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nightcolorz · 5 months ago

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I would love to hear your thoughts on autistic Armand, if you haven’t already spoke about this! Imo he’s very autsitic coded, and it’s very precious to me as an autistic iwtv fan :]

OMG!!! RUNS AROUND. Yes lmao I talk about this a lot actually it is one of my favorite Armand things to meta about bcus I’m also autistic and he is my special interest🙏I was trying to find some of the stuff I’ve written about autistic Armand but tumblrs search engine makes it near impossible to find anything so I gave up 😭, but believe me they r out there. Even tho I talk about this a lot I would love love love to talk about it some more for u anon because I can never get enough of armandtism.

I first figured Armand was autistic when I was reading the vampire Lestat because when he is first introduced he is completely non verbal and only communicates through the mind gift. through further explanation it’s very much implied that he does this because he finds putting his thoughts into words hard and he considers just projecting them into peoples brains much easier. Armand speaks out loud for the first time like more than halfway through the book, and lestat is surprised to hear him lol. This is super autistic I feel like that’s obvious 🙏 it’s basically the vampire power equivalent of using a non verbal communication device. Armand having trouble with connecting with people, understanding how to “fit in”, and talking r prevailing parts of his character throughout the whole series (not just tvl) which solidified my headcanon into basically a canon fact in my mind lol.

When Armand is first introduced in iwtv his strangeness is chalked up to his vampirism, but it’s soon revealed throughout tvl and qotd that Armand is considered a strange outcast by other vampires. The things he struggles with r unique to him and r not representative of vampires in general. His otherness/strangeness can also not be chalked up to his trauma or his age turned because Armand was also an outcast as a young child. It’s described in the vampire Armand that Armand was not understood by his parents or his community because he was obsessed with and freakishly good at painting. His community interprets his unusualness as a sign of some divine intervention, the priests believe he is a saint or a prophet sent to earth, even at times saying things implying that he is “not human”. Unusually high quickly developing skill in childhood is an autistic trait, as is hyper fixation on an activity/topic that becomes a core identity factor and prevailing obsession. The affects of Armand’s trauma only worsen the severity of his autistic traits. C-ptsd and autism often overlap and coexist in autistic people who were traumatized in childhood, which seems to be Armand’s case.

in queen of the damned Armand is at his peak autistic lol, I feel like this is when most book readers gain that head canon. The Devils minion chapter revolves around Armand using Daniel as a guide to help him learn how to be “normal” and to blend in to the modern age. Armand can’t seem to figure out how to blend in on his own because he is unable to understand social norms of any time period enough to integrate himself into society. Armand is in love with technology and what most would consider monotonous sensory experiences. He stares at his own reflection for hours, he loves kitchen appliances and watching ingredients whir in blenders, cameras, he watches the same movie over and over again and never gets bored of it. The way Armand fixates on technology really reminds me of how a lot of autistic people played as children. He enjoys repetitive, sensory behaviors over “fun”. For Armand this means watching the same things repeatedly, which is a form of visual stimming. There r moments where Armand is trying to understand his world, but is so blind to what he is trying to understand that he goes about his discoveries wrong. Such as in qotd when he tries to interrogate strangers to gain information on societal norms but he only gets uncomfortable glances. Armand is desperate to understand and to connect but he is consistently inherently alienated, whether it be from humanity or from other vampires or from himself.

Armand also can not process his memories comprehendingly. This is part trauma part autism, but autism is def a factor. Because of his repressed trauma induced memory loss Armand finds it difficult to talk about himself to people. This is worsened by Armand being unable to comprehend the aspects of story telling that he needs to be able to tell people about his life. Armand explains to Daniel that he vividly remembers small details, such as dates and weather, but he could not tell Daniel what “things were like” because he “doesn’t know what that means”. Literal thinking, the inability to grasp vague, fiction based concepts like narratives and metaphor, and strict fixation on minor details like numbers, are all autistic traits!

Armand also struggles heavily with emotional regulation. He is described as often having intense and extreme meltdowns where he cries and screams and breaks things. Armand is easily bothered, in tva he mentions that he covers his ears when he is overwhelmed. The vampire Armand begins actually with Armand becoming overwhelmed in public and trying to escape to an attic so that he can be alone in silence. Armand copes with his intense emotions by putting on a mask of neutrality. He is often described as expressionless and blank, uncanny. But this is a mask, and when Armand can no longer mask and his disguise lapses his facial expressions r described by lestat as being so over the top and emotional that they are disturbing and weird. Over the top unnatural facial expressions as well as blank unreadable ones are both autistic traits. For Armand he is naturally overly emotive to the point of being considered horrifying, and he hides this by taking the opposite extreme. Either way, either expression Armand puts on causes him to be socially outcast.

Armand often describes feeling like there is something wrong with him that causes him to be isolated from others and he’s not sure what it is. In prince lestat he tells Gregory that he doesn’t know why it’s so hard for him to have relationships when other vampires are fully capable of doing that. In the vampire Armand he explains to David that he’s crazy because his mind isn’t built right and his senses are tripled so he shouldn’t bother trying to understand him. I rlly relate to this as someone who felt like I was from another dimension as a child bcus i didn’t know the unspoken life rules everyone else did.

Armand is often treated like a child by the other vampires and assumed to be emotionally immature and too fragile and insane to be helpful. Armand says in the vampire Armand that he doesn’t consider himself an adult because he can’t function like one. This could be due to the age he was turned, but it’s shown to us that characters like Benji and even to an extent Claudia r able to self regulate and function appropriately despite being turned even younger then Armand was.

in conclusion, book Armand is an autistic person who was never given proper support or understanding because the environment and the time period he was born in decided to alienate him further rather then work to help him socialize and learn appropriate skills, and because of the necessities he has been deprived of and the horrible trauma he endured Armand is never able to learn to function in the way he was likely capable of. this recessive quality in pair with his autism caused Armand it be unable to cope or self regulate or learn ways to understand himself since he wasn’t given a chance to in his formative years. He’s a great representative of what many autistic people who experienced intense child abuse experience.

Im rlly happy with the shows portrayal with Armand so far partly because he is omg, so autistic. Show Armand shares so many of book Armand’s autistic traits. inability to understand himself or others, fixation on small details but inability to understand the big picture, etc. even his iPad is autistic asf! My ipad is my comfort item that I carry around with me to self sooth, and this is def the vibe Armand’s iPad gives me in the show. Even assads performance is autistic! He is able to play Armand masking and Armand unmasking, the stilted expressions he gives and the blank stares, the uncomprehending earnestness. AGHHHH!! Assad stims with his fingers when Armand is nervous too which is just an amazing touch. I hope the show explores Armand’s autism, because that would literally be a dream come true. Even still, for now I’m satisfied.

thank u so so much anon for the ask this made me so happy 🙏❤️ autistic Armand means so much to me and has gotten me though some tough times. Understanding and analyzing Armand helps me understand myself better and feel more comfortable with how I am. Earlier this year I gave myself a concussion because I was harmfully stimming during a meltdown, and while I was in the emergency room I was holding the vampire Armand and imaging that he would relate to what I was going through. So yeah he is very special to me too! And once again it makes me so so happy that u got me to talk some about it. I hope this was coherent or interesting lol I felt like I was all over the place

#tvc #the vampire chronicles #armand #vampire chronicles #vc #iwtv #interview with the vampire #amc iwtv #the vampire armand #Armand #armand iwtv #armand tvc #iwtv Armand #amc interview with the vampire #Armand le russe #vampire armand #The vampire lestat #Queen of the damned #the devils minion

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thepersonperson · 2 months ago

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Gege is doing to his characters what they did to jfk there's so much character assassination happening djsjdsnsdjn

This ask was sent to me shortly after I complained about JJK 269 leaks. (Aka before JJK 270's release so be nice to them.) And while I still agree that chapter contained character assassinations, JJK 270 has given me a good reason for them.

Since my other post related to this topic was trimmed down by Tumblr’s 30 image limit, I’m going to use this ask as an excuse to this burning question...

Why does everyone feel so out of character in JJK 268–270?

Notes before we start.

1) Read the light novels. They are the equivalent of Bleach's CFYOW for JJK. There is a fan translation (Book 1 & Book 2), but I will be citing the official translation from my own copies.

2) I will be mainly using the TCB scans for the manga because of their accessibility.

4) Written as of JJK 270.

5) Read the light novels.

(Another extremely 'hear me out' discussion under the cut. Click pictures for captions/citations.)

Preface

This post is banking on the framework I set up in the previous related post so please read/skim over it. (If you don't? Just hear me out!)

Short Summary of the Previous Related Post:

Yuji is projecting a massive delusion onto Megumi that gives him a happy ending. JJK 268–270 is a mesh of Yuji and Megumi’s memories and dreams that serve to rationalize all that’s happened to them in a way that allows them to forgive themselves. Sukuna’s vessel memories are probably mixed in too.

Because of this I’m assuming the following:

>The battle recollection in JJK 269 is Yuji constructing explanations from his, Megumi, and Sukuna’s memories during their battle. Neither of these 3 ever knew the plan in full. This can explain why so much of the battle recollection is wrong.

>The characters we see outside of Yuji and Megumi are constructs based on their memories of these people. They’re more like representations than the actual characters.

I don’t know if it means they’re dead or not, but that doesn’t matter. I want to explore the way the characters feel off can be explained by them being memory constructs.

In the previous post, I used "Without love it cannot be seen." from Umineko to give my best faith reading of these past 3 chapters I've hated so much. This time the tool I'll be using is:

"Flipping over the chessboard."

This refers to how one should try to see things from a different perspective.

Memory in JJK

A neat touch that has always been around in JJK is characters remembering others as they last saw them. When Gojo recalls his best students, Hakari has a very different hair style from when we meet him. His recollection of Yuta's is accurate though. When Panda recalls Yuta, the hairstyle differs from what Gojo recalls. And when he recalls Kiara, he mistakenly refers to her as a guy.

This all can be explained by considering when Gojo and Panda last saw these characters. Gojo last saw Yuta in Kenya with Miguel where he changed his hairstyle. Panda hasn't seen Yuta since he's left the country. Neither Gojo or Panda have seen Hakari and Kiara for a very long time.

Their memories reflect how they last knew them. Kiara is a whole girl now and Hakari is blond. But if Panda and Gojo never saw them again? Those memories would be true to them, even if it’s no longer accurate.

And sometimes the memories aren’t accurate. See this side by side recollection of Gojo meeting Megumi from both of their perspectives.

I believe Gojo’s memory of this event is the accurate one because he’s 19 when it happens, not under distress when he recalls it, and has the Six Eyes which act like a supercomputer. Megumi’s memory is iffy because he’s 6 when it happens, has a head injury that knocks him out when he recalls this, and doesn’t have perception enhancing abilities. And though Megumi can’t recall the memory in its truest form, what he does remember still tells us a lot about his feelings towards the event and his relationship with Gojo.

The emotions child Megumi felt at the time distort what Gojo was actually like back then. Instead of a benefactor, he’s a suspicious weirdo with a funny face. The heart behind Gojo crouching down to his level, being way too honest with him, trying to give him options, patting him on the head—it’s all missing.

With all this in mind, I don’t think it’s unreasonable to assume Megumi and Yuji’s impressions of other characters via memory would influence how they appear in these delusions too. Yuji’s impressions probably take the most precedence since I think his will is shaping the delusions the most.

Recalling Incomplete Information

Yuji is very good at understanding people. He can intuit their feelings and sync up with them easily. (I go over this in greater detail in this post.) But that doesn’t mean he fully understands their hearts. He gets close enough to their core to bond with them, but the little details aren’t quite right.

If all the characters (save Megumi) we’ve been seeing in JJK 268–270 are constructs based on Yuji’s perception of them, I think this can explain everything off about them.

What made me consider this possibility was JJK 270. There’s this pattern I keep seeing... Characters’ motivations being misunderstood and being resolved by scenarios that aren’t quite right. Every time I try to explain what exactly is wrong with them, assuming their inconsistencies align with Yuji’s perception of them solves the problem.

Amai Rin

Rin is introduced as a coward. He’s unable to fight and goes along with the whims of those stronger than him to avoid getting hurt. This is why he keeps his head low as his friend is being harassed by bullies during his Jr. High days. Still, he tries to help. Just not at a risk to himself.

When Yuji saves his friend and beats all the bullies up, he turns to Rin and assumes he was part of the bully group. This simply isn’t true. He was a bystander. That’s why it’s weird for him to apologize like he was the one who beat the guy up.

Yuji’s false impression of Rin, one where he’s a bully that feels guilt over his actions, explains this. Rin’s actual guilt comes from him being a bystander—someone who doesn’t take action for others when something is wrong. He dealt with that in the Culling Games by helping Yuji and risking his life to save Angel. And he really stepped out of his comfort zone to join the medical team for the Sukuna battle. He might be the reason Yuta survived. (Yuji doesn’t know about that though.)

And what’s this? Here Yuji outright admits he doesn’t fully understand what kind of person Rin is. All he knows is that he did some good things and is trying to become a better person. So now we’ve got this other Rin that’s apologizing for something he didn’t do for the redemption he’s already earned.

(And that’s the pattern! Rin’s motivation is misunderstood by Yuji so he’s doing something that seems out of character to us readers, but is perfectly in character for Yuji’s perception of him. When I apply it to everyone else. Everything makes sense.)

Takaba Fumihiko

What Yuji knows about Takaba is pre-Kenjaku development. Yuji knows the Takaba that speaks over others, rejects their criticisms, and insists he’s funny. That’s kind of what he’s doing to Totally Not Kenjaku. In reality, Kenjaku caused Takaba to reflect on his approach to comedy and they are nearly in perfect sync by the end of it. Kenjaku satisfied Takaba.

Yuji didn’t see that battle and he hasn’t spoken to Takaba since. So he’s constructed a happy ending where Takaba has found his partner and is working towards the show of his dreams that already happened.

I also want to note that Takaba is 100% ok with sex jokes. Kenjaku makes one and he doesn’t object to it. This is just another little detail that makes everything so slightly off.

Higuruma Hiromi

Yuji knows that Higurama wants to go back to his roots. He knows that he feels guilt over killing people.

What he doesn’t know is that Higurama’s roots are him being a defense lawyer that cherishes the flaws of humanity. He doesn't want to ever look away from the impurities that even Yuji has. That’s why I think Yuji resolves his problems with him becoming a sorcerer who saves lives.

Yuji seems to think that Higuruma is like him. He’ll make up for the lives he’s taken via sorcery by saving more. That’s something he could assume from their convo, but that’s not actually what Higuruma wants. He wants to fundamentally change Japan’s legal system for the better in his own way.

Kurusu Hana

She’s the most in character of the bunch. In fact, there’s nothing out of character about her interaction with Megumi. What she represents is Yuji misunderstanding Megumi’s desires.

Yuji understands that Megumi’s type is someone with an unwavering humanity (literally the definition of Yuji’s name) via access to his memories. But for some reason (he’s kind of dumb academically), he thinks this means Hana is perfect for him.

I think this is because Hana meets Yuji’s definition of a good person. She’s just like Megumi. She saves others for a selfish purpose. And that means…Hana does not meet Megumi’s definition of a good person. Not once has he considered her saving others as selfless. (...But Yuji has.)

And that’s just facts. Hana is kind of unhinged. She’s extremely possessive of Megumi and saves others solely to win him over. Yuji saves others because it’s the right thing to do.

Megumi’s preferences are Yuji, not Hana. Which has led to the most awkward confession and rejection scene. That might have clued Yuji in to construct an alternative. In the memory Yuji is probably recalling, Todo does clock Megumi as someone into dudes. …The very next scene is Yuji hitting on a dude in front of his gf in a way that causes him to blush. (Yuji has not once complimented someone’s body up to this point if I recall correctly. And he’s been around some beefy dudes.)

(Yeah Nobara me too. Second most leftfield possible bisexual confirmation I’ve read in a manga. The first will always be from Baki the Grappler.)

Is this Yuji letting Megumi know it’s ok to come onto him? Is he not initiating because Hana’s forwardness freaked Megumi out? It’s possible.

What this suggests is that Yuji is kind of fine tuning this whole delusion to make Megumi as content as possible. It’s telling that the moment Megumi starts getting super uncomfortable the scene jumps to something else.

It happens at the beginning of the chapter too. Gojo is mentioned by Shoko in a way that causes Megumi to pause. And Bam! Change scene.

Anyways, I hope this demonstrates that Yuji working with the limited information from memories is most likely the reason for everything being so funky. It’s character assassination by accident.

Why make these happy endings when this is all for Megumi?

Two reasons as to why I think Yuji is trying to give everyone a plausible happy ending.

1) He genuinely wants them to live good lives.

2) It has to be believable for Megumi to accept them as real and forgive himself.

This line may have been about Yuji, but Megumi’s not any different. He blames himself in the exact same way Yuji blames himself.

I also think there's something to be said about Yuji crafting a dream that resembles the perfect cookie cutter Shonen ending. The guy gets with girl he has no chemistry with. All these complicated plot lines are wrapped up with a neat little bow. Everyone lives and goes on like nothing traumatic happened.

Yuji is a big fan of Shonen. Straight up his final move against Sukuna is a Hunter X Hunter reference. That's not just Gege doing a reference as a fan, Yuji himself is a fan of that manga.

I think Yuji is trying to make this fiction a reality because it's the only way he knows how to cope with his trauma.

JJK 269’s Character “Assassinations”

I promise I still hate this chapter. But I won’t deny how fun it is to pretend these are all delusions Yuji created for Megumi’s sake. I went over Kusakabe to cut him some slack in the previous post, so let’s do everyone else.

(The chapter’s formatting as one long unending nightmare makes it hard to separate this stuff out by the character. I’m just going to do groups this time.)

The 2nd Years

The most common complaint from readers outside of Kusakabe telling Yuji he should’ve died is Maki being really fudging mean to Yuta. Maki is mean, but she’s not that mean. You could assume this is her showing Yuta she cares and that her anger scales with worry but… Here’s a side by side comparison of her getting angry over Yuta risking his life in Vol 0 vs JJK 269.

Pretty big difference I think. Here is a Maki with a Yuta she thinks is about to die vs a Maki with a Yuta who is 100% ok. And the only reason she even gets mad in Vol 0 is because she had no idea Yuta did something that risky. Maki already knew Yuta was going to body hop if all else failed, so her reaction here is disproportionate, especially since he survived.

Speaking of survival, the first thing Maki, Panda, and Inumaki do when Yuta survives in Vol 0 is ask if he’s ok and thank him for saving them. This doesn’t happen in JJK 269. They're all very protective of Yuta after the events of Vol 0. We see them defend him from Gojo for being a little mean about his training. They’re all against the plan because of how much they value him. The 3 of them not checking in on Yuta immediately after the fact is wildly OOC.

The explanation I have? This version of Maki is based on Yuji and Megumi’s memories of her. (And let’s remember that Megumi claims he can’t openly respect her and the other 2nd years outside of Yuta.) When Megumi and Nobara mourn Yuji’s “death”, Maki does this to them.

Maki also intimidated Yuji pretty bad when they first met. Her, Panda, and Inumaki went along with bullying Yuji after he came back to life. It makes sense that Yuji would up Maki’s meanness. He’s not been around her long enough to know she’s not like this when it comes to people she cares about.

I do think it is weird Maki is pre-awakening levels of mean. This could also be Yuji trying to return to the time before everything went to absolute hell. Or...because she’s Yuji’s construct, this could be him expressing his anger at Yuta for defiling Gojo’s body in a very roundabout way. From both Yuji and Megumi’s perspective, Yuta didn’t discuss this beforehand and used it as a last second plan. And that’s kind of how the conversation goes. Everyone talks about Yuta’s Yujo plan like he didn’t clear it with them first.

It’s also telling that they harp on Yuta over Miguel and Larue. Miguel said no help unless Sukuna’s domain was down. Everyone except Yuji knew that. There was never a scenario where they’d help from the start. But to Yuji who only heard they might show up? It’s a missed opportunity.

Say if you were, trying to find a reason for such a horrific defiling of a loved one’s body. Wouldn’t you try to reconstruct the crime by considering the motives and methods? That would help give you some closure, right?

I think that’s what Yuji is doing for himself and Megumi. Yuji is trying to figure out why things went the way they did through a blend of what Sukuna intuited and what makes the most sense to someone who never had full knowledge of the plan.

And if you think about it, this is still a happy ending for them. They’re all absolved of their guilt surrounding the outcome of the battle. Even if they screwed up, they’re all still alive and able to move forward in a better world. They did the best they could, so it’s time to move on from what happened to Gojo. Thinking about that too much would break someone.

Mei Mei and Ui Ui

Mei Mei is out of character in a way that’s unique compared to everyone else. She’s still herself, but with less…yikes. It’s odd since Yuji has seen how awful Mei Mei can be and is deeply uncomfortable with how she treats Ui Ui. He’s not missing information about her motives so why have we gone from this to this?

I propose this is an extension of Yuji’s denialism. (We’ve seen how avoidant he is with Gojo’s death.) Mei Mei is grooming Ui Ui and has made it clear this is all for money. Ui Ui is being abused, but he’s so attached to his abuser that separation would break him. How do you make a happy ending out of that?

Well, you can soften those edges. Spin a tale where Mei Mei is an over-doting sister who would kill for her cute little brother. She doesn’t touch him inappropriately, she just plays with him. She loves money as much as him! No abuse here! She’s not someone who would kill a child for cash.

And in a weird way this whole Simple Domain debacle mirrors Gojo killing the higher ups. If Maki is Yuji's rage towards the Yujo plan, then this could be him trying to process his mentor slaughtering a bunch of old people in mass for his sake.

It probably helps that Yuji wasn’t there to see Mei Mei tell Ui Ui to die for her. There’s no way he knows she was paid to help kill him either.

Mei Mei doesn’t care about the well-being of other people. She’s just a hardcore capitalist who loves money and will do anything for it. But this version of her can be less terrible to Ui Ui while still getting her cash and that’s sort of ok I guess? Yuji has moved on from this and so will I.

The Megumi & Nobara Problem

The 1st years going on like nothing happened after Sukuna has made readers feel betrayed. It flies in the face of everything that’s been established for them when it comes to mourning.

As stated in CFYOW, JJK Thorny Road at Dawn, Chapter 5: At the End of a Sidewalk, this is how the trio deals with grief.

Despite knowing Yuji for only 2 weeks his death screws with Megumi and Nobara pretty badly. In the manga, it looks like Nobara is more upset because she’s visibly in pain, but I think the light novels show they’re equally shaken.

This is why the non-reaction to Gojo’s death makes no sense. Megumi has known Gojo for a decade. He’s 6 when he first meets him and 16 when he dies because Sukuna used his Cursed Technique (CT). Nobara knew Yuji for 2 weeks, and didn’t see him for another 3 months. In all that time, Gojo was her teacher. She knew him longer than Yuji. When she “dies” Gojo is on the same tier as Yuji and Megumi to her.

So why is it that in JJK 268, Nobara thinks of Gojo as a creep? Why did she toss his letter despite him being one of the people she thought of in death?

Well… When Yuji came back from the dead via Gojo’s prank he heard Nobara say this.

Nobara is prone to saying out of pocket nonsense to people. If she thinks it, she says it. Yuji also doesn’t understand Nobara’s thought processes (Just like Amai Rin he admits it too!). Nobara tries to hide her feelings to appear tougher than she is sometimes. So I think Yuji has done to Nobara what he has done to Maki—upped the meanness and neglected the heart.

And though Nobara being a construct can explain her behavior, this still leaves us with Megumi who is definitely not one. Why is he acting like Gojo meant nothing to him?

Megumi in particular is super fragile when it comes to his feelings. This is how stressed he gets when he learns exactly why Tsumiki is in a coma.

She’s not even dead and he’s halfway to a mental breakdown. The idea that he can just look at her grave once after having a hand in her murder and move on this quickly makes no sense. Inadvertently killing his defacto guardian he’s been raised by for 10 years should be upsetting him to a similar degree. (Maki said Gojo treated him like a precious treasure!)

When Megumi is on the verge of death he thinks of Tsumiki, Yuji, and or Gojo. It’s always at least 1 of those 3. There’s no way Gojo dying and having his corpse reanimated for reasons Megumi might feel responsible for isn’t screwing him up.

Unless…Yuji is suppressing his memory on purpose. He can’t even cope with what happened to Gojo, how is Megumi supposed to? How can either of them forgive themselves for that if they acknowledge it in full?

When Sukuna tries to tell Megumi to give up, he looks miserable. Every time Sukuna has verbally kicked Yuji while he’s down, he’s done it with a big old smile and laugh. He doesn’t hold back and goes for the throat.

Sukuna is being very nice to Megumi here when he doesn’t mention Gojo at all. The only death he blames on Megumi is Tsumiki. Everyone else? Nothing. That’s weird given that Sukuna will pass the blame of his kills onto Yuji to torment him.

Is this Sukuna a construct or is he playing nice because he respects Megumi? Who knows. Whatever happened here seems to point to Gojo’s memory being suppressed for Megumi’s sake.

And why might Megumi accept this suppression? Why does he seem to be going along with Yuji’s delusions? The Unlimited Void brain fog. Megumi brings attention to it after he wakes up.

If Sukuna can’t think straight after Gojo brain damage, neither is Megumi. Still Yuji has to be careful. If Megumi thinks too much, the illusion will be broken.

What does this mean for them?

Well, the character assassination isn’t real (probably) which is a good thing! Other than that? Not a clue. We’ve got a real catbox situation here. I can’t tell who is dead anymore.

Sukuna projects delusions when someone he’s connected with is dying. Yuji projects delusions someone connects with him while he’s severely injured/concussed. Both of them are kind towards the people they’re interacting with in this space between dreams and reality. They try to give people endings that leave them satisfied.

JJK 270 ends with the hunt for a curse user who can distort perceptions of reality. This curse user is initially mistaken as a cursed spirit. That sounds like Sukuna I think.

I’m pretty confident this happy ending illusion will be shattered, that's for sure.

My Final Answer

I'm betting it all on this being a delusion. This is a kind of prediction that will either age well, very badly, or interestingly. I don't know what's in store for the final chapter...but I do have some ideas I'd like to speculate with.

"Without love it cannot be seen."

This time I'm going to use this phrase very literally. I'm going to make one final gamble on the assumption that love is the answer. So let's go back to Love itself—one of those reoccurring themes in JJK.

Love is a curse in JJK. It has the power to distort reality and transform loved ones horribly. Desperation to save a loved one from death over and over has resulted in extremely traumatic things. Yuta turned his childhood crush into monster that caused havoc for years. You can blame everything that has happened in JJK on Gojo being unable to get over the loss of his loved one, Geto.

Hana could've vanquished Sukuna on the spot, but she didn't because she loves Megumi. It's something a lot of people blame her for. If she had just killed him there, the Sukuna battle wouldn't have happened. But that's not really the truth. The only reason Sukuna even got his powerful is because Megumi refused to let Yuji die.

Megumi and Yuji going back and forth trying to save each other have been acts of love driving the plot of JJK since the beginning of this manga. If Megumi actually died on Yuji? Who knows what would happen.

...

A lot of readers have been on a very funny copium because of these last 3 chapters. Some of them joke that they are just one massive Takaba-induced hallucination. This theory has some merit to it! After all, his CT does two things:

1) It distorts reality.

2) By sheer force of will it bends people's souls to his whims.

One of the biggest complaints about the past 3 chapters has been the Merger plot ending abruptly. As of JJK 270 Tengen and Sukuna's remains have been mixed into the barrier around Japan and everything is just fine according to Gakuganji.

People wanted to see what the Merger would do, just like Kenjaku. In universe, Tengen made a prediction. They guessed that the impurity from humans would dominate and consume everything. The impurity that Higuruma wants to protect. The impurity that Higuruma sees in Yuji.

Would Sukuna activate the merger and kill Megumi to spite Yuji? Absolutely.

Would Yuji do or become anything to save Megumi's life? Absolutely.

Do whatever you want with this information.

#cactus yaps #This is pure Beatoposting but I think I made my case pretty well. Anyways. GO READ UMINEKO NOW!!!#Do you ever think about how [redacted] becomes a Sorcerer in Umineko? Wait a second.#Also read the light novels. They're very good.#My bets are placed and I'm going to lose.#This has been my Umineko Kaisen.#itafushi #itadori yuji #fushiguro megumi #jjk spoilers #jujutsu kaisen #jjk 270 #jjk 269 #jjk meta

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sancta-seraphina · 27 days ago

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Hi, I hope this isn't too complex a question. What books would you recommend for someone looking to get into angels? I'm looking for anything... lore, other novels to read, comics, whatever you can offer

Oh man, please don't apologize, this is exactly my type of question! Also this post got a bit long.

Obviously, there are tons of references for lore. If you're looking for a basic run-down of angels in the Bible itself, I'm writing a series of posts on that subject specifically, even if updates are few and far between right now (I'm so, so sorry, the ballet eats all of my time):

[Biblically Accurate Angels Part I - Seraphim, Cherubim & Ophanim]

[Biblically Accurate Angels Part II - The Named Angels]

This is because the easiest and most accessible information on angels is in the Bible itself (and hey guess what—you can read the Bible for free online! If you need a translation suggestion, I would go for the ESV bibles, and there's a Catholic edition of the ESV if that's an issue. You could also get the NCB which is what I cited)

If you don't mind chewy literature, then I'd say please read Pseudo-Dionysius' De Coelesti Hierarchia, or St. Thomas Aquinas' Summa Theologica. I cite both of these in my posts on angels since they're rather standard sources of information on them, and they're also where the Catholic church gets its canon from.

A great reference, even if I don't particularly agree with everything stated in it, is Gustav Davidson's A Dictionary of Angels. Most people look at it for angel names, but I'm very interested in his sources, since many of them I've not yet managed to get my little paws on.

I'm not even going to get into my favorite sources of angel lore because this is enough for someone just looking to start. I can do a separate post on those if people want them.

Now. Moving on from lore.

For classic literature, my two obvious recommendations are for The Divine Comedy and Paradise Lost. Over on IG, myself and Jami (@a-thenais) made a little book recommendation post. [You can find it here]. Being the angels nerds we are, everything is pretty on theme and has poetry, scripture, classics... the only thing we didn't do is current angel literature.

So for that, if you want a popular series, than I'd say go take a look at @nicosraf's Angels trilogy, especially since he just announced a new short novel coming out in December!

I personally also like @marsadler's First Creation, although I'd recommend his works mainly for horror fans.

And lastly, if you don't mind waiting/are keeping a list of angel books that are coming out, well, of course I'd suggest my own series [The Divine Tragedy], even if horror isn't everyone's cup of tea. The main series (Holiest, The Harrowing, & Heresiarch) and the series of novellas (The Infernal Apocrypha) are heavy on the horror, but in my last project, the Sepher Metatron, only the third part has horror in it, and the rest of it is more palatable to non-horror fans (the very first part of the book is also fully illustrated)

But if you can read Italian, then I'd also suggest @a-thenais' Nova Apocrypha Vulgata series! These are three novels (Thanatos, Hybris, & Afasia) that she is working towards publishing, and a few additional works too. You can read about them on her tumblr, and I've done multiple fanarts for them. We also tend to consider TDT and NAV 'twins', so if TDT is something you want to read, NAV will also something you'd probably like!

If you want to follow some angel artists, then please check out my pals @ultrainfinitepit (who makes gorgeous angel pins which I hoard) and @helplessavacado, both of whom have their own unique styles and stories as well.

#asks #apologies for the post being so long #i rambled quite a bit #long post #seraphina.txt #sorry this took me a few days to get to as well

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lukolabrainrot · 2 months ago

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Long ask anon with an even longer ask (I truly don’t know how to make long story short, but I can do the reverse), sorry. I am dividing this in two parts in case you decide to post this, so it would not be such an essay.

Part 1. Intro

Something has been eating up at me for a while but I only recently gathered the courage to do anything more than lurking. I actually am quite new to this, mostly because I was not allowing myself to even get into this in the first place. I am a very chill person when it comes to celebrities, I truly couldn’t care less about their lives, don’t even follow them on SM (L and N included) (not that I use SM all that much to begin with), I don’t know why but it always seems strange for me to be invested in strangers’ lives. I am not big of a fan girl either, especially media wise, I am much more interested in books and have no patience for tv shows most of the time. All of this to say, this is unusual behavior for me, watching all of the interviews with repetitive questions (those poor actors having to repeat themselves over and over again), paying attention to actors (beyond just knowing their names).

Polin is one of the rare ships that captured my interest, so I was very excited to learn about s3 being them, and when the wait for even the slightest info seem to be dragging on endlessly those interviews served as a great entertainment. Until they were not, until I started noticing things I wished not to. What started as “oh, they are so cute, and charming, and their friendship is so endearing!” very quickly turned into “babes, WHAT THE F*CK DID I JUST SAW/HEARD?” At one point I was honestly thinking “did I miss something? Are they together? What is going on?” So I checked, out of curiosity nothing more, but found nothing OFFICIAL suggesting that (as in N nor L never claimed anything). So I moved on, watched the show, other interviews (my brows still rising at some points), and then post Part 2 premiere I saw the picture on IG.

Everyone on internet seemed to be screaming about Ls’ GF, and being absolutely vile to him, which I found so disgusting I immediately checked out of the situation and turned my attention back on fiction again. It would be insincere of me not to admit to a certain disappoint on such a development, but that was as far as it would go. Though I can also truthfully say that that girl was not giving me the best impression based on the picture, something just seemed off. I only saw one at that point, where it appeared as if they were holding hands, why did it seem off? Because L looked displeased, almost angry, his eyes averted from cameras, while she was boldly looking right on them smiling as if she was walking her red carpet. As I said that was that, just continued watching the show, reading Polin fanfiction, hung out on a Polin reddit account and some Polin Tumblr blogs. And then I stumbled upon your blog (it was already past papgate 2.0), and now I’m on this bloody ship, and can not seem to force myself overboard, because those two are so soulmate coded (and yes, I realize how cheesy that sounds).

What has been bugging me, is that most, if not all, in this fandom seem to be of the opinion that L is the primary reason why N/L are yet to develop into lovers phase of this friends to lovers arc. From outright blaming him to passive aggressively calling him a dummy for not going after N. And I comprehend that most of it comes from the presence of a certain adjacent. But putting aside the OBVIOUS, LOGICAL point that we, non of us, are privy to their real lives, and bts truth, I still don’t see where that point of view comes from. I know that everyone says L is most like his character, so perhaps part of it is projection of that, but for me it always seems that L is actually a Penelope of this situation. To me, he himself gives it away.

Same Anon... same!

I have never thought L was the hang up in this situation. I think N has been burned in love, is pretty closed off with this stuff, and a TOTAL workaholic. L DEFINITELY fell first (no one can convince me otherwise). L also seems to kind of be a hopeless romantic and public lover boy, which I don't think N is use to. But I feel like that is why they kind of balance each other out ❤️️

#lukola theories #just some thoughts

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pkmn-project-magnolia · 1 year ago

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Ch1, Pg8: Underdog

Hazel makes a promise (mostly to herself)

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nyxshadowhawk · 5 months ago

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A Retrospective on Harry Potter

Why did I like it in the first place? What about it worked? Where do I go from here?

I have decided to give up Harry Potter.

J.K. Rowling’s reputation now stinks to high heaven. At this point, she is quite indefensible. And even if that weren’t the case, she is not someone that I would want to associate with anyway. Meanwhile, the internet has not only turned against her, but against Harry Potter itself. An innocent question on Reddit, about which Hogwarts Houses the ATLA characters would be in, got downvoted to oblivion. Innumerable Tumblr threads insist that fantasy fans should get into literally anything else (suggestions include Discworld, Earthsea, The Wheel of Time, and Percy Jackson). And now that Harry Potter is no longer a sacred cow, there has been a recent slew of video essays that rip it to shreds, attacking it for its poor worldbuilding, unoriginality, and the problematic ideas baked into the original books (like the whole SPEW thing), etc. Those criticisms always existed, but now they’re getting thrown into the limelight.

It pains me to see such an ignoble downfall of Harry Potter’s reputation. If Rowling had just kept her damn mouth shut, Harry Potter would have aged gracefully, becoming a beloved children’s classic. I'd still plan to introduce it to my own kids one day (after Rowling dies and the dust settles). It’s not surprising that not all aspects of it have aged well, since it’s been more than twenty years since its original publishing date, and everything starts to show its age after that long. I acknowledge that most of the criticisms of the series that I’ve seen lately are valid, and I’ve read plenty of better books. And yet, when I return to the books themselves, even with the knowledge of who JKR really is inside my head, I still really enjoy reading them! There’s still a lot about them that I think works!

None of the other things I’ve read have had as collossal of an impact upon my identity, my values, and my own writing as Harry Potter. It’s hard to move on from it, not just because it’s something I enjoy, but because I have to literally extract my identity from it. I don’t know who I’d be without Harry Potter. I don’t know what my work would look like without Harry Potter. I don’t know how to carry it with me as just another piece of media that I like, as opposed to a filter for who I am as a person. So, with all that in mind, I have to ask myself why I liked Harry Potter so much in the first place. If I’m going to move on from it, then I have to be able to define and isolate the things about it that I want to keep with me. Something about it obviously worked, on a massive scale. So what was it?

It’s not the worldbuilding. The worldbuilding is objectively quite terrible, especially in comparison to that of other fantasy writers who knew what they were doing. At best, it’s inconsistent and poorly thought-out, and at worst it’s insensitive or even racist. Is it the characters? The characters are, in my opinion, one of the stronger parts of the story. But I felt very called-out by one of the many online commentators, who said that anyone who identifies with Harry is too cowardly to write self-insert fic. (I do not remember who said it or even which site it was on, but I distinctly remember the phrase, “Reject Harry Potter, embrace Y/N.”) The reason why people get so invested in Harry Potter’s characters is because they’re easy to project upon, and it’s possible that my love of Harry comes more from over a decade’s worth of projection than anything else. The incessant arguments over characters like Snape, Dumbledore, and James Potter ultimately stem from the fact that these characters do not always come across the way Rowling wanted them to. As for the writing itself, it’s decent, but not spectacular. Harry Potter is something of a sandbox world, with less substance than it appears to have and a crapton of missed opportunities, making it ripe for fanfic. For more than ten years, I’ve been doing precisely that — using Harry Potter as a jumping-off point to fill in the gaps and develop my own ideas, some of which became my original projects.

So what does Harry Potter actually have that sets it apart? Why are people so desperate to be part of Harry Potter’s world if the worldbuilding is bad? What, specifically, is so compelling about it? I think that there’s one answer, one thing that is at the center of Potter-mania, and that has been the underlying drive of my love of it for the past decade and a half: the vibe.

Harry Potter’s vibe is immaculate.

You know what I mean, right? It’s not actually a product of any specific trope, but rather a series of aesthetic elements: The wizarding school in a grand castle, with its pointed windows and torches and suits of armor, ghosts and talking portraits and moving staircases, its Great Hall with floating candles and a ceiling that looks like the night sky, its hundreds of magically-concealed secret doorways. Dumbledore’s Office, behind the gryphon statue, with armillary spheres in every single shot. Deliberate archaisms that evoke the Middle Ages without going as far as a Ren Faire: characters wearing heavy robes, writing with quills and ink on parchment instead of paper, drinking from goblets, decorating with tapestries. Owls, cats, toads. Cauldrons simmering in a dungeon laboratory. Shelves piled with dusty tomes, scrolls, glass vials, crystal balls, hourglasses. Magical candy shaped like insects and amphibians. A library with a restricted section. A forbidden forest full of unicorns and werewolves. That is the Vibe.

There are five armillary spheres just in this shot. They are unequivocally the most Wizard of tabletop decor.

There’s more to it than just the aesthetic, though. The vibe is present in something that writers call soft worldbuilding.

There’s a phrase that writers use to describe magic systems, coined by Brandon Sanderson: hard magic and soft magic. Sanderson’s first law of magic is, “An author’s ability to solve problems with magic is directly proportional to how well the reader understands said magic.” A hard magic system has clearly-defined rules — you know where magic comes from, how it works and under which conditions, how the characters can use it, and what its limitations are. Examples of really good hard magic systems include Avatar: The Last Airbender and Fullmetal Alchemist. If the audience doesn’t understand the conditions under which magic can work, then using magic to get out of any kind of scrape risks feeling like the writer pulled something out of their ass. It begs the question, “Well, if they could do that, then why didn’t they do that before?”

You may come away from that thinking that having clearly-defined rules is always better worldbuilding than not having them, but this isn’t the case. Soft magic isn’t fully explained to the audience, but that doesn’t matter, because it isn’t trying to solve problems — its purpose is to be evocative. Soft magic enhances the atmosphere of a world by creating a sense of wonder. If your everyman protagonist is constantly running into cool magical shit that they don’t understand, then the world feels like it teems with magic, magic that is greater and more powerful than they know, leaving lots of secrets to uncover. Harry Potter, at least in the early books, excels at this. The soft magic in Harry Potter is what got me hooked, and I think it’s what a lot of other people liked about it, too.

The essence of soft magic is best summed up by this scene in the fourth film, in which Harry enters the Weasleys’ tiny tent at the Quidditch World Cup, only to find that it’s much bigger on the inside. His reaction is to smile and say, “I love magic.”

That’s it. That’s the essence of it. You don’t need to know the exact spell that makes the tent bigger on the inside. You don’t need to know how Dumbledore can make the food appear on the table with a flick of a wand, or how he can make a bunch of poofy sleeping bags appear with another flick. You don’t need to know how and why the portraits or wizard cards move. You don’t need to know how wizards can appear and disappear on a whim, or what the Deluminator is, or where the Sword of Gryffindor came from. You don’t need to know how the Room of Requirement works. Knowing these things defeats the purpose. It kills the vibe, that vibe being that there is a large and wondrous magical world around you that will always have more to discover.

One of the best “soft magic” moments in the books comes early in Philosopher’s Stone, when Harry is trying to navigate Hogwarts for the first time:

There were a hundred and forty-two staircases at Hogwarts: wide, sweeping ones; narrow, rickety ones; some that led somewhere different on a Friday; some with a vanishing step halfway up that you had to remember to jump. Then there were doors that wouldn't open unless you asked politely, or tickled them in exactly the right place, and doors that weren't really doors at all, but solid walls just pretending. It was also very hard to remember where anything was, because it all seemed to move around a lot. The people in the portraits kept going to visit each other, and Harry was sure the coats of armor could walk. —Philosopher’s Stone, Chapter 8

Many of these details don’t come back later in the series, which is a shame, because this one paragraph is super evocative! It establishes Hogwarts as an inherently magical place, in which the very architecture doesn’t conform to normal rules. Hogwarts seems like it would be exciting to explore (assuming you weren’t late for class), and it gets even better when you learn about all the secret rooms and passages. The games capitalized on this by building all the secret rooms behind bookcases, mirrors, illusory walls, etc. into the game world, and rewarding you for finding them. The utter fascination that produces is hard to overstate.

Another one of the most evocative moments in the first book is when Harry sees Diagon Alley for the first time, after passing through the magically sealed brick wall (the mechanics of which, again, are never explained). This is your first proper glimpse at the wizarding world and what it has to offer:

Harry wished he had about eight more eyes. He turned his head in every direction as they walked up the street, trying to look at everything at once: the shops, the things outside them, the people doing their shopping. A plump woman outside an Apothecary was shaking her head as they passed, saying, “Dragon liver, seventeen Sickles an ounce, they're mad....” A low, soft hooting came from a dark shop with a sign saying Eeylops Owl Emporium — Tawny, Screech, Barn, Brown, and Snowy. Several boys of about Harry's age had their noses pressed against a window with broomsticks in it. "Look," Harry heard one of them say, "the new Nimbus Two Thousand — fastest ever —" There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels' eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon.... —Philosopher’s Stone, Chapter 5

What works so well here is the magical weirdness of wizardishness juxtaposed against normalcy. Eeylops Owl Emporium is just a pet shop to wizards. A woman makes a very mundane complaint about the price of goods, but the goods happen to be dragon liver. Broomsticks are treated like cars. All of these small moments contribute to the feeling of the wizarding world being alive, inhabited, and also magical. It gets you to ask the question of what your life would be like if you were a wizard. What do wizards wear? What do they eat? What do they haggle over and complain about? What do they do for fun?

In Book 3, Harry enjoys Diagon Alley for a few weeks when he suddenly has free time, and we get to experience the wizarding world in a state of “normalcy,” when he isn’t trying to save the world. He gets free ice creams from Florean Fortescue, gazes longingly at the Firebolt, and engages with delightfully weird people. He’s a wizard, living a (briefly) normal wizard life among other wizards in wizard-land. And that is fun. It’s so fun, that people want that experience for themselves, enough for there to be several theme parks and other immersive experiences dedicated to recreating the world of Harry Potter.

One of the greatest things about Universal was its phenomenal attention to detail. You can hear Moaning Myrtle’s voice in the women’s bathroom, and only the women’s bathroom. The walls of the Three Broomsticks have shadows of a broom sweeping by itself and an owl flying projected against the wall, so convincingly that you’ll do a double take when you see it. Knockturn Alley is down a little secret tunnel off of the main street, and that’s where you have to go to buy Dark Arts-themed stuff. It’s really well done.

Another thing that contributes to the vibe, in my opinion, is that the wizarding world is slightly macabre. They eat candy shaped like frogs, flies, mice, and so forth, and they have gross-tasting jellybeans. In the film’s version of the Diagon Alley sequence above, there’s a random shot of a pet bat available for purchase. In the third film, when Harry is practicing the Patronus Charm with Lupin, the candles are shaped like human spines. In the first book, this is Petunia’s description of Lily’s behavior after she became a witch:

Oh, she got a letter just like that and disappeared off to that-that school, and came home every holiday with her pockets full of frog spawn, turning teacups into rats. I was the only one who saw her for what she was — a freak! —Philosopher’s Stone, Chapter 4

I remember reading this for the first time, and it just kind of made intuitive sense to me. I suppose it fits into the “eye of newt and toe of frog” association between magical people and gross things, but somehow it works. Unfortunately, this is retconned later with the knowledge that wizards can’t use magic outside school, but before that limitation gets imposed, the idea of Lily amusing herself by turning teacups into rats seems like an inherently witchy thing to do.

That association between magic and the macabre shows up elsewhere, as well. In The Owl House, Luz’s interest in gross things is one of the things that marks her as a “weirdo” in the real world. When she goes to the magical world of the Boiling Isles, weird and gross stuff is absolutely everywhere. That world’s vibe leans more towards the macabre than the whimsical, but it works because you sort of expect the gross stuff to exist alongside the concept of witches, and that they would be an intrinsic part of the world they inhabit. You don’t question it, because it’s part of the vibe.

(The Owl House is one of the few things I’ve encountered that has a similar vibe to Harry Potter, but it’s still not the same vibe. In fact, The Owl House outright mocks the expectation that magical worlds be whimsical, and directly mocks Harry Potter more than once. The overall vibe is much closer to Gravity Falls.)

The Harry Potter films utilize a lot of similar soft worldbuilding with the background details, especially in the early films that were still brightly-colored and whimsical. For example, the scene in Flourish and Blotts in the second film has impossibly-stacked piles of books and old-timey looking signs describing their subjects, which include things like “Celestial Studies” and “Unicorns.” When Harry arrives in the Burrow in the same film, one of the first things he sees is dishes washing themselves and knitting needles working by themselves, taking completely mundane things and instantly establishing them as magical. In that Patronus scene with Harry and Lupin, the spine-candles and a bunch of random orbs (and the obligatory giant armillary sphere) float around in the background. One small detail that I personally appreciate is the designs on the walls above the teacher’s table in the Great Hall, which are from an alchemical manuscript called the Ripley Scroll:

It’s all these little things that add up to produce The Vibe.

Obviously, much of the vibe is expressed very well in John Williams’ score for the first three Harry Potter films. The mystical minor key of the main theme, the tinkly glockenspiel, the strings, the rising and falling notes that mimic the fluttering of an owl, the flight of a broomstick, or the waving of a wand. That initial shot of the castle across the lake as the orchestra swells, as the children arrive at their wizarding school:

If you grew up with Harry Potter, just looking at this image gives you The Vibe. The nostalgia hit is definitely part of it, but The Vibe was already there, back when you were a child and you didn’t have nostalgia yet.

In my opinion, only Williams’ score captures this vibe — the later films, though their scores are very good, do not. But the soundtrack of the first two video games, by Jeremy Soule (the same person who did Skyrim) absolutely nails it. This, right here, is Harry Potter’s vibe, condensed and distilled:

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This is why I feel invalidated by the common advice “just read another book.” I have read other books. I’ve read plenty of other books, many of which are wonderfully written and have left an impact on me. But there’s still only one Harry Potter. To date, there’s only other book that has filled me with a similarly intense longing for a fictional place, and that is The Night Circus by Erin Morgenstern. That book deliberately prioritized atmosphere over everything else in the story, and actually lampshades this in-universe. The Night Circus has a plot and it has characters, but it’s not about its plot or characters. It’s about the setting and its atmosphere. It swallows you up and transports you to a fictional place that is so evocative and so magical that you just have to be part of it or you’ll die. And even then, The Night Circus has a different kind of vibe from Harry Potter. In this particular capacity, there’s nothing else like Harry Potter.

The thing is, I don’t think Rowling was being as deliberate as Erin Morgenstern. (In fact, given many of Rowling’s recent statements, I question how many of her creative choices were deliberated at all.) She was throwing random magical stuff into the background without thinking too hard about it, which works when you’re writing a kids’ story, but stops working when you try to age it up. Actually, scratch that — soft worldbuilding is definitely not just for kids! The Lord of the Rings has a soft magic system, for crying out loud, and Tolkien is the original archmage of worldbuilding. Don’t listen to anyone who tells you that prioritizing atmosphere over meticulousness is bad worldbuilding. That is a valid way to worldbuild! Not everything needs to be clearly explained, not everything needs to make sense. The problem is that Harry Potter doesn’t balance it well. Certain things do have to be explained in order for the magic to play an active role in the story (and the setting of a magic school lends itself to that kind of explanation), but no rules are ever established for the kinds of magic that need rules. When you begin thinking about the rules, you’re no longer just enjoying the magic for what it is. At worst, you begin running up against the Willing Suspension of Disbelief.

It wasn’t actually the ��aging up” of the story that did it in, per se, but rather, the introduction of realism. The early books were heavily stylized, and the later books were less so. A heavily stylized story can more easily maintain the Willing Suspension of Disbelief. That’s why, for example, you don’t ask why the characters are singing in a musical — you just sort of accept the story’s outlandish internal logic, and the inherent melodrama of it doesn’t take you out of the story. Stylized stories are more concerned with being emotionally consistent over being logically consistent. The later Harry Potter books changed their emotional tone, but without changing the worldbuilding style to compensate.

In addition to the more mature themes and darker tone, Harry Potter introduced more realism as it went, but Rowling did not have the worldbuilding chops to pull this off. There’s the basic magic system stuff: When you begin thinking about it too hard, something like a Time-Turner stops being a fun magical device, and starts threatening to break the entire story. Then there’s the characters: Dumbledore leaving Harry on the Dursleys’ doorstep in the first book is an age-old fairy tale trope that goes unquestioned, but with the introduction of realism in the later books, it suddenly becomes abandonment of a child to an abusive family. The exaggerated stereotypes of characters like the Dursleys become tone-deaf. The fun school rivalry of the House system is suddenly lacking in nuance. And then there’s the shift in tone: The wizarding world that we were introduced to as a marvellous place is revealed to be dystopian. You start thinking about how impractical things like owl messengers are, you start wondering if Slytherin is being unjustly punished, the bad history appears glaringly obvious, the quaint archaisms become dangerously regressive. Oh, and the grand feasts are made through slave labor! The wizarding world suddenly feels small and backward instead of grand and marvellous. J.K. Rowling’s bigotry throws it all into an even harsher light.

This is why I’ve always preferred the early books and films to the later ones. There’s a lot of things I like about the later ones, but they’re not as stylized — they don’t have The Vibe. Thinking about things too hard is just a necessary condition of adulthood, but it’s still possible to tell a dark, mature story that is highly stylized. I really think JKR could have better pulled off that shift if she was a more competent worldbuilder. But it is painfully obvious that she did not think things through, and probably didn’t understand why she had to. In her defense, she did not know that her story would end up being one of the most scrutinized of all time. As it stands, her strength in worldbuilding was in the softer, smaller, deliberately unexplained moments of magic that were there just to provide atmosphere. And there were less and less of those as the books went along.

Pretty much all the Harry Potter-related content released since the last film — including Cursed Child, Fantastic Beasts, Hogwarts Mystery, Hogwarts Legacy, Magic Awakened, and that short-lived Pokemon Go thing — have been unsuccessful attempts at recreating The Vibe. In fact, the only piece of supplemental Potter content that I think had that Vibe down pat was the original Pottermore, back when it was more of an interactive game. And of course that got axed. That was right around the time things started going downhill.

Some of the art from Pottermore’s original Sorting quiz.

So what now? Well, that’s the question.

I think I can safely say that The Vibe was the reason I liked Harry Potter. It’s the thing I still like the most about it. I’ve spent years chasing it, like an elusive Patronus through a dark wood. If I can capture and distill that Vibe, and use drops of it in my own work, then perhaps I won’t need Harry Potter anymore.

I'm gonna write the story that I wish Harry Potter was, and when I'm a famous author, I won't become a bigot. I'll see you on the other side.

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