found the lead up to her joining the thieves to be a little janky, the actual moment was great. I love that she has a support system now. She really needed that. I hope there are more scenes with her in group settings tbh. While I'm enjoying her one-on-one dynamics with Ryuji and Ann, I do feel like she doesn't really... gel with the group as well as, say, Yusuke did. I think they need to drag her out to more activities lol.

Sojiro: I still don't know yet? He seems like the tough love sort. I do enjoy getting to learn random coffee trivia from him, and it seems like he cares in a kind of gruff way. He also gets a lot of suspicious people coming by. Guess I'll find out more later.

Maruki: Again, I don't know much still. He's endearing and dorky. That salt bae thing still lives rent-free in my head. I feel his frustration with not being able to help more. I get it man. I will say though, the fact that we get to see scenes with the thieves and Maruki, with no Joker present, is... odd.

Kasumi: I... I don't know how to feel. She's too nice. She's too polite. All of her scenes are so weirdly convenient. I like her just fine, but there's something seriously off. I almost feel like she's an outlier on purpose, like she doesn't blend into the world. Unlike Maruki, who is new to Royal but blends into the story quite nicely, Kasumi really stands out, to the point it kind of feels like that was the intention. She is adorable, though, I won't deny that, and I do want her to succeed and all, I just... hm. I don't know how to feel about her.

Akechi: I could fix him (smack him upside the head). <- okay but seriously, he is so obviously suspicious, he so obviously knows about Joker, he's such a smarmy little shit. I would despise him irl, but he's absolutely the funniest character in the game right now. Everything he says has me either cackling or my jaw dropping at the fucking audacity. He's also really interesting to me. Love a character whose every line means three things rolled into one. He feels dangerous and weirdly endearing at the same time. What the hell is his problem (affectionate + derogatory).

Yoshida: YOSHIDA MY ABSOLUTE BELOVED. I love him so far. He's my favourite confidant right now. He just makes me so happy man I love him so much. Yoshida takes the hard road and he's got the conviction, but you need support from people to really turn your life around. Hey, that's kind of what the game is about, yeah?

Takemi: Oh I love her confidant so far. I don't know that she's one of my favourites, character-wise, but I was especially taken with her dedication to that medicine, and Joker's response to her saying that she doesn't suit everyone coming to her for medical help by countering her with an "it suits you". Very sweet. I'm getting close to finishing her confidant; I just need to level up charm.

Mishima: I'm almost done his confidant too! I actually enjoy Mishima's character. I feel like his downward spiral made a lot of sense, and I like that he's both helpful and made me feel a bit uncomfortable. I especially like that he's pulling himself out of that fame mentality by himself, without his heart being changed. We just gave his shadow something to think on.

Kawakami: Idk how I feel about this, but the perks are good. I'm curious about her though.

Sae: She seems dedicated to her job. Forming a confidant with her during the interrogation was something I did not expect and had me going "ohohoho". But man, some of the stuff she says to Makoto is way out of line... I'm glad she's at least aware as soon as it leaves her mouth, and I cannot imagine the constant stress and scrutiny she's under but... still. Girl. :/

Iwai: I'm going to properly start his confidant soon. He's cool. I feel like he's not nearly as scary as he makes himself out to be.

Ohya: Don't know much about her so far, but she's a disaster, and I will always enjoy a good disaster woman.

Lala: SHE'S PERFECT. I wish there was a mechanic where you could get advice from Lala-chan. She's looking out for everybody. She's good. :)

Chihaya: She told me I'm gonna die... :(

[houlebubo]

One day I'll probably do a 40-minute video essay on this topic, but the internet's misinterpretation of "Death of the Author" is just a real shame.

I frequently see the concept brought up in relation to a certain terf author. People attempt to 'separate the work and the author', but that is frankly not how it is intended to be used.

"Death of the Author" is supposed to be a tool for literary analysis. That's all it is. It is not a theory by itself, nor a political stance or a way to judge morality.

It is a tool to encourage readers to interpret the content of a text authentically, but you should use it critically, and be aware of why, how and when it is relevant. It is not an excuse to ignore context or paratext, as both of those should also be considered in a proper analysis.

The tool was developed during a time when the discourse was more favourable towards an author's intention rather than a reader's interpretation. People used intention to dismiss other readers' analysis of texts, using diary entries or letters by dead authors to counter less mainstream takes of canon texts. It was a period where the 'goal' of literary analysis was to uncover a text's true meaning. The original essay was a short controversial counterargument but the conversations it sparked over the following decades have led to the scale tipping more in favour of interpretation. It has also led to a 180 of the original problem.

Killing the author has the potential of empowering readers and encouraging deeper. Maybe even uncovering biases the author wasn't even aware of! However, (mostly outside of academic circles but not always) people are misusing the concept and use it to dismiss context and racist dog-whistles as well as discourage readings that rely more on subtext.

In simple terms we have gone from a mentality saying "AHA, I have evidence and it said you are wrong" to "AHA, it doesn't matter and therefore you are wrong". Neither is constructive in a conversation about art.

If you use the death of the author effectively while acknowledging intention and context you actually add a lot of nuance to your analysis, and doing so can demonstrate your analytical abilities. You will be able to distinguish what the text is saying plainly, what is said between the lines, and if the narrative effectively handles what it originally claimed. It is an effective 1-2 punch. Let me give you an ultra-short example:

On the surface level, '50 Shades of Grey' tells you that it is a sexy BDSM story. Throughout interviews and promotional material, E. L. James frames her story as a female-empowering book. But by critically examining how the books handle themes of consent, privacy, agency etc. we can argue that the narrative doesn't live up to proper BDSM conduct and that the protagonist is not empowered, and is instead displaying an unhealthy relationship. If we take the analysis further we could make an argument about what this says about society at large. Does it normalise boundary-breaking behaviour? Could it make someone romanticise stalking? The thesis statement is all up to you. (disclaimer I have not actually read these books, don't come for me, this is an example)

Here is what we just did: I presented a surface reading of a text. I presented the most likely intention of the author. I then argued for my interpretation by looking at literary themes and context. I used the conflict between Jame's intention, and my interpretation to illustrate a conflict. 1-2 punch. I am not killing James, I consider her opinion and intention to strengthen my argument, but I don't let her word of god determine or dismiss my reading. In just 3 simple sentences I use a variety of resources from my toolbox.

When people weaponise the author's intention it can look like this:

"Well, E. L. James said it is a female power fantasy, you're just reading too much into it" <- dismissing context and subtext by using 'word of god'. Weighing intention above interpretation.

"Does it really matter that E. L. James didn't research BDSM before publishing, can't it just be a sexy book?" <- dismissing context, subtext as well as author intention and accountability. Weighing their own interpretation and subtly killing the author

Simply exclaiming "I believe in death of the author" (which I have heard in Lit classes) means nothing. It's nothing. Except that you want to ignore context and only indulge in the parts of the text that you find enjoyable.

In the plainest way I can put it, the death of the author is supposed to make you say: "the author probably meant A, but the text and the context is saying B, therefore I conclude C". Don't just repeat what the author says. Don't just ignore context. And allow the feelings the text invokes in you to be there and let them be something you reflect on. The details you pick up on will be completely unique to you, the meaning you get will be just your own. You can do all of these things at once, I promise it doesn't have to be one or the other.

There has to be a balance. Intention matters. Interpretation matter. Watch out and pay attention. Are you only claiming the author is dead or alive when it serves your own narrative?

When you want to ignore an author ask why

When you don't want to read a book because you don't condone the actions of the author ask why

Examine how you dismiss arguments and how you further conversations.

[evelynpr]

How IN LOVE are the Genshin cast with the Traveler? An ANALYSIS of the cast's affinity for them based on voice lines, events and other media!

This goes for both Aether and Lumine, and even Paimon occasionally for the friendship/family tier! If there is anyone or smth I missed please feel free to add I love studying character relationships!!! Of course you are free to interpret these differently, or see it as "something more" if you wish hehe ;)

Lowest Tier : Friendly-er

These characters are here because they are not the type to have many friends, but traveler is special to them, not romantically

Raiden Ei - I interpret their relationship as one that is trying to build a stable friendship, but still recovering from past events slowly. Ei has done a lot of harm both directly and indirectly at the traveler, but has gone through the events of the quest to re-center herself in which the Traveler helped greatly. Deeply thankful is what I'm lead to believe, but casual is still iffy because of Ei's acts of cutting off all close connections in the past.

Shenhe - She is very protective of the traveler, because they were her earliest friends (yes Paimon too) and her story does revolve around her learning to fight for others (I find their friendship very sweet, but not romantic at all since Shenhe has a much longer way to go in understanding social relationships) (I'm kinda surprised I've never seen someone ship this romantically actually-)

Diluc - Definition of a Gentleman when it comes to the traveler. He always offers his support, gives his hand-picked grape juice to them for free, etc. He always sees them in high regard and trusts them greatly (but you could probably say he does the same for Kaeya, Jean, Adelinde, Elzer, basically anyone he sees as family)

Ningguang - She says herself that she keeps her friends few because of the dangers her enemies pose on those who are close to her, but as Liyue's protector she puts great trust in the traveler. Her hangout imo shows that she generally trusts us more than a business partner but as a friend (very wholesome, but nothing more than that and that's cool!)

Razor - Traveler is Lupical. Razor is inherently very protective of the people he cares about because of feeling like he failed to protect his lupical in the past (I believe that's the story behind his vision). So obviously it is not romantic, but his interactions with the Traveler, Paimon, his family and friends are just so special and heartwarming especially in his latest event (SO SWEET I LOVE FOUND FAMILY)

!! SPOILER FOR WANDERER'S STORY QUEST !!

Scaramouche/Wanderer/babygirl/whatever you named him - He clearly doesn't have that many companions (or even any at all), even less those who he shows any sign of vulnerability to. Personally I see it as one of the most interesting traveler relationships in the game yet because they both do not fully trust each other, nor fully accept the other as a friend, but because of him revealing his trauma and past to him, and also the traveler also revealing a part of their own mind and longing, they have an understanding of each other like no one else does. (I do not see this as romantic, but more like a camaraderie which may lead to a deeper connection in the future)

Side note: Most of the playable cast are friends with the traveler, I point out these people specifically because they don't show vulnerability often, or already have other of friends so these relationships have another level of importance to the character.

Middle Tier : Flirty~

These guys are sweet talkers, may or may not be into the traveler

Kaeya - He kinda just talks like that if you ask me. He genuinely cares for the traveler and the other Knights and his family, but his language is just one of the ways he puts on his persona (As Razor would put it, his "fake smile")

Lisa - "Hey cutie-" makes me feel things, ok. Other than that though, nothing tells me she's into the traveler any more than a flirty way? I mean she appreciates them for their skills and support but I think it ends there?

Kazuha - man is a sweet talker honestly. Of course he also cares for the traveler deeply, but his poetic and colorful language is from his own nature, and the traveler generally has a special presence (His language IS very pretty if you ask me haha) (I feel some would say its more *suggestive* than others so that's up to you already lmao)

If there's anyone else you think has a rather *flavorful* way of speaking to the traveler, please do let me know :> If you think these have deeper meaning though, that would be interesting

Above Average Tier : Very sweet, could be something more?

Pseudo-canon material (the comics and hangouts are great man)

Thoma - You give him flowers in his hangout, and in another ending he gives you his omamori which is very sentimental to him. Thoma is generally an incredibly sweet person, so interpret it as you please haha <3

Heizou - This is pretty romantic if you ask me (depending on your taste). He keeps saying how much he wants you to be his "partner" (technically in the investigation sense), and has dialogue about how he feels comfortable around you, it's very sweet and has potential. Not to mention "Traveler, you are so dreamy~" (I swear this guy is 80% fanservice but do you see people complaining?)

Noelle - Her hangout was really adorable, it had a very innocent and young long vibe throughout it and it's just cuteness overload :> (What I would call a babyship)

Childe - Chilumi (not counting Aether) is basically canon in one of the side comedy comics, but in game, it's implied they do battle for fun, traveler does still keep their guard up around him, but his story quest shows he puts great trust in the traveler despite their differences.

Highest Tier : VERY interested, in love even

These are all in game, and pretty canon events (Teapot lines may still be questioned on how canon they are, but further reinforce the mindsets and affinity for the traveler these characters have) (of course it still has headcanon and my own stupid simp heart but bear with me okay?)

Albedo - He always talks abt how interested he is in you (not just scientifically anymore lmao), and suggested for you to live (totally not with him) in Dragonspine. He also trusts them more than others quite explicitly. He is, I believe, deeply enamored by them because of their kindness, strength, intelligence and reliability because the traveler is the person he is most comfortable with. They are the reason he wants to interact with others more as well (Shadows Amidst Snowstorms +Teapot highlights this). The teapot lines are just the icing on the cake, man is making a MOVE on the traveler for REAL by asking him out and showing how he wants to spend more time with them.

Xiao - I feel like despite how common this pair is, it's quite overlooked just how much Xiao trusts and admires the traveler. Xiao is very sensitive about people calling him by his name to use it to control him (that is what his old master did to him) so the fact that he tells only the traveler (not just suggest mind you) to call him anywhere anytime using HIS NAME, are massive displays of vulnerability, trust and protectiveness. (I believe that protection is his main way of showing affection because others are currently an anomaly to him) Xiao also both literally and emotionally feels a calming presence around them because of their healing ability and kindness. He also just can't say no to them, and wants to understand the traveler more even if it means in partaking in "dumb human activities"

Ayaka - She sees so much freedom and beauty in the traveler it is so sweet, and it's quite obvious how much she wants to spend time and be closer with the traveler emotionally (maybe I am just a simp but please she is so tender and sincere) It is also mentioned repeatedly how much she talks about them in very high regard. Once again the teapot lines are just the sugary coat on top with "May I...hold your hand?" being one of them (I screamed like I just won 50/50 in one pull with that line)

!! SMALL SPOILER TO WANDERER'S STORY QUEST !!

The old lady of the Kamisato Estate also mentions how thrilled Ayaka is every time they're around, and also talked about how talented and admirable they are. She also implied that they are Ayaka's "Knight in Shining Armor" and that she talks about them all the time. Idk if you need anymore convincing at this point of how much Ayaka likes the traveler after that.

SIDE NOTE : I find it refreshing and fascinating how the genders actually seem quite mixed and what relationships characters have with the traveler are varied. I really appreciate the writing team for the amount of detail they put into them!

AND THAT'S IT FOR NOW!!! This is my longest post yet soooo THANK YOU SO MUCH IF YOU MADE IT THIS FAR AND ACTUALLY READ THIS!!

[zacki0gaming]

My TPC Season 2, Episode 2 Deeper Analysis

Hi everyone! It's finally time to delve deeper into Season 2, Episode 2, and I'll be sharing my theories to support my analysis. Whether my final verdict scores will rise or remain the same determines the depth of analysis required for the TPC episodes. Here's how I'll structure the sections throughout the episode:

Sections

For the sections, I was going to analyze the conversations from Ajaceare/Lycanthropy and Pyrare/Ajacenus, but they don’t seemed that interested to go deeper besides Lycanthropy’s lead and Ajaceare’s pure counterpart, “Ajacent” and the sisters.

The Royal Graveyard.

Iris and Circusic’s Conversation.

1. The Royal Graveyard

Now, let’s analyze the Royal Graveyard. Looking back at this episode, It is so lore heavy… Also, before I start this off, just look how pathetic the entire graveyard’s gate looks… Look at this shit!

This gate looks so underdeveloped in the episode’s making, that it looks so pencil-drawn in which my 4th grade self CAN SIMPLY DRAW THIS SHIT ON PAPER!!! This just further proves my point on the rushed quality of the episode.

Anyway, let’s get started here.

What is the Royal Graveyard?

Well according to Rincle, the Royal Graveyard is a graveyard where all of the spheres who used to be tied to the royal castle passed away. She also said this line “Well, except for the prince" which we could all agree that she is referring to Iris as the prince himself because clearly his parents are the king and queen of the Royal Castle.

However, Rincle never mentions anything about the prince’s parents such as the king from the “Circubit’s Reoccurring Memory” short. If this is the case, than Iris’s father might potentially be dead or maybe not.

Theory about the Royal Graveyard

In a hypothetical scenario, the presence of the corrupted flowers hovering around the Royal Graveyard suggests a level of purpose for them to be over there. The corrupts may be seeking something important over here that might indicate a means to undermine the royal lineage. I also have this to say too that might sound wild. Do you know that the Reaper creature appears to have the ability of Resurrection right?

Well, beyond the gate, I notice a faint pink glow emanating from behind the gravestones, sparking a thought. Could it be that the Reaper creature is situated within the graveyard, utilizing its powers to reanimate the deceased spheres into more undead corrupted shapes such as Circubit.

2. Iris and Circusic’s Conversation

Now, the moment that you all been waiting for, let's analyze the conversation between Iris and Circusic. This is probably was going to be the most important aspect about this episode. But unfortunately, their conversation was pretty obviously abrupt on the surface. How about a deeper look into this might help me try and reveal its true significance.

Initial Tension and Surprise:

Circusic: "Ugh...Huh..?"

Iris: "Finally awake. Circusic?"

After Iris questions about Circusic is actually alive, Circusic had a initial groggy response. This indicates him recovering from being unconscious for so long after getting supposedly killed by Iris’s father from the short “Circubit’s Reoccurring Memory”. Iris’s comment implies that he has been waiting for Circusic to regain consciousness for maybe hours later.

Surprise and Bitterness:

Circusic: "!"

Iris: "So. It's been awhile. You seem ALIVE and well."

Circusic: "Teh! Same to you. Iris."

Upon Circusic notices Iris, this exclamation suggests that he was startled or alarmed by Iris’s presence. This is because of Circusic hasn’t seen Iris in such a long time, which can be confirmed from Iris’s line of dialogue here “So. It's been awhile. You seem ALIVE and well." Iris’s also acknowledges the time that has passed since him and Circusic’s last meeting before the main events of the series started. He also expresses surprise that Circusic is alive, hinting at a belief or knowledge that he shouldn't be. Circusic responds from Iris’s response with a derisive laugh, indicating bitterness. His mirroring of Iris's sentiment ("Same to you") suggests that he is equally surprised by his survival.

Underlying Resentment:

Circusic: "I don't know why you're surprised that I'm alive. Shouldn't even care anyways! You should just care about you and your girlfriend!"

After that, Circusic’s next two responses is his confusion on Iris being surprised from him being alive and acting defensive and accusatory about him just caring for him and his girlfriend, Pentellow. He said to just care about him and his girlfriend, Pentellow implying that Iris has no right to be surprised or trying to act like he’s concern about his well-being and brings up his girlfriend, possibly as a way to deflect or hurt him.

My Theory For Underlying Resentment

Strained Relationship: From what Circusic was trying to actually say here, is that this might have something to do with past neglect or betrayal. This notion can be further supported by the symbolism of the "Broken Heart" observed in Circubit's boss fight in the preceding episode (Season 2, Episode 1). The appearance of the fractured heart during the boss fight suggests deeper emotional connotations as noted TPC analysts like @braincellll have tried to delved into implications of the heart’s symbolism. Circusic's mention of Iris's girlfriend could indicate jealously or hurt feelings.

It’s possible that Circusic did have (if this is the case) feelings for Iris. However, I don’t generally think that this is true because Circusic has a unconfirmed sexuality and their relationship is most likely more on the friendship side from my perspective.

Mystery of Survival:

Iris: "I just want to know how you are breathing right now?"

Circusic: "Oh ya know! The same way you are! And you know what I mean by that."

Despite that, Iris’s question about Circusic is still breathing right now suggests there is a mystery behind his survival. Because of this question he answered, Circusic led out a cryptic response indicating that both of them share a common, possibly something special behind it. This line hints at a deeper connection or shared experience between the two.

But wait, I’M NOT DONE HERE!!! WATCH WHAT I’M GOING TO SAY NEXT!!!

*Rewinding Back To The Short*

Do you remember the "Iris's Discovery" short? According to this short, the events that followed the video ACTUALLY took place immediately after Season 2, Episode 2. To ensure accuracy, let me explain.

While looking back at photos of his teenage years, Iris is STILL questioning how Circusic could still be alive and well, just as he had been doing within their conversation in Season 2, Episode 2. This led him in this short to rediscover his awareness again of a familiar creature he had encountered at some point before the main events of the series began. The creature's name was "The Reaper."

Overall, the short's title clearly indicates that Iris's persistent questions about Circusic's revival, starting in Season 2 Episode 2, ultimately led to him remembering the creature, The Reaper, once more in the "Iris's Discovery" short.This probably makes sense because from the statement from what Circusic said: “Oh ya know! The same way you are! And you know what I mean by that” which still confused Iris from the look of his expression that eventually led to what I said about the Iris’s Discovery short.

My Theory For Mystery of Survival

The Reaper Encounter: I’m starting to think that the possible implication of Circusic’s statement here that it has something to do with their encounters with the Reaper creature both its pure and the corrupted counterpart (La Danse Macabre) according to the shorts.

Iris’s Encounter: I think that Iris possibly gotten killed at some point and was revived by the Reaper creature, but at the cost of losing his hair permanently, his triangle chest glowing black, and gifted him his mark and it’s associated powers.

Circusic’s Encounter: From the look of his past, Circusic had a indirect encounter the Reaper creature, but as a corrupt (La Danse Macabre). However, he doesn’t get the chance to see it while being alive because of him after getting supposedly killed by Iris’s father in the “Circubit’s Reoccurring Memory” short.

So basically, Iris and Circusic have a similar experience with the Reaper creature from a direct and indirect standpoint before the main series even started. This does make it seem like Circusic is trying to seemingly make Iris aware of it, but was still confused from his response before figuring it out in the Iris’s Discovery short to confirmed his awareness again.

Avoidance and Frustration:

Circusic: "Anyways! I gotta get goin'!"

Iris: "Wait. I'm not done talking to you!"

Circusic: "Well. I'm done talkin' to you!"

Iris: "Damnit"

After that weird part of the conversation, Circusic abruptly ends the conversation, indicating his desire to avoid further discussion or confrontation. Iris’s urgency suggests he has important or unresolved issues to address with Circusic. Circusic's final retort shows him shutting down the conversation, highlighting his avoidance and possible resentment. Iris's frustration at the end signifies her desperation or exasperation, emphasizing the importance of the conversation she was trying to have.

Conclusion: Overall, the dialogue in Iris and Circusic’s conversation is complicated and strained from their relationship. It is marked by past conflicts, possible implications from the Reaper creature, and unresolved emotions. Circusic’s defensiveness and frustration toward Iris shows possible neglection or betrayal that has something to do with between him and Iris’s current relationship status with his girlfriend, Pentellow. Furthermore, Circusic displays a tendency to avoid the conversation, indicating a reluctance to delve deeper into the matter—a stark contrast to Iris's persistence in seeking further engagement for closure. This dynamic shows deep underlying issues and a share history that significantly influences their current interaction within this episode.

Main Conflict: I think the main conflict between Iris and Circusic appears to stem from unresolved history and emotions. Circusic's defensive and resentful demeanor implies lingering feelings of bitterness towards Iris, possibly arising from sentiments of betrayal or abandonment. Conversely, Iris's surprise of Circusic's survival and his insistence on talking indicate he feels there are significant, unresolved matters that need to be addressed, potentially relating to past experiences.

[yumeka-sxf]

A chronological analysis on Twilight and Yor - Part 7

*This is part of an ongoing post series. If you missed the Introduction/Part 1, click here*

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After setting up the "lovey-dovey marriage kit" before Yuri's visit, Twilight and Yor look a bit embarrassed about the whole thing, which is exacerbated by Anya once again suggesting that they're flirting, and once again they abruptly deny it.

It's understandable that Yor would be embarrassed, since she never had any notable relationships with anyone besides Yuri, especially not a romantic one. Even though it's only for show, just the thought of it is overwhelming for an emotionally sensitive person like her. But why would Twilight feel uneasiness about it?

In my opinion, around this point in the series is where he starts to show that he probably feels something for Yor…not love yet per se, but maybe a fondness on a level deeper than he had with other women, especially after their recent heart-to-heart conversation. So whenever he's confronted about it, he gets jarred. Perhaps he felt a twinge of it on their first outing when Anya initially suggested that they're flirting, but it starts cropping up more during Yuri's visit. Not only do they both recoil when they accidentally touch hands (again, Yor's reaction is understandable, but why would Twilight be anything but calm about something so minute?) but when confronted with having to kiss, his initial reaction is not what you'd expect from a spy who's wooed women before. At first he's shocked, then he has to take a few moments to regain his composure, telling himself that he's faked relationships with dozens of women and that it's just a kiss.

I'm sure he's kissed at least some of those women for one reason or another, so wouldn't he be used to it by now? Why would he have to go through a whole spiel in his head just to make himself do it again? It's also worth mentioning that at this point, he doesn't yet know that Yor has such a strong aversion to stuff like this, so that wouldn't be a reason for his hesitation.

But despite his internal misgivings, Twilight switches back to his composed Loid Forger mode and agrees to go through with the kiss. Yor, on the other hand, having never experienced this level of intimate physical contact, is completely flustered. It's debatable as to what stage her feelings for Loid are at this point – she definitely likes, trusts, and respects him wholeheartedly, and perhaps is even starting to feel something more for this man she's only known a short while yet he's given her comfort she's never had before. But unlike Twilight, who responds to emotions he doesn't understand by quickly reverting to his stoic spy persona, Yor responds in the exact opposite way...by becoming an utter emotional wreck.

When Yor intentionally gets herself drunk just so she can handle the whole situation, Twilight realizes how uncomfortable she is and tells her she doesn't have to do it if she doesn't want to. This is, once again, another example of him being a decent guy who tries his best whenever possible to consider people's feelings even if it conflicts with his missions.

But when (drunk) Yor insists, he decides to just let it happen…much to Yuri's dismay. When Yuri's shouting inadvertently snaps Yor out of her drunken state, and she realizes what she was about to do, she reacts the only way she knows how when feeling such intense, confusing emotions – with (often misdirected) violence.

Soon after, as he watches the interactions between Yor and Yuri as the latter takes his leave, Twilight comments on what wonderful siblings they are and how he admires their dedication to each other.

While he seems to be putting on his Loid Forger act here, we find out that it was not a total lie. Later that night, as he's sitting in his room, he reveals that he actually was feeling envious of the Briars' sibling bond. He can't remember the last time he felt envious of someone, envy being one of many other feelings he cast aside when he decided to become a spy. As I mentioned before, Twilight prefers not to think highly nor poorly of others, only seeing them as a means to better his missions or gather information. As a result, negative emotions, especially envy, have no place in his heart…and yet, he's suddenly feeling just that.

Not too long ago he found himself wondering what it would be like to have a family, and now he's feeling envious of a familial bond? As we'll find out later on, something in Twilight is already changing even if he won't acknowledge it.

Continue to Part 8 ->

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