#this was in no way isolating for me as a child!

[the-raven-and-the-tower]

Viago de Riva; forgotten son with a found family of assassins (a brief but angsty dive)

Born one royal bastard of many to King Fulgeno II of Antiva, Viago was born without a lot of choices, but one very large one;

Exile or the Antivan Crows.

VIago was the only one of all Fulgeno's bastards that chose the Crows, a choice that put him on a path of shadows and blood. Turning his back on the only home he has ever known for the ruthless world of the Crows, Viago had to forge his own house and find his own family, turning his back on a royal lineage that never wanted or acknowledged him.

Viago has walked in both worlds, where betrayal can come from any direction and alliances are often temporary - in either world, his survival has hinged time and time again on his vigilance and natural mistrust of others. More than once, the only thing that has kept him alive was the way he builds tolerance to poisons and insists on testing everything he eats. I have to wonder if Viago has ever truly rested, he's always alert, always keeping one step ahead of all the threats on every side - always in danger, both as a bastard who could be seen as a threat to the legitimate line and as a Crow Talon surrounded by ambitious assassins.

And then there's his relationship with Teia 💜

I love the humanity of Viago's struggle to love and be loved. As a royal bastard, he would have been inherently unwanted and constantly reminded of his illegitimacy - daily reminders to ingrain a perpetual sense of unworthiness and isolation into him. I love the honesty of how he struggles to open up and be vulnerable, even with someone like Teia from within the world of the Crows.

The two of them live in a dangerous world, where personal relationships can become weapons in the wrong hands. Viago has every reason to shy away from Teia (and sometimes does), yet that inherent need for perception and connection drags him out of safety and back into her arms, time and time again.

All of that to say loooooooooooook at this fourth draft of a letter Teia is helping Viago write to send to his dad about the situation in Treviso with the Butcher.

King's Draft: Action on Behalf of Antiva

As Seventh Talon, I give notice that the Antivan Crows have drawn a contract against the enemies of Treviso, the Antaam. (Teia)

Teia, the Seventh Talon, is writing to inform of the situation, rather than Viago (Fifth Talon). We don't know if she's stepping up to protect Viago from his asshole father or if Viago doesn't speak to the king often on principle (he does in prior Dragon Age content), or if this is simply how it is done - maybe there's an existing agreement among the Crows to avoid political complications by keeping the king and his son seperate. Any way the cookie crumbled, I like these crumbs.

It is not the Antaam. (Viago)

We aren't required to give His Majesty a point-by-point, but he's your blood, Viago. It is a courtesy to let him know we are going to war. (Teia)

"He's your blood, Viago." I don't know if this is a reminder of his unique ability to bridge two vastly different worlds or if it is just a reminder of political significance, but either way it struck me as significant. Despite his royal blood being a source of personal pain, it provides Viago leverage in ways that other Crow Talons could never wield, not even Caterina.

The occupying Antaam are strong, driven, fanatical. They cannot be reasoned with because reason is just a weapon to be resisted. They can be killed, of course, but removing a leader does not remove their desire to be led. They are a force we must contend with, but they are NOT Treviso's true enemy. (Viago)

A name, Viago. Contracts require a stabber and a stabbee. (Teia)

Teia (child street thief turned Crow) is the pragmatic and operational, focusing on fulfilling the requirements as a formality, while our baby boi Viago the Strategic is firmly honed in on reality and understanding the details. Teia wants to take the next step to move forward, Viago wants to understand the problem before making the next move. They are so different and I love the way their differences lend their relationship strength, rather than pulling it apart.

Teia, you know my doubts. The Butcher took the city too easily, and there is dealing with the gods there that I dread to know. But I fear that the true enemy of Treviso is not known because they ARE known, merely unrevealed. (Viago)

"The Hand That Leashed Treviso." Is that nebulous enough? (Teia)

I like this. Sarcastic, yet she's showing that she's listening to Viago's concerns and hearing them.

Yes, that is a series of someones we can eventually kill. But not something we can send my father. (Viago)

And he acknowledges being heard, but points out the impracticality of presenting such a target to his father. Again, I think it's fucking significant that he refers to Fulgeno as his father and not as the king. Whether he's tying himself verbally to his unique position, subconsciously reacting to his abandonment by the royal family or just responsing to Teia's "he's your blood" earlier, it feels powerful. Like the kick in the gonads I'd like to five Fulgemo.

On to draft five, then. Neri, begin again. (Teia)

It says a lot to me that they're having this entire conversation in front of their scribe. Doubtless someone sworn to secrecy already, it just strikes me as wholesome that they're comfortable having these disagreements in front of Neri. They may agree yet, but they're committed to it. And their disagreement has no weight on their opinions of each other.

Viago de Riva, Fifth Talon Andarateia Cantori, Seventh Talo Transcribed: Neri de Acutis

[flowerandblood]

✨ blog & writing & life update ✨

I haven't been here for a few weeks, but it was the best decision of my life: focusing on what's important helped me calm down and finish all the tasks I set for myself. My husband defended his doctoral thesis, and I finished my little book. The experiences and thoughts related to pregnancy inspired me to create illustrations in which I reflect how I see our parental roles: the characters look like me and my husband. Below you have an example of what it looks like inside.

My pregnancy is progressing well; my belly is already visible and I can feel the baby moving. It's a strange and magical feeling to know that there's another life inside you that's trying to communicate with you in this way. We still don't know the gender, but on February 11th we have an ultrasound where we should officially find out how things are going. We are so excited: if it's a girl, we'll name her Łucja (Lucy), and if it's a boy, we'll name him Ignacy (Ignatius).

My husband is suffering because he's sick and we're isolated in two different rooms. Seeing me pregnant has awakened a kink in him that he clearly wasn't aware of and he has to touch me all the time: not that I'm complaining. My libido hasn't decreased at all during pregnancy, so I'm happy to hear his words of excitement and observations about how my body is changing and how much it arouses him *cough* *breeding kink*.

Am I still writing? Yes! I'm working on a oneshot set in The Price of Pride universe, the one where Lady Royce meets Aemond as a child. It'll be a long, self-contained story, and a gift to celebrate my two years here. I'm writing very slowly, but because of the lack of pressure I don't care too much about it and I'm building it up into a whole piece by piece. I don't know when I'll be able to finish it yet, but I'll definitely publish it. I'm still on hiatus, but I want you to know that you have something to look forward to!

[the-crooked-library]

Ellen from Nosferatu is disabled? .o. Can you tell me more about that? I was already interested in watching the movie, but hearing the main female lead is disabled makes me ever more excited to see it! Do they say/imply what she has at all?

Yes, she is - though it's a mix of real-world and horror genre things! There are some details the film says outright and some it implies. To sum it up: Ellen is neurodivergent and psychic at the same time, which results both in social isolation and outright medical abuse. If you don't mind some spoilers (all regarding Ellen's condition rather than the plot), here's a brief overview of it!

From the beginning of the film, Ellen is implied to be in some way neurodivergent. Naturally, since most of the action takes place in 1838, there is no specific term for what she is; personally, I would guess her to be autistic. As a child, Ellen was considered odd, "running wild" in the woods near her father's property and struggling to follow established social conventions; she mentions at one point in the film that her father forcibly isolated her in the house when she failed to grow out of it; and she continues to struggle as an adult, as well, unable to fully understand or conform to the rules that everyone else considers per the course. One of the characters is actually shown to hate her for it - though his sense of manners prevents him from acting/saying anything on that subject until a certain point. Once it's out in the open, however, he admits that he dislikes her specifically because he could always tell (even before the story begins to unravel) that she is actively faking her propriety - in essence, masking.

That said, her psychic symptoms are more of a focus (it is gothic horror, after all). During her astral projections, Ellen experiences altered mental states and seizures. This leads her father to threaten her with institutionalization; and later in life, the other characters tie her to her bed and drug her for days on end after witnessing several of her episodes. These symptoms are visible - and, in fact, impossible to hide, as they have a distinct physical component; and the story centres this as one of the primary reasons her surrounding society abuses and rejects her. It is also important to note that the film reiterates several times that she would be subjected to this regardless of the vampiric aspect of the plot; she was born this way. She cannot be cured of it. It is, for all intents and purposes, a chronic condition that can only be managed and accommodated for - which the bigoted, misogynistic, industrialized society around her refuses to allow. Despite the genre, the horror of Ellen's life is painfully mundane, and all the more brutal for it.

The medical aspect of it is absolutely explicit. It is heavily stressed throughout the film (intersecting with the running theme of misogyny, as well). As in Stoker's Dracula, two of the characters are doctors; and even the most benevolent of them pushes a needle through Ellen's arm to demonstrate that her soul "isn't there" during one of her episodes. All human characters are complicit in this - either through perpetrating that violence themselves, or by letting it happen unimpeded. She's infantilized when people around her are feeling benevolent, and demonized when they're inconvenienced. Considering the history of the horror and gothic genres, and their numerous tragic and/or murderous madwomen, I think Nosferatu is a fascinating subversion of the trope. For a genre that so often frames the "lunatic" from the perspective of a horrified narrator, its centering of Ellen is rather unexpected; but, according to Robert Eggers, that was quite blatantly the point. He mentioned in some interviews that he'd wanted to make a film that actually explored the story from her POV - and god, did he deliver.

If you do end up watching the film, I hope you enjoy!! It is, truly, breathtaking. As a longtime fan of gothic horror, I could not have asked for more.

[crowdusk]

CHAPTER 1136 THOUGHTS

[note: i read the official version when it comes out so i keep away from scan spoilers]

interesting that Who's-Who is (maybe) back considering he was the first to name and talk about Nika

Luffy so cute

I still don't like that we're getting a feast first thing in the arc...does not bode well but oh well let's go

more reinforcement of Elbaph being isolated/insular (which is weird considering Harald seemingly did so much to try and open it up...what was this dude doing)

speaking of which, I'm more and more suspicious about this dead king...I know I said he probably was just naive but hmmmmm. the fact that Jarul put him on the same level as Loki (a character that so far most giants have described as evil), the theme of misinformation and reputations being misleading, that the sword in Jarul's helmet looks like Harald's, that Jarul is definitely hiding something about Harald's death and Loki (look at his eyes in the panel where the giant is saying Jarul was there and tried to stop Loki). Harald smells fishier and fishier to me by the chapter, and it wouldn't surprise me if he was working with the Holy Knights/Elders in some way, maybe offering giants as military assets in exchange for (diplomatic) power. we also hear that he would leave Elbaph for periods of time which isn't all that suspicious by itself, but to me speaks to a disconnect between what he was doing and what his people were aware of.

so much lore!!!

interesting that a) Rodo says all giants growing up want to be the sun god and rule the world and b) there are different versions of Nika, which makes complete sense. Luffy literally does embody almost all the aspects mentioned - laughter, destruction, liberation - but it's interesting that the one thing Luffy has absolutely no interest in is ruling. he is a leader because people want to follow him, not because he wants to lead - how much is that true for Nika as a god, too?

I personally wasn't that surprised at the revelation that the world has been destroyed twice - I always thought the Void Century wasn't the earliest 'catastrophe' since the arrival of the people from the Moon was much earlier than that, and probably itself was a big cataclysm/reshaped the planet. plus, Nika probably comes from the Moon people (like the Shandorans) and so must be much older than the Void Century.

I am interested in the Harley, though (I SAID THERE WAS GOING TO BE IMPORTANT MYTHOLOGY PASSED DOWN IN ELBAPH). wondering if Robin could glean some information from it (pleaseeeeee) - but of course she's not there because Oda's smart and tricksy and annoying like that

the idea of change being both destructive and generative gets reinforced, and that it's to do with the toppling of power structures

of course, we need Luffy to reject the 'chosen one' fate, which he always does - he wouldn't be free otherwise

we kind of get told of Loki's deeds, finally. importantly, they're described as pranks and we actually see Loki laughing in the exact Nika pose Luffy takes on in gear 5. again, this idea of Loki really embodying the destructive but also comical and mischievous aspect of Nika makes me think he isn't a real antagonist to the Strawhats. plus, as we know with One Piece, the more someone is portrayed as one-dimensional by reputation (take Zoro for example), the more Oda likes to subvert those expectations. to me, Loki's pranks sound like a child acting out and messing around.

confirmation that Shanks caught Loki and that's probably what made him an Emperor, but seems like there's more to the story if Loki's calling him a coward. from later parts of the chapter it's clear Loki embraces the Elbaph warrior principles, so it doesn't seem like he'd call Shanks a coward if Shanks had beat him in a straightforward fight (but we'll see). this also makes me think, along with the last parts of the chapter, that Loki might actually take deals seriously and therefore may not have lied to Luffy (maybe he knows where Shanks is because he knows where the last road poneglyph is).

we get Zoro being pretty perceptive, and some explanation to why he was on edge. I maintain he's stressed and not quite himself post-Egghead, probably because he doesn't feel like he's as strong as he needs to be (and the crew isn't as strong as they need to be) - so he's being extra serious and careful. interestingly, Zoro is going off of Loki's reputation and as we know reputations are often false (as in his own case)

as we knew, Luffy's solution to Loki maybe tricking him is just 'well i'll beat him up if he causes any problems' - very much like his approach to Law and other pirates

i'm interested to see what Luffy Nami and Zoro will find in the castle, if they go there (any hints as to what happened with Harald?)

I thought the Knights were either going to try and kill or recruit Loki, but to be honest was leaning more towards the killing possibility so, I was wrong (although let's see what happens). I imagine it's to do with his devil fruit and general strength making him a useful asset. i'm actually leaning more towards his devil fruit being something related to prophecy/predicting the future/fate, since there was a mention of Harald prophesying his own death, and he keeps talking about fate and the future. plus, eyes are often a strong symbol of prophetic ability, visions etc and his eyes are covered. a strong giant with some kind of future-related ability? invaluable to the upper echelons of the World Government.

i did enjoy Loki calling them trash a lot, and it made me think that the Holy Knights may well recruit people from different countries across the world so that they have a network (notably since Gunko doesn't have a 'Saint' title and therefore may not have been born as/may not be a Celestial Dragon)

also very funny that the agents they sent got taken out by Rodo's weird scheme

obviously Oda giving us absolutely nothing wrt Shanks twin's face but atp we know it's not Shanks

it feels to me like the Shanks guy is her superior, since he kind of chastises her for getting ahead of herself

we see that Loki seems to follow the old warrior principles and beliefs, like Dorry and Brogy. he also isn't heartless, since he actually talks about his feelings quite openly (and not just rage but sadness too, which he also mentioned during his conversation with Shaggy). it feels like there's a strong emotional drive to his desire to 'destroy the world', not just cruelty and the enjoyment of senseless violence. i look forward to finding out where that comes from.

One Piece Chapters 1134 + 1135

SUMMARY (I simply cannot be concise so I thought I'd add summary points for anyone who doesn't want to read a whole long piece. Clown music though because even the summary is long. I can't help it.)

Also you can find previous Elbaph thoughts/predictions here.

I believe Elbaph’s current culture of peace and absolute non-violence came from Harald (who was probably an idealist) and Mother Carmel, who was – and is still – seen as a holy woman and saint by the giants. Her rhetoric was all about ‘everyone living together in peace’ in a superficial, unrealistic and one-dimensional way that hid and enabled a lot of violence. Including, of course, her literal job providing military assets to the World Government in the form of orphaned children to be made into spies and soldiers. 

Mother Carmel’s infiltration may have led to Harald developing a relationship with the World Government (which he probably wanted Elbaph to become a part of), while we know that the Five Elders are wary of giants and have always sought to co-opt their strength. This might explain how the two Holy Knights looking for Loki were able to teleport into the castle (I believe there must be physical rules/limitations to the magic circle transport, e.g. some kind of physical anchor to the place you’re going).

This arc is going to look at and explore questions around peace and violence. Peace by and for whom? For example, ‘peace’ can look like the people at the center of society living without disturbance or discomfort while those on the margins suffer and are silenced (neoliberalism). Peace as defined by the absence of overt conflict doesn’t mean there is no harm or violence – it can be repression, manufactured consent, etc. True peace cannot be imposed from the top, it must be collectively built. And so forth. Conversely, violence and conflict are sometimes necessary to protect what you care about (your treasures), as we see with the Strawhats. Creating a peaceful and knowledge-centric society doesn’t have to be at odds with warrior culture, since being willing to put your life on the line is important in some instances. What will happen if external factors threaten Elbaph’s treasures? 

Last review, I talked about how I think one of this arc’s central themes will be the juxtaposition of reality and fiction, truth and lies, stories and lived experiences. Illusions will shatter and false gods/idols will fall – I think the giants’ idolisation of Mother Carmel and Harald will end, one way or another. For the latter, I don’t necessarily think he was evil. More so that he was just one person who made mistakes and had flaws, rather than a perfect king who only ever brought wonderful changes to Elbaph. On the other hand, Loki may not be a god but he could have the powers of one, and I think the first impressions we got of him will be changed and shown to be misinformation to recast him in a more positive light. I think he had a good reason to kill his father, and that the events of Harald’s death are another false story that must be clarified. Oda loves a good character twist. (Honestly if Harald turns out evil, I’m here for it). 

I also said in my last piece that I thought there would be internal divisions, and I still think this is going to be the case. For example, we don’t know why Hajrudin initially left Elbaph – could part of it have been feeling stifled by the loss of warrior traditions? This would make sense, since he wanted to follow in Dorry and Brogy’s footsteps. However, I think we might just see more of a spectrum of positions, rather than, say, two clear factions. Nevertheless, I still think the Strawhats will have to bring a lot of people together to fight a bigger antagonist, maybe even including Loki (as the potential king??) – but they’re pretty good at that. 

Last time I wrote about 1132, I was still a little unsure about Loki’s vibe, but I didn’t think he would be the big villain. This is now pretty much confirmed for me and I think will become even clearer once we get the truth of his backstory. The more we see of him, the more we see a silly side – one that hides genuine care for people under a violent and fearsome facade. I think he’ll probably end up as an ally (even if he’s still morally ambiguous). Classic case of Luffy’s gut being right once again. I am particularly interested, though, in what this means about Loki’s proclamation that he’s the sun god who will destroy the world. Is it metaphor? Does he want to declare war on the WG? Is he still going to do some fucked up things? Unclear. But I still think divinity, myth and belief are key to Loki’s character and his juxtaposition with Luffy, and I’m interested to see exactly how.

I wrote about strength after chapter 1132, and I still think it’s going to be an important theme. What I’d like to add is that I think it will be specifically about strength in relation to pride, and warrior culture in general. Essentially, it will be about why people fight. Why people want to be strong, and why they take pride in it. The Strawhats fight for what they care about, especially people. This also includes things that carry the wills of people who have died, like the books of Ohara, or even the concept of people’s dreams. This arc will look at warrior culture, and the difference between a warrior society and an oppressive/hegemonic society which uses violence (fear and the threat of death) for extraction and control. Fundamentally, all these themes are about power in relation to collective freedom, and what it means to live a good life. There is rightful pride in being able to fight from a place of knowledge and connection, to fight for what you love and believe in (including people’s freedom) as opposed to the soulless genocide and extraction from those considered less deserving of life. 

I think the declaration of the warriors at the feast might also be a foreshadowing of exactly what the Strawhats will do in Elbaph. Understanding and protecting their ancestral pride as warriors, and helping them reconnect to it as a country. Freeing them from ignorance (revealing the truth of what really happened with Carmel, Harald, and Loki). And saving them from being destroyed (this one’s pretty self-explanatory, but I believe it will be to do with Yggdrasil).

Ok if you’re here for the full whammy, yay! SO MUCH HAPPENED IN TWO CHAPTERS. GAH. Let’s just get straight into it. 

So, in chapter 1134, we open with the strawhats meeting Saul outside the library. I don’t have much to say about this part thematically (same with the previous chapter) because I think it’s pretty straightforward. I’ll summarise: I loved it, Luffy poorly copying Jinbe was extremely funny, the reunion did actually make me cry, and I am forever crying over Robin just – being happy now. Being relaxed, content, smiling more, bonding with Bonney. My heart, my heart. 

We also see Lilith introduce herself to Saul as Vegapunk, and explain to him (and us, for the first time!) that she has brought a “perfect re-creation” clone of Vegapunk with her. She plans to settle down in Elbaph and build a new lab. Ok, cool. Honestly, I’m a little eh about a Stella comeback (because I think it’s more interesting for him to be embodied by just his satellites) but just because that’s the plan doesn’t mean it’ll go smoothly, or happen for sure. On the other hand, I’m genuinely pleased that there’s a potential to bring Kuma back, not that he was ever never actually dead. We’ve had so many hints that there’s hope for him. Plus, he’s one of the characters that truly just went through the worst of the worst over and over for the sake of liberation and his loved ones, holding onto faith throughout. I think he deserves to be a father and be happy, I don’t care if that’s cheesy. But again, no guarantee that will actually happen. 

Love and Light Only 

We then see the Walrus School where the children are educated and hear that it was founded 20 years ago by Saul, at the behest of the former king, Harald. Once again, huge huge kudos to the assistants because wow. I want to live there. What follows is Luffy’s encounter with some of said children, who turn out to be, well, absolute wimps. They don’t use ‘bad’ or potentially insulting words, and they’re not going to be setting out to sea to fight ruffians when they’re older. They’re learning in school, rather than being trained to be warriors. In fact, as their teacher Ripley tells us, being a warrior nowadays isn’t fashionable, because “insults, violence, pillaging, war” are just “not the world we live in anymore”. [Side note: the number of beautiful giant women Oda is giving us??? It's tough out here for a gay]. Absolutely nothing even close to violence or antagonism are allowed, not even petty insults, specifically by the children, which tells us this is very much the way they’re being raised and taught. It’s giving weird, cloying, toxic positivity. I was even going to say there is no war in Ba Sing Se, but I don’t think we’re dealing with brainwashing here – just insularity and idealism. 

We see this reinforced by the repeated mentions that Elbaph has very little connection to the outside world – they don’t pay attention to it, they don’t get news coos, they just mind their own business. Interestingly, we also know that any “intruders” immediately get captured (presumably to be vetted and potentially kept out if they risk disturbing the peace). I honestly can’t remember if the news coo thing has come up before in the context of non-WG countries, but I don’t think so? Anyways, that’s pretty bad. Like, if a country isn’t in the World Government (which, remember, requires paying literal tribute to the Celestial Dragons) they just don’t get information about what’s happening in the world? Wild stuff. In some ways maybe that’s protective, but in other ways, extremely dangerous. 

On the topic of language, we also immediately see ways in which these cultural rules are being broken. The way Ripley speaks is rougher, as she herself calls the kids brats and says she teaches by “negative example” (do as I say not as I do). So we’re seeing a clear generational rift in culture between what Ripley later says is the “last generation of warriors” (presumably she’s around the same age as Hajrudin, Loki, Rodo, Gerd etc) and the current children. When we meet Collun, we also immediately see that the way the other children treat him isn’t exactly kind. Despite strictly following rules around things like name-calling, they outright say they hate him. He replies in kind, but it’s not hypocritical of Collun in the way it is for the other children. He’s clearly the rough “wild child” who’s following the older warrior culture, whereas the ways in which the educational system is teaching ‘non-violence’ clearly doesn’t preclude them from excluding or being rude to a kid who’s different from them. In fact, they’re just following the rules and it’s ok to be mean to him because he’s always causing trouble and not following the rules, so he deserves it. They even basically imply why are you here. I think this kind of petty behaviour isn’t abnormal or horrendous for kids, but it does highlight to me that the kind of ‘peaceful’ culture Elbaph is aspiring to feels extremely one-dimensional, oversimplified, and somewhat superficial. Even the way Ripley talks about it feels so smoothed out and idealistic, which is strange coming from the mouth of someone who still looks and behaves like a warrior. What happened from one generation to the next?

Ripley goes on to say Harald’s policy was “don’t fight other countries – trade with them!” Sound familiar? Yeah. Those were exactly Mother Carmel’s ideas for the giants a hundred years ago, when she lived on Elbaph. This was following the dissolution of the Giant Warrior Pirates because Dorry and Brogy had started their century-long duel on Little Garden, when she appeared as a “wandering holy woman” and ‘saved’ some of their crew from execution by beseeching the marines for forgiveness and an end to violence. The giants understandably see her as a saviour and saint who performed a miracle. We only learn later that this was a stunt pulled in collaboration with the marines and the World Government, which allowed her to gain the trust of the giants and infiltrate Elbaph as a child trafficker.

Now, I’m not saying Harald was aware of Carmel’s true nature, but I wouldn’t be surprised if he was inspired by/agreed with what she was saying, thus starting Elbaph’s current era of ‘peace’ with the Giant Warrior Pirates out of the way. Carmel was a perfect human link to the WG who could help Harald carry out his ideas, while her saviour position in the eyes of other giants helped him convince his people. This is important, because that means this peace was potentially built with a foundation of deceit tied to military strategy. Carmel wasn’t operating alone – she was specifically selling orphaned children to the WG to be marines, spies and agents. We see her talking to and dealing with CP0, who work directly under the Celestial Dragons and the Five Elders. Mother Carmel was a morally putrid money-hungry old hag, yes, but she was also an instrument of the WG. We also know that the WG has long been interested in harnessing and controlling the power of giants (from Carmel talking about getting giant children into the navy, like John Giant, to MADS’ and later Caesar’s gigantification experiments). In a world based on power inequality, oppression and authoritarian domination, the giants are military assets – if only they can be assimilated into the system. And who is easier to indoctrinate and control than children? 

To be clear, I think peace with a focus on education and knowledge is great! I would love for the world to be that way. And I definitely don’t think the “goal” of this arc should be to renounce those ideals or simply go back to being a completely war-based culture. Knowledge is extremely important in One Piece – that’s quite literally a central theme of the whole series. And of course, we are shown time and time again how horrific and devastating war is. However, history – why and how things come to be is crucial. Is something coming from people’s informed collective desires, or is it coming from the decision of one person/a few people? Is it something that benefits everyone? Is it growth from a place of understanding, or historical amnesia and bypassing material reality? The truth is that right now, the One Piece world isn’t past “violence, insults, pillaging, war”. It’s very much full of those things, specifically because it is rife with inequality. Elbaph so far has been sheltered from these problems, but what happens if the problems come to them? 

This is one of the central questions I believe Elbaph is going to grapple with. What is peace, and what is violence? How can true peace be created? Can violence truly be eradicated from the world? What different kinds of violence are there? 

I think the books from Ohara, the Owl Library and Yggdrasil are going to be of crucial importance to these questions. We know that Yggdrasil is extremely important to Elbaph, and we also know that accumulated collective knowledge and education – as represented by the books – are beyond precious. So, the giants have something to protect that isn’t just their own lives: they have a collective treasure. I wouldn’t be surprised if threats to these treasures are the catalyst for the giants’ reconnection to their warrior natures. Pillaging and engaging in violence just for the sake of it or for sadistic pleasure is unnecessary and cruel, but being a fighter and a warrior in order to protect what one cares about – one’s treasure – is important. All the warrior cultures we’ve seen so far in One Piece have shared this reason for their strength, from the Shandorans protecting their sacred ancestral lands and history, to Wano with Pluton, and the Minks with their poneglyph and Zunesha. 

Elbaph can be a peaceful nation that focuses on education and knowledge, and still be able to protect that knowledge if necessary through maintaining relationship to the core aspects of their warrior culture: honour, courage, strength, skill, freedom, etc. I think that’s also where pride can sit, in the space of being strong enough to do what’s needed to protect life, dreams, love, and what we care about. This is, after all, what we see time and time again in pirates like Luffy and the Strawhats – that fighting and strength are absolutely not everything, and look different for everyone, but are ultimately important to protecting what’s important to us. There is pride in embracing one’s dreams, taking action, resisting oppression and injustice, and having a strong relationship to life and death as warriors do. As an aside, I do think Usopp will be a key person who inspires this shift and re-invigorates the giants’ pride (big speech time!). 

Ideals and Idols

Two things jumped out at me in this section of the chapter. The first is that multiple people have referred to Harald as a “great king”, or something along the lines of ‘beloved by everyone’. Now, that’s not so strange. He could’ve just been a really caring or charismatic leader. But the emphasis makes me a little suspicious about what was going on behind the scenes, especially since we know what Mother Carmel was really doing, but the giants still don’t know the truth. They still see her as a holy figure and miracle worker who saved them and even cared about Linlin, a “god of disaster”. I think it’s no coincidence that the figures of Harald and Carmel have been set up as key figures of this hundred-year period who are idolised by the giants, and the illusion is going to crumble at some point. I believe the truth about Carmel being the epitome of ‘peace and love’ hypocrisy will come out, and so will whatever truth about Harald. Again, to be clear, I’m not saying I think Harald was evil or had bad intentions – it’s more likely that he was tricked and manipulated by Carmel and the WG because of his idealism. I think he probably wanted to make Elbaph part of the WG (in order to pursue his goals of peace and trade), he wanted Elbaph to open up to the world, and he wanted ‘peace’ in the sense of blanket non-violence. 

That last part we already saw expressed with terrifying clarity in a child Linlin, when she locked a bear and a wolf in a cage to stop them fighting because “fighting is bad”. I won’t get into analysing that metaphor right here (I think I’ll make a separate post) but it is so on the nose – forced peace and non-violence is itself violent and creates more violence, especially because it requires imposing your will on other beings and taking away their freedom. Peace for whom? And by whom? I believe the truth of Harald’s engagement with the WG, and either his collaboration with them or his mistakes in dealing with them will come to light, and I’m sure Loki’s reasons for killing him are related.

In this way, Harald opened Elbaph up to infiltration and engagement from the WG, who I’m sure were only waiting for an opportunity to gather intelligence and start undermining the giants’ power or bend it to their use. Like I said previously, I strongly believe that the Warland giants had ties to the Ancient Kingdom and the events of the Void Century. It would absolutely be in the WG’s interest to bring them over to their side and disconnect them from any remaining traces of that history. In fact, Mother Carmel’s House of Lambs also centered around the idea of ‘reforming’ children and helping them leave their ‘problematic’ past behind. This same idea of reform has been used to describe Elbaph itself. This treats history as something to bury and leave behind – something shameful, rather than something to acknowledge properly, learn and grow from. And of course if we know anything about One Piece at all, we know that forgetting or erasing history is literally one of the most central problems/mistakes/evils of the series. We see this further shown in the fact that Ripley is the one to bring up Nika to Luffy, and that she specifies she’s from the last generation of warriors tells us that the children might not even know about him. Why would they, if he’s a warrior god and they’re actively being taught to be anything but warriors? It gave me chills, no joke.

So the ‘peace’ in Elbaph feels especially uneasy right now, despite Ripley’s words. There are antagonists working for Garling/Imu on the island. There is what seems like a red herring of an antagonist (Loki). There is misdirection and mystery galore. So many illusions and false stories to be shattered. False idols to be toppled. Funnily enough, the one story we know is real right now is a literal living myth (Luffy’s Nika form), who is also just a guy. Ideals and idols need to be brought down to earth for real living people to connect with materially, instead of being held aloft and out of reach. What did the arc open with? Rodo pretending to be a god. We’ve also had another character claim to be a god in Loki, meanwhile we know Celestial Dragons (including the Holy Knights) pretty much believe themselves to be gods. Yeah, I’m reiterating my point that ideas of faith and divinity are going to be crucial in Elbaph. In fact, I will put it out here right now that we’re going to get more information about the Lunarians, who were also called gods (I have a whole theory about that). 

Updated Loki thoughts 

The last thing I wanted to talk about is some updated thoughts on Loki. Basically, he’s a tsundere?? Love to see it. It seems that at least part of the unhinged and violent temperament we’ve seen from him so far is a facade, since his long-term friend ‘Shaggy’ says “I’ve realized recently that those fearsome words of yours hide your kindness”. We see that Loki has a friend he’s never met or seen, but known for a long time through den den mushi conversations. He empathises with said friend’s recent traumatic experience, saying it hurts him to hear it, while overreacting when they call him kind. Typical bluster, which seems to compensate for what is a sense of compassion and understanding. Not a heartless villain, then. This of course consolidates the idea that he isn’t how he appears on the surface and how he was first introduced, and that Luffy’s instincts were right. This does make me feel much better about their ‘promise’, even if it will still probably end up causing chaos. On top of that, it reinforces my feeling that he reminds me of Law, and will probably end up as an ally to the Strawhats in some way. Maybe by the end of the arc he will even be restored as the king of Elbaph, potentially alongside Hajrudin. Speaking of which, I went back to the previous chapter where the Giant Warrior Pirates were talking about Loki and Hajrudin, and the description of Loki as “another official child” of Harald makes me think Hajrudin is probably his illegitimate half-brother. But we’ll see. 

All of this has me thinking about the other giants calling him the “shame of Elbaph”. Initially I thought this might be because his actions are considered dishonourable, and I still think that’s probably the case. But having had the developments about Elbaph’s cultural shift, I wonder if part of the dishonour is just doing any kind of violent acts in Elbaph at this point. Thinking about how the other children treated Collun, and talked about insults, is there a sense that anything ‘barbaric’ on the island is shameful? Have they maybe even been taught to be ashamed of their violent past as Warland? I wouldn’t be surprised. And if so, that makes me even more worried about how that happened and the consequences of such revisionism and reform. As I said earlier, it’s one thing to want to change and improve, to move forward collectively for everyone’s good. It’s another to completely reject the past and bury it. Shame can be an important part of reflection and acknowledgment, when deserved, but it can also prevent real growth. I worry that Harald and Carmel’s approach was just to give Elbaph a PR-style culture change that has left them with a flimsy and fragmented social structure. One that is particularly vulnerable to hegemonic influence and external danger. 

Speaking of which, my thoughts on the two strangers (I’m going to call them Holy Knights because I’m pretty sure they are) looking for Loki are that they are either here to kill him, or to influence/recruit him somehow. I’m sure they’ve had intel on the situation in Elbaph, including the fact that there is no king since Loki didn’t ascend to the throne. Given that it seems Harald wasn’t a threat to the WG, I assume they know that Loki is different somehow. We also know that the Holy Knights are essentially the military special forces unit of the Five Elders/Imu, so I don’t think they’re there for a tea party. Even if their mission involves diplomacy, I think violence and threats are probably part of the plan. Hence, persuading him of something (with force if necessary) or assassinating him. We saw Loki has a “special” bounty, probably because he killed his father and/or has a legendary devil fruit, so it makes more sense to me that the knights are there to take him out. Plus, from a narrative point of view, if Loki is a rebel compared to his father, and is likely to ally with the Strawhats, he’s probably a character that is going to be set in opposition to the World Government. 

I don’t have much to add to what everyone’s already saying about the Shanks lookalike Danks, other than I agree it’s not Shanks and is either a relative or a clone, especially with the way clones keep being brought up. They’re clearly very powerful if the bandage person is anything to go by (bandage-bandage fruit?? the way they used it to break the guy’s bones was something), and I’m hyped for more. I’ve been waiting to see the Holy Knights since we got the God Valley flashback. I’m so ready for new villains. I'm also pretty scared, since we're getting a feast at the beginning of an arc. That doesn't bode well for the ending to me...but let's enjoy the good vibes while they last.

Honestly it feels like these last two chapters just left us with more questions than answers, and knowing Oda, we might not get those answers for a while! But let’s see. The opening parts of an arc are always the most fun to me because of that.

Bonus favourite bits:

Saul asking why Vegapunk's a woman and Lilith being like "who gaf"

Robin being happy always

Chopper and Robin library time I cry

Ripley being excited to see Nika Luffy, and Luffy's response

BIG ANCIENT OWL!!!!!!!! I LOVE

Bonney, Chopper and Robin on giant books

Luffy's interaction with Collun - truly big brother

the way Stephen Paul translated the kids' speech (vylence, vishus)

the new outfits, very cute (especially love Jinbe's)

the Jarul gag????? unserious

[third-doctor]

Sometimes growing up extremely sheltered and in a cult means your grasp of pop culture is really fucking weird and spotty. Toxic was just that song from Doctor Who. My only reference for the Beastie Boys is the Star Trek reboot. I routinely break or confuse the fuck out of people by not knowing shows or celebrities. To this day I have not seen an episode of SpongeBob SquarePants.

[flowersandfashion]

The opposite of a haunting is something very lonely, Katie Maria /// there's a little girl in my head, @heavensickness /// Little Girl Looking Downstairs at Christmas Party (1964) by Norman Rockwell /// Changing, Liv Ullmann /// found photograph with my words /// what they don't tell you, @tryworks /// Anne with an E, A Strong Effort of the Spirit of Good (3x07) /// Time Travel by Emhahee /// Second Wave (2023) by Amy Dury /// Katie Maria

[brbarou]

more bee and beloved...

[actualbird]

im suddenly thinking abt my beloved mariluke fankids again and i wanna drop more headcanons i made for them despite nobody asking for them <3

💜 Nina von Hagen-Pearce

nina, even at a young age, is outgoing and sociable. she definitely inherited both luke and marius' charm, and she's able to make lots of friends very easily. she's a social butterfly in pre-school and once she grows older, she becomes a little bit like how luke was in high school: that well known over achieving student in all regards that everybody else wants to be friends with

despite her kindness and open personality, nina is still very wary of people who try to get close to her. it's an unfortunate requirement, when you're the daughter of a von hagen, so she actively discerns people if they're only trying to get close to her for ulterior motives. given this, despite her wide social circle, she only has 2-3 very close friends.

she VERY MUCH inherited luke's Supreme Stubbornness. because of this, luke and nina often butt heads a lot (a fic i want to work on is one where nina is 16 years old and she gets her first boyfriend. and luke, Overprotective Dad Extraordinaire, does not approve) because neither of them like conceding or losing LMAO. still, in spite of all these arguments, they still love each other very much. theyre just.....more likely to get on each other's nerves, HAHA. marius has to step in more often than not to play mediator between his beloved husband and his beloved daughter.

💛 Percy von Hagen-Pearce

in contrast to nina's very extroverted personality, percy is much more withdrawn and quiet. he tends to keep to himself, only really speaking when Spoken To First. marius and luke are very worried for him, when he was in pre-school, because he didnt make any friends and was often just hanging out alone playing by himself. marius in particular was worried that percy was being isolated or ostracized by his peers (which marius is very sensitive to, since he went through that himself as a child), but thankfully his loneliness isnt a problem forever. percy has a deep love for his interests and hobbies, and he eventually makes a few friends through them through out middle school and high school.

like nina, he's cautious of other people trying to get close to him, but due to his personality being more subdued, not many people do anyway. and he quite likes it that way (something he has to assure his dads of regularly like "dad, papa, it's fine, im okay, nobody's bullying me i promise, im fine with having just a few friends, i like it that way, Don't Worry Too Much)

his quietness doesnt mean he lacks Attitude though. where nina is amiable and bubbly, but stubborn and hard-headed, percy can be subtly teasing and snarky, though he's a bit more lax and laid back than nina is. he rarely gets into arguments with either luke or marius because he's more amenable with going with the flow.

thats all ive got off the top of my head rn....but...if you guys Have Asks About the MariLuke Family, pls send them my way 👀

PLEASE LET ME YAP ABOUT THEM UWAAAHHH

if ever marius and luke have biological kids, heres how @lukevonhagen (headcanons came from her) and i (art came from me) think theyd look like!!

💜 nina is their firstborn, named after marius' mother carenina

💛 percy is their second, named after luke's father percival

[greatgoddyke]

time to make your choice only you can be the one

[poorly-drawn-mdzs]

Drew WWX and LWJ after I finished my rewatch of The Untamed a few months ago. I have gotten marginally better. May this set a benchmark for what to expect from this blog.

June 2023 redraw, June 2024 redraw

[toomuchdivergentformyneuro]

probably the most constant thing of my life has been the social isolation and loneliness i experience

since i was a young child, i’ve always struggled to make and find friends, and often was left alone

for a long time, nothing could defeat my spirits and will to make friends, and even the loneliness wasn’t enough to make me stop

nowadays, it gets to me, the loneliness, and i often wonder if i’ll have all the friends i’ve deserved all along

[supahstarrr]

OHH this playlist is so good i gotta put some of these in my playlist!!!!!! It's taken me a while to complete this since this was ridiculously hard for me to do. I only feel confident in three of my choices but I won't be surprised if I got all of these wrong. It's been really fun and confusing trying to assign the songs haha.

So our first song is "Egoist". It's hard for me to find the "definite" meaning of the song, but it appears it revolves around the singer talking to a teacher (or a therapist) and wanting to withdraw from "school" (life). The singer revolves around hating themselves and their lives, resulting in them to becoming suicidal. I think I'll assign this song to Kamimura.

"S.T.A.R Child" is interesting to me since it's mainly about the singer talking about adoring another person. So basically you could assign the song to a character based on if they're the singer or the subject which our singer speaks about. I'm assigning this song to either Isono or Tsuno, as both of their characters revolve around adoring another person. I'm leaning towards Isono Miki.

"Bitter Medicine" was one of the songs made me think of more characters than the other ones. Since It revolves around the singer having a facade focused on tending to others, resulting in people looking up to them in a way that doesn't acknowledge their genuine character. The singer is self-destructive, with some of those destructive habits stemming from how the facade isolates themselves from others. This is why I lean towards the song being best fit for Sasaki or Hayashi, but the note of the singer challenging with what it means to be truly responsible makes me lean towards Sasaki.

"Shelter" is a song that's very caring. One of the main themes is family, with the topic of shelter adding onto it. Very specifically the singer says they will "give them shelter like youve done to me..." and says that the person who gave them shelter is "watching over them". Both Tsuno and Harada are both very caring individuals who give shelter to others (Tsuno gives shelters to people, Harada give shelter to animals). Though, It's the additional context Tsuno grappling with the lost of Isono who gave her comfort, and being split up from a family that was very good to her, that makes me lean towards this song being fit for Tsuno.

"Anything Can Happen" belongs to Hasegawa hmmmmmm methink. I'm sticking to this. Definitely. This is Hasegawa talking to Kamimura. This reminds me so much of Hasegawa talking in his interview. Hasegawa LITERALLY said "anything can happen" in his interview. He is speaking. Yes. Yes. Yes. I feel slightly confident about this choice.

"Envy" belongs to... I also have no fucking idea!!!!!!! TAMBA!!!!!!!???????? Okay yeah I'm going to stick with Tamba. Like I mean this fits her secret. Her history of having envy as a result of her constantly being pushed to be "big" makes me think this is her song.

"Our Time" belongs to Ojima!!!!! I interpret the song as the tendency to go into a "dream" world being struggled by the necessity to step into the real world. It not only speaks about dissociative habits stemming from stress but also the potential to not be dedicated by that coping mechanism when met with troubles. The more as the series go on, we definitely have been proved of this potential. So, this definitely fits Ojima!

Okay so first off all "Dance of the Corpses" is definitely going into my playlist. Second off this is fucking hard I don't know!!!!!!!!!!!!! Okay I'm going to stop my dramatics, but I am serious when I say that assigning a character to this song has been one of the hardest to decide. Then I fucking realized there's sixteen students, not seventeen, so this doesn't have to apply to one of the students. Which makes things complicated because uh, this can apply to the researchers or the mascot.

I lean towards assigning this song to Monomoko. Which is weird as fuck to say, but then again the songs vaguely speaks about the underworld and the singer "dragging" down other people to become corpses. I can't figure out the definite meaning, and I may need to listen to what album this song is in for added context about this song. But yeah it's not even (some of) the lyrics that makes me think of it, but also the cute sound warped with odd, intimidating and experimental, layered sounds that makes me think of my favorite bunny. It's like the sound has a certain "unhinged" factor to it, or some kind of "tinge" to it that makes me think of it.

"TrusT" makes me think of both Hama or Hayashi. I am more inclined to think this belongs to Hayashi though. The pre-chorus really makes me think of her, particularly: "I feel the tension in the fear and truth / I carry life in between the divide / But all the wrestling has left me bruised". Although Hayashi has always been shown to both reinforce the despair and hope of the cast due to her pessimism and protective nature, her feeling both the despair and hope of the cast lead her to impulsive decisions that weighed her down further. The distrust this chorus revolves around really strength's how I view this as best fit for Hayashi, as that is definitely a part of her character as well.

Problematic belongs to... Hiroaki. Do I even need to say why. Like 90% of the lyrics just SCREAMS him.

Yet again, I'm thought of both Hama or Hayashi being fit for a song. Though for the song "Creature", I feel more inclined to think Hama is more fit for this song. The blatant reference of Jesus christ that makes me think of his catholicism. The message being about division regarding to humanity reminds me of how Hama's self is "divided" between man and demon.

"Eldest Daughter" belongs to Watari Nishino. come on it HAS to. if i got my baby's song wrong then i deserve a good shooting to the head. i will be deeply ashamed if i have gotten this wrong (hyperbole). This songs speaks about a girl's life as the eldest daughter influencing her to seek out "broken people" to "fix", which mirrors Watari's constant tendency to reach towards others. The references to fire totally makes me think of Watari too!!!!!

"The Queen of White Lies" seems like another case of either the character assigned to the song being the singer or the subject which the singer speaks about. Guessing based off the singer, this songs belongs to Yanagi Shigeki. The singer speaks about (consciously or subconsciously) knowing the "queen" is lying but allows it because of their own lack of self worth. That soooo reminds me of Yanagi's relationship with women (especially Sasaki).

Oooo another half-alive song? OP must really like that band! "What's Wrong" is a song reminding me of Chiba. Within the song is "avoiding" the dark complexities of the truth for the sake of fixing "what's wrong" despite that wrong fundamentally stemming from the dark complexities. Chiba represented all the best and toxic habits attached with hope—the determination to help everyone but also the tendency to ignore darkness for the sake of being a savior for everyone's comfort.

Okay come on. "Villain" has to belong to Okazaki Hanano! That's their song!!!!!!!! The sound the lyrics... yeah that has to be their song.

"ビータ" / 缶缶 belongs to Wada! The lyrics and even the sound reminds me of the intensity in him, which has been always within him from the start and is influenced by the current game.

Last song!!! "Kitchen Fork" belongs Harada. I think the song speaking about the dangerous quality to the singer's mind fits Harada when considering his instinct to cover up the victim's death. The singer is "haunted" by themselves and appears to feel guilt, which matches with Harada's life in and outside of the game.

Finally I'm done! This was very interesting to do! Perhaps confusing for me but also kinda fun. I'm unsure about the format I used but I hope this post is like. Readable.

Tetro Danganronpa Pink - Playlist Challenge

Credit to @accirax & @venus-is-thinking for the idea !

Below is a link to a YouTube playlist of 17 songs. Each song is assigned to a member of the TDP cast. Try and guess who's song is which !

Reblog your answers in the replies. : ) The deadline is January 31st.

Spoilers will likely be in the reblogs or comments !

[billpottsismygf]

I don't think I've ever taken in before how much Wicked Act I (and thus Wicked Part I) takes its structure from The Wizard of Oz. It opens with No One Mourns the Wicked, which is an obvious response to Ding Dong the Witch is Dead* (the first song once Dorothy gets to Oz, and only the second overall), and ends with our heroes arriving in the Emerald City (Merry Old Land of Oz/One Short Day). Our hero is then asked to perform a task so that the wizard will grant her heart's desire. Having completed this task, she then discovers that he is a fraud and that he cannot do what he's promised (nor could he have done the task he set her), so she has to make use of the power that was inside her all along to get where she needs to go.

*Bonus connection between these two songs is the little musical motif ("ding dong the witch is") that the movie version of No One Mourns the Wicked uses in its newly triumphant orchestration at the start (roughly 1:01 and 1:19 in the official soundtrack).

[amethystina]

Hello ˚ʚ♡ɞ˚

I hope you’re doing better, both physically and mentally. I know you’ve been through a lot recently, and I truly hope you’re finding moments of peace and comfort in this difficult time.

I wanted to reach out because I usually connect with your thoughts on The Devil Judge, and I’m curious to see if we align on this perspective as well. I've noticed that many in the fandom view Yohan as being kinder and more selfless than he seems, believing he truly cares about people and their struggles. But from my perspective, it feels different. I think Yohan recognizes others' pains, but it doesn’t necessarily mean he empathizes deeply with them or feels much sympathy.

What do you think?

it’s always a pleasure to hear your thoughts.

May the rest of your day be filled with moments of calm and joy.

Hi there 💜

Unfortunately, I'm not doing the greatest but, well, that's sort of the norm right now? It could be worse, in all honesty. Me and my wife have some friends visiting from our university days, though, which is lovely! But that also means I'm going to be even more absent from here this coming week. Just a head's up.

Anyhow! Since I don't really read fics or metas for The Devil Judge I admit that I don't know what the consensus of the fandom is on any given subject. Except, perhaps, what I can glimpse in comments on my fics or in the asks I receive here on Tumblr. This means that whatever opinions I express are usually my own without influence from anyone else, which makes them very subjective, pretty limited, and, perhaps, not as well-rounded as if I had spent time discussing them with someone else. And I just want everyone to remember that whenever I answer one of these asks.

These are my opinions but I'm not going to claim that I'm right or that my thoughts are the only valid ones. They might, in fact, be spectacularly wrong since I never run them by anyone before I express them.

So, with that out of the way: Yo Han is not a kind man.

That's not to say that he's incapable of compassion or empathy, but his ability to relate to other people is, at the very least, severely stunted. I know that some think that he must have an antisocial personality disorder but, personally, I'm not comfortable diagnosing him with anything. I'm just not qualified to make that kind of assessment.

But what I can say is that he's definitely not a very considerate man.

But, as with all things Yo Han, the subject is a little more complex than that — and stems back to his childhood and past trauma.

To make a long story short, I think that Yo Han is emotionally mature and intelligent enough to recognise right from wrong. I also agree with you that he can see when people are in pain and, in some ways, probably relate to them. But what he actually does with that information depends entirely on who the person is and what scale we're talking about.

Because, as we see in the drama, Yo Han doesn't really care what happens to the people outside of his small, chosen circle. He was clearly shaken when Han So Yoon was kidnapped and K died, for example, but the unidentifiable mass of "the Korean people" doesn't interest him as much. Yo Han is incredibly loyal, yes, and capable of a fierce, all-consuming kind of love, but it's reserved for a selected few.

As for everyone else?

Not his problem.

And while that's pretty uncaring — ruthless, even — I think it's in part because of his childhood. He was so isolated that he can't really relate to people, only made worse by the fact that his mind probably doesn't work like most people's do. So even if he deeply loves someone, his empathy is still a bit patchy. He's used to pushing through pain and heartache and doesn't quite seem to understand that other people aren't — or at least not to the extent that he does it. Yo Han is a master at compartmentalising but doesn't understand that he's an outlier in that.

And so his ability to relate to people and understand their pain is severely limited. Because he's not working with the same variables as everyone else. Something that will barely faze him is enough to completely break someone else and despite being so clever, I don't think he understands that.

And it's even worse when you look at it on a wider scale. He's even less sympathetic when it's people he doesn't know personally and, quite frankly, I don't think he wants to care about nameless strangers. Yo Han protects and sympathises with the people closest to him — the ones he can see and touch and feel — but he doesn't waste emotional or mental bandwidth on everyone else. In some ways, he might not be capable of that. Because, again, the isolation he was put through as a child probably left quite a lot of scars and made him unable to connect with people in a healthy way.

He's not like Ga On, who genuinely cares about the fate of the common man and their country as a whole. I think that Yo Han sees the suffering and clearly doesn't mind doing a kind act here and there when he gets the opportunity — like donating the prison warden's money — but I still wouldn't call him a kind or a considerate man. He can be but also chooses not to be more often than not.

It doesn't come instinctively to him the way it does for Ga On.

Again, that's not to say that Yo Han doesn't know how to be kind — of course he does — but I don't think he views it the same way most people do. It's almost as if he thinks that kindness is a finite resource and therefore hesitates to waste it on people he doesn't care about on a personal level.

So no, I don't think he genuinely cares about other people's struggles and pain to the degree most people do. But it's not necessarily because he's evil or anything like that, but rather because he's so guarded. I've touched on it a couple of times in Who Holds the Devil, but I think that Yo Han is very cautious to reveal what he wants or admit when he cares about someone, simply because he's afraid of having it taken away or losing the person in question.

And if he were to care about every suffering citizen in South Korea the way Ga On does? I don't think Yo Han could handle that. I think he's shielding himself from that kind of commitment out of sheer self-preservation because every time he cares about someone, he leaves himself vulnerable for heartbreak. And he's not really equipped to deal with that heartbreak should it happen (again: emotionally stunted and childhood trauma)

In some ways, I think Yo Han is too scared to fully care about other people and, even when he does, he's always bracing himself for what he thinks is the inevitable pain of losing them.

But he does want to connect with people. Which means that he can probably learn to be more considerate of people he doesn't love on a personal level, but, again, I'm not sure if he wants to. At least not during the drama or even shortly after it. I think Yo Han is perfectly fine with being the way he is. He doesn't want to be a hero and has no interest in philanthropy — aside from how it might boost his reputation or, alternatively, punish those he thinks are behaving badly (like the prison warden).

But a couple of years down the line if he and Ga On are a couple? I think that Ga On could wear him down enough that Yo Han regularly donates to good causes and such. But Yo Han would do it more because he wants to indulge Ga On than out of any feeling of responsibility of his own. Because, when it comes down to it, I think Yo Han doesn't have any love and devotion to spare for the people outside his immediate circle. Taking care of them is difficult enough what with his upbringing and struggles to understand relationships.

Just like Yo Han says in the drama: I don't care if humanity falls as long as I have you two.

That's what he cares about most and even if he's capable of kindness and compassion, he saves it for the people he thinks matter. But even then I don't think he can empathise as deeply as most people would. Because he just doesn't understand that not everyone has his ability to compartmentalise and briskly deal with their emotions and trauma. I suspect that he thinks that Ga On is a bit too emotional a lot of the time. And even if Yo Han loves Ga On with every fibre of his being, he also thinks that Ga On's inability to control his emotions is both impractical and annoying — maybe even silly. Because Yo Han just doesn't get it.

He can't put himself in Ga On's shoes or understand that some people are just more emotional and need more frequent outlets for said emotions.

So yeah. I don't think that Yo Han is a particularly compassionate or considerate person, and he struggles to fully understand the people he loves, too. It's easier for him to be kind to them, at least, but he can't really empathise with them, either. But I would argue that it's not really his fault so much as a result of his childhood, all the trauma, and how he is a person. And it doesn't mean he's incapable of love or taking care of people — he's just very selective and, sometimes, he'll stumble because he doesn't understand what the fuck is going on x'D

In short: He's a disaster, your honour.

[puppppppppy]

Atla live action 😐

[quietwingsinthesky]

you ever just think about. “You are diseased, albeit a disease of our own making. No more.” you ever just. oh, they made him and they discarded him. it’s never going to be quiet again for him, and that’s just collateral. they let the sound rot through his whole life, his whole timeline. because that’s the kind of easy sacrifice you can make when you want to save yourself above everything else, one that doesn’t ask anything of you. you dig open a child’s mind and you bury your survival inside him and when he follows the noise back home, when he does exactly what you groomed him for, you call him ruined for it. that’s. you ever just think about that.